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Svart Records are proud to release the long-awaited full length album "SÁLA" by Kati Rán in May 2024

If the most profound treasures are often the most deeply buried, the journey to uncover them is vital process of discovery. Five years after the 15-minute single “Blodbylgje” signaled the birth of a new, more primordial, and immersive vision after the dissolution of her band L.E.A.F., Nordic dark folk artist Kati Rán has expanded on its oceanic theme for her long-awaited full-length album, “SÁLA”. Embarking on a far-reaching musical and personal travelogue, it’s a reawakening of both the feminine narratives submerged and fragmented within Norse mythology, and the enduring, healing powers held within.

Named after the Old Norse word for ‘soul’ and ‘sea’, “SÁLA” is an act of ‘soul retrieval’, the shamanic art of trauma recovery, be it illness, death, heartbreak or loss, and the reintegration of a splintered self. Across its 13, wide-ranging, elegantly unfolding tracks, the album is an embodiment of different feminine voices and perspectives – from the Norse nine daughters of the sea, or ‘billow maidens’, through various historical and fictional figures to the late-night voices we hear in our most liminal states – all with tales to tell, riddles to solve, challenges to be accepted and guidance to offer. It’s a multiplicity that, like the ocean itself, belongs to a vast, restless dynamic: a matrix of mysteries, unfathomable depths and ever-shifting currents, accumulating into an elemental, regenerative source of power.

Recorded in a barn in Húsafell, Iceland – home to glacier ice caves and a rare lava stone marimba rediscovered for the track “Stone Pillars” – as well as Finland, Norway and at home in Kati’s native Netherlands, “SÁLA” is as much chronicle of Kati’s own perspective-shifting recording process as it as a pilgrimage through different viewpoints and internal states. That itinerate urge is also reflected in the use of different languages, ranging across Norwegian, Old Norse, Icelandic, and, for the first time, English, her combination of ancient texts, historical reimagining’s and unguarded personal reflection backed up by deep research into the most resonant recesses of Nordic lore.

Spun throughout every thread of “SÁLA” is a sense of communion - with the power of stories to offer moral guidance and the thrill of the unknown; with the element of water, recreated across the album both in field recordings and the agelessly organic nature of the music itself; with the archetypes whose qualities we are called upon to embody at our most critical moments; and with the internal hidden realms forever whispering at us from the far edges of our consciousness.

Appropriately, it’s a collaborative venture too. As well as working closely together with Finnish producer Jaani Peuhu, there are contributions from across the musical spectrum, including extreme metal vocalist extraordinaire Gaahl, the Icelandic female choir Umbra Ensemble, renowned Norwegian jazz musician Karl Seglem, Björk and Brian Eno contrabassist Borgar Magnason, members of pagan folk acts Völuspá, Gealdýr, Heilung and Theodor Bastard and even Napalm Death’s Mitch Harris on vocals.

For all the many sources “SÁLA” draws from, the result is a singular, intimately transformative rite of passage, and a retuning of the heart to the reverent continuity of the sacred. It will take you from the opening title track’s chest-pounding rhythmic pulse emerging from a traditional Norwegian bukkehorn (recorded by Karl Seglem), a galloping horse-rider and Kati’s glacial, velveteen chant, through “Kólga’s” recounting of female persecution through the ages borne on the most gossamer-light yet unbreakable of timbres and “Stone Pillar’s” gently percolating, deep wells of abandonment and incantations to recovery. “SÁLA” closes with the track “Sátta” - Old Norse for ‘peace’ and ‘reconciliation’ – ending the album as it began with the bukkehorn, as it weaves rich drones and experience-stamped poems and prayers, Kati’s vocals the most sensitively tuned of emotional barometers. An album made in dedication, and in thrall to, its own sense of destiny, “SÁLA” is, as all quests must ultimately be, a homecoming.

Album introduction written by Jonathan Selzer.

