Cerca:dur

"Würden die Pforten der Wahrnehmung gereinigt, erschiene den Menschen alles, wie es ist: unendlich." - William Blake.

Psychedelischer Rock war immer schon ein probates Mittel, um den Geist zu befreien und die Seele wandern zu lassen. Progressiver Rock hingegen zielt stets darauf ab, den Intellekt zu nähren und die Grenzen der Musik zu verschieben, durchlässig zu machen. Im Klangkosmos von Polymoon kollidieren diese beiden Galaxien und lassen einen neuen Stern progressiver Psychedelik entstehen.

Kosmische Härte, die mit wehmütigen Melodien verschmilzt und dann weiter in ein fraktales Gefühlprogressiver Unendlichkeit mäandert: "Chrysalis" ist ein Album, das uns höflich dazu auffordert, es gründlich zu erforschen. Dies ist kein Fast-Food-Rock, dies ist keine Platte, die alle ihre Geheimnisse und verborgenen Schätze gleich beim ersten Durchlauf preisgibt; es ist eine Platte, die für die Psych-Prog-Kenner, Space-Rock-Kosmonauten und Freunde des Sonderbaren da draußen eine extrem lohnende, bereichernde Erfahrung darstellt Eine interstellare Reise voller Wendungen und Stimmungen. Vom gigantischen Prog-Rock-Opener "Crown of the Universe" über das massive "Set The Sun" bis hin zur schlangenartigen Pracht von "Viper At The Gates Of Dawn" (höhö...) entfalten sich Polymoon auf "Chrysalis" zu voller kosmischer Größe. Ohne es zu wissen, sind sie kurz davor, eines der faszinierendsten, aufregendsten und forderndsten Psychedelic-Rock-Alben der letzten Zeit zu veröffentlichen. Bis zur Unendlichkeit und noch viel weiter.

- Ltd. Col. LP: (A/B Bone - Red Col. Vinyl, Gatefold)

Stankowski erzählt in seiner neuen „Flaschenpost“ vom kleinen und großen, vom guten und freien Leben, in dem sich Kinder wohlfühlen.

Mit seinem neuen Werk begibt er sich auf eine musikalische Vagabondage und einen Spaziergang durch die Welt mit einem poetischen kindlich-weisen Blick.
Und genau das ist es, was Kindern gerade jetzt so guttut, weil sie teilhaben an einer positiven Welt der Erwachsenen, die ihnen
Werte vermittelt, mit denen sie sich aufrichten können.
Johannes Stankowski ist damit ein Meister der entpädagogisierten Songs, die pädagogisch wertvoll sind.

Das Debüt-Solo-Album von Billy Howerdel (A Perfect
Circle) nun auch auf Vinyl erhältlich.
Der in New Jersey geborene und in Los Angeles
lebende Sänger, Multiinstrumentalist, Produzent und
Komponist Billy Howerdel (A Perfect Circle) hat sich in
aller Stille als Musik-Autor mit einem ausgeprägten
emotionalen Verständnis, klanglicher Schärfe und einem
Händchen für große Hooks durchgesetzt. Nachdem er
Pink Floyd live erlebt hatte, widmete er sein Leben der
Musik und arbeitete als gefragter Tournee-und
Studiotechniker für Bands wie David Bowie, Guns N'
Roses und Nine Inch Nails

Über 6 Milliarden Streams für ihren bisherigen Katalog und mehr als 20 Millionen Follower:innen rund um die Welt – Aya Nakamura hat in den jüngsten Jahren Standards gesetzt. Nun öffnet der französisch-malische Superstar das nächste Kapitel für sich: Am 27. Januar erscheint das neue, vierte Album „DNK“, schon heute gibt es die Single „Baby“ in Begleitung eines Musikvideos – siehe unten.

„DNK“ folgt auf das 2018 veröffentlichte „NAKAMURA“ – das meistgestreamte französischsprachige Album aller Zeiten – und „AYA“, das 2020 erschien, zum meistgestreamten Album des Jahres 2021 einer Künstlerin in Frankreich wurde (über 1 Milliarde Streams!) und den Victoire de la Musique France Music Award 2022 gewann. Zusammen haben sich Nakamuras Alben weltweit über 1,5 Millionen Mal verkauft – und das nicht etwa nur in französischsprachigen Ländern, sondern quer durch Europa, Afrika und Südostasien. Wie populär die Künstlerin ist, zeigen auch ihre Zahlen bei TikTok: über 40 Millionen Creations und mehr als 40 Milliarden Views auf fünf Kontinenten gehen auf ihr Konto.

Nachdem die Titel der beiden Alben „Aya” und „Nakamura“ sich auf ihre Künstlernamen bezogen, gibt der Titel „DNK“ des neuen Albums einen Hinweis auf ihren bürgerlichen Nachnamen Danioko. Unverändert bleibt ihr einzigartiger lyrischer Stil, der der Pariser Slang, Arabisch und Bambara (die malische Sprache ihrer Eltern) vereint und Afrobeat, Pop, R&B und den karibischen Dance-Sounds des Zouk einen frischen Anstrich verpasst. Für zusätzliche Abwechslung sorgen die Features des Albums, darunter die aufstrebenden Rapstars Tiakola & SDM und die bekannte karibische Zouk-Sängerin Kim

160-gram heavyweight Vinyl LP with gatefold jacket displaying the painting series that inspired the music, and the story of Newtok. Newtok is a remote Alaska Native village situated on the Ningliq River, near the west coast of Alaska. Although a very remote and quiet place, Newtok has come face-to-face with climate change. Due to a combination of thawing permafrost, low levels of sea ice, and strong storms, the coastal land of Newtok is eroding dramatically. In 2016, Chicago visual artist Jennifer Cronin embarked on a trip to Newtok to document this changing environment. Upon returning, she spent the next several years developing a series of paintings and screen prints titled Seen and Unseen that captured this eroding landscape. In 2019, Cronin and musical Artist Patrick Mitchell (a/k/a Dusty Patches) began discussing the project after Cronin asked him to perform at the Gallery opening for the series. As a result, Mitchell created this album, Newtok - inspired by Cronin's Seen and Unseen series and the story of Newtok, Alaska. Mitchell is a multi-instrumentalist songwriter and producer from Chicago who has led numerous past projects in the Chicago DIY community including De Triomphe, New Color, and Whiskey Wise. He dove headfirst into synths in 2017 and adopted the electronic alias Dusty Patches. Dusty Patches released his debut project Filthy Four Track Machine: Volumes I & II (2018, Sooper Records), largely made with the Teenage Engineering Pocket Operators and OP-1. In 2020, he released Nocturnal Emissions from the Dablatory, his first project fully realized with modular synthesis. In approaching Newtok, Mitchell composed all of the constituent musical elements of the work and then recorded and live mixed the album during a single live performance on modular synthesizer. The album draws heavily on sprawling ambient synths, electric and acoustic post-punk guitar motifs, cryptic vocal sampling, vintage drum machines, and modular patches that often sound like birds or the sea. The subject matter of the album, the complexity of its arrangement, and its execution as a single live recorded performance makes Newtok a unique musical experience. About Newtok, Mitchell says: This record was an exploration of themes. When faced with the immense canvases Jen Cronin produced upon her return from the village of Newtok, one can't help but feel awe. With the sheer size of the works towering above you, you are compelled. There is overwhelming beauty, desolation, a sense of urgency, and a sense that it is, in fact, far too late. These visual themes, and the emotions they evoke, were connected to the sounds and compositions of this record. There is a coldness to the digital soundscape, but organic sounds of nature and humans tether and steer the album through a journey of musical storytelling. Newtok is a journey of musical storytelling about the tragedy of the Anthropocene in the age of climate change. FOR FANS OF: Mother Earth's Plantasia, Black Moth Super Rainbow, Boards of Canada, Bibio

Fredlös' selbstbetiteltes Debütalbum wird im Frühjahr 2023 veröffentlicht und enthält 9 dunkle, schwere und intensive Songs. Textlich ist das Album eine Reise durch das späte Mittelalter. Musikalisch ist es ein Mix aus Metal, Rock und Folk. Featuring Gitarrist Alex Hellid (ENTOMBED) & Gastsänger Erik Grawsiö (MANEGARM). Klingt wie Solstafir, Heilung, Myrkur oder Manegarm!

During this period Hassell was inspired by the increasingly innovative production techniques being used in hip-hop, in particular the hyper-collaged sampledelic barrage of the Bomb Squad’s work with Public Enemy, hearing it as a kind of extension of the tape splicing that Teo Macero brought to his work with Miles Davis.

He began to incorporate more of this aesthetic into his own music, playing over loops of his own performances and riffing on angular juxtapositions of noise, rhythm and melody.

The resulting sonic stew is a kind of futuristic sci-fi funk with an appropriately melted production aesthetic - instruments and samples jumping to the forefront then disappearing in the manner of the best dub records.

‘The Living City’ captures the Jon Hassell Group in September 1989, performing as part of an audio-visual installation inside the World Financial Center Winter Garden in New York City, with Brian Eno mixing the band live.

During this period Hassell was inspired by the increasingly innovative production techniques being used in hip-hop, in particular the hyper-collaged sampledelic barrage of the Bomb Squad’s work with Public Enemy, hearing it as a kind of extension of the tape splicing that Teo Macero brought to his work with Miles Davis.
He began to incorporate more of this aesthetic into his own music, playing over loops of his own performances and riffing on angular juxtapositions of noise, rhythm and melody.

The resulting sonic stew is a kind of futuristic sci-fi funk with an appropriately melted production aesthetic - instruments and samples jumping to the forefront then disappearing in the manner of the best dub records.

‘Psychogeography’ is a situationist re-thinking of the 1990 ‘City: Works Of Fiction’ album, a carefully edited sequence of alternate takes, demos and studio jams put together by Jon Hassell in 2014 using Debordian philosophy as his guide.

Gone: The Promises Of Yesterday is by no means a sequel to Ghetto: Misfortune's Wealth - missing are the poignant and bleak sermons on the pain of inner-city existence, replaced by dusky, sensuous re-workings of tainted love songs Warren had written as far back as 1965, during his time as a songwriter at Shrine and Motown. Still, his unfinished self-reinvention, even heard through the prism of these skeletal remnants, delivers on a remarkable purity of vision: one man's corner of black culture, 24 carats pure and mishandled perhaps until now, finally a bit less misunderstood.

The Pretty Reckless veröffentlichen 2022 ein neues Projekt namens »Other Worlds«. Die Sammlung wird akustische Aufnahmen, Cover-Versionen und mehr von Taylor Momsen und Co. enthalten.

Vor allem einige der Cover-Versionen dürften für Fans der Hardrocker aus New York eher überraschend kommen. So enthält »Other Worlds« neue Interpretationen von Elvis Costellos »(What's So Funny 'Bout) Peace, Love And Understanding«, Soundgardens »Halfway There«, Chris Cornells »The Keeper« und David Bowies »Quicksand«.

»Wir haben lange Zeit versucht, einen alternativen Weg zu finden, um Musik zu veröffentlichen, einschließlich Songs, die wir lieben und die es nicht auf unsere Platten geschafft haben, sowie Cover und alternative Versionen«, erklärt Frontfrau Taylor Momsen.

