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Khruangbin and Leon Bridges announce their latest collaborative EP, ‘Texas Moon’, out on Dead Oceans.

 An extension of the two’s chart-topping four-song ‘Texas Sun’ journey, ‘Texas Moon’ is an introspective stroll through the dark. “Without joy, there can be no real perspective on sorrow,” say Khruangbin. “Without sunlight, all this rain keeps things from growing. How can you have the sun without the moon?”

 Crediting their mutual home state for inspiration, ‘Texas Moon’ pensively examines Texas’ musical perception, while paying homage to the marriage of country and R&B that’s become synonymous with the lone star state. Propelled by rolling guitar licks, conga and bongo, lead single ‘B-Side’ meditates on meeting in a dream and frolics across the nearing contemplative night-time state with its longing joy.

 Elsewhere on ‘Texas Moon’, the artists channel a newly intimate musical scope that’s illustrated most dramatically when the spacy sensuality of the minimalistic ‘Chocolate Hills’ leads into the stark spirituality addressed on ‘Father Father’, a reminder of both acts’ gospel roots. Over a simple rolling guitar figure, Bridges pleads with the heavens - “Look at the mess that I made / Just a man with unclean hands” - only to be reminded of God’s eternal love.

 For Khruangbin, one song in particular was indicative of the trust that Bridges put in them. “The song ‘Doris’ is about his grandmother making the transition from this world to the next realm,” says Khruangbin’s Donald Ray ‘DJ’ Johnson Jr. “It’s a very somber, very deep record. And when someone places that kind of work into your
hands, the last thing you want to do is junk it up, overproduce it, or do too much. We treated it with the respect it deserved, and treated Doris with the respect she deserves.”

 “It’s like a short story...,” says the band’s Laura Lee of the music. “And it leaves room to continue having these stories together. It’s not Khruangbin, it’s not Leon, it’s this world we created together.”

 Upon its release, ‘Texas Sun’ soared to the No. 1 slot on Billboard’s Emerging Artists Chart along with landing the No.1 on spot on Americana/Folk Albums, among many others. Significantly, both parties’ musical directions were deeply affected by their time working together on ‘Texas Sun’.

 Khruangbin’s most recent studio album, ‘Mordechai’, moved their own vocals to the forefront, a change they readily admit was a direct result of working with Bridges.
Their sound was also tapped for remix / reinterpretation of a Paul McCartney song for the ‘McCartney III Imagined’ project. Meanwhile, in addition to his genre-defying Grammy-nominated album ‘Gold-Digger’s Sound’, Bridges has put out several other challenging, shared collaborative tracks, including work with John Mayer, Lucky Daye and, most recently, Jazmine Sullivan. Each of the artists appeared recently on Austin City Limits and will tour throughout the new year.

They are here, all over: sudden, random molecular movements. Invisible and yet extremely effective. Perceptible only to those who turn on things from a peculiar outlook. Now Rio unfolds the second edition of “Risks Issues Opportunities”, bringing interstellar musical developments full of little, yet profound molecule advances. Eight mystical fate spinners, with the muscle to shed some light on unanswered questions, that will stay unanswered after all. Monolithic, yet deeply fragile compositions, made by terrestrials like Leipzig based producer Syncboy, Pannotia from Sydney, Italy based dusty drum machines lovers Twoonky, Charlotte Simon, known as one half of the art duo Le Trucs from Frankfurt, Berlin mystic’s like Airaboi or Nadia D'Alò of the duo INIT, Brooklyn based “The Thing” housekeeper Willie Burns and Vienna’s symbolist sound poet Bocksrucker. They all created electric signs for the above. Murky analogue prophesiers without prophecy, bringing headway music against the greedy frontier spirit. Hypnotic tones out of a hazy musical outer space. Like a dream that forgot to dream, they wave around with veiled frequencies full of ray, processed through analogue machine power. Music, that is able to in sight humans to an Atget photography. Able to transmit flashes to the firmament, to stars that wander darkling in eternal space. And yes: to some who listen a sudden physical movement might transpire, despite the fact that all was made without a particular practical value. Art for art's sake‍. In favor of an alternative to reality. Compellingly haunted by itself. Like stone, that awaits a random molecular movement.

Repress

Art Teachers goes deep into modern sounds with its delightfull ambiance accompagnied by
freaky "glurps" vocals. Fuzzy connection between (US) Motor City & Stuttgart (EU) amplified by dark
synth lines and the mechanics of new wave in full effect! Ltd - 250 copies.

Danish composer, musician and producer Trentemøller announces his new studio album 'Memoria' which is set for release in early 2022 on his own label In My Room alongside the first single 'In The Gloaming' which is released September 10th 2021. Anders Trentemøller's sixth studio album, Memoria, seems to exist at the
confluence of inspiration, coincidence, and maybe even a little bit of the supernatural.
A recent, unanticipated drop of four songs, in the form of two singles (No One Quite Like You, and Golden Sun), might leave one surprised to find that a full album's worth of material was also waiting in the wings.
As with most Trentemøller releases, it's a body of songs that are thematically linked by many melodic threads.

The first single from the upcoming album, 'In The Gloaming', which is released in September 2021, implies the arc of the album might have actually begun late in the day, giving the sensation of waking in the evening. Nocturne's dawning. Stars emerge in the form of percussive arpeggios.

2019's Trentemøller album 'Obverse' was an exercise in what could be done if the prospect of performing the songs onstage wasn't a factor. It opened up some doors, and signaled a new chapter. Memoria, even considering its resplendence, almost feels like it demands to be presented live as well.

Auslandsländer neigen dazu, südamerikanische Länder als „exotisch“ zu betrachten. Aber wir können Ihnen versichern, dass es nichts Exotisches
ist, wenn 95 % der Bevölkerung um ihre Grundbedürfnisse kämpfen, hohe Kriminalitätsraten und Regierungen nacheinander nichts tun, um die
Situation zu ändern – tatsächlich folgen sie ihrer eigenen Agenda, um den Ball am Laufen zu halten.
Aus diesem Grund haben Bands wie die brasilianischen NERVOCHAOS eine solche Atmosphäre echter Brutalität und Authentizität. Sie machen
keinen „südamerikanischen Death Metal“. Sie nahmen einfach ihre harte Realität, nahmen den Einfluss von frühen Death Metal-Bands wie Morbid Angel, Vader und Sinister auf und spuckten sie so aggressiv wie möglich aus. Nervochaos, 25 Jahre alt und Teil der ältesten Generation der
brasilianischen Extremszene – zusammen mit Sepultura, Krisiun, Rebaelliun oder Abhorrence, um nur einige zu nennen – haben natürlich die
Erfahrung, die Abstammung und das technische Know-how, um tun Sie es in Pik.
Genau das ist „All Colours Of Darkness“, das zehnte (!) Studioalbum des São Paulo-Fünflings: Pechschwarzer Death Metal, so rauh gemacht, wie
es eine Band nur kann, mit der brutalen Atmosphäre, die wir von brasilianischen Extrem-Metal-Bands zu erwarten. Mit lyrischen Themen, die
sich um die dunkelsten Gefilde des Satanismus und der dunklen Magie drehen, beschwört Nervochaos den Metal über den Tod, wie es heute nur
noch wenige Bands können – mit einem brutalen Ansatz, einem technischen Rückgrat und einer effektiven Tiefe der Themen.
Nervochaos haben durch ihre harte Arbeit in den letzten 25 Jahren Kultstatus in der Musikszene erlangt und bieten auf ihre einzigartige Weise
eine klangliche Extravaganz. Die Gruppe hat neun Studioalben in voller Länge herausgebracht und tourt ständig weltweit, um ihre Veröffentlichungen zu unterstützen, und gibt rund 100 Konzerte pro Jahr – von Clubs bis hin zu Festivals.

Auslandsländer neigen dazu, südamerikanische Länder als „exotisch“ zu betrachten. Aber wir können Ihnen versichern, dass es nichts Exotisches
ist, wenn 95 % der Bevölkerung um ihre Grundbedürfnisse kämpfen, hohe Kriminalitätsraten und Regierungen nacheinander nichts tun, um die
Situation zu ändern – tatsächlich folgen sie ihrer eigenen Agenda, um den Ball am Laufen zu halten.
Aus diesem Grund haben Bands wie die brasilianischen NERVOCHAOS eine solche Atmosphäre echter Brutalität und Authentizität. Sie machen
keinen „südamerikanischen Death Metal“. Sie nahmen einfach ihre harte Realität, nahmen den Einfluss von frühen Death Metal-Bands wie Morbid Angel, Vader und Sinister auf und spuckten sie so aggressiv wie möglich aus. Nervochaos, 25 Jahre alt und Teil der ältesten Generation der
brasilianischen Extremszene – zusammen mit Sepultura, Krisiun, Rebaelliun oder Abhorrence, um nur einige zu nennen – haben natürlich die
Erfahrung, die Abstammung und das technische Know-how, um tun Sie es in Pik.
Genau das ist „All Colours Of Darkness“, das zehnte (!) Studioalbum des São Paulo-Fünflings: Pechschwarzer Death Metal, so rauh gemacht, wie
es eine Band nur kann, mit der brutalen Atmosphäre, die wir von brasilianischen Extrem-Metal-Bands zu erwarten. Mit lyrischen Themen, die
sich um die dunkelsten Gefilde des Satanismus und der dunklen Magie drehen, beschwört Nervochaos den Metal über den Tod, wie es heute nur
noch wenige Bands können – mit einem brutalen Ansatz, einem technischen Rückgrat und einer effektiven Tiefe der Themen.
Nervochaos haben durch ihre harte Arbeit in den letzten 25 Jahren Kultstatus in der Musikszene erlangt und bieten auf ihre einzigartige Weise
eine klangliche Extravaganz. Die Gruppe hat neun Studioalben in voller Länge herausgebracht und tourt ständig weltweit, um ihre Veröffentlichungen zu unterstützen, und gibt rund 100 Konzerte pro Jahr – von Clubs bis hin zu Festivals.

Nach Nino Rotas Meisterwerk „Amarcord“ präsentiert CAM Sugar mit „Profumo di Donna“ einen weiteren
Soundtrack-Klassiker in seiner „Heritage-Serie“.
Der Film von Dino Risi wurde 1975 bei den Filmfestspielen von Cannes gezeigt, im folgenden Jahr fand
er internationale Anerkennung mit zwei Oscar-Nominierungen für den besten ausländischen Film und das
beste Drehbuch. Der anhaltende Erfolg des Films veranlasste Hollywood, 1993 ein Remake mit Al Pacino
in der Hauptrolle zu drehen, der für seine Leistung einen Oscar als bester Hauptdarsteller gewann.
Der von Armando Trovajoli, einem Meister der italienischen Filmmusik, komponierte Score ist eine wunderbare Melange aus Orchesterklängen, Jazz, Easy Listening und sogar einer Prise Disco. Der bekannteste
Track ist „Che Vuole Questa Musica Stasera“, eine von Peppino Gagliardi gesungene Ballade, die Guy
Ritchie in seinem Film „The Man From U.N.C.L.E.“ (2015) erneut einsetzte.
Die Musik erscheint jetzt von den Originaltapes remastered, auf LP mit einem bisher unveröffentlichten
Track und auf CD mit acht unveröffentlichten Songs.

Guitarist and producer HANS DEVILLE cut his rock’n’roll teeth with highly respected ska-punks KING PRAWN. It’s not an uncommon story, and during the pandemic this isn’t the only project born from a musician’s desire to keep creating.

Setting up a studio in his Stained-Glass workshop, a hybrid album of mariachi, sea shanty and twangy western began to develop. Live brass was recorded by his ska punk buddies, even his mum lending an accordion playing hand on first single Porbandar.

In addition to the KING PRAWN brass boys, Richard Glover bass player of the mighty DUB WAR, makes a special appearance on the Latino flavoured “Diva”.

On hearing the works in progress, old time friend Karl “Lost” Horton introduced Hans to “dark country” singer ANDREW J DAVIES. The pair immediately hit it off with Andrew laying down the vocals that very evening, taking influence from his Welsh roots by incorporating four level harmonies, much favoured by male voice choirs, on Porbandar the sea shanty evoking first single. The collaboration continued with half the album featuring the Hastings based vocalist.

It did not stop there. Eager to take the album “on the road”, a band of Hastings based musicians were assembled. The first show in London at Paper Dress Vintage was a sell out. Videos from the night were circulated with festival offers already coming in.

"Rock and metal music have always been a haven for those who have bigger stories to tell; who have grander emotions to convey. For more than thirty years, Finnish figureheads Amorphis have done their best to carve their very own niche in heartfelt yet aggressive, melancholic yet soothing tunes. On “Halo”, their staggering fourteenth studio effort, the Fins underline their trailblazing status as one of the most original, culturally relevant and rewarding acts ever to emerge from the land of the thousand lakes. In the past, mythology and legend took the role of today’s pop culture: Stories and a set of values uniting us by giving us a voice and a tapestry on which we can find each other and identify with something. By weaving the tales of Finnish national epos “Kalevala” into their songs and interpreting them in a timeless way, Amorphis combine the role of ancient minstrels and luminaries of the modern world, honouring tradition without getting stuck in the past. The vibrant, lively, and touching beauty that is “Halo” highlights their musical and storytelling mastership on a once again soaring level: It’s a progressive, melodic, and quintessentially melancholic heavy metal masterwork plucked from the fickle void of inspiration by original guitarists Esa Holopainen and Tomi Koivusaari, bassist Olli-Pekka Laine, drummer Jan Rechberger, longtime keyboardist Santeri Kallio and vocalist Tomi Joutsen, the band’s long-standing lyrical consciousness Pekka Kainulainen and a selected group of world class audio professionals led by
renowned Swedish producer Jens Bogren. Considering the band’s prolonged journey in the forefront of innovative metal music, it’s difficult to grasp how Amorphis manages to raise the proverbial bar time and time again, presenting a more than worthy finale to the trilogy begun with 2015’s “Under the Red Cloud” followed by 2018’s “Queen of Time.” “It really is a great feeling that we can still produce very decent music as a band,” says Holopainen, a founding member of the band. “Perhaps a certain kind of self-criticism and long experience culminate in these latest albums.” To the songwriter himself, “Halo” sounds both familiar and different. “It is thoroughly recognizable Amorphis from beginning to end but the general atmosphere is a little bit heavier and more progressive and also organic compared to its predecessor,” he elaborates. Tomi Joutsen, the man with vocal cords capable of unleashing colossal, bear-like growls as well as singing soothing, mesmerising lullabies, adds, “To me, ‘Halo’ sounds a little more stripped down compared to ‘Queen Of Time’ and ‘Under The Red Cloud.’ However, don’t get me wrong: when a certain song needs to sound big, then it sounds very big.” He’s right, of course: By stripping down some of the arrangements, the monumental moments become even more monumental. That’s of course also thanks to producing renaissance man Jens Bogren who harvested the thirteen final tracks from a batch of thirty songs Amorphis offered him. “Jens is very demanding, but I really like to work with him,” says Holopainen. “He takes care of the whole project from start to finish, and he allows the musician to focus on just playing. I may not be able to thank Jens enough. Everything we’ve done together has been really great, and this co-operation has carried Amorphis significantly forward.” Indeed. Setting off with the stormy grandeur of opener “Northwards,” Amorphis take us on an epic journey through the lands of the north, their rich cultural and historical heritage and musical traditions. This is not only an album for fans or metal connoisseurs. It’s a must for every imaginative mind out there with a soft spot for cinematic soundscapes, triumphant melodies and breathtaking dynamics measuring the borderlands of light and dark. However, no Amorphis album would be complete without the imaginative and poetic storytelling of renowned lyricist and “Kalevala” expert Pekka Kainulainen. “From day one, Pekka has always been an enthusiastic and prolific lyricist for Amorphis,” says Joutsen. “It is a slow process of translating archaic Finnish poetry into English and adapting it our progressive rhythms. Fortunately, Pekka does everything on time and with great care.” Since 2007’s “Silent Waters,” Kainulainen has been navigating the mythological waters of his homeland with great skill and respect. For “Halo,” he outdid himself once again. “‘Halo’ is a loose themed record filled with adventurous tales about the mythical North tens of thousands of years ago,” he explains. “The lyrics tell of an ancient time when man wandered to these abandoned boreal frontiers after the ice age. While describing the revival of a seminal culture in a world of new opportunities, I also try to reach the sempiternal forces of the human mind.” Thirty-one years after their inception, with uncounted global tours under their belt and fourteen albums deep in their career, Amorphis still proves to be the musical fountain of youth, an extraordinary band constantly reinventing itself without abandoning its mystical roots. With “Halo”, they deliver an astonishing album that deserves to be played everywhere, transcending the realms of metal and rock by its sheer profoundness and musicality."

"Rock and metal music have always been a haven for those who have bigger stories to tell; who have grander emotions to convey. For more than thirty years, Finnish figureheads Amorphis have done their best to carve their very own niche in heartfelt yet aggressive, melancholic yet soothing tunes. On “Halo”, their staggering fourteenth studio effort, the Fins underline their trailblazing status as one of the most original, culturally relevant and rewarding acts ever to emerge from the land of the thousand lakes. In the past, mythology and legend took the role of today’s pop culture: Stories and a set of values uniting us by giving us a voice and a tapestry on which we can find each other and identify with something. By weaving the tales of Finnish national epos “Kalevala” into their songs and interpreting them in a timeless way, Amorphis combine the role of ancient minstrels and luminaries of the modern world, honouring tradition without getting stuck in the past. The vibrant, lively, and touching beauty that is “Halo” highlights their musical and storytelling mastership on a once again soaring level: It’s a progressive, melodic, and quintessentially melancholic heavy metal masterwork plucked from the fickle void of inspiration by original guitarists Esa Holopainen and Tomi Koivusaari, bassist Olli-Pekka Laine, drummer Jan Rechberger, longtime keyboardist Santeri Kallio and vocalist Tomi Joutsen, the band’s long-standing lyrical consciousness Pekka Kainulainen and a selected group of world class audio professionals led by
renowned Swedish producer Jens Bogren. Considering the band’s prolonged journey in the forefront of innovative metal music, it’s difficult to grasp how Amorphis manages to raise the proverbial bar time and time again, presenting a more than worthy finale to the trilogy begun with 2015’s “Under the Red Cloud” followed by 2018’s “Queen of Time.” “It really is a great feeling that we can still produce very decent music as a band,” says Holopainen, a founding member of the band. “Perhaps a certain kind of self-criticism and long experience culminate in these latest albums.” To the songwriter himself, “Halo” sounds both familiar and different. “It is thoroughly recognizable Amorphis from beginning to end but the general atmosphere is a little bit heavier and more progressive and also organic compared to its predecessor,” he elaborates. Tomi Joutsen, the man with vocal cords capable of unleashing colossal, bear-like growls as well as singing soothing, mesmerising lullabies, adds, “To me, ‘Halo’ sounds a little more stripped down compared to ‘Queen Of Time’ and ‘Under The Red Cloud.’ However, don’t get me wrong: when a certain song needs to sound big, then it sounds very big.” He’s right, of course: By stripping down some of the arrangements, the monumental moments become even more monumental. That’s of course also thanks to producing renaissance man Jens Bogren who harvested the thirteen final tracks from a batch of thirty songs Amorphis offered him. “Jens is very demanding, but I really like to work with him,” says Holopainen. “He takes care of the whole project from start to finish, and he allows the musician to focus on just playing. I may not be able to thank Jens enough. Everything we’ve done together has been really great, and this co-operation has carried Amorphis significantly forward.” Indeed. Setting off with the stormy grandeur of opener “Northwards,” Amorphis take us on an epic journey through the lands of the north, their rich cultural and historical heritage and musical traditions. This is not only an album for fans or metal connoisseurs. It’s a must for every imaginative mind out there with a soft spot for cinematic soundscapes, triumphant melodies and breathtaking dynamics measuring the borderlands of light and dark. However, no Amorphis album would be complete without the imaginative and poetic storytelling of renowned lyricist and “Kalevala” expert Pekka Kainulainen. “From day one, Pekka has always been an enthusiastic and prolific lyricist for Amorphis,” says Joutsen. “It is a slow process of translating archaic Finnish poetry into English and adapting it our progressive rhythms. Fortunately, Pekka does everything on time and with great care.” Since 2007’s “Silent Waters,” Kainulainen has been navigating the mythological waters of his homeland with great skill and respect. For “Halo,” he outdid himself once again. “‘Halo’ is a loose themed record filled with adventurous tales about the mythical North tens of thousands of years ago,” he explains. “The lyrics tell of an ancient time when man wandered to these abandoned boreal frontiers after the ice age. While describing the revival of a seminal culture in a world of new opportunities, I also try to reach the sempiternal forces of the human mind.” Thirty-one years after their inception, with uncounted global tours under their belt and fourteen albums deep in their career, Amorphis still proves to be the musical fountain of youth, an extraordinary band constantly reinventing itself without abandoning its mystical roots. With “Halo”, they deliver an astonishing album that deserves to be played everywhere, transcending the realms of metal and rock by its sheer profoundness and musicality."

KORN changed the world with the release of their self-titled debut album. It was a record that would pioneer a genre, while the band’s enduring success points to a larger cultural moment. The FADER notes, “There was an unexpected opening in the pop landscape and KORN articulated a generational coming-of-angst for a claustrophobic, self-surveilled consciousness. KORN became the soundtrack for a generation’s arrival as a snarling, thrashing, systemically-restrained freak show.”
Since forming, KORN has sold 40 million albums worldwide, collected two GRAMMYS, toured the world countless times, and set many records in the process that will likely never be surpassed. Vocalist Jonathan Davis, guitarists James “Munky” Shaffer and Brian “Head” Welch, bassist Reginald “Fieldy” Arvizu, and drummer Ray Luzier, have continued to push the limits of the rock, alternative and metal genres, while remaining a pillar of influence for legions of fans and generations of artists around the globe.
The level of KORN’s reach transcends accolades and platinum certifications. They are “a genuine movement in a way bands cannot be now,” attests The Ringer. They represent a new archetype and radical innovation, their ability to transcend genre makes barriers seem irrelevant.

Following the release of their latest single ‘Animal’ Brighton 4-piece Will & The People have announced details of their new album and subsequent tour this November/ December; following recent sold out shows in London and Brighton, as well as festival plays at the likes of Boardmasters and Green Man, where they headlined the Chai Wallahs stage on closing day.

Recorded at The Libertines’ The Albion Rooms over the course of a week, the band say of the album:
‘It represents a journey of the soul; from the darkness and depression of a lost and seemingly hopeless position - to a realisation and acknowledgment of needing to change, needing to empower oneself and then finally to a more joyous, un-shakeable happiness towards all aspects of life. Life is beautiful and can be lived with joy and grace. Through staying true to your passions and beliefs and finding, new chapters, happiness is there. The album, “Past the point of no return”, is the meeting of the past and present on our journey into the future. It's a four-way diary entry for life as we currently know it.’

You can tell from the way they play, talk and live that Will and The People aren’t following a formula or trying to follow the pack. They play music because it makes them feel good, feel free and feel whole.

Battle Axe is a Trojan compilation album that was originally released in 1972. The album is a set of early productions by Lee Perry. It features many rarities and includes recordings by well-known singers such as Junior Byles, Delroy Wilson and Little Roy amongst others. Most of the instrumentals are by The Upsetters. The title track, which is also by The Upsetters, is actually an instrumental version of Bob Marley & the Wailers’ “Small Axe”.

Battle Axe is available as a limited edition of 750 individually numbered
copies on orange coloured vinyl.

Kobe JT showcases his sonic malleability on TINWHITE011: a tight 4-track EP which guides its listener assertively around the scene-defining avenues of UKG, from melodic garage house to dark two-step swings.

Blissful piano chords, vocal chops and skipping house rhythm imbue the opening track, "All I Do" with a soulful, uplifting groove. Equally as driven by melody, "Next DJ" makes room for more dynamic lower-ends as Kobe teams up with Northern force, The Phat Controlla, to deliver a club-ready speed garage banger.

The record's second half exposes the darker underbelly of Kobe's sound: hostile sub groans shade the stripped-back stepper "Lost In The Club" whilst the fragmented vocals on "Hope" lends the EP's full-bodied closer with an uneasy intensity.

Pink Vinyl

Drifting on oceans of thunderous stillness, carried away by endless currents, whipped up by waves of darkness devouring you until you see the light. The first album from Platoo, a collaboration between Michelle Samba and Phil Mills, has an unrelenting cadence that grabs you and refuses to let go. A distinctive combination of calming soundscapes and highly-charged energy fitting any occasion, from dancing like lost souls in the empty halls of ancient barracks to ecstatically tripping on a distant desert planet.

To Phil and Michelle creating Platoo was about being given a sense of freedom and exploration, at once shaking off habits and rediscovering forgotten values. Phil's love of the mesh of ''real'' sounds and electronics, and quest to establish a balance where both would feed off each other saw him abandon convention and standard structures, deviate from the beaten path and let things come to life. Michelle's quest to create, to inspire and be inspired, to draw her conclusions from serendipitous events allowed her to break things open and be at ease with letting herself go to create the breathing space needed for this new sound.

What makes their symbiosis fruitful is a common yearning for the unknown, a search for what works without exactly fathoming why it works. The result is something that indeed meets those needs, a strange and beautiful musical exploration.

Hangman's Chair, formed in 2005 in Paris, are one of the most unique sounding doom rock bands currently active. Through the years, they have found and fine-tuned their own sonic brand, somewhere at the crossroads between Type O Negative, Alice In Chains and Sisters of Mercy, to name a few, mixed with a certain street credibility connected to the group’s roots in hardcore, and even tinges of shoegaze. ‘Cold Doom’ as the band likes to call it.

Each album takes its strength and essence from the band members’s life experiences, which they portrait with unflinching honesty. Whether it is the loss of band members, drug overdoses or the hardships of living in suburban Paris, all those human emotions resonate within each of their songs as they embrace the darkness and transform it into something beautiful, heavy and melancholic.

After five studio albums and a handful of splits / EPs, Hangman's Chair is releasing their sixth studio album, "A Loner", their first record on Germany based, worldwide leading metal label Nuclear Blast. Telling tales about loneliness in all its forms, this record has all the trademarks that makes Hangman's Chair’s music so visceral, and will keep you in its tight grip from the very first listen.

"Hall Of The Mountain King" marks the beginning of the successful
relationship with producer Paul O'Neill.

Considered a turning point in the band's musical identity, the album shows the beginning of their progressive tendencies as they explore new forms of expression in their music, distinguishing between the old and new Savatage.
Mastered for vinyl and reissued with the original cover design, enhanced artwork and extensive liner notes by Clay Marshall, the album will become available as a 180g Black Vinyl Gatefold Edition and as a Strictly Limited Heavyweight Collector's LP Edition on Golden Vinyl which includes an exclusive 7" Vinyl Single featuring the song "This Is Where You Should Be" on Side A and a 1987 live version of "Hall Of The Mountain King" on Side B.

"Hall Of The Mountain King" marks the beginning of the successful
relationship with producer Paul O'Neill.

Considered a turning point in the band's musical identity, the album shows the beginning of their progressive tendencies as they explore new forms of expression in their music, distinguishing between the old and new Savatage.
Mastered for vinyl and reissued with the original cover design, enhanced artwork and extensive liner notes by Clay Marshall, the album will become available as a 180g Black Vinyl Gatefold Edition and as a Strictly Limited Heavyweight Collector's LP Edition on Golden Vinyl which includes an exclusive 7" Vinyl Single featuring the song "This Is Where You Should Be" on Side A and a 1987 live version of "Hall Of The Mountain King" on Side B.

For Fans Of : LVL UP, Crying, Paear, Sheer Mag, Krill. When his primary music project, LVL UP, stopped working together in 2018, prolific multi-instrumentalist and illustrator Nick Corbo began working on a new body of music and visual art as Spirit Was. On his debut studio album Heaven’s Just a Cloud, haunting, beautiful scenes of the natural world feel just as represented in the warm, classic, wooden floors of country rock as they do in the dark, droning, shadows of doom and black metal. With new creative liberties, Corbo is allowed an opportunity to keep exploring the heavy, distorted instrumentation and experimental techniques that have shaped his music to date. His ability to focus on small details and weave them into vast networks has been evident in all of the music and visual art in his catalogue. In its density, Heaven’s Just A Cloud is threaded with memorable lyrics and recapitulating musical themes that guide the listener. Spirit Was feels at home among the technical, melodic songwriting of Harry Nilsson’s studio recordings, or the dusty, psychedelic oblivion of Earth and Wolves in the Throne Room. A departure from his previously collaborative recordings, the album features Corbo on drums, bass, guitar, and keyboards, weaving sweet, intentional melodies and vocal harmonies over a slamming, distorted rhythm section.