"Everything's been fucked since David Bowie died or they started up the Hadron Collider" say The Janitors. This feeling is epitomised in the title of their riveting new album: An Error Has Occurred. Marking over two decades of activity for the Swedish psych-rockers, the recording is informed by heartbreak and loss as well as the dismal state of the entire planet. For The Janitors, these two polarities intertwine constantly: "What's personal is political and vice versa." To channel their frustration and anger, the band revived certain songs they'd shelved during the pandemic when working on the acclaimed Noisolation Sessions. They added others, written since, that suited the mood of sticking a middle finger up to the oppressive world around us. Whereas previous recordings were often layered up gradually, this time the full band (Henric Herlenius, Jonas Eriksson, Anders Thorell and Wilhelm Tengdahl) rehearsed intensely together before laying down everything live, over two days and nights, in a converted missionary church. The songs on Side A have the menace of Melvins, the swagger of The Stooges and the cosmic heft of The Heads. These are the more simply constructed and poppier pieces... or so the band believe. (One friend of theirs did consider this "delusional".) 'In A Bliss' acts as the album's radiant centrepiece. A palette-cleansing love song which recalls The Jesus And Mary Chain at their most starry eyed, it finds The Janitors searching for solace and strength in straightforward companionship. After this come the dronier numbers, drawn out with soundscapes and textures influenced by The Velvet Underground's sonic experiments and the equally immersive atmospheres of electronic acts like Massive Attack. Hence, 'Operator' swings threateningly like a space-rock Swans, while the approach on 'Farewell Spacegirl' is jazzier and more meditative. "It can be hard to muster up some, or even any, positive energy at this point in time," says Henric. "We are eternally grateful to have the creative output that this constellation gives us. Neither me or Jonas would probably be here, or be the same people we are, if it wasn't for The Janitors. We'll leave you with a quote from an old anarchist: 'Every society gets the criminals it deserves.'"

Disperú is the first independent record label in Peru and South America that was founded and run by a woman. In the space of five years Rebeca Llave turned not only Disperú into a successful company but also transformed it into an amplifier and showcase for unique Peruvian popular music projects including the raw, wild and visceral sound of Los Saicos, 60s punk pioneers. This compilation comprises 14 amazing tracks, ranging from cumbia or boogaloo to beat and garage, to celebrate the music legacy of this unique pioneer woman. Disperú was founded at a key moment for Peruvian popular music. In 1965 young Peruvians were gaining prominence in society and the entertainment industry. The hangover of the 'new wave', with its balladeers, persisted on the radio and television, but rock bands were also emerging, inspired by what was happening musically in Liverpool and on the beaches of California. Guided by her ability to spot talent and target what she perceived as commercial prospects, Rebeca signed up an impressive lineup of artists. Several of which would move on to bigger labels, after 'the girl with the charming smile' had set them on the recording road to fame. Besides gathering young rockers (Los Saicos, Jean Paul El Troglodita_) and new wave bands (Los 4 Brillantes, Golden Boys_) under its umbrella, Disperú also ventured into coastal and Andean music from Peru and tropical music (Chano Scotty y su Combo Latino, Toño y sus Sicodélicos_).

Maximilian Skiba, an Eminent Figure in the World of Electronic Music, Makes a Triumphant Return to Skylax After an Absence Spanning Over a Decade. His Resurgence Is Nothing Short of Exceptional, as He Joins Forces With the Legendary Snax to Deliver a Musical Offering That Rekindles the Very Essence of House Music's Illustrious origins.
Skiba's Two New Tracks, "Pushing My Buttons" and "In Motion," Serve as a Compelling Testament to His Impeccable Craftsmanship as a Producer. the Influence of the Pioneering triumvirate—Larry Levan, Ron Hardy, and Frankie Knuckles—is Palpable Within These Compositions. Both Tracks Are a Masterful Blend of Nostalgia and Innovation, Perfectly Aligning With the Playlists That Once Defined the Heyday of House Music's Most Celebrated luminaries.
"Pushing My Buttons" and "In Motion" Evoke an Air of Sophistication, Exuding a Smooth, Velvety Quality That Transports Listeners to the Cherished Era of Original Disco. Drawing Parallels to the Timeless Classics Like Dinosaur’s "Kiss Me Again" or Loose Joints "Is It All Over My Face", Skiba's Creations Pay Homage to the Bygone Era While Injecting a Modern Edge. This Phenomenal Ep Goes Beyond Skiba's Original Works, Offering Two Exceptional Remixes That Elevate the Experience. the First Remix, a Balearic Interpretation by the Emerging Talent Maltitz, Adds a Refreshing Dimension to the Tracks. the Second Remix, Helmed by the Skilled Apollon Telefax, Ingeniously Transforms the Already-Classic Tunes Into an Explosive Italo-Disco Sensation. These Remixes Seamlessly Weave Together the Past and the Present, Creating a Bridge Between Different Eras While Keeping the Music timeless.
In Essence, This Ep Is Not Just a Musical Offering; It's a Journey—a Seamless Fusion of History and Innovation That Transports the Listener to an Era of Musical Brilliance, All the While Redefining the Boundaries of Contemporary Sound. Skiba and Snax's Collaboration Is Not Merely a Comeback; It's a Testament to the Enduring Legacy of Electronic Music, Encapsulating the Spirit of House Music's Golden Age While Breathing New Life Into Its Timeless Allure....

Following the singles "Zanzare" and "Barocco", Chiaré is the self-titled debut album from songwriter and multi-instrumentalist Chiaré, aka Chiara Ianniciello, the latest recipient of the Bianca D'Aponte Award for emerging Italian singer-songwriters.

The album, which will be out on April 19th, contains eight atmospheric and intimate tracks where Chiara's warm and gentle voice weaves snapshots from her feelings and her personal story over retro-flavoured, jazz-infused arrangements that are reminiscent of some of Italy's finest singer-songwriters (Lucio Battisti and Pino Daniele in particular).

"It all started about three years ago," says Chiara. "Ernesto Massimino Voza and I started from a sound that somehow wasn't really me, and after a long process of trial and error, we finally found what seemed to be right for me. Peppe Maiellano, who arranged all the music, brought it full circle. The album has a common thread: love. Almost all of the songs are about strategic love, the fear of freely loving someone and the frustration at not being able to get out of an on-and-off relationship that made me suffer, but that I've tried to narrate with some irony. If my writing were an artistic movement, it would be naturalism. I drew a lot of inspiration from Pino Daniele, Eduardo De Crescenzo, and Lucio Battisti, while trying to develop my own personal, authentic style."

Chiara holds a diploma in jazz singing and is now completing her studies in classical double bass. In her debut album she uses both standard Italian and the Neapolitan dialect, mixing jazz, soul and R'n'B. Modernity and tradition come together, creating a delicate yet irresistible sound.

2024 Repress

Imagine a held-up-in-traffic Wayne Shorter arriving late to a Weather Report studio session and Joe Zawinul, Victor Bailey, and Omar Hakim filling in the time by jamming on a grooving house cut. Had that happened, it might have sounded a little bit like “It Never Stops,” one of two ultra-fresh tracks on Kaidi Tatham's Yore debut. Jazz and house are obviously distinct genres, yet as this irresistible cut makes clear swing is common to both. The other track, the cerebrally titled “One for the Brain,” locates itself closer to house music proper but is no less appealing for doing so.
Given the jazzy vibe of “It Never Stops,” it's fitting that Benji B once deemed Tatham the "Herbie Hancock of the United Kingdom.” Regarded as one of the originators of the Broken Beat sound, the UK-based multi-instrumentalist has worked with many an artist, from Bugz In The Attic and The Herbaliser to DJ Jazzy Jeff, and his session work credits list Slum Village, Amy Winehouse, Soul II Soul, and others. His own discography includes EPs and releases for labels such as 2000 Black, First World Records, Theo Parrish's Sound Signature, Eglo Records, and now, of course, Yore.


“It Never Stops” rolls in on a wave of silky synthesizer textures and percolating precision with a tight, funky groove that instantly pulls you into its velvety world. Triangles, electric bass, and clavinet add collective radiance to the material as the tune struts its way into your psyche. As if to make the jazz connection even more explicit, Tatham works an acoustic piano solo into the cut's second half before shifting focus back to the groove for the coda. “One for the Brain,” by comparison, digs into its chugging house pulse with fervour whilst also sweetening the arrangement with painterly synth flourishes. This one charges with breathless determination and like “It Never Stops” nods in jazz's direction with the inclusion of a freewheeling piano solo. Every minute and second on this strictly limited 12“ release seem's meaningful. No Represses / Limited 200 Copies.

As mood changers go, this track is up there with the best. Last year whilst DJing with miche at Shapes festival in the snow-capped mountains of Switzerland, a breathtaking yet ominous Alpine sky suddenly became a picture postcard moment. The clouds parted and a double rainbow formed, as miche dropped Studio Rio's bossa nova remake of Bill Withers’ all-time classic 'Lovely Day'. From there, the dancefloor shifted gears and morphed into full-swing feel-good vibes, in a beautiful, spontaneous moment nobody could have planned for.

Mr Bongo now proudly presents a reissue of this brilliant, bossa-channelling Bill Withers reinterpretation from Studio Rio’s 2014 release ‘The Brazil Connection’. Masterminded by the German Grammy award-winning Berman Brothers, the project was born out of their deep love of Brazilian music. “Our goal was to bring the Brazilian joie de vivre to iconic performances by well-known artists. What would these classic songs sound like had they been recorded in the studios of Rio de Janeiro in the first place, with the best Brazilian musicians and arrangers?” the brothers reflect.

Capturing the life force of Brazil, the beating heart that is its music, they set out to find the musicians who would fit best with their concept. Landing in Rio in 2013 a series of coincidences led to them being introduced to their idols Marcos Valle and Roberto Menescal, who both agreed to come on board. The Berman Brothers also wanted to find some of the musicians who recorded with one of Brazil’s most influential composers Tom Jobim. “Fifty years after Jobim made the music that really defines bossa nova, we found that many of his sidemen were still active, including Paulo Braga of Jobim’s famed rhythm section. It was magic; everything just fell into place.”

There's no question that the original of ‘Lovely Day’ is up there as one of the most feel-good, spirit-lifting anthems of all time. Here the brothers, with the help of a whole host of Brazil’s finest musicians, rework Bill’s soul-fuelled groove into a bossa nova slice of sunshine. With the blessing of Bill and Sony, they were given access to the original multitracks so they could incorporate Bill’s vocals perfectly into the new arrangement.

Joy-injected horns and bouncing double bass blend with the smile-inducing samba flavour of Pretinho da Serrinha’s cavaquinho playing. Tying it all together Torcuato Marinao who worked with the likes of Gal Costa, Gilberto Gil and Caetano Veloso, completes the line-up as arranger of the songs.

The perfect end-of-the-night track, mood lifter or soul warmer, remakes don’t get much better than this.

The title track of Unklevon’s ‘UN1C’ album starts with a steady snare-heavy beat, foreboding atmospherics and a futuristic vocal. It introduces the France-based producer’s Detroit-inspired electro LP and also marks his debut full-length, landing on Boysnoize Records, a label Unklevon’s been affiliated with since 2022.

For the second track on Unklevon’s ‘UN1C’ LP, the International Chrome & Nechto artist is joined by Maral for ‘Bag Secured’, adding her sensual vocals to a raw cut featuring rough synthlines and racing rhythm. ‘Science Club’ then continues with infectious and hypnotic energy driven by a deep, earworm vocal before ‘Speed Chains’ picks up pace with speedy basslines and rhythms shot through with bleeps.

Ukranian singer Alina Pash infuses Unklevon’s ‘High Key’ with fantastic modern hip-hop flair, with ‘All 4 Homies’ returning to the club with cut-up sampling and tripped-out electro sonics. Boysnoize Records’ Boys Noize also teams up with Unklevon for ‘Spa8cid’, a menacing dancefloor heavy-hitter which eases into the acid madness of ‘Miami South Express’ which follows.

Next up, Unklevon and Vel drop the aptly named ‘Transed About U’, a true peak-time roller boasting hypnotic trance-like gated vocals, with German electro superstar DJ MELL G joining him for ‘Wizard Snakes’, taking a more classical approach with rich synth lines and crisp drum work. Closing out this fantastic first album from a promising name in the global electro spheres is ‘Call Me Von’, another amped-up, bass-laden track ready to rock the warehouse.

Kristin Hersh"s celebrated debut album Hips & Makers is getting a first-ever reissue on RSD 24 to coincide with its 30th anniversary. Being spread across two records, the album has been reconfigured for optimum playback seeing the album, three tracks from the Your Ghost EP and a bonus track ("Hysterical Bending") appearing on the first 3 sides and then the full Strings EP (including previously orphaned track "The Key") on the 4th side. Reflecting its original design, this new edition comes in a gatefold sleeve and is being pressed on bottle green vinyl.

A tribute to one of the greatest songwriters & artists of our time! Features newly recorded covers from Keith Richards, Joan Jett and the Blackhearts, Rufus Wainwright, Lucinda Williams, Maxim Ludwig & Angel Olsen, Rickie Lee Jones, Mary Gauthier, Bobby Rush, Automatic, The Afghan Whigs, and Rosanne Cash. Special Record Store Day Edition pressed on Silver Nugget vinyl and housed in a silver laminated jacket Booklet features liner notes by compilation producer & former Lou Reed publicist Bill Bentley, featuring photos by Mick Rock and Timothy Greenfield-Sanders. "To me, Lou stood out. The real deal! Something important to American music and to ALL MUSIC! I miss him and his dog." - Keith Richards "Lou seemed fearless to me, like he'd rather die than be a people-pleaser. I took inspiration from that." - Rosanne Cash "Lou Reed is my earliest influence, my introduction to punk rock, and the soundtrack to the beginning of my romance with Maxim." - Angel Olsen "Lou Reed has been gone now for many years. He's one of the few people whom I miss as much now as when he left. There are so many instances where I wonder what he would say or what he would think. His general aura would always lend something really unique to the room. Thank God he left his great music and recordings. His personality is sorely missed. Love you, Lou." - Rufus Wainwright // It goes without saying that the legendary Lou Reed was a true rock 'n' roll pioneer. From The Velvet Underground's debut in 1967 all the way through the end of his days, Reed sang truth from his heart. He lived life to the limit-and then some. The Power of the Heart is a tribute to Reed's freedom of expression with covers spanning his ground-breaking years with the Velvets into his majestic solo career. Each track is a glorious extension of the Rock 'n' Roll Animal's soul, ever adventurous and avant-garde. The Power of the Heart: A Tribute to Lou Reed kicks off with a legend in his own right, Keith Richards, reimagining the Velvets' classic, "I'm Waiting for the Man." Richards' rendition instantly invites you on board this unforgettable ride. In stark contrast, "Perfect Day" is somehow even more melancholy than the original given the Rufus Wainwright treatment, featuring sparse fingerpicking and gentle harmonies. Joan Jett and the Blackhearts deliver a version of "I'm So Free" that would have even Lou rockin' in his grave. It's thrilling to hear these songs reinterpreted and sung by such heavyweights; you can even hear as Lucinda Williams channels the spirit of Lou with her take on "Legendary Hearts." Other notable tracks include a punk-drunk, loved-up duet by real-life lovers Angel Olsen & Maxim Ludwig with "I Can't Stand It," and Rickie Lee Jones' reimagining of "Walk on the Wild Side," both whimsical and enticing with her whispery vocals, stripped-down percussion, and a piano fit for a late-night lounge. This tribute album truly defies genre, but its throughline, in the end, is its heart: a deeply thoughtful collection of songs that shaped a generation, each paying homage to a man whose body of work still sings.

Kulku return to Phase Group with the release of their new album ‘Reset To Be’.

Formed in Berlin at the turn of the millennium, Kulku have evolved as a highly unique and free-formed collective of musicians that make trance-inducing, jazz-entwined, percussive and soulful (mostly) acoustic music that takes cues from the rhythmic propulsion of Jaki Leibezeit’s Can, the street-folk of Moondog, the minimalism of Steve Reich, and the droning rock n’ roll of the Velvet Underground, forming a sound that they themselves have coined ‘No-Age Krautrock’.

Following on from last year’s sold out debut LP ‘Fahren’, ‘Reset To Be’ offers 5 new songs across 2 sides of vinyl. This is a record that perfectly showcases the unique identity the band have been developing over the past 20 years, a sound crafted through experimentation and innovation with primarily acoustic instruments; droning harmoniums, repetitive and phasing xylophones, timpani, cello, scrap metal and woodwind reeds, all sitting alongside soulful saxophone and the voice of frontman Andreas Riska, singing in both German and English.

‘Reset To Be’ is a truly special offering that we’re proud to be able to share with you on Phase Group. The album will be available on April 30th 2024 on vinyl and digital, with distribution via Bordello A Parigi.

Full of Hell Coagulated Bliss bio Full of Hell burst forth with incredible force from the small, dagger-shaped city of Ocean City, Maryland, 15 years ago. Over five full-lengths, five collaborative full-lengths, and countless splits, EPs, singles, and noise compilations, they’ve evolved at extraordinary speed, their music becoming more complicated and technical without ever slowing down or losing its soul. Everything on a Full of Hell album feels like a blur: smears of guitar, harsh noise shaken like gravel in a bag, singer Dylan Walker’s snarl and bite carrying him into outer space or into the core of the earth. They’re coiled, interlocking, impossible to penetrate, and they move with alarming speed. They have now reached terminal velocity. Having created their own context, they’re now able to walk around within it, to survey its terrain, to visit far corners and see who’s nearby. Coagulated Bliss sounds like Full of Hell, but it’s nothing like any Full of Hell record that’s come before it. These songs are trimmer, less freighted with anxiety, more interested in opening up than speeding away. Its bile is sometimes funneled into traditional song structures. It never shies away from the extreme harsh noise, unrelenting spirit, and pitch-black sadness of previous Full of Hell records; if anything, the leanness of these songs makes them feel even heavier. Nevertheless, there are tracks here you might find yourself whistling hours after listening. It’s an extraordinary and unexpected evolution in sound for a band who made their name on rapid metamorphosis, and it’s the logical endpoint of everything Full of Hell has covered so far..

Keepsakes returns to Perc Trax for his first full EP for the label,following his appearance on the 'Forever 2' various artists release back in 2020.
On 'Rant 4 Cash' James Barrett (aka Keepsakes) turns his attention to the lies and fakery of the current dance music scene, with lead track 'Scene Analysis' refusing to hold back when it comes to calling out the issues facing today's techno scene. A deep Green Velvet style vocal floats over a swinging junkyard percussion groove to drive the original mix forwards.
Label boss man Perc can't resist remixing such a memorable vocal track and swaps the swinging groove of the original with a pounding kick heavy rhythm to add even more intensity to the raw rage of the original mix.
Flip the record over and the B-side serves up another two punchy groove based tracks, pairing Keepsakes' unique brand of swinging percussion with cut up vocal shouts and grinding synth lines. B1 track 'Industry Anthem' repeats and warps the word 'money' as an extension of the cash grab call out of 'Scene Analysis' whist closing track 'Prey For Hype' uses other-worldly robotic vocal shouts over a tough kick led groove to finish the EP on an energetic high.

The debut solo album (and second studio LP) by German singer Nico, Chelsea Girl was released by Verve Records in October 1967, following Nico's collaboration with the Velvet Underground on their 1967 debut studio album. The title is a reference to Andy Warhol's 1966 film Chelsea Girls, which Nico starred in. Born Christa Päffgen in Cologne in 1938, Nico was a singer, songwriter, actress and model. Besides working with Warhol, she had roles in several films, including Federico Fellini's La Dolce Vita (1960). In the 1980s, she toured extensively. She died in Ibiza on July 18, 1988, as the result of a cycling accident at the age of 49. Musically, Chelsea Girl can be described as a cross between chamber folk and 1960s baroque pop. AllMusic reviewer Lindsay Planer gave it four and a half out of five stars, stating that "Nico's inherently bleak delivery is similar to the more modern contributions of Laurie Anderson, Ann Magnuson, and Patti Smith. An unqualified masterpiece." Produced by Tom Wilson, much of the album features instrumental work and songwriting credits from Velvet Underground members Lou Reed, Sterling Morrison, and John Cale. "I'll Keep It with Mine" was written by Bob Dylan, while three other songs are by Jackson Browne.

Recorded in the past 25 years in different parts of the world, Encyclopedia Sónica Vol. 1 compiles the music and sounds of Leo Heiblum. Comes with insert.

Since Leo Heiblum was a little boy, he always found music everywhere. Listening to the engine of his mother's car and hearing incredible rhythms. He always thought every sound we hear can be made into music, every sound that we hear can be heard as music and it can be felt and understood as music. Every sound has an attack, a decay; some have a pitch. What is more beautiful, the sound of a flute, a bird, a trumpet, a car horn, a violin or a mosquito buzzing? They can all be used to make music.

Leo Heiblum believes that If we learn to hear all sounds as “musical” or at least to have the potential to be used to make music, we might look at the world and listen to the world more lovingly. That car passing by had a beautiful crescendo. That dog barking in the distance created a fantastic melody with an impossible-to- transcribe rhythm. Is there no creative intention behind those sounds? Can the listener give them an intention, can the listener transform them into art? Leo Heiblum is trying to organise them and use them in a way that will be musical for us. He hopes that the next time we hear an ocean wave breaking a bond, fire crackling, or a fly flying, we can enjoy the notes and the rhythms they are making. They are being created by something; who knows what the intention is, but some of the most unique beats he's heard come from rocks falling in cenotes or ice breaking down in a glacier. And the melodies he's heard from bats, dogs fighting, or a newborn dog are both haunting and beautiful. The timber from sounds such as the thorn of a cactus, the voice of a homeless person in the street or a mosquito buzzing can be used to create instruments as beautiful as any instrument. And they have a new sound or a familiar old sound used differently. A way that invites us to hear the music created by this planet.

Datashader emerges from the shadows with a striking breaks- and bass-heavy debut release that challenges the fabric of our digital existence. Replete with a Dopplereffekt remix, it nods to the legacy of revered anonymous acts such as Scopex, Drexciya and Underground Resistance, pushing the boundaries of both electronic music exploration and its conceptual underpinnings. As a critique of the erosion of genuine human connection in the digital age, Datashader delivers a barrage of billowing subs, infectious electro, recontextualized jungle, and techno, serving as a poignant counterbalance to current dance floor-centric norms. It’s a contemporary anti-soundtrack that offers a haunting mirror to the societal costs of technological convenience.
In a world engulfed by the digital realm, where social media platforms thrive and dominate every aspect of our lives, the enigmatic project known as Datashader was founded to reflect on the pervasive erosion of authentic human connection through various virtual realities. Artistically, Datashader seeks to critique the impact of technology on human identity and relationships, breaking with an archetype of digital conformity and expressing a profound disillusionment with the superficiality of online interactions through music. Genuine human connection and art cannot be quantified by likes, comments, or followers but rather thrives in the visceral realm of shared sonic experience and human emotion. This idea is at the core idea of Datashader, whose artistic expression ranges from avant-garde composition and electronic experimentations to art, installation, film and more.
Expressed within the varied contexts of diverse artistic mediums, Datashader explores the concept of “technological gentrification”, which describes the gradual displacement of human interaction by technology. Just as gentrification alters the urban landscape, driving out communities and cultures, digital gentrification transforms the social landscape, replacing genuine connection with curated online personas.
Musically, Datashader’s practice confronts this dystopian reality, highlighting the alarming consequence of people becoming mere nodes in a network, reduced to a collection of data points. This is manifested sonically by a blistering assault of breaks, recontextualized IDM, abstract electronics and otherworldly synthscapes, conceived as the aesthetic counterbalance to much of contemporary electronic music’s dancefloor focus.
Datashader dives deep into genres and influences which stand for a form of sonic resistance: A contemporary anti- soundtrack – a sonic mirror of the price we pay for convenience and instant gratification. A self-image in constant flux. No false technological idols.

The Good the Bad and the Zugly have been delivering premium class, antiquated rock for almost 15 years straight. They’ve always been the real deal. True heroes of the Armageddon. Whenever responsibility came knocking at the door they stuck to their guns and kept living the rock life to the fullest. Their contemptuous look at everything and
everyone who doesn’t fit into their world view has always been prominent in their sound, and their musical and lyrical expression has stayed uncompromised.

No one has yet dared to confront their satirical know-it-all attitude, but recently water has started to seep through their seemingly waterproof façade. Band members have on several occasions been observed at the Oslo’s local shopping malls wearing reading glasses, down jackets, and sensible footwear, pushing strollers filled with blaring,
chocolate devouring children. With wistful eyes they’re seen pushing strollers through to the suburbs, far away from dirty dens credible dark nooks and shitty toilets.

To mend this rapidly declining rock image they´ve decided to release what they consider to be their worst album so far: A collection of B-songs that have never made the list when assembling the list of Norwegian Grammy nominated classics. This upcoming album is
nothing less of a wonderful bouquet of contemptuous elegies who haven't yet found a place on the big, dark web. Truth be told the opinionated armor GBZ has been hiding behind was mostly for show, they’ve always beat around the bush – or as we say in Norwegian: had a walk around the porrid