»Mit ›Other Worlds‹ haben wir einen Weg gefunden, dies kohärent und konsequent zu tun. Wir sind eine Rockband, deshalb gibt es auf unseren Platten viele E-Gitarren. Allerdings haben wir von unseren Fans unglaubliches Feedback zu unseren akustischen Auftritten bekommen, und die haben wir nie in einem richtigen Format veröffentlicht. Dies ist also eine andere Sichtweise auf das traditionelle Format einer Platte und eine abgespeckte Version von uns, die unsere Fans noch nie zuvor gehört haben, aber es sind immer noch wir.«

»Other Worlds« enthält auch einige besondere Gäste, darunter David Bowies Pianist Mike Garson, Pearl Jams Matt Cameron und den Multiinstrumentalisten Alain Johannes.

Alt-rap dissident Jam Baxter announces his newest solo venture, Fetch the Poison. Conceived during a state-wide alcohol ban in Mexico, the album is Baxter’s first to be composed in complete sobriety — though his hallucinatory style of storytelling and cast of monstrous characters make a welcome return. Lyrics on Fetch the Poison meld Baxter’s Latin American experience with visions of a grisly alternate dimension: sun, sea and glittering vistas are sullied by hollow-eyed addicts, shady bar tenders and duplicitous lovers. Amongst deft bars, the rapper includes a number of spoken word pieces that echo the prose in his now sold out book Off-Piste. The album also features Blah Records' Nah Eeto & Black Josh, as well as DJ Sammy B-Side and Jehst, alongside Brazil’s NOG, Black Alien and Xamã. Baxter reunites with frequent collaborator Chemo on production — now under the moniker Forest DLG — for much of the album, with appearances from Jack Danz, Dr Zygote, Wundrop (CMPMD) and Midlands' electronic stalwart Lenkemz. Despite its diverse credits, tracks are connected by icy, spaced-out electronics with beats twisted through tape distortion and anchored by chest- rattling bass. Baxter began writing the album in Mexico just before the pandemic began while holed up in the city of San Cristobal De Las Casas, Chiapas, as the world shut down. “All the streets were eerily empty and it was amazing. I had the city to myself,” he says. “Then suddenly there was a state- wide alcohol ban and I could no longer casually sip tequila as I went about my business. I didn’t really have a choice but to write” With no alcohol to fuel him, and San Cristobal largely silent, the rapper says he was surprised to find himself in a deeply creative — and prolific – state. “I took to it amazingly well, and I wrote this whole album in three months of clear-headed bliss in the same apartment. I would sit and write all day, and occasionally walk up a mountain when I got stuck ... or go and feed the stray dogs at the church on top of the hill. It was weirdly the most fun I’d had in years.” Fetch the Poison is Baxter’s seventh solo album.

Im Laufe ihrer ersten beiden Alben "Cosmovore" und "Providence" haben sich Ulthar eine einzigartige Nische im Spektrum des Underground-Metal geschaffen, indem sie eine grotesk-elegante Mischung aus technischer Death-Metal-Alchemie und den stechenden Eiswinden des Black Metal schmiedeten. Fast 3 Jahre nach "Providence" hat ein Ausbruch von tödlicher Kreativität zu ZWEI neuen Alben geführt, die nun gleichzeitig veröffentlicht werden.

"Anthronomicon" verkörpert die kontinuierliche Weiterentwicklung von Ulthars Meisterschaft in ihrer Kunst. Von den ersten Blasts und dem verschlungenen Wahnsinn von "Cephalopohre" an verwirren Ulthar mit kantigen, verzerrten Riffs, die in verschiedene dimensionale Sphären ein- und austauchen. Jeder der 8 Tracks von Anthronomicon ist ein zerbrechliches Teil eines größeren Puzzles, jeder für sich ein Labyrinth, das zusammengenommen die Durchquerung dieses surrealistischen Rätsels ermöglicht.

Die drei erfahrenen Musiker von Ulthar geben sich nicht damit zufrieden, einfach nur eine weitere Death Metal-Band unter Tausenden zu sein. Vielmehr ist die Band ständig auf der Suche nach mehr zwingender Komplexität, mehr Nuancen und dem Streben nach einem beständigen Aufstieg in eine transzendente und inkongruente Welt jenseits des Alltäglichen; ein Ort euphorischen Jubels und verwirrender Ehrfurcht.

Ultra Clear Vinyl
Im Laufe ihrer ersten beiden Alben "Cosmovore" und "Providence" haben sich Ulthar eine einzigartige Nische im Spektrum des Underground-Metal geschaffen, indem sie eine grotesk-elegante Mischung aus technischer Death-Metal-Alchemie und den stechenden Eiswinden des Black Metal schmiedeten. Fast 3 Jahre nach "Providence" hat ein Ausbruch von tödlicher Kreativität zu ZWEI neuen Alben geführt, die nun gleichzeitig veröffentlicht werden.

"Anthronomicon" verkörpert die kontinuierliche Weiterentwicklung von Ulthars Meisterschaft in ihrer Kunst. Von den ersten Blasts und dem verschlungenen Wahnsinn von "Cephalopohre" an verwirren Ulthar mit kantigen, verzerrten Riffs, die in verschiedene dimensionale Sphären ein- und austauchen. Jeder der 8 Tracks von Anthronomicon ist ein zerbrechliches Teil eines größeren Puzzles, jeder für sich ein Labyrinth, das zusammengenommen die Durchquerung dieses surrealistischen Rätsels ermöglicht.

Die drei erfahrenen Musiker von Ulthar geben sich nicht damit zufrieden, einfach nur eine weitere Death Metal-Band unter Tausenden zu sein. Vielmehr ist die Band ständig auf der Suche nach mehr zwingender Komplexität, mehr Nuancen und dem Streben nach einem beständigen Aufstieg in eine transzendente und inkongruente Welt jenseits des Alltäglichen; ein Ort euphorischen Jubels und verwirrender Ehrfurcht.

Im Laufe ihrer ersten beiden Alben "Cosmovore" und "Providence" haben sich Ulthar eine einzigartige Nische im Spektrum des Underground-Metal geschaffen, indem sie eine grotesk-elegante Mischung aus technischer Death-Metal-Alchemie und den stechenden Eiswinden des Black Metal schmiedeten. Fast 3 Jahre nach "Providence" hat ein Ausbruch von tödlicher Kreativität zu ZWEI neuen Alben geführt, die nun gleichzeitig veröffentlicht werden.

Während das Schwesteralbum "Anthronomicon" ein 8-teiliges Puzzle aus labyrinthischem Tumult darstellt, nimmt "Helionomicon" diese Elemente und erschafft zwei hoch aufragende 20-minütige Monolithen von strahlender Avantgarde-Unermesslichkeit. Jeder der beiden Tracks mit den passenden Titeln "Helionomicon" und "Anthronomicon" entführt den Hörer auf eine ausgedehnte Reise durch ein psychozerebrales Spektakel, in dem bisher ungeahnte Landschaften Gestalt annehmen und seltsame, nicht greifbare Strukturen das sich auflösende Firmament durchdringen. Trotz der beträchtlichen Länge dieser beiden Tracks wird es nie langweilig; jeder besucht unzählige neue Ausblicke und Perspektiven über die Zeit hinweg. Im Grunde ist "Helionomicon" eine Synthese des gesamten bisherigen Schaffens von Ulthar in Form von zwei kulminierenden, ambitionierten Epen.

Ultra Clear Vinyl
Im Laufe ihrer ersten beiden Alben "Cosmovore" und "Providence" haben sich Ulthar eine einzigartige Nische im Spektrum des Underground-Metal geschaffen, indem sie eine grotesk-elegante Mischung aus technischer Death-Metal-Alchemie und den stechenden Eiswinden des Black Metal schmiedeten. Fast 3 Jahre nach "Providence" hat ein Ausbruch von tödlicher Kreativität zu ZWEI neuen Alben geführt, die nun gleichzeitig veröffentlicht werden.

Während das Schwesteralbum "Anthronomicon" ein 8-teiliges Puzzle aus labyrinthischem Tumult darstellt, nimmt "Helionomicon" diese Elemente und erschafft zwei hoch aufragende 20-minütige Monolithen von strahlender Avantgarde-Unermesslichkeit. Jeder der beiden Tracks mit den passenden Titeln "Helionomicon" und "Anthronomicon" entführt den Hörer auf eine ausgedehnte Reise durch ein psychozerebrales Spektakel, in dem bisher ungeahnte Landschaften Gestalt annehmen und seltsame, nicht greifbare Strukturen das sich auflösende Firmament durchdringen. Trotz der beträchtlichen Länge dieser beiden Tracks wird es nie langweilig; jeder besucht unzählige neue Ausblicke und Perspektiven über die Zeit hinweg. Im Grunde ist "Helionomicon" eine Synthese des gesamten bisherigen Schaffens von Ulthar in Form von zwei kulminierenden, ambitionierten Epen.

Rulaman steht für schwebende, psychedelische Klangteppiche, gewoben aus einem erdigen und analogen Sound. 2015 gegründet, gelang es der Band unter dem Namen The Hace schnell lokale Erfolge zu feiern.2019 veröffentlichten sie die Debüt EP 'Peacemaker'.2020 wurde aus dem Quartett ein Trio und Rulaman war geboren. Mit der EP 'Rulaman' veröffentlichte die Band zum ersten Mal eine konzeptionelle EP, die ihre Zuhörer auf eine Reise durch Wald, Wüste, Sumpf und den eigenen Geist entführt. "To Serve The Dune" ist nun ihr Debütalbum via Tonzonen Records. Direkt der Album Opener 'Bitkin (Wake)' nimmt die Zuhörer*innen mit in die Tiefen der Psyche und kalten Monate. Mit starken Riffs und treibenden Drums wird einem hier eine neue Seite von Rulaman gezeigt, die nun durchaus härtere Töne anschlagen. Nur zwei Titel später werden im Instrumental 'Creatures' gewohnte, sphärische Klänge mit rhythmischen Bässen und fesselnden Melodien gemischt. Auch durchaus kritische Texte umfasst das Portfolio des Trios. 'ThirtyNine' erzählt die Geschichte eines machtgierigen Herrschers der seine Bevölkerung aushungert um sich selber daran zu bereichern.

Das Kollaboalbum „Only Built for Infinity Links‘‘ der zwei Rap-Ikonen Takeoff & Quavo erscheint auf Vinyl!
Das Album ist die erste Kollaboration der beiden Rapper auf Albumlänge nach ihrem „Migos‘‘-Bruch und erreichte Platz 7 der US-Charts.

Wie auch bei ihren bisherigen Projekten arbeiteten die Künstler mit namenhaften Produzenten wie Buddha Bless, Murda Beatz, Zaytoven, DJ Durel oder Mustard zusammen.

