quête:demons

"“Few artists combine the thrills of danceable pop with a higher purpose, but that's exactly what Israeli singer Noga Erez does”
– NPR Music

“One of Israel’s few breakthrough indie stars… and one of the country’s most hyped artists”
– The Guardian

July 17, 2024 (New York, NY): Today, alt-pop singer, rapper & multi-hyphenate Noga Erez debuts her brand new single and accompanying music video entitled “AYAYAY” featuring sensational Argentinian rapper Dillom, out via Neon Gold/Atlantic Records. The track marks the latest single off Erez’s highly-anticipated, third studio album THE VANDALIST out Friday, September 20.

“AYAYAY” sees Erez and partner ROUSSO dabble in the world of reggaeton, layering her dynamic and wide-ranging vocals with lyrically packed bars, over a frenetic house beat. The sexy, tropical track emblemizes the romantic appeal of the “papí azucar” (“sugar daddy”) along with extravagant living from both the male (provided by Dillom through a brilliantly crafted verse) and female perspectives, the desire to maintain it, and the self-imposed expectation to chase it when a relationship doesn’t live up to standards. Directed by Erez & ROUSSO, the music video for the track, filmed almost entirely through a kaleidoscope lens DIY-style, is brimming with personality as Erez lives her best life.

THE VANDALIST is a satirical, yet confessional look at real and online life, the project arrives brimful of monster tunes, intricate production, wit, charm and attitude, representing a significant leap from her previous work, expanding her emotional range from sultry to savage, and demonstrating even greater ambition with quickfire lyrics, broadened vocal styles, and the elaborate backing crafted with partner and producer ORI ROUSSO. THE VANDALIST primes Noga for yet another evolution in her musical journey, which is set to resonate strongly with listeners everywhere.

Recently released singles include “PC People (feat. ROUSSO),” along with title track “Vandalist,” and “Come Back Home,” all of which are joined by official “Against The Machine (Live)” performance videos, streaming now at YouTube
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Marcin ist ein weltweites Phänomen und der Gitarrist der Gen Z. Sein Debütalbum "Dragon in Harmony" ist eine Demonstration seines selbst-entwickelten, atemberaubend virtuosen Stils, Gitarre zu spielen in 14 genre-übergreifenden Titeln. Bei TikTok, Youtube und Instagram begeistert Marcin Millionen Follower mit seinem unnachahmlichen Stil, die Gitarre mit beiden Händen am Griffbrett zu spielen. Er zerlegt Klassiker aus Rock, Hip-Hop oder Klassik in "real time" in ihre Einzelteile und türmt diese zu neuen Gitarren-Arrangements auf, wobei er die Akkorde, Melodien und eine handtrommelartige Percussion gleichzeitig spielt. Ein musikalisches Spektakel als One-Man-Show. Auch Kritiker vom "Rolling Stone", "Billboard", "Premier Guitar" oder "Guitar World" preisen Marcin als "einen der talentiertesten Gitarristen seiner Generation". Mit all seinen Erfahrungen aus den letzten Jahren hat Marcin sein Album "Dragon in Harmony" konzipiert. Er möchte ein Publikum weit jenseits der Gitarren-Fans erreichen und erklärt selbstbewusst: "Mein Statement an die Gitarrenpuristen ist: Ja, ihr habt recht. Die Gitarre ist tot. Macht weiter so wie bisher. Mein Ziel war es aber schon immer, ein breites Publikum zu begeistern." Zusammen mit Producer Dan Book (Blink-182, Shania Twain, Britney Spears) verbindet Marcin auf "Dragon in Harmony" eine genreübergreifende Sammlung von Originalkompositionen und Covern zu einem harmonischen Ganzen. Songs von Justin Timberlake ("Cry Me A River"), Sade ("Smooth Operator") und Nirvana ("Heart-Shaped Box") fügen sich schlüssig an Kompositionen von Mozart (Requiem), Debussy ("Claire de Lune") oder Miles Davis/Bill Evans ("Nardis"). Der Alternative-Radio-taugliche Titel "When The Light Goes", für den Marcin den Sänger Portugal.The Man (bekannt für seinen Hit "Feel It Still") eingeladen hat, und "Allergies" mit Sängerin Delaney Bailey, bilden weitere stimmige Farbakzente auf dem Album. "Ich wurde im Jahr 2000, dem Jahr des Drachen, geboren und veröffentliche mein Debüt im Jahr 2024, ebenfalls ein Jahr des Drachen. Der Drache ist ein feuriges, mythisches Wesen, ungezähmt und chaotisch. Aber er steht ebenso für Harmonie. In den letzten Jahren habe ich viele unterschiedliche Dinge ausprobiert, die scheinbar nicht zusammenpassen. Mit meinem Album mache ich jetzt eine künstlerische Aussage, die kohärent ist. The dragon is in harmony." erläutert Marcin seine Album-Idee. Mit Ichika Nito ("I Don't Write About Girls") und Tim Henson von der Band Polyphia ("Classical Dragon") sind zwei weitere junge Gitarren-Heroes für jeweils einen Titel als Duett-Partner zu hören.

On Chastity’s upcoming, self-titled fourth record, Williams decided to write a fully non-fiction work. Out Friday, September 13 2024 on Deathwish (US), Dine Alone (Canada), and Big Scary Monsters (UK/E) ‘Chastity’ is a 13-track record about the things that have always run through the band’s records—struggle, death, despair, redemption, darkness, and light—but this time, the songs ascend to new depths of intensity and desperation, new heights of resolution and power. “It’s really about the first nosedive that I did as a young person,” says Williams. “It’s a record about struggle, about the missing years. It’s also a thank you to some people in my life.” The record hurtles through melodic hardcore, shoegaze, and emo, all magnificently and enormously rendered thanks to slick work from John Paul Peters (Propagandhi, Comeback Kid), who engineered and mixed the record. Chastity’s first three full-length records—2018’s Death Lust, 2019’s Home Made Satan, and 2022’s Suffer Summer—formed a trilogy that defined a 4-year arc of the band’s contribution to outsider music. Each record was informed by Williams’ life, but each was also conceptual and interpretive, refracting his experiences through a level of remove. On the self-titled record there’s a beautiful and affirming ending to it’s closer, centered on the band’s first and enduring idea: life is less shitty if we live it together.

Nick Lowe returns with Indoor Safari, his first studio album in over a decade. Backed on every track by Nick's trusted collaborators Los Straitjackets, Nick exhibits his razorsharp songwriting ability through a multitude of sonic environments. With his signature wit on display for grooving numbers like "Went to a Party" and "Don't Be Nice to Me," to the heartfelt sentiment on "Blue on Blue" and "Jet Pac Boomerang," and topped with Nick breathing new life into hidden gems of the '60s like "Raincoat in the River" and "A Quiet Place," Indoor Safari demonstrates how Nick Lowe continues to make his mark as a performer, songwriter and producer over a half-century after his start in the music industry. This First Edition pressing of Indoor Safari is pressed on bamboo color vinyl and is limited to 2,000 copies worldwide.

Nick Lowe returns with Indoor Safari, his first studio album in over a decade. Backed on every track by Nick's trusted collaborators Los Straitjackets, Nick exhibits his razorsharp songwriting ability through a multitude of sonic environments. With his signature wit on display for grooving numbers like "Went to a Party" and "Don't Be Nice to Me," to the heartfelt sentiment on "Blue on Blue" and "Jet Pac Boomerang," and topped with Nick breathing new life into hidden gems of the '60s like "Raincoat in the River" and "A Quiet Place," Indoor Safari demonstrates how Nick Lowe continues to make his mark as a performer, songwriter and producer over a half-century after his start in the music industry. This First Edition pressing of Indoor Safari is pressed on bamboo color vinyl and is limited to 2,000 copies worldwide.

Obsidian, the upcoming album from Pennsylvania's own riff-titans Crobot, and likely the band's most introspective journey yet, is set for release on the extraordinarily lucky 13th Friday. Produced by Crobot, recorded at The Machine Shop Studios in Austin, TX, and engineered, mixed, and mastered by Alberto De Icaza, the 12 tracks on Obsidian dive into the deep, murky waters of the human condition, threading ancient myths with personal demons across its tracks.

While the band's primary songwriters - Bishop and Yaegley - tend to leave their songs somewhat ambiguous, the upcoming album's new tunes touch upon very personal growth, conflicts, and reflections. "Each song descends into the darker reaches of the psyche," Bishop says, "set to a relentless rhythm of heavy, pulsing beats and gut-wrenching guitar solos, and offers a stark reflection of internal struggles." "'Obsidian' is almost a rebirth of our career," Brandon adds. "We were able to take a different approach to the writing and recording of this album, so the experience was very rewarding and different from past projects. Conflicts and reflections make you a better person, even in those darker moments, but I know I become a better person for it. I think that's what symbolizes this entire album for us. It's been a real breath of fresh air."

This is going to be the scariest spoken word record you’ve ever heard. We’re not joking…and neither is Vincent Price. The star of such horror classics as House of Wax, The Abominable Dr. Phibes, and Theatre of Blood (and, of course, narrator of Michael Jackson’s Thriller video) can barely hide his delight while he takes his audience through a graphic and occasionally grisly history lesson in witchcraft from the Bible through the Middle Ages, the Spanish Inquisition, and Nazi Germany. Then, accompanied by occasional eerie, abstract electronic music, Price’s sinister satisfaction only mounts as he provides instruction in the dark arts, with such tracks as “How to Make a Pact with the Devil” and “Curses, Spells, Charms.” It’s all in good fun, of course…or is it? The mysterious writer of the script, one Terry d’Oberoff, has only one other credit to his name: as the “mascot” of an early ‘70s band called…wait for it…Black Magic. This 1969 double-LP release has long been coveted by collectors of the curious and macabre, and for its first reissue in over 50 years, we are giving it the Real Gone treatment, reproducing the gatefold jacket and the full-size, 8-page booklet that accompanied some copies. It’s a combination history textbook and how-to manual in witchcraft, with a title page depicting a particularly unsettling spell called “The Hand of Glory” involving the severed, salted, and dried hand of a convicted felon. We are releasing this one-of-a-kind album on clear with orange “pumpkin” swirl vinyl…Happy Halloween.

’The Blues’ was B.B. King’s second Crown LP drawn from his RPM singles recorded between 1951-1958. This album traces his early development into a world class artist. ‘The Blues’ used a single hit tune (in this case “When My Heart Beats Like a Hammer,” a Top Ten R&B chart entry in 1954) to help sell a package of lesser-known material, but thankfully the label also picked some great tunes that hardly sound like filler, even if they didn’t make the charts. King’s songwriting was already stellar, with “I Want to Get Married,” “Don’t You Want a Man Like Me,” and “Ruby Lee” demonstrating his way with a melody and a lyrical conceit. ‘The Blues’ demonstrates he was already near the top of his class. The LP is extended with 2 bonus tracks.

This is the second package of remixes for the hypnotic folk music of the Ainu a cappella group Marewrew. 
Ukouk Remixes Pt. 02 is dedicated to dub-infused remixes, featuring Elijah Minnelli and Peter Presto on a 7" single.
Elijah Minnelli is a producer of dub music. The London-based artist specialises in a fusion of folklore and dub, which he masterfully demonstrates on his latest release Perpetual Musket on the FatCat label. His remix of Marewrew's Uekap is a deep and breathing take on the mesmerising round singing vocals, dubbed in a live take through his mixing desk. The chopped vocals are used like percussion instruments. Elijah Minnelli has also contributed a moody DJ mix to the Pingipung podcast series, sharing some of his knowledge of pre-reggae roots music from the Caribbean and South America.
Pingipung founder Peter Presto remixes the same track, Uekap, with his unmistakable dubby playfulness. The vocals are merry, the groove stumbling and slow. The flute melody qualifies as a perfect stress antidote.
The electronic dub trio Cloud Management added their version of Honkaya to the digital package. There is an Andi Otto remix in the bundle, Hunpe Yan Na. The song is about a whale that has stranded ashore; Otto dubs the song with Heiko Gogolin’s bass clarinet, blown organ pipes and his cello. Finally, Californian folk wizard Contact Field Orchestra adds his atmospheric, haunted version of Etukuma Kara.

Straight off the back of his first live headline tour, 1-800 GIRLS continues his journey of binding genres through emotion with his debut EP ‘That’s Just How I Feel’ on Seb Wildblood’s label all my thoughts.

Mirroring his previous works, this four-track collection is a tapestry woven around themes of transformation and progression. Evolving with each production, this release is a strong statement of intent for how he means to go on.

The EP itself is made up of 4 scantily clad, lovestruck dance tracks that feel purpose built for the summer festival run. Proudly bearing all the hallmarks of a UK production, pitch vocals are inked onto the body of each track with detail and care. He demonstrates his ability to stir emotion with simplicity, and seasons each production with tastefully chosen found sound recordings.

Mit dem neuen Album The Crux präsentieren sich KILLED BY 9V BATTERIES facettenreich wie nie zuvor. Sie überraschen mit einer Vielzahl an Ideen und bewahren sich trotzdem ihre Bissigkeit; breitangelegte Klangwände erheben sich und umgarnen die feinsinnigen Melodien, Krach und Pop reichen einander die Hand. Das Sound-Universum ihres bisherigen Oeuvres war geprägt von unorthodoxen Klängen aus dem Verzerrer, von harschen Noise-Skizzen und wütenden Ausbrüchen. Auf The Crux findet sich all das in ausgereifter Form wieder. Killed By 9V Batteries haben lange getüftelt, bis alle Details zu einer wahren Gitarrensinfonie verwoben waren. Mit dem Produzenten Patrick Pulsinger und dem Aufnahmeleiter Oliver Ollmann Brunbauer standen dabei zwei der renommiertesten Studiofüchse Wiens Pate. Das mit ihrer Hilfe entstandene Album präsentiert die Lockerheit und Verschrobenheit einer Band, deren Eigenständigkeit unbestritten bleibt: Killed By 9V Batteries demonstrieren mit The Crux ihr Gespür für raffinierte Gitarrenmusik, die aus dem Bauch, aus dem Herzen kommt.

Purple, the second studio album released in 1994 by the Stone Temple Pilots, stands as a monumental achievement in the band's career and a defining moment in the grunge and alternative rock music scene of the 1990s. With a potent blend of raw energy, introspective lyrics and masterful musicianship, Purple not only catapulted Stone Temple Pilots to superstardom, but it also marked a significant evolution in the band's sound.

The album, building on the foundations laid by the band's debut album Core, was a huge success for the band, debuting at No. 1 on the Billboard 200 chart and quickly achieving multi-platinum status, worldwide.

Its chart-topping single, "Interstate Love Song," became an anthem for a generation, and the album as a whole showcased the band's artistic prowess.

Lyrically, "Purple" also revealed a more introspective and mature side of Stone Temple Pilots. Scott Weiland's songwriting delved into personal struggles and emotions, addressing themes of addiction, love, and self-discovery. This depth added a layer of authenticity to the album, allowing listeners to connect with the band on a profound level.

Purple also demonstrated that Stone Temple Pilots were more than just another grunge act; they were a force to be reckoned with, capable of delivering powerful and emotionally resonant music. Purple remains a crucial chapter in the band's history and an essential listen for any fan of rock music.

Analogue Productions has given the showstopping Purple the full reissue treatment: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

We present UT006, a compilation featuring six dynamic tracks, each with its own unique flavor. This
collection showcases the diverse sounds found within the electro universe.

Dark Vektor and The Bandit, united by the bass, unleash a high-energy blast brimming with
intricate sound details, power, vocoders, and versatility—all in one.

Cyberdom offers a captivating track with arpeggiated bass lines and a nostalgic 2000s vibe. His
signature style and well-crafted arrangements create a journey through sweet and subtle darkness.

Amor 307 joins the lineup with an aggressive track featuring thick, looped sounds and strident acid
elements, revealing his techno influences.

Spectrums Data Forces delivers a high-end track that defies conventional electro norms. If not for
its broken rhythm, it could be described as a storm of quality techno with intense melodies.

The Belgian Dark Prophet contributes a 4x4 hit designed to ignite any dance floor, blending a
touch of classic electro that resonates with our audience.

Promising/Youngster has once again proven his mastery. This track exudes pure quality,
demonstrating that simplicity can be the ultimate form of beauty, and a sample can evoke powerful
memorie

Seit ihrer Gründung 2014 in Melbourne, Florida, haben Bodysnatcher nichts anderes als das Feinste an wütender, extremer Musik zu bieten. Durch
die Kombination von erdrückenden Breakdowns mit unheimlicher Atmosphäre, vernichtenden Riffs und gruseligen Grooves ist die Band zu einem
Synonym für "heavy" geworden, das in jeder Stadt, die sie besuchen, Gewalt hervorruft und Moshpits hervorruft, die nichts als Krater in ihrem
Kielwasser hinterlassen. Jetzt, mit der bevorstehenden Veröffentlichung ihrer 2024 EP, Vile Conduct, ist die Band zurück mit einer weiteren
Demonstration purer Kraft, die einmal mehr zeigt, dass Bodysnatcher aus konventionellen Genre-Zwängen ausbrechen, um etwas herauszubringen,
das einfach nur... heavy ist. Produziert vom legendären Will Putney (Fit for an Autopsy, END, Knocked Loose), erzählt Vile Conduct von persönlichen
Geschichten über den Verlust durch Sucht und Drogen, alles durch eine einzigartige Linse aus bitterer Reue und gnadenloser Aggression, wie sie nur
Bodysnatcher bieten können.

The very first Buchla synthesiser performance by revolutionary composer Suzanne Ciani finally makes its fifty year journey from its switch-on New York art gallery to its long deserved and discerning global phonographic audience.

With this previously unheard vinyl pressing, Finders Keepers Records are proud to present an archival project of ‘art music’ that not only redefines musical history but lays genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we have come to understand it. To describe Italian-American composer Suzanne Ciani’s resurrected Buchla concert records as genuine gamechangers would be a gross understatement. These records represent a musical revolution, an artistic revelation, a scientific benchmark and a trophy in the cabinet of counterculture creativity. This sonic installation album, alongside her recently liberated WBAI/Phill Niblock 1975 sessions (FKR082), are triumphant yardsticks in the synthesiser space race and the untold story of the first woman on the proverbial musical moon. While pondering the early accolades attached to these golden era New York recordings it’s daunting to learn that these records were in fact not even records at all.

What exists on this disc now was a manifesto and a one-time gateway to a new world, which somehow was only partially pushed ajar. Captured here is a genuine live act exploring new territories with a fully performable music instrument. If the unfamiliar, modernistic, melodic pulses, tones and harmonics found on these 1970’s artistic gallery collaborations/ live presentations (then soon to be followed by academic grant applications and educational demonstrations) had been placed in a phonographic context alongside the widely marketed work of Morton Subotnick, Walter Carlos or Tomita, then the name Suzanne Ciani and her infectious influence would have already radically changed the shape, sound and gender of our record.

With the light of Buchla and Ciani’s initial flame Finders Keepers continues the journey through the vaults of this increasingly celebrated music legacy, illuminating these ‘non-records’ that evaded the limelight for almost half a century. You can’t write history when you are too busy making it. With fresh ink in the bottomless well, let’s start at the beginning. Again

The Bluesville Series from Craft Recordings and Acoustic Sounds!
Inspired by the original Prestige label imprint established in 1959
Live Wire/Blues Power by Albert King
All-analogue mastering by Grammy-nominated engineer Matthew Lutthans
180-gram vinyl pressed at Quality Record Pressings
Obi strip with reflections written by Grammy-winning producer, writer, and musician Scott Billington
Highlighting trailblazing blues musicians from legendary labels

Live Wire/Blues Power is a live album from Albert King recorded in 1968 at the Fillmore Auditorium in San Francisco, California. Featuring originals and King's rendition of classics, the album demonstrates Albert King's blues prowess.

Featuring all-analogue mastering by Grammy-nominated engineer Matthew Lutthans at The Mastering Lab at Blue Heaven Studios. Pressed on 180-gram vinyl at Quality Record Pressings, this album is released in partnership with Acoustic Sounds, and features a paper-wrapped tip-on jacket. According to Rolling Stone, this album is "Just the unadulterated pure and simple blues.

Experimental hardcore outfit Rats Will Feast draws their musical landscape from extreme aggression and hallucinatory chaos. Hailing from Jyväskylä, Finland, the band has been touring actively in its current form since 2018. Varying between crushing hardcore, noisy psychedelia and more mellow postrock sounds on their 2019 album Scarcity, 2020 EP Songs of a Racehorseand 2021's Malady, the band's new album Hellhole continues the development of the bands destructive chaotic hardcore sound. Hellhole is the culmination of the band's all the previous work. It's a bruising demonstration of the bands core sound: chaotic rhythms, battering drums, screeching vocals, varied guitar melodies and crushing riffswith gritty low frequencies. Characteristic of the band, the album is defined by the twisted song structures and desolate, emotional lyrics which deal with the artificiality of the modern world. Hellhole is the culmination of the band's all the previous work. It's a bruising demonstration of the bands core sound: chaotic rhythms, battering drums, screeching vocals, varied guitar melodies and crushing riffswith gritty low frequencies. Characteristic of the band, the album is defined by the twisted song structures and desolate, emotional lyrics which deal with the artificiality of the modern world.

‘Rick Astley's 1991 album 'FREE' marked a significant departure from his previous pop-driven sound, showcasing a more mature and introspective side. The album, which featured a blend of pop, soul, and R&B influences, and a star-studded list of collaborators, including Elton John, Michael McDonald and Mark King, presented Rick in a new light, exploring themes of love, loss, and personal growth. Singles like ‘Cry for Help’ and ‘Move Right Out’ displayed Astley's emotive vocals and soulful delivery.

'Free' received critical acclaim for its musical diversity and Astley's vocal prowess, earning praise for its mature songwriting and emotional depth. 'Free' remains a standout moment in his career, demonstrating his artistic evolution and versatility as a musician. With its heartfelt lyrics and soulful melodies, 'Free' continues to resonate with listeners, offering a timeless exploration of love, freedom, and self-discovery.

The LP format is available for the first time featuring the full 11-track album (originally released with just 10 tracks) and comes in a highly desirable gold mirrorboard sleeve. The double CD format features 18 bonus tracks, 7 of which are previously unreleased, including studio track ‘Call Me’.

Cryptic Hatred was formed in 2019 by four friends bound together by their mutual passion for music and death metal. In summer 2020 they quickly released their first demo Free from the Grave to positive international feedback. The demo then received a CD release from the US-based Desert Wastelands label, as well as a release in Europe via Finland-based The Other Records. Soon after, the debut album Nocturnal Sickness dropped in early 2022 (again via The Other and Desert Wastelands), elevating the band to even greater standing in the global death metal underground. The feedback was overwhelmingly positive from both the fans and the metal media, highlighting the leaps the band made in terms of both musicianship and songwriting. Nocturnal Sickness sold over 1000 physical copies and streamed over 100 000, with high praise coming from metal press (such as the esteemed US metal magazine Decibel). The songs on Nocturnal Sickness were notably in the vein of classic Florida death metal - but it also had moments of unhinged melody and savagery which highlighted the band's movement towards their own, identifiable sound. "Internal Torment" is a testament to Cryptic Hatred's ability to craft music that speaks to the soul. It is an invitation to explore the shadows within, to confront the demons that lurk in the recesses of the mind. With each listen, new revelations await, making this album a haunting journey of self-discovery. Prepare to be spellbound by the subtle intricacies of "Internal Torment," as Cryptic Hatred invites you to lose yourself in the haunting beauty of their mesmerizing cryptic metal sound.

Experimental hardcore outfit Rats Will Feast draws their musical landscape from extreme aggression and hallucinatory chaos. Hailing from Jyväskylä, Finland, the band has been touring actively in its current form since 2018. Varying between crushing hardcore, noisy psychedelia and more mellow postrock sounds on their 2019 album Scarcity, 2020 EP Songs of a Racehorseand 2021's Malady, the band's new album Hellhole continues the development of the bands destructive chaotic hardcore sound. Hellhole is the culmination of the band's previous work. It's a bruising demonstration of the bands core sound: chaotic rhythms, battering drums, screeching vocals, varied guitar melodies and crushing riffs with gritty low frequencies. Characteristic of the band, the album is defined by the twisted song structures and desolate, emotional lyrics which deal with the artificiality of the modern world.