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Analogical Force presents a killer EP filled with 4 tracks ranging from colourful braindance to old Viewlexx style electro .The debut of Hamburg-based Carsten Schulz aka Quadratschulz. 'Halo Welt' appropriates the space in a particular way because it bewitches you and never lets go. Fast and choppy rhythms against dreamy melodies, acidic bass lines and mind-blowing electronic exercises that will leave you wanting more. A versatile EP that will stand the test of time!

With Scream If You Don’t Exist, Richie Culver metamorphoses from outsider musician to underground fixture, feeling his way from the fringes towards a growing community of musicians that have gravitated towards his singular sound world. Building upon the stark catharsis of his previous dispatches, on his sophomore album the artist draws from grimdark drone, industrial noise, experimental hip-hop and UK rave to map out a space for himself, caught between genre and discipline. While on his debut, I Was Born By The Sea, Culver took a last glimpse back at his grey, salt-flecked past while struggling towards somewhere brighter, here, he documents the process of finding fresh waters, parsing through the complexity of inhabiting a more open and optimistic place while contending with the weight of his resolve, staring hard won self-acceptance in the face. The album’s title speaks to this creative and emotional work, serving both as the foundational paradox from which the artist’s new discordant sound emerges and as a call to action, a defiant cry in the face of existential angst.

Part of this process involves visiting familiar territory with renewed focus. Macabre opener ‘Hottest Day Of The Year’ signals an unpleasant memory with crow caw, queasy, gas leak ambience and dental drill whir as Culver recalls a life lived in nihilism: “Everything is just something that happened / Reductionism, muscles spasms, a mother’s first contraction.” Yet, on Scream If You Don’t Exist, Culver’s irresistible formula for ragged machine poetry is shot through with palpable urgency. No longer listless and despairing, he finds new intricacies for these compositions, tracing a stark interplay between crushing bass excavations and penetrating vocal clarity, a contrast picked out in the delicate threads of rhythmic pulse suggesting themselves in the blunt pressure and skittering creep of ‘Weakness’, on which Culver offers up vulnerability as a tentative solution to self-described emotional constipation: “Please do / Do take my kindness for weakness / For I am weak / And that is ok.” The amniotic soundscape of ‘YOLO (then u die)’ gives way to depth charge drone and unnerving machinic improvisations, like a noise show heard from deep in the Mariana trench, while on ‘Underground Flower’ the low-end fog lifts to reveal a brighter, colder scene. “Love me for who I could be / Not who I am,” he pleads, tending gently to his own tenacious bud.

Scream If You Don’t Exist gives us a glimpse of this flower in bloom. On the album’s cursed self-help tape title track stuttering loops of off-kilter keys and childlike repetition make light of the very real risk of disappearing all-together, a nervous breakdown rendered as a malfunctioning nursery rhyme. Paranoiac anthem ‘Say 4 Sure’ introduces bit-crushed boom-bap stomp, as though hammered out on a water-logged Game Boy, swarms of loose-wire noise sparking up against guttural grunts and ragged exhalations, while ‘On The Top’ enacts a seance for the hardcore spirit, with loops of rave piano and hiccuping vocal chops pirouetting through knackered samples, air raid sirens and the ghostly crash of breakbeat cymbals. As though in response to the solitary nature of much of his musical exploration, this time, the artist invites other voices into the world of Scream If You Don’t Exist. On ‘Swollen’, the unflinching, brimstone prophecy of Billy Woods sounds clear through an expanse of spirallic bass, preaching the same frayed gospel as Culver when he issues the quietly devastating contemporary diagnosis: “Computer broke but it still works for now / That’s the best you can say for most of us anyhow,” while another fearless correspondent from the fringes, Moor Mother, brings earthbound heft to the ambient drift and obliterating barrage of ‘Restaurants,’ teasing out meaning with elongated intonation and pitch-shifted intensity.

It’s during the album’s most meditative moments that we might recognise this space Culver has found for himself for what it really is. ‘OMG They’re Gone’ follows a chopped and slowed monologue from Culver’s wife, who works as a death doula, reflecting on her own experiences with grief and the reality of living within a culture both terrified and ignorant of the process. Floating over glistening ebb, etherised croons and luminous chimes, her words stand as a prescient reminder of the power of ephemerality. Just as Culver flourishes in imperfection, here we can find enormous strength in transcience. But it’s with ‘Just Jump In,’ which unfurls like a buoyant counterpart to the sparkling oil rigs of ‘I was born by the sea’, that Culver illuminates the hopeful waters we realise we’ve been making our steady way towards. “I know now / That you loved me,” he admits, a revelation a lifetime in the making. Through the rawest reflection Culver has found a way forward, driven by an optimism drawn from a resolve to be better, to love and be loved, an admission to weakness and the discovery of a new kind of strength. “Don’t test the water,” he reassures us and himself, “just jump in.”

Scream If You Don’t Exist will be released in November 2023 by Participant, on limited edition vinyl, and digital download . The release will be accompanied by a series of films directed by Mau Morgo, Josiane M.H Pozi, William Markarian-Martin, Simon Bus, and Bruxism.

Session Victim return to Jimpster's ' Delusions Of Grandeur' imprint with a third studio album. 'Listen To Your Heart' is the result of a year of cross-continental scripting, started in their Hamburg studio and wrapped up stateside in San Francisco's Room G Studios where the duo had worked on their 2014 LP 'See you When You Get There'.
Sampling still remains an ever present backbone throughout the album. Session Victim have dug deep for sounds, resulting in a richly detailed and organic sound collage that goes hand-in-hand with their live instrumentation, this time enhanced through several guest musician appearances, most notably Carsten "Erobique" Meyer (ex-International Pony). Smooth guitar samples are built up on 'Over and Over' while on 'Moons & Flowers' the live instrumentals that Session Victim do so well come to the fore.

The treasure trove of San Francisco's record shops proved to be a hard bait to resist and the pair spent a large part of their Californian time hunting for records to sample. Three new tracks emerged from these digging sessions, with the sweeping disco string arrangements on 'Shadows' standing out as a prime ode to days spent combing through bargain bins.

Listen To Your Heart is equally a product of the road. While heavy touring is often cited as a hindrance to the creativity of artists, Session Victim see their live shows as a catalyst to their creativity. Two US tours in 2016 gave the Hamburg duo the opportunity to take track sketches and fragments on the road to incorporate into their live shows and then digest them back in the studio. The playful funk soaked groove of 'Matching Half' captures the sense of movement present throughout Listen To Your Heart and the LP mix of 'Up To Rise', which caused heavy ripples when it dropped as part of 2016's Matching Half EP is an extension of the upbeat and euphoric groove that permeates the album.

"Robert Johnson" of Indonesia's Orkes Melayu music finally comes out from the shadows. Between 1961 and 1964, Kelana Ria recorded 48 songs that were spread over four records, Kafilah, Yam El Shamah, Ya Mahmud and Ya Hamidah, which become the primary sources for this compilation.

Khanate's self titled debut (2001) has all the pleasant ambiance of a plane crash site, a bleak urban waste of mangled and torn metal beams and hissed alarms. When Khanate first issued instructions to the void in 2001, the band was embraced as the next iteration of guitarist Stephen O'Malley's tube-cracking forays into amplifier variance; a fascinating further step of vocalist Alan Dubin and low-frequency shifter James Plotkin's space charts; and a warning for the crawling-pace hammers of Tim Wyskida's drums. But Khanate was not preaching of coming doom or offering emotional catharsis. The band was totally post-dread. The worst had already happened, and would continue to happen, over and over. The 5 songs on Khanate sound like an "orchestrated root canal" (Julian Cope).

Khanate's self titled debut (2001) has all the pleasant ambiance of a plane crash site, a bleak urban waste of mangled and torn metal beams and hissed alarms. When Khanate first issued instructions to the void in 2001, the band was embraced as the next iteration of guitarist Stephen O'Malley's tube-cracking forays into amplifier variance; a fascinating further step of vocalist Alan Dubin and low-frequency shifter James Plotkin's space charts; and a warning for the crawling-pace hammers of Tim Wyskida's drums. But Khanate was not preaching of coming doom or offering emotional catharsis. The band was totally post-dread. The worst had already happened, and would continue to happen, over and over. The 5 songs on Khanate sound like an "orchestrated root canal" (Julian Cope).

O-Mandroid is Kawabata Makoto’s new trio with the Acid Mothers Temple drummer Satoshima Nani (voice, drums, sampler) and bassist Hamachang from a Kobe based post punk band BLONDnewHALF

All music and words were improvised though, the sound is like composed psychedelic & progressive rock / late 70’s - early 80’s post punk / Japanese underground experimental, etc.

DevilDuck wagt sich in neue Gefilde vor! WISENT heißt die bisher "härteste" Band im Label-Kontext und sicher liegt man mit dem Genre "PostHardcore" bei dem Quartett aus Leipzig ziemlich richtig. Allerdings mutet nicht nur das Genre etwas ungewöhnlich für das Hamburger Label an, sondern auch die Tatsache, dass es das erste Konzeptalbum einer Band auf DevilDuck ist. "The Acceptance. The Sorrow" heißt das recht ambitionierte Debütalbum der aus dem irischen Sänger Stephen Lyons, dem Bassisten Morris Duff, dem Gitarristen Mathias Bauer und dem Drummer Oliver Ruß bestehenden Band. "The Acceptance. The Sorrow" ist nicht nur musikalisch ein recht harter Brocken voller Kummer und Reflexion über viele vergangene Ereignisse und Gedanken, aber auch über die Hoffnung, die weiter in uns und den Menschen um uns herum herrscht, ohne die das Leben einfach unerträglich scheinen würde.

Die Hamburger Band Rantanplan um Torben Meissner, Marcus Wiebusch und Reimer Bustorff wurde im Herbst 1995 nach dem Vorbild von Bands wie Operation Ivy und den Mighty Mighty Bosstones gegründet. Ihre zweite Platte "Köpfer" von 1998 war jahrelang auf Vinyl nicht erhältlich, erscheint jetzt aber als 25 Jahre Jubiläums-Edition auf 180 Gramm mintgrünem, farbigen Vinyl. Neben den Smashhits "Ich erinner" mich an alles" und der Funny Van Dannen Coverversion "Unbekanntes Pferd" (auch heute noch das Highlight jeder Rantanplan Show) findet sich ein kleiner Text von Bassist Reimer Bustorff und einige Photos. "Köpfer" war die letzte Platte der Band mit Wiebusch und Bustorff, die nach ihrem Ausstieg Kettcar gründeten.

After 6 long-awaited years, DEVOURMENT return to form, embodying brutality with their ferocious new album, Obscene Majesty. Featuring drummer Brad Fincher and Ruben Rosas back on vocal duties - a lineup previously only heard on the band's 1999 landmark album Molesting the Decapitated, the pioneers of brutal death metal sharpen their blades once again, and unleash some of the most disgustingly heavy slam ever! Clubbing blows from tracks such as "Cognitive Sedation Butchery", "Narcissistic Paraphilia", and "Dysmorphic Autophagia" see the veterans as imposing and menacing as ever. Buzzsaw guitars shred through limbs against head-caving, hammering drums. Deathly, blood-soaked vocals personify pain and torture. Obscene Majesty is the epitome of uncontrollable destruction from beginning to end, as DEVOURMENT crush through break-neck speeds, deafening ears and melting faces along the way. Honing in on the very elements of gore, death, and mutilation that have crowned the band as kings of the scene for over 24 years, DEVOURMENT force you to bare witness to the Obscene Majesty!

Anything Can’t Happen is the long-awaited debut album from Dorothea Paas, one of Canada’s most beloved singer-songwriters. For over a decade, Paas has played her unique, prismatic style of folk songcraft for audiences across North America, and lent her talents as a guitarist and vocalist to artists like Jennifer Castle, U.S. Girls and Badge Epoque Ensemble. The songs on this album have been through a near-infinite number of forms – Paas has played them solo and with a full band, electric and acoustic, at house shows and in sold-out venues. they manage to fit inside each context, like water taking the shape of its container.

All of this makes Anything Can’t Happen feel far more mature and complex than a debut album. It’s a statement of purpose, a next step in a decade-long process of artistic growth and evolution, and a bridge between the DIY style of Paas’s previous cassette releases and a more refined studio sensibility. Recorded in studios in Hamilton and Toronto, and mixed by Max Turnbull of Badge Epoque and U.S. Girls and Steve Chahley, these songs bring a diverse range of musical influences into conversation: inflected with the layered reverberations of Grouper, shot through with the piercing harmonies of the Roches, electrified with the searing energy of Sonic Youth. You can hear Neil Young in the grittiness of the title track’s guitar; Joni Mitchell’s Hejira in the album’s lyrics, Fairport Convention in Paas’s voice. The influence of Stevie Wonder - one of Paas’s greatest musical role models - is present too, in the album’s conceptual foundations.

Wir können mit Sicherheit sagen, dass die Spiritual Jazz-Reihe ohne die Inspiration des geistigen Messias John Coltrane nicht existieren würde. Deshalb kann es nur angemessen sein, seinem Erbe und bleibendem Einfluss ein ganzes Album widmen: 'Spiritual Jazz 15 – A Tribute to 'Trane' wirft ein Schlaglicht auf die Ehrfurcht, die dem Saxophonisten in vielerlei Hinsicht entgegengebracht wird. Die Auswahl zeigt Coverversionen seiner Songs, dargeboten von von ihm inspirierten Musikern, und Originale, die zu Ehren Coltranes geschrieben wurden. Der Prediger ist vielleicht auf eine höhere Ebene aufgestiegen, aber seine Gemeinde ist immer noch hier unten auf der Erde. 10 Tracks, die die Stimmung aller überall heben.

Disco is back! From Paris to Melbourne, Berlin or Athens, a new blend of 70s inspired disco sound is currently taking the dancefloors by storm with artists like Monika, L'Impératrice or LeonxLeon, creating a stir on the international scene. Paying their dues to the pure form of Disco, these new artists, far from mimicking the clichés, are adding an unmistakable millennium twist to the genre. This is Disco 2.0

Very limited vinyl pressing of the second edition, 500 copies, full colour single outer sleeve, newly designed full colour printed lyric inner sleeve. Transparent red vinyl with white splatter effect. Download included. CD in a 4-panel digipack with a 12-page lyric booklet. When the self-titled debut album from female Ukrainian punk trio Death Pill, came out on the 24th of February (a year to the day that Putin invaded Ukraine) the reaction was unanimous. ‘Death Pill have made one of the best crossover albums of the modern era’ - Metal Hammer // 'Death Pill are intensely furious. There is nothing on the Ukrainian trio's debut that isn't seething with anger or delivered with boiling vitriol.’ – Kerrang // 'A tirade of metalcore, thrash and hardcore, it’s a face-toasting listen’ - The Guardian // ‘This eponymous album is a real masterstroke and a sign not only that DEATH PILL are here to stay but that they are going to take a few scalps with them’ - Distorted Sound // Those lucky enough to witness Death Pill live on their recent Euro tour, would have also clocked something a bit special. Mariana Navrotska, vocals/guitar, Anastasiia Khomenko, drums and Natalya Syeryakova, bass are without doubt a ‘force majeure’. Thunderous thrash infused hardcore coupled with fantastic musicianship and attitude in spades. A truly thrilling live embodiment of their self-titled debut. So, with the vinyl and cd sold out, a repress of said debut was warranted. But this is not just a repress. This is that cracking debut … with a difference. The band explain …. “In the original first pressing of the Death Pill album, there were 2 Russian-language lyrics songs, which the band recorded before the full-scale invasion of Russia into the territory of Ukraine, and the band didn't have the opportunity to change these lyrics before the release of the album in 2023. From February 2022, the band performs its program only in English: - "We deleted from the story those lines that were written in Russian, and we no longer want to have them in our work. We wanted to change this even before the first release, but it was impossible due to a huge number of factors. During the Euro/UK tour in 2023, the girls had the opportunity to re-record the vocals for these 2 tracks in English. That is why in the second press of the first album we automatically have the release of two tracks.” So, not a repress, but a 2nd edition, with all the fire and vitriol still intact, now the official version of the album from this point on

4LP is four black vinyl discs in two gatefold jackets + two 18 x 24 folded posters in a side-load slipcase + a printed insert for full album download. This is strictly for Indies only. 2CD is two discs in a six panel wallet + a 28 page booklet + printed insert. Misfits & Mistakes: Singles, B-sides & Strays 2007–2023 is Superchunk’s fourth singles compilation, a massive, 4-LP (or 2-CD) collection covering their triumphant return from hiatus. The amount of ground covered within its gorgeous packaging is staggering: 50 songs, 16 of which are on physical media for the first time, sourced from out-of-print releases, digital singles, compilations, and more, a vital piece of the Superchunk canon. Featuring extensive liner notes by Mac McCaughan (with additional notes from Laura Ballance), Misfits & Mistakes tells the story of each release, from why they chose to cover songs by The Misfits, The Cure, Destiny’s Child, and Bananarama, to working with collaborators like Katie Crutchfield (Waxahatchee), Jane Wiedlin (The Go-Go’s), Eleanor Friedberger, Damian Abraham (Fucked Up), Norman Blake and Raymond McGinley (Teenage Fanclub), and more! Mac writes: Who knew it would take a cartoon hamburger to kick off a new period of activity for Superchunk? When we recorded “Misfits and Mistakes” for the Aqua Teen Hunger Force soundtrack at Overdub Lane in Durham, we also recorded the first version of “Learned to Surf” which gave us an on-ramp for making new music after 8 years of playing sporadic gigs. It also reminded us what we liked about playing Superchunk songs, whether they’re our own or written by our musical heroes. This collection covers a lot of ground, from heavy touring years to a pandemic where we made singles and an album at home. One difference between this comp and our first three is that this time span completely falls in the digital age; the distance from a final mix to everyone hearing it is shorter than ever. I’ve always liked artists that were prolific—throwing out singles in between albums when you least expect it. A surprise release from your favorite band is one of the few things that can still bring a little excitement to what can seem like an endless deluge of “content” (puke). Hopefully the wild swings between lo & hi fi and originals and covers on this comp still allow for some coherence and, more
importantly, convey what’s FUN about this punk rock thing.

‘Demos/sketches/interludes from the hinterland between records. Drum machines and single take vocal sketches tied together with downtime synth experiments and recordings of local disappearing areas.’ True as it is, Jabu’s strap-line is a somewhat understated take on what also proved to be a transformative experience for them. The follow-up record to their 2020 sophomore LP ‘Sweet Company’ (and the ensuing ‘Versions’), ‘Boiling Wells’ weaves a smudged, group -mind spell. Originally released earlier this year without fanfare as a digital-only release, it now receives the proper release attention it deserves, issued in a neatly packaged vinyl edition of 300 copies. Dreamlike, woozy, raw and in dub, the album documents a blossoming process, and encapsulates a fragment in time - holed up in the country, soaking up the atmosphere in collective isolation, creatively embracing the limitations of a small recording set-up, and finding a new way to work as a band. “My mum had gone away so we’d decided to take the mixing desk and a couple of drum machines out to her house and set it up in the front room. We did it a couple of times to get the bulk of the tunes on 'Boiling Wells' done, one in summer and one boozy one around Christmas. I think we all immediately enjoyed working that way, sat around all together, more of an immediate thing. Jas started to play a lot more guitar, her and Al would write lyrics on the fly or be programming a drum beat in or something. We were all switching around and getting ideas down really quickly, not worrying too much if they were good or not. The music was limited by the stuff we had there, I didn’t bring a big desk so we only had six channels or so, and everything was basically just recorded in as a stereo take so we were more or less stuck with it after we’d laid it down - which was nice too. I don’t think we would’ve changed them anyway; it was the sound of the room and of us doing it together in the moment that was really important.” There has always been a collaborative heart to Jabu, though its nature has shifted and morphed over time. In their earliest incarnation, in after-school jams, Alex Rendall would rap over Amos Childs’ beats, but by the time they began releasing music in 2012, Al had found his singing voice – a sweet, soulful counterpoint to Amos’ increasingly dub-wise, experimental backing. Both are founder members of Bristol’s Young Echo, a collective of friends and musicians first operating loosely together on radio shows, artistic collaborations and events, and later on, running a record label. As expansive as their original remit was, Young Echo has steadily evolved since featuring in The Wire’s 2013 cover feature on Bristol’s new school of post-dubstep bass music. Of late, Seb (aka Vessel) has been working with violinist Rakhi Singh on string arrangements for Jabu, and the upcoming residency at Bermondsey’s MOT will showcase relative newcomers Birthmark and Intel Mercenary alongside the regular crew. Jabu’s debut album proper, ‘Sleep Heavy’, arrived in 2017 courtesy of Blackest Ever Black. A sublime, focused meditation on grief and loss written largely by Amos and Al, it marked the debut of Jasmine Butt (aka Guest), adding a further layer of vocal texture to their palette. ‘Sweet Company’, their first album written as a trio (released via their own do you have peace? label), drifted into lighter, more ethereal introspection. Featuring guest appearances by Sunun and Daniela Dyson, remixes by Equiknoxx’s Time Cow and Young Echo ‘s Ossia teased out the inherent pop and dub sensibilities respectively. Recent times have also seen remixes by kindred spirits Seekers International and Jay Glass Dubs, and a collaboration with the renowned T.S. Eliot Prize-winning dub Poet and musician Roger Robinson on a pair of plaintive, aching 7” singles. Jabu’s broad raft of inspirations can be experienced first -hand on their monthly NTS Radio show ‘Music 4 Lovers’, co -hosted by long-time friend and soul afficionado Andy Payback. A celebration of the endless tapestry of interrelated musical connections, it runs parallel to Jabu’s own reinterpretation of their influences. For ‘Boiling Wells’, Amos remembers a diet of “A.R. Kane, Cocteau Twins, DJ Screw, Southern/Memphis rap mixtapes, early 90’s jungle, Karen Dalton, Sybille Baier, Vashti Bunyan, Svitlana Nianio, a lot of soul, Armand Hammer & Alchemist, Grouper, Bobby Caldwell. Jazz was a constant, Japanese, Polish, Latin, American…”. And from those diverse strands, something new and singular has formed, to line up alongside them. ‘Boiling Wells (Demos ‘19-’22)’ is released by UK newcomer Six of Swords in a limited vinyl edition of 300 copies, pressed on black vinyl housed in full colour 270 gsm matt varnish sleeve and black paper inner, with full download coupon

Since 1983, Justin K. Broadrick (Godflesh, Jesu, Council Estate Electronics, The Sidewinder, etc.) has been producing largely solo, but sometimes collaborative, work under the Final moniker. Beginning as a more obviously power electronics-inspired project it has during the past two decades or so evolved into one which still retains that sonic intensity but has a more expansive sound. I Am the Dirt Under Your Fingernails is the latest album, closely following It Comes to Us All on Alter in July 2022 and the now mostly o/p CD version already released in October 2022. Comprising nine tracks each named and numbered after the album’s title, IATDUYF violently pushes us through a murky world of suffocating textures, crepuscular guitars, serrated noise and what appear to be random bursts of sawmill grind which together create the perfect backdrop to today’s newscape. This is a relentless sound that’s absolutely unforgiving as it hammers home anger and despair with little respite, illustrating very clearly that JK Broadrick has been one of the very few to contort the uncompromising approach of early power electronics into wholly new and contemporary forms rife with greater possibilities.

"Visions of Summerland (Live at Arminius Church Rotterdam)" ist weit mehr als nur ein weiteres Live-Album. DOOL nahmen diese Stücke in der dunkelsten aller Nächte während der Wintersonnenwende am 23. Dezember 2022 auf. Es war nicht nur physisch die finsterste Zeit des Jahres, sondern auch spirituell eine dunkle Stunde für die niederländischen Dark Rock Shootingstars. Aufgrund der weltweiten Pandemie konnten sie kaum mit ihrem aktuellen, zweiten Album "Summerland" auf Tour gehen. Außerdem war es das letzte gemeinsame Konzert mit ihrem Freund und Schlagzeuger Micha Haring, der zuvor unter vier Augen und aus persönlichen Gründen seinen Abschied von DOOL angekündigt hatte. Die Zeichen in der Arminiuskerk ("Arminiuskirche") in Rotterdam deuteten auf einen höchst melancholischen Auftritt hin. Umgeben von sakraler Architektur und religiösen Bildnissen, vor Familie, Freunden sowie ihren treuesten Fans opferten DOOL all ihr Herzblut, ihren Schweiß und ihre Tränen für die Songs. Pure Bühnenmagie lag in der Luft. Verzweiflung und Schmerz verwandelten sich in musikalische Schönheit und Hoffnung. Frontperson Raven sprach hinterher sogar vom wohl besten DOOL-Auftritt aller Zeiten! Seitdem sie im Jahr 2015 in der alten niederländischen Hafenstadt Rotterdam aus der Asche von THE DEVIL'S BLOOD und ELLE BANDITA auferstanden sind, haben DOOL der europäischen Dark Rock Szene ihren einzigartigen Stempel aufgedrückt. Das Debütalbum "Here Now, There Then" erschien im Jahr 2017 und gewann sofort Auszeichnungen wie "Album des Monats" in den renommierten deutschen Magazinen Rock Hard und Metal Hammer, wo DOOL auch den Titel "Bestes Debütalbum 2017" holten - neben viel Lob aus aller Welt, unter anderem von VICE (US), Aardschok (NL) und De Volkskrant (NL). Mit ihrem zweiten Album "Summerland", das im April 2020 das Licht der Welt erblickte, bestätigten die Shootingstars um Raven van Dorst (Gesang, Gitarre) ihren Blitzstart und ernteten weiteren Jubel in den Medien. "Summerland" erhielt vielfache "Album des Monats"-Auszeichnungen unter anderem in den deutschen Magazinen Rock Hard (10/10) und Sonic Seducer sowie einen zweiten Platz im Soundcheck von Metal Hammer (DE), Metal.de und eine weitere Erstplatzierung im polnischen Metal Hammer. Bevor DOOL im Frühjahr 2024 ihr drittes Album enthüllen, schenken die niederländischen Dark Rocker ihrer treuen Fangemeinde dieses beeindruckende Live-Dokument: "Visions of Summerland (Live at Arminius Church Rotterdam)" wirft ein strahlendes musikalisches Licht in eine Welt voller Dunkelheit.