Der Name „Only Built for Infinity“ soll die Unzertrennlichkeit zwischen Quavo und seinem Neffen Takeoff verdeutlichen.
Soundtechnisch machen die beiden Artists da weiter wo sie vor dem Migos-Bruch aufgehört haben: Auf gewohnt mitreißenden 808s rappen die beiden geschmeidig und flow-wechselnd in Harmonie, wie sie es
schon ihre halbe Karriere lang machen.

Leider ist das Projekt die letzte Kollaboration zwischen den beiden Erfolgsrappern gewesen, da Takeoff im November auf tragische Weise nach einer Auseinandersetzung verstarb.

Fans dürfen sich freuen: Das Erfolgsalbum wird als 2LP erhältlich sein und 18 Songs enthalten

Green Vinyl

Das Iconoclast Album gab es im Juni 2011 damals nur in den Farben blau und weiß als Vinyl in Europa.
Ca 12 Jahre später wurde das Album nun mit grünem Vinyl nachgepresst.

Es scheint keine Superlative zu geben, die diesem Meilenstein gerecht werden könnte. Das Opus ist nicht nur unheimlich innovativ,
sondern auch überraschend hart und trotz der progressiven Perfektion durchaus eingängig ausgefallen.

During the 60s and 70s, three distinguished old gentlemen who had built their careers playing "made in France" exotic jazz - Roger Roger, Nino Nardini and Eddie Warner - met every evening in the Ganaro recording studio, playing like kids with their new toys: souped-up keyboards that looked more like prototypes of spaceships to explore the Milky Way. Flying high on whimsical and joyful inspiration, the improbable trio used their strange instruments to sketch out the beginnings of something that, at that time, resembled the future of music. Let's take a trip with them toward a pop, light-hearted and electronic future.

Wie so oft bei Deichkind geht es auf ihrem achten Studioalbum „Neues Vom Dauerzustand“ scheinbar um nichts – und doch um alles. Insofern passt es perfekt in eine Zeit, in der die Realität die Satire längst eingeholt und an Absurdität übertroffen hat. Und wie soll man auf eine derart groteske Wirklichkeit bitte angemessener reagieren als mit Überzeichnung in grellsten Farben und Klängen?
Auch wenn einem das Lachen im Hals stecken bleibt: Tanzen und Denken passen auf diesem Album perfekt zusammen.

Ihr neues Album „Neues Vom Dauerzustand“ ist bis zum Bersten gefüllt mit Punchlines sowie überwältigenden Sounds und Beats. Man kann in 2023 immer noch bestens zu Deichkind wippen, tanzen, ausgehen, durchdrehen. Und künftige Stehsätze wie „Gefährliches Halbgoogeln“, „Kids in meinem Alter“ oder „Auch im Bentley wird geweint“ werden uns noch lange begleiten.

Mit „Neues Vom Dauerzustand“ ist Deichkind ein Album gelungen, das mit bestechender Dringlichkeit neue Themenhorizonte erobert und in jeder Note absolut frisch und lebendig klingt.
„Neues Vom Dauerzustand“ erscheint auf dem bandeigenen Label Sultan Günther Music und enthält Gastbeiträge von u.a. Clueso, Fettes Brot und Drunken Masters

Repress !

The long-awaited reissue of the best ever album of rare Eastern and psychedelic Jazz music by this famous Hungarian guitarist
Gabor Szabo, originally released in 1968. For the first time as extended edition with 2 bonus tracks: radio versions of Fire Dance
/ Ferris Wheel from the 1969 7” single 7”. Deluxe 8-sided Digipak CD and Gatefold Vinyl come with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne. Remastered by Martin Bowes at Cage Studios (UK).
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep
love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy
Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still
living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way
to America, settling with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged
by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during
melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the
energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams.
Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and
"Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the
brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of
rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more
commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style.
From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop,
Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the '70s, finding opportunities to perform
brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.

Infinite Machine is proving again it's a label that refuses to sonically sit still. Having released everything from code-based compositions to bass-heavy techno in 2022, the imprint is readying the release of the black metal-tinged Ehkta by BOLT RUIN later this month. A musician whose work has been described as 'apocalyptic' more than once, on this new mini-album, the Belgian producer blends field recordings, twisted samples and rave signifiers with an eerie tonality born out of his nocturnal production sessions and time spent absorbing the silence of his studio garden.

Bridging the gap from his previous record to this one, 'Sktone' is a cinematic opener that unfolds like a bad dream in slow motion. Warped samples of Bulgarian choirs glide over synths wired in closed-circuit loops which feed back on themselves, degrading for infinity. Texture and space is added via field recordings of waves crashing over the ruins of Brighton West Pier. This track exemplifies the unexpected influence BOLT RUIN took from the wildlife he witnessed in the garden of his urban studio when working on Ehkta. Adapting to the material at their disposal, weasels and blackbirds create nests from organic waste and human trash - an astute metaphor for the Belgian producer's compositional approach.

Next up, BOLT RUIN drives up the tempo with the rave-ready 'Nehng', where a frenzy of trance arpeggios and frantic drum programming builds and intensifies over its 5-minute duration. Inspired by Yves Klein's 'Leap Into a Void', 'Nehng' definitely evokes that bodily rush of freefalling into the unknown. 'Nehng''s driving rhythm is switched out for the brooding 'Tzarhk' - an ode to the soundtracks of B-movies composed on a vintage Roland SH-2 (a prominent character of the Stranger Things soundtrack). BOLT RUIN runs thick, syrupy synth slabs and punishing drum patterns through a rain-soaked limiter the producer found lying on the street by chance.

Another master-class in self-destructive arrangements comes in the form of 'Rfohmdrá' as delicate pianos and synth tones atrophy through daisy chained pedals which erode the signal. Valgeir Sigurðsson's mastering skills shines through here, taking BOLT RUIN's sci-fi-meets-metal sonics and amping them up to a scale on par with the Björk or Ben Frost records he's previously worked on.

Conceived of as the mirror reflection of the LP's opener, 'Maevr' pushes the approach of 'Sktone' to an even more nightmarish extreme. Embracing chance, the clattering layers of beats are sampled of a knocked mic on a window as BOLT RUIN attempted to capture a recording of rain from his studio. A happy and very effective accident for the foreboding mood of the track!

BOLT RUIN rounds off Ehkta with 'Ekztamnh'; an ode to that specific sensation of entering through a corridor to a rave and hearing the rumble of a soundsystem from afar. Snarling melodies are run through a reverse granular delay effect which fragments the signal, reverses it and plays them back in irregular order; much like the shattered memories of a late night in a warehouse.

A musical magpie who finds inspiration in the most unlikely of sources, Ehkta is a restless exploration of salvage-punk aesthetics where doom-laden black metal melodies, amen breaks and an experimental approach to sound design sit in an irregular and uneven musical apocalypse. For fans of Blanck Mass or Caterina Barbieri - this is a must-listen material from a fresh producer establishing himself with a singular musical voice.

Dublin-based producer Moving Still further blends both his Saudi Arabian and Irish heritage on 'Kalam Hub', a triumphant new EP that marks the fifth release on CWPT/Cooking With Palms Trax. Following a series of 12” edits and original productions that have put his sounds in the record bags of DJs including Hunee, Nabihah Iqbal and Esa Williams, 'Kalam Hub' presents an ambitious expansion of the Moving Still sound, delving into his identity and background to open up imaginative, universal new corners for club culture.

This potent musicality is immediately evident from the first notes of 'Kunafa King'. Taking its title from a traditional Arabic dessert, analogue midi sounds deliver a skewed take on the traditional Saudi rhythms of the artist's youth, before expanding into a wistful diversion for any self-respecting dance floor. It's a trick Moving Still pulls off again on the pulsing 'Hayati 89', which transforms from a traditional aesthetic into a blistering, neon-tinted Italo banger, the kind of track designed to compliment an accelerated spin in the car gracing the eye-catching cover of ‘Kalam Hub’, a collaboration with the artist alongside Manchester-based graphic design studio, Dr. Me.

Concluding the record's A-side, the rhythms take a trippier turn for the duration of 'La Titasil Feeya'. Translating to “don't call me!” and making sonic reference to teenage years immersed in rock, metal and general angst, it unfolds as something akin to Middle East-tinted techno with a formidable kick drum, before exploding in colourful, organic breakbeats. Immediately on the flip, the sense of wonder returns in a sonic mirage for 'My Bosa Is For You', weightless rhythms blending with an electric organ and charming, lightly psychedelic breakdowns.

Further sonic tricks fall from Moving Still's delicately-tailored sleeves on 'Haram Odyssey', where an almost impossibly tight bass line provides the function for contrasting synthesis and unpredictable percussion, drawing parallels between the sometimes confusing aspects of the artist's dual-cultural life as a child, through to the music he makes as an adult. Fittingly, the record concludes with ‘Kalam Hub', a triumph of minimalist percussion and traditional instrumentation that pays tender tribute to the Moving Still's grandmother, translating simply to “Love Talk”.

Repress !

The long-awaited reissue of the best ever album of rare Eastern and psychedelic Jazz music by this famous Hungarian guitarist
Gabor Szabo, originally released in 1968. For the first time as extended edition with 2 bonus tracks: radio versions of Fire Dance
/ Ferris Wheel from the 1969 7” single 7”. Deluxe 8-sided Digipak CD and Gatefold Vinyl come with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne. Remastered by Martin Bowes at Cage Studios (UK).
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep
love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy
Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still
living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way
to America, settling with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged
by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during
melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the
energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams.
Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and
"Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the
brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of
rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more
commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style.
From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop,
Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the '70s, finding opportunities to perform
brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.

Having co-produced Duran Duran’s acclaimed fifteenth studio album, ‘FUTURE PAST’, Erol Alkan returns to recent single ‘ALL OF YOU’ to deliver a very special Extended Rework. Paying tribute to the band’s pioneering ‘Night Version’ remixes that tipped their earliest material towards the dance floor, this grandiose reimagining equally recalls Alkan’s beloved reworks from over the years.

Recorded with founding members Simon Le Bon, Nick Rhodes, John Taylor and Roger Taylor, ‘All Of You’ also features lead guitar from Graham Coxon and backing vocals by Barli. Blessed with the raw material, Alkan distills each element into a glorious disco odyssey totalling nearly ten minutes, an epic but sensual dance floor trip that already ranks amongst his finest work. 

Phantasy is proud to release 'ALL OF YOU (Erol Alkan's Extended Rework)’ (backed with an instrumental version) on a limited run of 12” vinyl.

Re-issue from 1993!!!

Very rare and sought after! 'Melon Ball' is a mixture between the most beautiful sound-layers you can imagine and a light acid-line in the background.
Alltogether makes this track so wonderful and moving. You could enjoy it in the club as well as on the beach during the sunset!
A track for a affair of the heart!
Big Tip !!!

Die AfD im Bundestag, zwei Jahre Pandemie und dann plötzlich ein furchtbarer Krieg direkt in Europa. ZSK liefern mit „HassLiebe“ den Soundtrack für alle, die sich trotz finsterer Zeiten nicht entmutigen lassen. Ein Album zum Durchhalten, zum Feiern und vor allem zum Rausschreien der ganzen Wut!

Mit dem siebten offiziellen Album "HassLiebe" setzen ZSK ihren Weg in alter Punkrock-Manier fort. Bekannt wurde die Band durch ihre starke politische Meinung in Songs wie "Antifaschista" und "Kein Mensch ist illegal" und auch mit ihrem neuen Longplayer setzen ZSK wieder ein deutliches Zeichen gegen rechts. In jedem Song klingt einerseits die Liebe zur Musik und andererseits ein kleines bisschen Wut mit. ZSK besitzen einen einzigartigen Stil, der gerade durch die Stimme Joshi einen extremen hohen Wiedererkennungswert hat und auch dieses Mal alle Fanschichten mitreißen wird.

Die AfD im Bundestag, zwei Jahre Pandemie und dann plötzlich ein furchtbarer Krieg direkt in Europa. ZSK liefern mit „HassLiebe“ den Soundtrack für alle, die sich trotz finsterer Zeiten nicht entmutigen lassen. Ein Album zum Durchhalten, zum Feiern und vor allem zum Rausschreien der ganzen Wut!

Mit dem siebten offiziellen Album "HassLiebe" setzen ZSK ihren Weg in alter Punkrock-Manier fort. Bekannt wurde die Band durch ihre starke politische Meinung in Songs wie "Antifaschista" und "Kein Mensch ist illegal" und auch mit ihrem neuen Longplayer setzen ZSK wieder ein deutliches Zeichen gegen rechts. In jedem Song klingt einerseits die Liebe zur Musik und andererseits ein kleines bisschen Wut mit. ZSK besitzen einen einzigartigen Stil, der gerade durch die Stimme Joshi einen extremen hohen Wiedererkennungswert hat und auch dieses Mal alle Fanschichten mitreißen wird.

Regarded by many as the greatest funk album of all time, ‘One Nation Under A Groove’ was recorded at United Sound in Detroit & included a live track from their concert appearance at the Monroe Civic Center in Louisiana in April 1978. The band’s tenth studio album released during September 1978 was also their most commercial & gave the band their first platinum disc. The iconic title track was an international hit and a US R&B No.1. With lead guitarists Michael Hampton & Eddie Hazel dazzling, the personification of funk Bootsy Collins on bass, Bernie Worrell & Walter “Junie” Morrison’s keyboard wizardry & many more, the album was produced by the genius of George Clinton. Regularly ranked at or near the top of various “best album” lists, ‘One Nation Under A Groove’ is mastered for vinyl in a deluxe facsimile gatefold sleeve with booklet & lyric inner sleeves, all housed in a protective PVC sleeve. The albums’ original bonus songs are now included on a second 12-inch “Special EP” which adds the rare 11-minute “Disco Mix” of ‘One Nation Under A Groove’ to replicate the original first UK pressing from 1978. FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.[1][2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one
of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.

The British shoegaze band Chapterhouse released two albums during their existence, Whirlpool (1991) and Blood Music (1993). Blood Music spawned the single “We Are The Beautiful”, which was released during that same year and also appeared as a 12”.

The 1993 EP We Are The Beautiful features the title track, a mix of the title track, and two additional tracks: “Frost” and “Age”. Except for “We Are The Beautiful”, none of the tracks have been released on Chapterhouse’s studio albums.

We Are The Beautiful is available as a limited edition of 750 individually numbered copies on gold & black marbled vinyl.

AMBER ARCADES ist das Pseudonym von Annelotte de Graaf, der niederländischen Singer/Songwriterin, die zwei EPs und einige von der Kritik gefeierte Alben aufgenommen hat, von denen das zweite, "European Heartbreak", durch "hints of Lindi Ortega and early Saint Etienne, breezy, dreamy pop more personal than political" (The Guardian) glänzt. AMBER ARCADES verlor kürzlich für einen Moment den Glauben an die Musik, gewann ihn dann aber wieder zurück und liefert nun ihr bisher atemberaubendstes Album ab: "Barefoot On Diamond Road", das am 10. Februar 2023 erscheinen wird - ihre erste Veröffentlichung auf Fire Records. Die erste Single "Just Like Me" ist ein offenkundig tanzbarer und triumphaler Song, der durch seine Stop/Start-Struktur eine beunruhigende und unvorhersehbare Schärfe in das Geschehen bringt. "There's a clear distinction from my last record ,European Heartbreak', which had a complete narrative. This record is completely the opposite" erklärt die Niederländerin in einem Statement zum neuen Album. Eingetaucht in eine alles verzehrende Wall of Sound ist "Barefoot On Diamond Road" wie MY BLOODY VALENTINE in akustischer Form; es sollte eigentlich nicht funktionieren, aber tut es trotzdem. Es ist eine Gegenüberstellung von Texturen, von sprunghaften, unruhigen Dancefloor-Beats bis hin zu symphonischer Kosmik, ein barocker Pop-Teppich, der mit Celli und Harfen bestückt ist, mit einer klagenden Steelguitar, die in der Ferne widerhallt. Die Schlagzeug- und Perkussions-Arrangements von Matt Chamberlain (PEARL JAM, BOWIE, DYLAN, ADELE, LORDE, SPRINGSTEEN, COHEN...) verleihen dem Ganzen zusätzliche Textur. Es ist ein Album von einnehmender Reife, gefüllt mit Zeitlupen und epischen Steigerungen, die es mit all der Dramatik in schwindelerregende Höhen heben - man denke an THE GUN CLUB, die sich mit PORTISHEAD zurücklehnen, alles könnte passieren, es ist ein imaginärer Film... und PJ HARVEY lauert im Schatten. AMBER ARCADES neues Album "Barefoot On Diamond Road" markiert eindeutig eine neue Phase im Schaffen der hochangesehenen Musikerin. "Wistful, glowing dream pop" The Guardian

Swedish outsider anti-folk: Embedded in the ever exciting Swedish underground scene Enhet För Fri Musik continues the quest for innovation numerous legendary Swedish bands started during the 70s, Pärson Sound, Trad Gras Och Stenar, Arbete Och Fritid. Taking the ideas of communal music craft and experimentation, on this album the group comes to a unique combination of Jandek-like atonal guitar, organ, tape effects, field recordings, saxophone and Sofie Herner's amazing loner voice running over it.

Nosaj Thing meldet sich mit seinem fünften Album 'Continua' samt hochkarätigem Ensemble zurück. Nach privaten Schicksalsschlägen in den letzten 5 Jahren schaut Jason W. Chung mit gleichgesinnten Künstlern aus Hip-Hop, Jazz, Soul und Avantgarde (u.a. HYUKOH, Toro y Moi, Kazu Makino (Blonde Redhead), serpentwithfeet, Malone und Panda Bear) nach vorne und legt eine Platte vor, die ermutigt, weiterzugehen. Nosaj Things Expertise in der Erzeugung einzigartiger, stimmungsgvoller Klanglandschaften führte ihn quer durch seine Heimatstadt L.A.: von Noise/Punk-Shows im DIY-Treffpunkt The Smell über DJ-Sets im Low End Theory bis zu Gigs mit Toro y Moi, The xx und The Weeknd. Seine 16-jährige Diskografie macht ihn zu einem Kultkünstler, der mit dem neuen Album nun alle Erwartungen an ihn als Komponist, Produzent und Arrangeur übertrifft.

Endearing Montreal-based trio Afternoon Bike Ride announce their forthcoming second album "Glossover", set to be released via Friends of Friends. Consisting of Lia Kurihara (vocals, guitar, programming), David Tanton (vocals, guitar, drums, programming), and Éloi Le Blanc-Ringuette (vocals, keys, drums, programming), Afternoon Bike Ride is a lo-fi folk trio providing a comfort zone in audio form. It"s in the name. When all three artists are together, their chemistry culminates into one organic and lush sound. Sonics that feel natural and freeing, as if fireside with a handful of microphones and instruments and toys. The band has released a series of cohesive projects where field recordings blend with ambient, acoustic, folk, and pop. A cauldron of genres they stir during each song. With precision, Afternoon Bike Ride presents a soothing sound all their own, one that continues to expand and deliver with each new release.

Sämtliche Songs des Nachfolgers ihres von der Kritik hochgelobten Debütalbums TAKE ME APART, das Kelelas Aufstieg in den Mainstream beschleunigte, wurden von ihr selbst geschrieben, arrangiert und zusammen mit Asmara co-produziert, während das Ambient-Duo OCA (Yo Van Lenz & Florian T. M. Zeisig) und LSDXOXO, neben Bambii, als Hauptproduzenten des Albums gelten. Auf RAVEN taucht Kelela aus den Gezeiten der ozeanischen Umlaufbahn ihres höheren Selbst auf, um Autonomie, Zugehörigkeit und Selbsterneuerung als Heilung zu erkunden. Die beiden Singles 'Washed Away' und 'Happy Ending' wurden von Pitchfork bereits als 'Schaufenster ihres schwebenden Soprans' und Beweis für ihren 'gehauchten, anmutigen Gesang' gefeiert. Mit ihren talentierten Bewegungen zwischen den Frequenzen von R&B und Dance Music konnte sich Kelela als künstlerische Interpolatorin von Musik, Kunst und Mode etablieren. Ihre Frühwerke CUT 4 ME (2013) und HALLUCINOGEN (2015) zementierten sie als führende Kraft in der alternativen Underground-R&B- und Elektronikwelt und eröffneten ihr Kollaborationen mit weiteren visionären Künstler*innen wie Solange, Gorillaz, Andrew Thomas Huang und Danny Brown. Mit ihrer durchdachten Mischung aus Eleganz, Futurismus, Göttlichkeit und Sinnlichkeit hat sich Kelela einen Weg gebahnt, der Stil sowohl als Bestandteil der Kunst als auch als Kunst an sich demonstriert.

Ltd. Clear Vinyl 2LP+DL

Sämtliche Songs des Nachfolgers ihres von der Kritik hochgelobten Debütalbums TAKE ME APART, das Kelelas Aufstieg in den Mainstream beschleunigte, wurden von ihr selbst geschrieben, arrangiert und zusammen mit Asmara co-produziert, während das Ambient-Duo OCA (Yo Van Lenz & Florian T. M. Zeisig) und LSDXOXO, neben Bambii, als Hauptproduzenten des Albums gelten. Auf RAVEN taucht Kelela aus den Gezeiten der ozeanischen Umlaufbahn ihres höheren Selbst auf, um Autonomie, Zugehörigkeit und Selbsterneuerung als Heilung zu erkunden. Die beiden Singles 'Washed Away' und 'Happy Ending' wurden von Pitchfork bereits als 'Schaufenster ihres schwebenden Soprans' und Beweis für ihren 'gehauchten, anmutigen Gesang' gefeiert. Mit ihren talentierten Bewegungen zwischen den Frequenzen von R&B und Dance Music konnte sich Kelela als künstlerische Interpolatorin von Musik, Kunst und Mode etablieren. Ihre Frühwerke CUT 4 ME (2013) und HALLUCINOGEN (2015) zementierten sie als führende Kraft in der alternativen Underground-R&B- und Elektronikwelt und eröffneten ihr Kollaborationen mit weiteren visionären Künstler*innen wie Solange, Gorillaz, Andrew Thomas Huang und Danny Brown. Mit ihrer durchdachten Mischung aus Eleganz, Futurismus, Göttlichkeit und Sinnlichkeit hat sich Kelela einen Weg gebahnt, der Stil sowohl als Bestandteil der Kunst als auch als Kunst an sich demonstriert.

The third compilation (of four instalments) in the Various Artists catalogue of Pi Electronics is hitting physical and digital stores around the globe on the 10th of February 2023.

The concept of releasing artists, who performed at Pi parties (2014-2019) along with musicians who stood close to the label before and during its activity, gathers 18 tracks to the Limitation Compilation.

Music by New York City industrial legend Adam X, Swedish master mind producer Peder Mannerfelt and Irish Techno figure, Eomac (also one half of Lakker) finally takes its place on the label catalogue, along with tracks by the electro side of Italian born producer, Alessandro Adriani and the sound-aesthetic of UK hailing musicians, Slave to Society (formerly AnD ) and Sam KDC.

Berlin artists Alekzandra and Interviews appear with a synth leaning piece, and a hypnotic, broken techno contribution respectively.

You can also meet the sound of Tel Aviv's finest electro duo TV.OUT on this release, which also includes a rare collaboration track by Ireen Amnes and Gramrcy.

Finally, 'Limitation' presents music by Greece affiliated acts of different backgrounds: from the dreamy guitars of Monochromatic Visions and the ambient/drone of Devika, to the broken beats of Zevla and the rolling techno of Thanos Hana; Not to mention the textures of noise band Phallucipher, the industrial slo mo techno of Thessaloniki's, Archaic Intellect, and the noise-techno of label founder, 3.14.

A crossroad of different genres and production styles is offered in the formats of Double Vinyl Sampler, Double CD and digital for this compilation, titled "Limitation".

Gold/ Bone Vinyl

Das Duo Tribunal aus Vancouver mag der breiten Welt noch unbekannt sein, aber das fesselnde Debütalbum "The Weight Of Remembrance" ist angeteten, das zu ändern. Im schwarzen Samtgewand des Gothic Doom Metal weben Tribunal düstere Geschichten von ultimativer Verurteilung, nicht enden wollendem Regen und einsamer Verzweiflung.

Mit dem klassisch ausgebildeten Cellisten/Bassisten/Sänger Soren Mourne und dem Gitarristen/Sänger Etienne Flinn bedient sich das Duo mit seinen ziegelsteinschweren, klassischen Doom-Riffs am klassischen Death Metal-Schwere wie z.B. My Dying Bride, allerdings gefiltert durch ein modernes Kaleidoskop. Der Sound ist mit Anspielungen auf die 80er und 90er Jahre sofort vertraut, klingt aber nie retro oder wie eine bloße Hommage. "The Weight of Remembrance" erweckt vielmehr das Gefühl eines sorgfältig komponierten Orchestersatzes, der zu einer bröckelnden, mit Moos bewachsenen Kathedrale passt. Die Vocals des Duos wechseln häufig zwischen geisterhaftem, klagendem Cleangesang, beißendem Kreischen im Black-Metal-Stil und furchteinflößenden Todesrufen.

Das Debüt von Tribunal ist eine unverzichtbare Ergänzung des modernen Doom-Kanons, der sich ausgehend von einer Basis aus erdrückender, tragischer Schwere und Verlorenheit in unendlich viele musikalische Richtungen entwickeln kann. In diesem Sinne hat "The Weight Of Remembrance" die vollendete Atmosphäre einer Band, die in Umfang und Ausführung ihrer Vision weit über ihr junges Alter hinaus ist.

A Notwist concert is a Notwist concert is a Notwist concert. The band around the core trio of Cico Beck and the Acher brothers Markus and Micha usually takes its studio recordings as a mere starting point for their live performances, considering them to be possibilities that need to be explored further. This is especially true for »Vertigo Days - Live from Alien Research Center,« a live record made under unusual circumstances. The band members rearranged songs from their ambitious 2021 album »Vertigo Days« in their studio in Weilheim to record and film a special performance. The songs took on a new life, becoming more psychedelic and intense when rearranged into a spontaneous, Krautrock-esque collage.

»Vertigo Days« was meant to transcend the conventional notion of a band as well as the creative and geographic boundaries inscribed into that concept. And even though life had other plans, this is precisely what the album did when it was released to both commercial success and critical acclaim in early 2021. Contributions by Tenniscoats singer Saya, Angel Bat Dawid, Ben LaMar Gay, Juana Molina, among others, as well as new member Theresa Loibl on bass clarinet, harmonium, and keyboard, expanded the band’s sonic palette, stylistic range, and even lyrical focus through the addition of different instruments, artistic approaches, and languages.

All of that was missing when the band retreated to their studio—dubbed Alien Research Center in response to, and in spite of, a nearby church called Christian Outreach Center—to further explore the possibilities of the source material. The band members considered this a challenge rather than an insurmountable problem and not only accepted, but fully embraced it. Trying to work as little as possible with the computers and samples—Saya’s voice on »Ship« being a notable exception—the band rearranged six tracks from »Vertigo Days« and a piece from the »One of Those Days« film soundtrack in order to allow themselves to improvise more freely, especially thanks to Loibl, who takes on a key role during these 45 minutes.

The intro sets the tone for what’s to come, contrasting loose jazz drumming with curious synthesizer rhythms in an abstract rendition of the first sounds that greeted the listeners on »Vertigo Days«. While the next four tracks—»Into Love / Stars«, »Exit Strategy To Myself«, »Where You Find Me« and »Ship«—follow the chronology of the album, they use the originals as a blank slate for further experimentation. The first track morphs into a feverish long-form jam that draws on the underlying groove to shift the dynamics from and leave behind the song structure of the studio version. It’s an exemplary piece in a recording that sees each individual musician leaving their mark on the overall sound, all while being perfectly attuned to what everyone else is doing around them. This continues up until the record’s triumphant finale, a whirring rendition of »Loose Ends.«

»Vertigo Days - Live from Alien Research Center« is at once a snapshot of a certain moment in the band’s history and the quintessential Notwist live record: a unique performance that both explores the untapped potential of the »Vertigo Days« studio recordings while also serving as an inspiration for upcoming live shows.

As with the studio album, the artwork for »Vertigo Days - Live from Alien Research Center« features photographs by Japanese artist Lieko Shiga, taken in the '00s.

WRWTFWW Records is thrilled to announce the first ever release of the soundtrack for the sci-fi Amiga demoscene wonder Odyssey by the Alcatraz group, with music from Greg - and what is possibly the first ever vinyl release for an Amiga demoscene soundtrack, if not the first ever vinyl release for a demoscene soundtrack whatsoever!

The special limited edition vinyl features the complete soundtrack of the demo sourced from the original masters as well as printed innersleeves, a 24x24 inch double-sided poster with extensive liner notes on the fascinating history of the Amiga demoscene on one side and a floppy disk print on the other, and a WRWTFWW sticker sheet. Odyssey is also available in digital format.

Wikipedia says: The demoscene is an international computer art subculture focused on producing demos: self-contained, sometimes extremely small, computer programs that produce audiovisual presentations. The purpose of a demo is to show off programming, visual art, and musical skills. Demos and other demoscene productions (graphics, music, videos, games) are shared at festivals known as demoparties, voted on by those who attend and released online.

In the demoscene galaxy, one era was particularly exciting: the Amiga years during which the demos were created for the Commodore Amiga home computer - a time of intense rivalry between programmers, graphics artists, and computer musicians, testing the limits of the (fixed) Amiga hardware.

The Odyssey demo was one of the largest productions ever released by an Amiga group, a real sci-fi movie on five floppy disks made with 3D sequences. It was presented at a demoscene party in 1991 and won the competition, setting a new standard for Amiga demo possibilities.

One of the highlights of the demo was the funky cosmic music from Swiss composer Greg, a true space opera, the 90s galactic soundscape you didn’t know was missing from your life! And so here it is, available for the first time, 10 tracks of pure video game music joy, adventurous computer pop, pixelated techno-trance, Star Wars gone floppy disk, and interstellar beats for days.

RED APPLE MARBLE VINYL REPRESS.

Everything changed for The Beths when they released their debut album, Future Me Hates Me, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their home town, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.

Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, Jump Rope Gazers, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.

"If you're at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you're home, you miss everybody, and when you're away, you miss everybody. We were just missing people all the time.”

With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.

“It was a rough year in general, and I found myself saying the words, 'wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it -- a sentiment we need now more than ever.

Nada is Bérurier Noir's first 45t EP, released in 1983, originally on vinyl, shared with the band Guernica. 6 punk-psychiatric, aggressive and cold tracks. All in a black and white sleeve, with a terribly disturbing illustration signed by François (singer).

"A delirious rhythm box, relentless guitars, impeccable lyrics, voices from hell, all in a sordid and unhealthy climate, puking as you wish. They walk in the forest, for sure, but their forest is made of concrete, psychiatric hospitals and torture rooms. They're getting uglier and uglier, it's true, but their ugliness is like their music, cold, dark and totally derisory. At last, a dirty record in which one can wallow with pleasure.

In Cauda Venenum n°7 - 1983



The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.

From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

This land runs through Katherine Paul’s blood. And it called to her. In dreams she saw the river, her ancestors, and her home. When the land calls, you listen. And KP found herself far from her ancestral lands during a time of collective trauma, when the world was wounded and in need of healing. In 2020 she made the journey from Portland back to the Skagit River, back to the cedar
trees that stand tall and shrouded in fog, back to the tide flats and the mountains, back to Swinomish.

It is a powerful thing to return to our ancestral lands and often times the journey is not easy. Like the salmon through the currents, like the tide as it crawls to shore this is a story of return. It is the call and response. It is the outstretched arms of the people who came before, welcoming her home. The Land, The Water, The Sky is a celebration of lineage and strength. Even in its deepest moments of loneliness and grief, of frustration over a world wrought with colonial violence and pain, the songs remind us that if we slow down, if we listen to the waves and the wind through the trees, we will remember to breathe.

There is a throughline of story in every song, a remembrance of knowledge and teachings, a gratitude of wisdom passed down and carried. There is a reimagining of Sedna who was offered to the sea, and a beautiful rumination on sacrifice and humanity, and what it means to hold the stories that work to teach us something.

Chord progressions born out of moments of sadness and solitude transform into the islands that sit blue along the horizon. The Salish Sea curves along her homelands, and when the singer is close to this water she is reminded of her grandmother, how she looked out at these same islands, and she’s held by spirit and memory.

The Land, The Water, The Sky rises and falls, in darkness and in light, but even in its most melancholy moments it is never despairing. That is the beauty of returning home. When you stand on ancestral lands it is impossible to be alone. You feel the arms and hands that hold you up, unwilling to let you fall into sorrow or abandonment. In her songs Katherine Paul has channeled that feeling of being held. In every note she has written a love letter to indigenous strength and healing.

There is a joy present here, a fierce blissfulness that comes with walking the trails along the river, feeling the sand and th stones beneath her feet. It is the pride and the certainty that comes with knowing her ancestors walked along the same land, dipped their hands into the water, and ran their fingertips along the same bark of cedar trees.

This is a story of hope, as it details the joy of returning. Katherine Paul’s journey home wasn’t made alone, and the songs are crowded with loved ones and relatives, like a really good party. And as the songs walk us through the land it is important we hover over the images and the beauty, the moments that mark this album as site specific. The power of this land is woven throughout, telling the story of narrow waterways, brush strokes, salmon stinta, and above all healing.

Let it take you. Move through the story and see the land through her eyes, because it is a gift, a welcomed sʔabadəb.*

*The word “gift” in Lushootseed, the language of the Coast Salish people“

Ever dream you're in a spaceship on a never-ending journey to an unknowable destination? That's how Nyles Lannon often thought of life in the early part of the pandemic, when time seemed to stand still, before the vaccines or even knowing when there might be any. But whether that spaceship is a desolate prison or a vessel for escaping to a better world depends on how you use it. With literally nowhere to go, the Film School guitarist and his then-12-year-old son Skye, on drums and modular synths, would jam most evenings in Nyles's home studio, just to have something to focus their minds on and counter the tedium of "remote learning." What started out as a way to keep his talented kid busy became a means to process the anxiety and disorientation of that strange, scary stretch of time. The result is Vanishing, a ten-song album of moody melodies, new wave beats, droney rock, and even an electrogroove instrumental interlude, by the father-son project they named Nyte Skye.

The emotional toll of lockdown, our collective grief, the literal darkness that engulfed the sky thanks to devastating wildfires brought on by climate crisis—these are heavy subjects, but the songs also convey how we managed to keep each other sane, and inspired, through it all. Film School devotees will find plenty to love; so will fans of the Police (Stewart Copeland being one of Skye's major

influences), the Cure, Spiritualized, and Elliott Smith. The album's opener, "Dream State (I'm Vanishing)," is a wistful synth-driven indie gem about disappearing into an alternate universe where worries don't exist. "Doing Time," with its massive washes of 12-string guitar and sophisticated syncopated beat, is a shoegazey meditation on holding onto a child's sanguine outlook in the face of adversity. If dream pop track "Take Me Up Again" is the album's bounciest, its counterpoint is "Faded," whose bittersweet melody and gentle rhythm bely themes of physical and emotional frailty.

Ultimately, not only did working on Vanishing help the duo cope with a uniquely challenging situation, but just being stuck at home helped stoke their creativity. "Music was the only thing I did during the pandemic, besides online school," Skye says. "It gave us all this time we didn't have before to make the album." For Nyles—knowing they might never have that kind of time again—to be able to put out a record with his son is, simply, "a dream come true."

Vanishing was written, recorded, and produced by Nyles Lannon and Skye Lannon and mixed by Dan Long, with additional contributions from Zach Rogue (Rogue Wave), Nichole Kreglow (backup vocals), lyricist Neil Rodenmeyer (Lupa Rosa), and Ian McDonald (FUTRVST).

Time and duration are core themes in the work of both William Basinski and Janek Schaefer, and this long-distance collaboration took a suitably long gestation of eight years from start to finish. In that time, our collective perception of time has at times become disorienting. “ . . . on reflection” remodels that instability as an exquisite work of art – one that is unmoored by time or space. Limitation breeds creativity, revealed as an expression of minimalism and close focus. Deploying a delicate piano passage from their collective archive, Basinski and Schaefer weave and reweave in numerous ways, forging an iridescent flurry of flickering melodies. The sounds of various birds heard from late night windows on tour can occasionally be heard throughout, ricocheting off mirrored facades, reflecting on themselves as they continually reshape their own environments with song. “ . . . on reflection” looks backwards, a bustling revelry of positive emotions heard through the aging mirrors of memory. It is a celebratory meditation where sound shimmers through time like the light of the sea’s waves glistening as it folds and unfolds upon itself. Created 2014-2022 between L.A. & London. Mixed at Narnia, Walton-on-Thames. For Harold Budd. Press Quotes: “At its best, William Basinski’s music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead.” Pitchfork // "Schaefer finds peace in discord. His musique concrete pieces tend to evoke an ominous sense of mortal doom, yet enrapture in the process.” Pitchfork

Jah Mason was born in Jamaica's Manchester Parish, and grew up in a Christian family. During his childhood, he was nicknamed Perry Mason for his ability to resolve disputes, and it was under this name that his debut single "Selassie I Call We" was released in 1991 on Junior Reid's JR record label.

Early in his career as a child star during the late 1960s, reggae singing legend Dennis Emmanuel Brown, received the nickname of "boy wonder of Jamaican music." In 1981, reggae fans unanimously ordained Brown with a new title, "Emmanuel, the Crown Prince of Reggae" and the undisputed heir apparent, following the death of reggae "king" Bob Marley. Brown, with his extremely powerful tenor and distinctive singing voice, established himself easily as one of the most impressive reggae artists of the twentieth century. A happy and friendly man, Brown amassed a loving and loyal following throughout his career, and upon his death at the early age of 42, he was widely eulogized for his outgoing personality. He recorded more than 100 records, including over 50 albums, from the time he was in his teens. The world of reggae music lost a "towering talent," noted Billboard magazine, when Brown passed away on July 1, 1999.

The Rolling Stones legen die ultimative Live Best Of Sammlung vor: ”GRRR Live!”
2012 und 2013 feierten die Rolling Stones ihr goldenes Jubiläum mit der ”50 & Counting”-Tour durch Nordamerika und Europa. Bei dem Konzert am 15.12.2012 im Prudential Centre, New Jersey, begleitete ein unglaubliches Line-up von Gästen die Band auf der Bühne – Lady Gaga, The Black Keys, Bruce Springsteen, Gary Clark Jr, John Mayer & Mick Taylor. Das Konzert erwies sich als eine der bemerkenswertesten Shows in der Geschichte der Band. Nun wurde das Konzert neu bearbeitet und neu abgemischt.

Die genreübergreifenden Symphonic-Metal-Pioniere DELAIN sind zurück!

Die niederländischen Symphonic-Metal-Pioniere DELAIN brechen mit ihrem mit Spannung erwarteten, brandneuen Album „Dark Waters“, das am 10. Februar 2023 über Napalm Records erscheint, in neue
Gefilde vor. Die makellose Platte markiert ein bahnbrechendes Kapitel in der Geschichte der Band und präsentiert die Idee des Keyboarders, Gründers und Hauptsongwriters Martijn Westerholt mit einer neuen
Besetzung. Original-Gitarrist Ronald Landa und Original-Schlagzeuger Sander Zoer stoßen wieder zu DELAIN und stärken die Kontinuität, während neue Mitglieder – die großartige Sängerin Diana Leah und der Bassist Ludovico Cioffi – ihren Sound weiterentwickeln. Dark Waters folgt dem Chartstürmer Apocalypse & Chill (2020) und integriert die raffiniertesten Sounds des Genres. DELAIN's renommierte Orchesterarrangements, hervorgehoben durch moderne Schattierungen, setzen neue Maßstäbe und manifestieren den Fünfer an der Spitze der Szene. Eine klangliche Achterbahnfahrt aus eingängigen Melodien mit explosiven Elementen – von Pop über Filmmusik bis hin zu glühendem Metal – verschmilzt perfekt mit Dianas fantastischer Stimme und zeigt ihr unglaubliches Talent und ihre musikalische Raffinesse.

Als brandneuer Anfang und sicherer Hafen gleichermaßen, setzt ”Dark Waters” zweifellos das Vermächtnis dieser millionenfach gestreamten führenden Symphonic-Metal-Band fort und enthält alles, wofür DELAIN geliebt wird, und noch mehr.

Die mit Platin ausgezeichneten Band Pierce The Veil - Gitarrist/Sänger Vic Fuentes, Gitarrist Tony Perry und Bassist Jaime Preciado veröffentlichen ihr neues Album ”The Jaws of Life” am 10. Februar 2023 über ihr langjähriges Label Fearless Records/Concord.
Pierce The Veil sind in ihrem Genre zu einer Legende geworden - und das zu Recht. Ihre Rückkehr wurde mit Begeisterung aufgenommen und die erste Single ”Pass the Nirvana” wurde seit ihrer Veröffentlichung im September über 13 Millionen Mal gestreamt.
Sie haben in den USA zweimal die Spitze der Billboard Top Rock Albums, Alternative Albums und Hard Rock Albums Charts erreicht - zuerst mit Collide With the Sky (2012) und dem Nachfolger Misadventures (2016). Ein Jahrzehnt nach seiner Veröffentlichung schoss das bereits mit Platin ausgezeichnete ”King for a Day” auf Platz 1 der Billboard Hard Rock Streaming Charts, angetrieben durch den viralen Hashtag #KingForADay auf TikTok.

Was The Jaws of Life als Ganzes angeht, sagt Fuentes: ”Dieses Album hat uns wirklich näher zusammengebracht, als wir es je waren. Es war extrem schwierig für uns, so lange von der Straße weg und getrennt zu sein. ... In The Jaws of Life geht es darum, wie das Leben seine Zähne in dich schlagen und versuchen kann, dich zu verschlingen. Die ganze Negativität in der Welt und in deinem Kopf kann eine bösartige Sache sein. Wir sind extrem dankbar für diese Platte, unsere Fans und die Möglichkeit, wieder live Musik zu machen.”

Since 2006, Pierce The Veil have unassumingly yet consistently climbed their way into the hearts of millions worldwide via an unshakable devotion to making honest and hypnotic hard rock. The San Diego band — Vic Fuentes (vocals, guitar), Tony Perry (guitar), and Jaime Preciado (bass) — released A Flair for the Dramatic 2007 and Selfish Machines 2010, the latter of which camped out at No. 1 on the Billboard Heatseekers Chart. They have steadily built a dedicated and diehard fanbase through touring and by nurturing an honest connection. PTV truly established themselves with 2012's Collide With the Sky, which spawned their first RIAA Platinum-certified single with "King for a Day." They followed with Misadventures in 2016, which charted at No. 4 on the Billboard Top 200 and notched No. 1s on multiple charts, including Top Alternative Albums, Top Hard Rock Albums, Top Independent Albums, and Top Rock Albums. In between sold-out tours all over the globe and a headlining stint on 2015's Warped Tour Main Stage, the musicians garnered five Alternative Press Music Awards (including "Album of the Year" for Misadventures), two Kerrang! Awards, and a Revolver Golden Gods Award. They've graced the covers of Alternative Press, Kerrang!, Rock Sound, and more — multiple times. Elsewhere, their digital and streaming footprint is nothing short of staggering. They've tallied over 1.5 billion global streams and almost 370 million YouTube views — proving that growth is a constant for them. Ultimately, Pierce The Veil, who've earned multiple gold and platinum certifications, remain one of the most beloved bands of their generation and they show absolutely no signs of slowing down as they march into a new decade ready to share the most important music of their career.

Die mit Platin ausgezeichneten Band Pierce The Veil - Gitarrist/Sänger Vic Fuentes, Gitarrist Tony Perry und Bassist Jaime Preciado veröffentlichen ihr neues Album ”The Jaws of Life” am 10. Februar 2023 über ihr langjähriges Label Fearless Records/Concord.
Pierce The Veil sind in ihrem Genre zu einer Legende geworden - und das zu Recht. Ihre Rückkehr wurde mit Begeisterung aufgenommen und die erste Single ”Pass the Nirvana” wurde seit ihrer Veröffentlichung im September über 13 Millionen Mal gestreamt.
Sie haben in den USA zweimal die Spitze der Billboard Top Rock Albums, Alternative Albums und Hard Rock Albums Charts erreicht - zuerst mit Collide With the Sky (2012) und dem Nachfolger Misadventures (2016). Ein Jahrzehnt nach seiner Veröffentlichung schoss das bereits mit Platin ausgezeichnete ”King for a Day” auf Platz 1 der Billboard Hard Rock Streaming Charts, angetrieben durch den viralen Hashtag #KingForADay auf TikTok.

Was The Jaws of Life als Ganzes angeht, sagt Fuentes: ”Dieses Album hat uns wirklich näher zusammengebracht, als wir es je waren. Es war extrem schwierig für uns, so lange von der Straße weg und getrennt zu sein. ... In The Jaws of Life geht es darum, wie das Leben seine Zähne in dich schlagen und versuchen kann, dich zu verschlingen. Die ganze Negativität in der Welt und in deinem Kopf kann eine bösartige Sache sein. Wir sind extrem dankbar für diese Platte, unsere Fans und die Möglichkeit, wieder live Musik zu machen.”

Mit der Geburt ihres ersten Full-Length-Albums "Lone" im Jahr 2019 tauchte das atmosphärische Death-Doom-Duo OAK aus Portugal mit einer langsamen und stetigen Kraft auf - wie Wurzeln, die durch Beton brechen. Nach vier Jahren Schlummer ist die Band wie die alten Götter erwacht und bereit, mit ihrem zweiten Werk "Disintegrate" völlige Verwüstung auf die Massen loszulassen. Fast 45 unbarmherzige Minuten lang reißt dieser schwermütige Mahlstrom den Hörer in Stücke, während gepeinigte Growls und quälende Riffs tiefe Verzweiflung in den atmosphärischen Abgrund hallen lassen.

Für Fans von: Ahab, Mournful Congregation, Shape of Despair, Esoteric

Clear Vinyl

Mit der Geburt ihres ersten Full-Length-Albums "Lone" im Jahr 2019 tauchte das atmosphärische Death-Doom-Duo OAK aus Portugal mit einer langsamen und stetigen Kraft auf - wie Wurzeln, die durch Beton brechen. Nach vier Jahren Schlummer ist die Band wie die alten Götter erwacht und bereit, mit ihrem zweiten Werk "Disintegrate" völlige Verwüstung auf die Massen loszulassen. Fast 45 unbarmherzige Minuten lang reißt dieser schwermütige Mahlstrom den Hörer in Stücke, während gepeinigte Growls und quälende Riffs tiefe Verzweiflung in den atmosphärischen Abgrund hallen lassen.

Für Fans von: Ahab, Mournful Congregation, Shape of Despair, Esoteric

Concerto Pour Détraqués" was ranked 52nd best French rock album by Rolling Stones magazine in 2010.

Eleven tracks like so many vitriolic pictures of a sick society: rape, extreme right-wing, psychiatric confinement, security paranoia, alcoholism and all the other crap that the future seems to hold. Loran and François express more than ever their rage and their refusal of the adult world in a recital with three chords: more aggressive guitars, more incisive lyrics and voices while an armada of chorus members and a saxophone come to heckle or underline this darkness.

"Concerto Pour Détraqués" is the band's reference album, with a string of hymns to insubordination and freedom: Petit Agité, Vivre Libre ou Mourir, Les Rebelles, Porcherie, Hélène et le Sang...

The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.

From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

Renoir Of The Toys is a deep dive into the world of Youri Kun, the nom de plume of Japanese guitarist, singer and songwriter Hiroshi Nar. It follows a similar compilation, Unheld Ball, released in 2022 on Japanese label Inundow; like that album, Renoir Of The Toys draws from the rich catalogue of outsider psych-garage and rock recorded by Youri Kun over the past two decades. Deeply wired into the history of Japanese underground music, Nar was a founding member of legendary ‘70s outfit Datetenryu, and a member of both Brain Police (Zuno Keisatsu) and Les Ralllizes Dénudés (Hadaka No Rallizes), appearing on the latter’s ’77 Live.

After going to ground during the 1980s, Nar started making music with Niplets in the mid-90s, and releasing music at a prolific pace in 2000 – an excellent run of (sometimes archival) CD-Rs on the Hello Goodbye Studio label, both solo, and with his groups Molls, Niplets and Port Cuss; an album on P.S.F. by Jokers, where he was joined by fellow Rallizes member Yokai Takahashi, and drummer Toshiaki Ishizuka (Brain Police, Vajra, Cinorama, etc.); and sixteen albums (and counting) as Youri Kun, for labels Gyunne Cassette, Inundow, and Hören. He’s also fallen in with the Acid Mothers Temple crowd, guesting on a few of their albums, and recording a live set with Kawabata Makoto’s Nishinihon trio.

All Nar’s music shares a deceptive primitivism; it moves with the simplicity of the best 1960s garage punk, but its edges are blurred and stretched, allowing for all kinds of weird, elliptical, and psychedelic moves to happen in its margins. His guitar playing on songs like “Kakunin” (from 2011’s Yamaimo Boogie) shimmies and slurs magnificently; “Kurokami”, from 2012’s Su, has clanking six strings scrawling over loose, spaced-out synth; there are clunky psychobilly moves (“Oshiro no Ninjya”), spirited rave-ups for rattling organ and sputtering guitar (“Totsugeki”), and some lovely, drowsy, melancholy moments (“Sora”).

The constant throughout is Nar’s blues-blurred, drawling voice, as unique a tool as the non-idiomatic speak-sing styles of solo Syd Barrett, Jad Fair, or Dave E. McManus. There are also three Les Rallizes Dénudés covers here, where Nar locates the pop genius at the heart of songs like “Shiroi Yoru” and amplifies this with his simple garage-reverential take on things. Renoir Of The Toys is yet more evidence that Hiroshi Nar was, and is, one of Japan’s musical visionaries, a lonesome voice dedicated to a singular, streamlined vision, one that’s in eternal pursuit of the joy and kicks at the heart of rock’n’roll, and a reminder of what a great, unpretentious rock’n’roller truly should be.

With their emotive melodies, propulsive rhythms, angular guitars and dark cinematic electronics, TRAITRS have quickly become one of modern post-punk’s fastest rising independent bands. Consisting of Sean-Patrick Nolan and Shawn Tucker, TRAITRS formed during the summer of 2015 in Toronto, Ontario Canada. The duo recorded demos with producer/engineer Josh Korody (Nailbiter, F*cked Up, Japandroids, Dilly Dally), garnered the attention of Pleasence Records label head James Lindsay and released their debut cassette Rites And Ritual in April 2016. After gaining buzz in the European and North American dark music scenes, TRAITRS released their critically acclaimed LP Butcher’s Coin (Pleasence Records, Manic Depression Records, Alchera Visions) in May 2018. Backed by the strength of lead single ‘Thin Flesh’, the duo embarked on a series of lengthy tours overseas, performed in over a dozen countries including showcases at Wave Gothik Treffen, Castle Party, Extramuralhas, Nocturnal Culture Night, Wavefest, Canadian Music Week and Pop! Montreal. Their relentless touring schedule and work ethic caught the attention of Schubert Music Publishing’s Thomas Thyssen and Eric Burton, and in October 2020 they announced TRAITRS as the first signing to their brand-new record label Freakwave Records. This year, TRAITRS will release ‘The Sick, Tired And Ill’ EP on July 30 and the full-length LP ‘Horses In The Abattoir’ on November 19.

Kelman Duran introduces LA’s Holodec to his Scorpio Red label with a debut album of flickering R&B torchsongs and ambient trap-soul that aches in a very special way. RIYL Dawuna, Burial, Junior Boys, MssingNo, claire rousay, Joy O, Triad God, Sampha…

The smouldering ’All Dogs Come From Wolves’ is a definitive statement by a quietly gifted artist who operates inside the long shadow of late ‘90s US R&B and the space where it intersects ambient, neo-classical, and the weightless bass interzones of contemporary UK club music. Bare boned and bathed in a dusky Californian half-light, the album’s 11 songs feel unnervingly stark yet full of tongue-tip sensuality, making a virtue of negative space and atmosphere with a lo-fi soundtrack-like quality that evokes the idea of nostalgic reflection as the route to the future; “a reminder to look to the past to remember where you’re from, to see where you’re going.”

Holodec's been assembling rugged dancefloor constructions for years now, teetering between 2-step, jungle, nu-rnb, and vaporous ambient forms, but rarely has he been as pointed or full-bodied as he is on ‘All Dogs Come From Wolves’. It's an album that can't possibly be cleaved from the place where it comes from, documenting LA's immigrant experience (Holodec is Asian-American), and finding thematic common ground with Space Afrika's "Honest Labour", absorbing prismatic reflections of footwork, rnb and hip-hop instead of trip-hop and dub techno.

Holodec croons soulfully over muted piano motifs on 'Tiles', evoking the spirit of Sampha or Dawuna, but with a gaseous glamor that's unmistakably Californian. The mood carries into 'The Wild', utilising wistful pads and saturated noise but refusing to let his music sink into the background. If you feel yourself drifting, there's inevitably a voice, a womp, or a stifled drum sound to drag you back into its presence. 'Bounce' is rhythmically heavy, but still somehow smudged around the edges; beats don't so much pump as fray, the closer you listen the more you hear it falling out of time and just out of space. It's more like a memory of neon-hued dance forms than a replication of the thing itself.

Even at the album’s rudest, the flinty jungle drums of ‘Black Market’ still remain desiccated, just out-of-reach, suggesting not telling, in a way that makes the album’s other highlights such as the vaporous R&B voice note of ‘And My Angel Dies Too’ or the shivering baroque figures of ‘Spirit’ so unusually seductive with their nuanced grasp of inference and a reserve of humility.

The pioneer of electric pop music, Giorgio Moroder (born April 26, 1940 in Ortisei, Italy) is an internationally acclaimed songwriter and producer who left his trace also in Finnish popular music. Several Moroder’s compositions and productions were released in Finland with Finnish lyrics in the 1970s and 1980s, when Moroder had his most creative peak. This compilation includes twelve Finnish Moroder covers from early bubblegum pop to electronic disco. Giorgio Moroder began his musical career as a singer. He gained success performing bubblegum pop in the late 1960s. He wrote some of his hits himself, but he also sang songs written by others. During his singer years he succeeded with songs Looky Looky (1969) and Son of My Father (1971). The latter became well known also in Finland, where it was covered by one of the most famous Finnish singers in 1960s and early 1970s, Ilkka Lipsanen alias Danny. The song found its way to Finland via Britain, where British band Chicory Tip had covered it first and made it to the charts with the song. Danny was not the only Finnish singer in the early 1970s who looked at Moroder’s repertoire when searching for good songs. Koivistolaiset was a singing and dancing duo of sisters Anja and Anneli Koivisto who were well-known celebrities in 1970s Finland. They released Moroder’s composition Good Grief Christina as On siitä aikaa in 1973. This song was also discovered from Chicory Tip’s repertoire. Cheerful and danceable bubblegum pop was an early 1970s phenomenon and in Finland it was the most popular music played in discos during those years.

Just over a decade on from the launch of Leng Records, the Simon Purnell/Paul ‘Mudd’ Murphy-helmed label is set to release its’ 50th 12” single. Fittingly, it’s the first of a series of sampler EPs that form part of the imprint’s belated 10th anniversary celebrations.

Later in 2020, label fans will be treated to a celebratory compilation featuring a mixture of Leng classics, overlooked favourites and previously unheard material. Some of this music will also be released on a series of vinyl EPs, with this first volume focusing on unreleased material from long-time friends of the family Q&A and Lex.

Q&A is a collaboration between Phenomenal Handclap Band founding member,
Quinn Luke, and long-time friend and musical associate Alexis Georgopoulos, formerly of San Francisco dub disco/punk funk heroes Tussle. The pair worked together extensively at the tail end of the 2000s, but only ever released one single: 2009’s “Tumbling Cubes/Trap Door” on celebrated NYC label DFA.

The two tracks showcased on this Leng Records sampler were recorded during the same period as that celebrated single but are only now seeing the light of day. “Revolving Mirrors” is a typically low-slung and percussive affair that sees Luke and Georgopoulos wrap bubbly electronic melodies and glassy-eyed aural textures around a suitably weighty dub disco groove. In contrast, “Pulse” is a deliciously hypnotic, mind-altering affair: a bona-fide late night throb-job in which trippy electronic motifs, chiming melodies and crunchy Clavinet riffs vibrate attractively atop another killer punk-funk bassline and locked-in drums.

Das neue Album „Twelve Carat Toothache” des Superstars Post Malone ist nun erhältlich!

Das vierte Studioalbum beinhaltet unter anderem Features von The Weeknd, Doja Cat, Roddy Ricch und The Kid LAROI!

Wie für das Multitalent üblich, definiert er durch s eine Musik Genre-Grenzen neu und zeigt auf, was für ein vielseitiger Künstler er ist.
Schon seine Debütsingle „White Iverson“ (2015) schaffte es mit Anhieb auf Platz 14 der Billboard 100 und wurde mit Vierfach-Platin ausgezeichnet. Doch dabei blieb es nicht - sein erstes Studioalbum „Stoney“ debütierte auf Platz 6 und wurde mit Fünffach-Platin ausgezeichnet, ebenso wie sein zweites Studioalbum „Beerbongs & Bentleys“. Das letzte Studioalbum des in Dallas aufgewachsenen Musikers, „Hollywood’s Bleeding“, peakte auf Platz 1 der US-Albumcharts, wurde mit Dreifachplatin ausgezeichnet und stellt mit
fast 80 Millionen Streams in nur 24 Stunden einen neuen Spotify-Rekord auf.

2022 heralded the arrival of his fourth full-length offering and the summer’s most-anticipated record, Twelve Carat Toothache, that arrived on CD June 3, 2022. It is his first full-length in three years since the triple-platinum Hollywood’s Bleeding crashed the Billboard Top 200 at #1.

Released in 1981& the last in a decade-long run of Top 50 R&B albums, ‘The Electric Spanking Of War Babies’ was the band’s twelfth studio LP & featured several players new to the Funkadelic line-up, notably Sly Stone. With its allusions to the Vietnam War & US imperialism, George Clinton’s project was destined to court controversy from the start, not least for its uncompromising sleeve art which original label Warner Bros. censored. Described by Robert Christgau as “the solidest, weirdest chunk of P-Funk since one nation gathered under a groove” & originally conceived as a double LP, many tracks saw release on Clinton’s later P-Funk projects. Arguably, it is better for having been précised down to a single album while still spawning two hit singles, the title track (US R&B No. 60) & ‘Shockwaves’ (US R&B No.53). FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Funkadelic’s eleventh studio LP, released in 1979, was more militant in tone than its predecessor 'One Nation Under A Groove' which described a Funk utopia. In contrast, ‘Uncle Jam Wants You’ stated mandate was to “rescue dance music from the blahs”. The album features a 15-minute version of what was to become the Funkadelic’s last hit single ‘(Not Just) Knee Deep’, an edited version of which made no.1 in the US R&B chart. This was Funkadelic’s first album since 1972 not to feature a cover design by artist Pedro Bell (although he did contribute the interior design). A reference to the “Uncle Sam Wants You!” US Army recruitment poster, the sleeve depicts George Clinton aka Dr Funkenstein in a Huey Newton Black Panthers pose. ‘Uncle Jam Wants You’ and Funkadelic-Parliament had a huge influence on Prince, The Red Hot Chilli Peppers, Bill Laswell, Tupac Shakar, De La Soul and many more across all musical genres. George Clinton’s genius Funk & Style will continue to be an influence for many more years to come... FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Those lockdown silver linings continue to reveal themselves when we least expect it... As proved, once again, by the inimitable Amsterdam techno HQ Deeptrax as they present this stunning analog exploration from scene stalwart Mark Peeters AKA Caim.? Inspired, created and sculpted during those strange times when none of us could rave, Caim simply describes the moment by saying the 'clubs were closed, but creativity kept on floating'... Now that floatation is bequeathed to us through these warm, rolling and wide-armed frequencies. Tapping into a spirit that goes right back to Detroit and Chicago, there's an understated groovemanship at play as Calm jams out on the same instruments house and techno forefathers used to sculpt this culture.? Music to get lost inside of, music to take away the stresses of the day, music that's a joy to mix, weave and tell stories with... Caim has created another timeless collection of grooves that could resonate with or relate to any period in the last 35 years of dance music culture.? From the warm, opening rumbles of 'Nepi' to closing rippling dubwise echoes of 'Kapura', very few stones are left unturned as Caim tells a tale of the ages that we can all float to. Here's to silver linings. ?

LA veteran techno producer, AXKAN, lands his new full-length album on SONIC GROOVE. Inspired by a wave of torturous dreams during the pandemic, AXKAN dedicated his isolation time to curate the sound of this 12-track LP, NIGHTMARES. Dropping his signature soundtrack of angst fueled broken beat industrialized techno, AXKAN further displays his sophisticated sound architecture by delving into darker melancholic, experimental and rhythmic noise territories. Add three collaboration pieces featuring long-time friends ORPHX, UVB and AYARCANA and we have a well rounded album of monstrous proportions.

Das neue Album „Twelve Carat Toothache” des Superstars Post Malone ist nun erhältlich!
Das vierte Studioalbum beinhaltet unter anderem Features von The Weeknd, Doja Cat, Roddy Ricch und The Kid LAROI!
Wie für das Multitalent üblich, definiert er durch s eine Musik Genre-Grenzen neu und zeigt auf, was für ein vielseitiger Künstler er ist.
Schon seine Debütsingle „White Iverson“ (2015) schaffte es mit Anhieb auf Platz 14 der Billboard 100 und wurde mit Vierfach-Platin ausgezeichnet. Doch dabei blieb es nicht - sein erstes Studioalbum „Stoney“ debütierte auf Platz 6 und wurde mit Fünffach-Platin ausgezeichnet, ebenso wie sein zweites Studioalbum „Beerbongs & Bentleys“. Das letzte Studioalbum des in Dallas aufgewachsenen Musikers, „Hollywood’s Bleeding“, peakte auf Platz 1 der US-Albumcharts, wurde mit Dreifachplatin ausgezeichnet und stellt mit
fast 80 Millionen Streams in nur 24 Stunden einen neuen Spotify-Rekord auf.

2022 heralded the arrival of his fourth full-length offering and the summer’s most-anticipated record, Twelve Carat Toothache, that arrived on CD June 3, 2022. It is his first full-length in three years since the triple-platinum Hollywood’s Bleeding crashed the Billboard Top 200 at #1.

OMEGA INFINITY: Die Geschichte des endlosen Kreislaufs von Geburt und Tod, erzählt auf kosmischer Ebene, betrachtet aus der Leere, die die gesamte Existenz durchdringt.

Das Debütalbum "Solar Spectre" (erschienen 2020 bei Season Of Mist) bot einen düsteren und verstörenden Soundtrack für die Reise durch unser eigenes Sonnensystem, indem es wütenden Black Metal der 90er Jahre, harsche und bedrohliche Ambient- und Elektronikklänge mit kraftvollen Growls und Schreien kombinierte und bei seiner Veröffentlichung überwältigend positive Presse- und Fanreaktionen erhielt.

Nicht zufrieden mit nur einem einzigem Statement und einer größeren Vision für ihre Sicht der Leere folgend, hatten Tentakel P. (TODTGELICHTER) und Xen (NE OBLIVISCARIS/ ANTIQVA) zu diesem Zeitpunkt bereits ihr zweites Album fertiggestellt - nur die Pandemie verhinderte die Gesangsaufnahmen und somit eine frühere Veröffentlichung.

"The Anticurrent" eröffnete dem Hörer nun einen ganz anderen Blick auf Die Leere. Statt der Schwärze des Raums erforscht das Folgewerk die Zeit: Vom Urknall und der chaotischen Geburt des Universums geht es über den Aufstieg und Niedergang der menschlichen Zivilisation bis hin zum unausweichlichen Ende des Universums in dem bedrohlichen Finale des Albums.

Kein OMEGA INFINITY-Album wäre vollständig ohne Coverversionen (SEAR BLISS und EMPEROR) und die Beteiligung von Freunden mit Gastbeiträgen: Zusammen mit der Band kündigen (in der Reihenfolge ihres Erscheinens) Adrienne Cowan (SEVEN SPIRES/ AVANTASIA), Lindsay Schoolcraft (ANTIQVA/ ex-CRADLE OF FILTH), Andras Nagy (SEAR BLISS) und Marta J. Braun (TODTGELICHTER/ VYRE) den Untergang an

Wer schon immer mal wissen wollte, wie sich eine Unzahl von Schwarzen Löchern, die sich selbst in einer Zeitverzerrung verschlingen, anhört, sollte sich OMEGA INFINITYs zweites Album "The Anticurrent" nicht entgehen lassen!


Für Fans von: DARKSPACE, KHONSU, VALBORG, BLUT AUS NORD

ZEHRA is proud to present the debut album ISTEHLAL by the MOHAMAD ZATARI TRIO, consisting of musicians from Syria, Iran & India. The trio merges traditional Middle Eastern sounds with contemporary vibes incl. interpretations of Hossein Alizadeh & Riad Al-Sunbati classics.

In a contemporary globalised world where music has lost its borders and is fighting a constant – yet particular – stream of Western commodification, the Mohamad Zatari Trio stands out as an original cultural artefact, aiming at transcending the boundaries between different music worlds.
Founded in 2019 the ensemble had its first public appearance in 2020 at the Outernational Virtual Festival. Comprising the performers Sara Eslami (Iran) on tar, