Cerca:city

The Album intends to represent the dystopian nature of the City we live in, with every inch of the city being swamped by new unaffordable quick fix developments, that in a few years will be in a state of disrepair and of which the only purpose is to line the pockets of investors. The album is intended to be listened to as if it's a soundtrack to a film that does not yet exist.

Pressed on limited edition purple rain vinyl. Wrote and produced by Colemine label owner, Terry Cole. Band consists of two members from The Jive Turkeys. The last recordings made at the basement Regent Drive studio in Middletown, OH finally making it to a dirty 45! The Tee See Connection is comprised of members of The Jive Turkeys (Rob Houk - drums, Matt Amburgy - keys, Terry Cole - bass). The A-side, "Skyline Chili Churner" is an organ burner with funky bass and blown out breakbeat style drums while the B-side is straight up boom bap with Matt Amburgy cookin' hard on the keys. Drums and all parts ripe for sampling!

Shit City from Lillehammer, Norway was a country rock band wich gathered around a shared love for The Allman Brothers, CSNY, Gram Parsons and The Band. Their 2007 critically acclaimed debut album "God Bless Our Home" also gave them a nomination for Norwegian Grammy. Featuring members from The Mormones and also singer songwriter Ingrid Olava who later went on and had a successful solo career.

Fünf Jahre nach Jessica Pratt's 2019 erschienenen Durchbruch-Album "Quiet Signs", taucht sie mit neuen Ambitionen und neuen Parametern für ihre Musik wieder auf. Für ihr neues, viertes Album "Here in the Pitch" arbeitete sie erneut in Gary's Electric Studio in Brooklyn und mit ihrem bewährten Team: Multi-Instrumentalist/Engineer Al Carlson und Keyboarder Matt McDermott.

Zusätzlich holte sie sich das Rhythmus-Duo Spencer Zahn und Mauro Refosco (David Byrne, Atoms for Peace) an die Seite, weitere Beiträge auf dem Album kommen von Ryley Walker, Peter Mudge (Mac Miller, Kendrick Lamar) und Alex Goldberg. Die Musik ist intim und emotional, wie es die Fans erwarten und die Texte sind ein impressionistischer Lobgesang auf die Unwägbarkeiten des Ehrgeizes. In den letzten 12 Jahren hat sich die verehrte Künstlerin aus Los Angeles zu einer der einzigartigsten Songwriterinnen ihrer Generation entwickelt. Vor allem durch die mystische, schwer fassbare Mischung aus ihrer zarten Akustikgitarre und ihrem atemberaubenden Gesang. Für "Here in the Pitch" schwebte Jessica Pratt eine größere Bandbreite an Einflüssen vor - große Panoramaklänge, die an den Ozean und Kalifornien denken lassen - und in diesen neun Songs werden Pauken, Glockenspiel, Baritonsaxophon und Flöte mit robusten Gesangsarrangements überlagert, die eine triumphale Stimmung erzeugen, selbst wenn die Texte auf Verwüstung hindeuten. Diese breitere Produktionspalette wird sofort beim eindringlichen Album-Opener und der ersten Single "Life Is" deutlich. Ein Schlagzeugwirbel erinnert an den großen, orchestralen Stil von 60er-Jahre-Pop-Hits wie "The Sun Ain't Gonna Shine Anymore" von den Walker Brothers.

City Gates is the album by the George Adams-Don Pullen Quartet released in 1983. The quartet consisted of George Adams on tenor sax and flute, Don Pullen on piano, Dannie Richmond on drums, Cameron Brown on bass, and together they recorded five jazz-bop tracks. All tracks were either written by George Adams or Don Pullen, except for the traditional African American spiritual song “Nobody Knows The Trouble I’ve Seen” which was arranged by Adams and Pullen.

City Gates is available as a limited edition of 500 copies on white coloured vinyl and contains liner notes on the back sleeve by music journalist Frits Lagerwerff

Happy 20th birthday to Family Album, the third recording of Faun Fables and the first one released on Drag City. These songs belong to sons and daughters, entwined and orphaned, domesticated and feral; to all the family vines unraveling from a ball of yarn. In this family album, runaways graze the wild together, a mother finds her courage playing the piano, dogs become thieves and wolves, and a son is taken too soon. Fourteen-year-old nymphs sit dangerously at the crossroads, a younger brother tries to find his place, packs of girls defeat fear with a march, and the nightly adventures of the household mouse are spied upon. Dawn McCarthy"s creative background was forged in oral tradition amidst a large musical family in Spokane, Washington; studying piano, music theater, rock bands, guitar, folklore and ethnomusicology. Dawn cut her teeth as a singer and performer with various bands and cabarets in Madison, Wisconsin and New York City, most notably as yodeler with the Bindlestiff Family Cirkus, whom inspired her to want a gypsy life with a kindred spirit someday. Her focus took a pivotal turn in that direction in 1997 with a solo quest through the UK and Ireland and their bardic traditions; singing songs in clubs and homes, all the while undergoing a pastoral, psychological experience with the land. Upon her return to the States, a fateful meeting with Oakland, CA born-and-raised Nils Frykdahl (Sleepytime Gorilla Museum) moved McCarthy back to the West to begin a new creative collaboration in the thriving hills and art community of the San Francisco Bay Area. Since 1999, Faun Fables have released six albums and performed their animist, otherworldly folk music across North America and Europe, with shows in Australia, New Zealand and Israel, as well. Dawn"s writing and voice (described by The New Yorker as "one of the more compelling instruments in contemporary music") opens hearts and minds with a whisper to a rallying battle cry, further animated by Frykdahl"s adventurous musicality and vocals. Dawn has written musical theater performed by the Idyllwild Arts Academy, among others, and has lent her vocals to Bonnie "Prince" Billy on The Letting Go and What the Brothers Sang. In 2022, Faun Fables debuted their family band, joined onstage by their daughters with vocals, percussion, keyboard and dance.

Mother Twilight is the second Faun Fables album. It has since been noted by Scottish author R.J. Stewart as a work containing true artifacts of the oral underworld tradition. Dawn and Nils made a hand-assembled first pressing and peddled it to nearly every bar and rural hall across North America from 2001-2003. Drag City reissued the CD in 2004. Things are glowing outside, enough to bring any sun worshiper in for the night. But you must remain outside and begin walking. It"ll prepare you for the night, which otherwise comes as a chilling surprise. If you pay attention this time, maybe you"ll understand why you"re becoming invisible. When your memory began, it wasn"t startling, wasn"t a mistake. It came out of an old, dark and familiar thing, like a storyteller, like Twilight... so save us from fear, mother, and tell your story. Dawn McCarthy"s creative background was forged in oral tradition amidst a large musical family in Spokane, Washington; studying piano, music theater, rock bands, guitar, folklore and ethnomusicology. Dawn cut her teeth as a singer and performer with various bands and cabarets in Madison, Wisconsin and New York City, most notably as yodeler with the Bindlestiff Family Cirkus, who inspired her to want a gypsy life with a kindred spirit someday. Her focus took a pivotal turn in that direction in 1997 with a solo quest through the UK and Ireland and their bardic traditions; singing songs in clubs and homes, all the while undergoing a pastoral, psychological experience with the land. Upon her return to the States, a fateful meeting with Oakland, CA born-and-raised Nils Frykdahl (Sleepytime Gorilla Museum) moved McCarthy back to the West to begin a new creative collaboration in the thriving hills and art community of the San Francisco Bay Area. Since 1999, Faun Fables have released six albums and performed their animist, otherworldly folk music across North America and Europe, with shows in Australia, New Zealand and Israel, as well. Dawn"s writing and voice (described by The New Yorker as "one of the more compelling instruments in contemporary music") opens hearts and minds with a whisper to a rallying battle cry, further animated by Frykdahl"s adventurous musicality and vocals. Dawn has written musical theater performed by the Idyllwild Arts Academy, among others, and has lent her vocals to Bonnie "Prince" Billy on The Letting Go and What the Brothers Sang. In 2022, Faun Fables debuted their family band, joined onstage by their daughters with vocals, percussion, keyboard and dance.

Ltd Edition!

Nach dem überwältigenden Erfolg der Debüt-EP "You're Welcome" melden sich die Lambrini Girls mit ihrer neuen 7Inch 'God's Country / Body Of Mine' via City Slang zurück!

Das aus Brighton stammende Duo besteht aus Phoebe Lunny (Gesang/Gitarre - sie) und Lilly Macieira (Bass - sie) sowie Schlagzeuger Banksy (nicht zu verwechseln mit gleichnamigen Street-Art Künstler). Sie haben sich durch unvergessliche Live-Auftritte einen Namen gemacht und wurden vom Variety Magazine, BBC Radio 1, NME, The Line Of Best Fit, KEXP, Consequence, Evening Standard, CLASH, So Young und kürzlich vom Kerrang! Magazine an der Seite von Sleater-Kinney, wurde für den Rolling Stone UK's Rising Stars Award nominiert, und sogar Iggy Pop ist ein Fan.

Auftritte bei Wide Awake, Reading & Leeds Festivals, Manchester Psych Fest, sowohl als auch deutschen Shows in in Hamburg und Berlin!

After 20 years of living on the road in different places, Six Organs of Admittance had returned home to Humboldt County - a far country, to some, but still part of the world through which creatures of all kinds are moving through and contributing to. And some of them are human. Alone together - forming connection and exchange out of thought and expression - no different from the people on the other side of the Redwood Curtain. It was there, where Six Organs had long ago emerged, in the name of everything cycling, of circles that spiral concentrically and remain unbroken, the new music was conceived. In moments, it was as if the future had somehow wrapped around 360 degrees; elsewhere, the systems and patterns inside the writing and recording only became evident later - like a recognition that cumulus and nimbus clouds which passed through the sky the day before contained familiar shapes. Informing the songs accordingly as he went, Ben picked up on modes both musical and lyrical, threading backward through the time of Six Organs of Admittance. Almost marinating in it as a way of life. Working on the music and the vocals, then spending some time with them while stepping away from them. Walking the dog and coming back to them Time is Glass is made of that kind of time. Alone time. Recorded in the visceral environs of home, Time is Glass is sharply focused, even as misty impressionist mountains float through the background. Sweet and spiny, "The Mission" sings its purpose, before turning abruptly to the orchestral rumble of "Hephaestus": rural industrial psychedelia, ecosystem goth, synths arcing to lift a helplessly earthbound community into the firmament above. Winding almost imperceptibly back into song with "Slip Away", the time of the record becomes clear, moves fluidly, relaxed but aware, from event to event. People and things coming around again. The intuit, passing through wormholes and time, sounding deep then dissolving into the universal. The acoustic sounds ringing, layered suddenly, then clear again. Explosions of a new kind of distortion. Ecstatic melodies. Communing. The space of a day. The space of a season. Time is Glass, and Six Organs of Admittance is here and will be here, again.

Once again, Six Organs of Admittance showcases the intricate tangle of fingers on the fretboard and flash of lens flare slicing the air, as the future arcs 360 degrees around to become a part of the past as well. Oscillations in this glass bowl ripple outward eternally, but are rooted on the ground where all the creatures are moving and communing; humans too. An intimate cosmic expression, file under: rural-industrial psych, ecosystem goth.

An edit-reissue of this gargantuan double cassette released back in 2014 under the Typhonian Highlife moniker, 'H.R. Giger's Studiolo' finds netherworld voyagerSpencer Clark at a particularlybeguiling conjunction of his labyrinthine-esque soundworld. With complete disregard for linear timelines and trajectories, 'H.R. Giger's Studiolo' finds both inspiration in the swiss master's vision and the Cenobite iconographypreviously exploredby Clark on Fourth World Magazine's 'Pinhead in Fantasia'. The CD Head Cenobite picture adorning the cover makes the connection more than apparent.

A sprawling, two and half hour excursion on the tape version, here properly edited down to the wax container, the first two volumes of 'H.R. Giger's Studiolo' are some of Clark's most mystifying recordings. A baroque odyssey through an hermetic maze of alien voices, warping sound effects, oneiric keyboards and a quasi-orchestral sense of space and dynamics, 'H.R. Giger's Studiolo' feels like an hallucinatory fever dream still unlike everything else, either from before or after. Time doesn't apply here, anyway.

Mastered by Rashad Becker
Artwork by Spencer Clark

RAWAX proudly welcomes Alan D. Oldham to the Family. We're happy to present you Signal To Noise Ratio - Detroit is Burning. This gem was ariginally out on Djax Up Beats in 1991!

Factor City kicks off its third decade in full swing, led by Undo solo and accompanied by its usual partners Casiowaves and Vicknoise.

It all began in 2003 when Undo & Vicknoise laid the foundation for the label with "Noctámbula," and over the years, they continued to collaborate closely, managing the label and producing "hits" such as "Orca" or "Happy Monday." From 2011 onward, following an amicable parting, Undo began to run the label solo while maintaining the same spirit and distinctive sound of the Barcelona-based label, always at the forefront of dance music produced in Spain.

Now, in 2024, in a "digital” world where fewer and fewer things can be touched with our fingers and where 100,000 songs are uploaded to Spotify every day, Factor City is charting a different course and starts a new decade on the dance floors by returning to vinyl releases and persisting in their low key and relaxed approach, releasing few and carefully curated records from their artists each year.

“Ciudad Futura” opens with "Good Times," a track by Undo that radiates joy and positivity. An euphoric ride through landscapes of analog synthesizers and drum machines. The second track on side A is signed by Undo & Vicknoise, who hadn't produced together in 15 years. And we hope they won't take as long to get back in the studio together after hearing the fantastic track "Electric Rainbow." A delightful slice of electro-disco. The B side is signed by the recent combo of Undo and Casiowaves. The first track, "Secret Worlds," follows in the wake of their recent releases on Factor City and Melodize with that winning combination of retro 80s and 90s synths with vocoders and a more contemporary production. Closing out the record is "Astralia," a vibrant "power synth pop" anthem adorned with FM synths and acid-tinged melodies. Thanks for listening!

Bye Bye City Living is a hidden gem from the number 1 album ‘True Born African’ (1991).
Originally released as a solo single ‘Country Living – by Sandra Cross & The Wild Bunch’
Debuting in Spring 1985 -Spent a staggering 10 weeks at Number 1.

Uroy & Sandra in combination at their absolute best.
Produced by Mad Professor

OVERVIEW: Explore the enchanting worlds of orcs, hobbits and elves with the unique soundtrack to "The Hobbit", performed by the Prague Philharmonic Orchestra. Immerse yourself in this vinyl, capturing the musical magic that accompanies the epic adventures of Bilbo the Hobbit. Each note resonates like an enchantment, evoking the emotions and images of J.R.R. Tolkien's fantastic world. A musical work of art not to be missed, offering total immersion in the captivating world of The Hobbit. It's an invitation to experience the timeless magic of the music from this cinematic masterpiece

Gothenburg Electro City 3 (Stilleben Records063) is a V/A compilation with producers only from the Gothenburg region. It's three generations of Scandinavian electro sound on this record and I'm very happy with the result. Everybody knows It's More Fun to Compute. Gothenburg is the capital of Vastra Gotaland county in Sweden, it's also the capital of electro in Sweden. Enjoy! Best regards, label head Luke Eargoggle.

In seiner illustren Karriere, die bis in die Mitte der 90er Jahre zurückreicht und in der er oft für seinen experimentellen Dub-Techno gelobt wird, hat Arnvidur Snorrason in der Tat häufig mit schnelleren Tempi gearbeitet, wie sein Output der letzten Jahre zeigt. Auf Cyber City, Volume 1 bewegt er sich in dieser schnelleren Spur und bewegt sich bequem am schnelleren Ende seines BPM-Spektrums für eine Reise ins Ungewisse mit Vollgas und ohne Bremsen.

High Llamas present Hey Panda - a modern pop music/deep listening experience that could only issue forth from their personal quadrant of the galaxy. Hey Panda projects soulfully through an enervating abstract of today"s popular music; the sound of the Llamas" stately melodies and expressive ditties laid open - blissfully shattered - with drums and vocals hitting different, burning sounds and contemporary production twists pulling the ear at every turn. For the past few decades, High Llamas have trafficked in contemporary pop sounds directed toward the avant end of the spectrum as much as not. But here the message was clear. Llamas" composer-in-residence Sean O"Hagan was determined to let go. Hey Panda does just that, with a set of tunes reflecting on multiple levels how definitions change over the course of a lifetime, radiating an optimism derived from the diverse conundrums of today. Eight years since their last release, the pop musical Here Come The Rattling Trees, High Llamas have reinvented themselves again, mixing their peerless harmonic voice with what Sean regards as the "extraordinarily good" production sounds of today on Hey Panda. Choosing not to look backward to former golden ages celebrated in earlier Llamas eras, Sean"s instead found himself opened up by the sounds of music brought into the house by his adult children and the sounds encountered at sessions for which he"s recently written arrangements. In addition to the more traditional contributions he made to The Coral"s Sea of Mirrors album, plus his score for the Safdie brothers" 2022 film production, Funny Pages, Sean"s drawn great inspiration through working with Fryars, Rae Morris, King Krule, Pearl and The Oyster, while also soaking up the work of Tierra Whack and Chicago"s Pivot Gang, and being cheered on from a distance by longtime admirer Tyler The Creator. Thus, Sean"s producer procedural has evolved again, with upgrades first detected in his 2019 solo effort, Radum Calls, Radum Calls. With a cover of Billie Eilish"s "Wish You Were Gay" arranged for Bill Callahan and Bonnie Prince Billy"s Blind Date Party, along with his COVID-era solo single, "The Wild Are Welcome", Sean has leveled up again and again, leading to the delirious revelations of Hey Panda. Hey Panda"s wide reach is aided by two co-writes from Bonnie "Prince" Billy, (who bonded with Sean over a shared love of gospel soul during writing sessions), guest vocals from Rae Morris and Sean"s daughter Livvy, production twists from Fryars and the stalwart, flexible presence of High Llamas. For all of its sense of departure, Hey Panda is a movement in the High Llamas oeuvre that"s been a long time in development. Aspects of soul music were addressed at the time of Can Cladders; similarly, aspects of electronic dance music were in the mix in the late 90s, around the time of Cold and Bouncy. But nothing up to now has refocused the music of High Llamas so completely. Sharing the impulse of late-period Miles Davis and Quincy Jones, with further inspiration from Steve Lacy, SZA, Sault, No Name and Ezra Collective, among many others, Sean O"Hagan and High Llamas are living joyfully in the new and the now, with Hey Panda.

This is long overdue. I mean, looooooonnnnnng overdue. A solo album by Jim. The trap kit - so straightforward, so mysterious. What"s inside those things? Air and light - from which century? Which continent? Which planet? Depending on how and when you hit them it can be a vibration sent through a prehistoric breath, particles of Saturn"s atmosphere, the dead, wet leaves you walked through on the way to the first day of school. These are the memories of the drums on this record. Infinite and personal. Editing each other as they muscle to the front or soft shoe to the shadow. Cymbals can override/cancel everything out - wipe your memory clear or make the memory clearer. Drums are the instrument where you can feel the presence of the player the most - the full body - and sense the thoughts of the player the most. The instrument with the most choices to be made sends out the most brainwaves. A bouquet of brainwaves is on this LP. Jim oversees it all, surveys from the lost place we"re in, the void - the drumless song. We trust. We trust, Jim. His big green eyes search for the right tool (mallet, brush, etc), eyes that search you like you"re a song he wants to join, wants to see if he can add to or understand. Before humans, drums were playing - these drums. Genesis was a solo drum piece. After humans, these drums, this album. Someone - the last man - is out in a spaceship at the edge of space. He plays a single chord on a synth to set time free from its bind and then lets go. This album sets time free, lets it frolic, lets it graze, lets it remember. This is a record of thoughts, memories, surgery. A deft surgical operation you may not even realize is happening as it"s happening but you"re back on your feet when it"s over. Memories refreshed. Did you really even listen to it? -Bill Callahan, November 2023

This is long overdue. I mean, looooooonnnnnng overdue. A solo album by Jim. The trap kit - so straightforward, so mysterious. What"s inside those things? Air and light - from which century? Which continent? Which planet? Depending on how and when you hit them it can be a vibration sent through a prehistoric breath, particles of Saturn"s atmosphere, the dead, wet leaves you walked through on the way to the first day of school. These are the memories of the drums on this record. Infinite and personal. Editing each other as they muscle to the front or soft shoe to the shadow. Cymbals can override/cancel everything out - wipe your memory clear or make the memory clearer. Drums are the instrument where you can feel the presence of the player the most - the full body - and sense the thoughts of the player the most. The instrument with the most choices to be made sends out the most brainwaves. A bouquet of brainwaves is on this LP. Jim oversees it all, surveys from the lost place we"re in, the void - the drumless song. We trust. We trust, Jim. His big green eyes search for the right tool (mallet, brush, etc), eyes that search you like you"re a song he wants to join, wants to see if he can add to or understand. Before humans, drums were playing - these drums. Genesis was a solo drum piece. After humans, these drums, this album. Someone - the last man - is out in a spaceship at the edge of space. He plays a single chord on a synth to set time free from its bind and then lets go. This album sets time free, lets it frolic, lets it graze, lets it remember. This is a record of thoughts, memories, surgery. A deft surgical operation you may not even realize is happening as it"s happening but you"re back on your feet when it"s over. Memories refreshed. Did you really even listen to it? -Bill Callahan, November 2023

Seit Jahren vergriffen und jetzt als 10 years Anniversary-Collector's Edition streng limitiert wieder erhältlich: Die Rude Boy RocknRoll-Show von den City Saints mit einem Dutzend hochexplosiven Streetpunk/RocknOi!-Shoutern plus exklusiven Bonus Song "Riot"! Das Debüt "Kicking ass for the working class" der Göteburger um Ex-Mitglieder von Perkele schlug zurecht ein wie eine Bombe und katapultierte die Band sofort in die Herzen der Szene! Songs wie "Gonna Balls", This is my life" oder "Public Animal No.1" sind fast forward-melodic Hymnen mit jeder Menge Dampf und einer Spielfreude, die jeden Lautsprecher zum Beben bringen.

Seit Jahren vergriffen und jetzt als 10 years Anniversary-Collector's Edition streng limitiert wieder erhältlich: Die Rude Boy RocknRoll-Show von den City Saints mit einem Dutzend hochexplosiven Streetpunk/RocknOi!-Shoutern plus exklusiven Bonus Song "Riot"! Das Debüt "Kicking ass for the working class" der Göteburger um Ex-Mitglieder von Perkele schlug zurecht ein wie eine Bombe und katapultierte die Band sofort in die Herzen der Szene! Songs wie "Gonna Balls", This is my life" oder "Public Animal No.1" sind fast forward-melodic Hymnen mit jeder Menge Dampf und einer Spielfreude, die jeden Lautsprecher zum Beben bringen.

Göteburg's finest Streetpunk&Rock'n Roll/ Express ist zurück und das gleich doppelt! Der internationale Erfolg ihres komplett in ihrer Heimatsprache eingesungenen, letzten Longplayers "Pa Svenska" (lange ausverkauft) hat die Band selbst überrascht?.scheinbar ist es doch kein Handicap, wenn man außerhalb von Skandinavien eher nicht der schwedischen Sprache mächtig ist, wenn die Musik alleine eine derart überzeugende Aussagekraft hat! Und so gibt es mit "Punk & Roll" gleich eine Doppel-LP mit insgesamt 24 brandneuen City-Saints Hymnen, wobei LP1 in Englisch und LP2 wiederum in schwedisch eingesungen wurde! Der Titel Punk & Roll wurde auch passend gewählt, denn während LP1 vermehrt eine scharfe Streetpunk-Kante aufweist, zielt LP2 eine Nuance mehr auf schweinegeilen RocknRoll mit Punk, Hardrock & Glam Versatzstücken angereichert! Grandiose Vielfalt, verdammt druckvolle Scheibe.

Göteburg's finest Streetpunk&Rock'n Roll/ Express ist zurück und das gleich doppelt! Der internationale Erfolg ihres komplett in ihrer Heimatsprache eingesungenen, letzten Longplayers "Pa Svenska" (lange ausverkauft) hat die Band selbst überrascht?.scheinbar ist es doch kein Handicap, wenn man außerhalb von Skandinavien eher nicht der schwedischen Sprache mächtig ist, wenn die Musik alleine eine derart überzeugende Aussagekraft hat! Und so gibt es mit "Punk & Roll" gleich eine Doppel-LP mit insgesamt 24 brandneuen City-Saints Hymnen, wobei LP1 in Englisch und LP2 wiederum in schwedisch eingesungen wurde! Der Titel Punk & Roll wurde auch passend gewählt, denn während LP1 vermehrt eine scharfe Streetpunk-Kante aufweist, zielt LP2 eine Nuance mehr auf schweinegeilen RocknRoll mit Punk, Hardrock & Glam Versatzstücken angereichert! Grandiose Vielfalt, verdammt druckvolle Scheibe.

Nothing But Thieves werden am 15. März die Deluxe-LP-Version ihres Albums "Dead Club City" veröffentlichen, das bei seiner Veröffentlichung in England die Spitze der Charts erreichte! Darauf zu finden sind ihre neue Single "Oh No: He Said What", zwei weitere unveröffentlichte Songs sowie Akustikversionen von "Overcome" und "Tomorrow Is Closed". Die Band wird am 19. Februar 2024 in Zürich (The Hall) live zu sehen sein.

COMA's melodic innovations between indie and electronica have always been incredibly accessible, sparing neither hooks nor emotions, and expanding the scope of what club music can be from album to album. In this respect, the new album 'FUZZY FANTASY' (their 2nd album on City Slang) is the next logical step - away from the dancefloor, closer to life. The Cologne-based duo COMA has firmly established themselves as a household name at the intersection of Indie Pop and Electronic Music. While embracing the incorporation of warmer Pop elements, COMA remains loyal to their artistic essence: meticulously crafted electronic music that has the ability to evoke both joy and melancholy simultaneously.
Tracks like 'Space', 'Hideout', and 'Start/Stop/Rewind' catapult COMA into the musical vicinity of the Pet Shop Boys, Hot Chip, and the more recent Depeche Mode. 'FUZZY FANTASY' is the result of an astonishing transformation, though in retrospect, not entirely surprising.

the debut release of italian producer now berlin based luca trentini aka trent.

he is a resident dj of cocktail d’amore and have released some unique records from sound metaphors label “bless you”, cocktail d’amore.

on a side,”on fire” is just fire! it’s a mad dark disco house bunger.

on b side,

”drums charmer” is dark,psychedelic slow mo house. if you like slow stuff of andrew weatherall,you will love it.

“edenico blues” is a modern interpretation of afro cosmic sound. it’s for the fan of beppe lota or daniele baldelli.

For the first chapter of its discography, Exxtra Beats join forces with well known artists Paradise City Breakers. The EP is composed by 4 tracks.

Sweet Sound and Harmonies and This Was Intense are solid hypnotic peak time anthems with old school influences . Howerdose will bring you into more dark amotsphere, while Empateia will guide you through a mellow and heavenly trip.

repress !

A.Skillz and Krafty Kuts team up once again on this track with funk and soul Sensation Gizelle Smith on Vocals.

Creating a disco, funk summer time groover. Their remix takes the track in a more Chilled slice of Electro Funk.

The track has been licensed to a Monkey Shoulder Whiskey Campaign and will be featuring as part of their space launch project. The brand launched a bottle of whisly into space on a carbon netural Ballon, where it circled the earth and the track was played before decending to earth where the whsikey was used to create a cocktail.

Following a first iteration which set the tone for our newly-minted Heimat series in explosive fashion, here comes the much anticipated second batch of our zeitgeistian take on today's scene's, its current potential and destination. Showcasing productions from artists keen to roll up their sleeves and sail into the impassible status quo, this new number packs the kind of red-hot hammering and cutting-edge punch we've been so adamant to push and defend over the past decade. Berlin-based French producer Arkan steps in first with a proper magnetic depth charge. Dwelling the darker layers of our ocean floor as its name suggests, 'Submarine' is pure hypnotic material geared up for heavy-duty boogie in the warehouse. Filling its ballast tanks with a hefty deluge of muscular bass onslaughts, sonar-like bleeps and untamed cascades of loopy arps, this one rolls and pitches like a haunted ship on predator mode. Adding his dynamic pulse and mind-bending spin to the A-side, Frameworks & Untertwegs bossman Decka cuts a path of straight mental obliteration as he smashes the doors of the club wide open and parades all guns blazing with the unapologetic crusher that is 'Circumvent'. A no-holds-barred workout for the strong stomachs, churning out fiery bars of kick-drum/squelchy bass contrast with in-your-face swagger. Switching on to the flip side, there's Manchester's Yant cruising with the ebulliently dynamic (no shit, Sherlock) tune, 'Moving'. A multidirectional concerto of pong-like modularity and racing synth arpeggios flying off like coloured bricks in a Tetris game gone absolute batshit. The kind of hi-intensity burner that'll awaken any lukewarm mid-set flow with its bouncy unpredictability and ruthless forward-pushing thrust. Rounding it off on a further minimal note, Amsterdam up-and-comer Hitam treats us to an inch-perfectly engineered finale with a stripped-back - yet, absolutely not hollow - bomb, 'Venusian Winds'. Gutsy that one sure is, with its metronomic step ticking at near-cyclonic speed and cleverly arranged, subtly FX-coated funk keeping things both suspenseful and focussed thru and thru. A sleek combo of pared-down brutalism and masterly executed analogue tailoring altogether. All dressed in clear purple marbled wax for the occasion, "Heimat II" shall please both the techno purist and visual aesthete in you with its velvet touch and effortless chic.

With 8 tableaux, I tried to give musical form to a painting. Music is an art that takes place over time. Painting is a freeze-frame at a precise moment in the painter's creative flow.

So how do you combine these two art forms? Do you have to stop time? How do you stop time in music? By basing the structure of the pieces on cycles that recur again and again, we can make the listener believe that the music was there before, and that it will also be there afterwards.

With no beginning and no end, all that's left is this musical freeze-frame. In taking this approach, it became clear to me that music and painting both appeal to contemplation. Another concept I worked on for this record is the notion of randomness in music. Riopelle is often associated with the Automatist movement.

For me, his major works from the 50s are more reminiscent of romantic abstraction or even a great organic and organized chaos (a link to be made with nature here). It was on the basis of this reflection that I tried to integrate the notion of controlled chance or, rather, of chaos filtered through emotion.

They're baaaaack! After taking a few years off, Vermont's punk rawk troubadours have hit the road again

offering up this amazing 4 song 7" 45, "Pop Culture Baby!"

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .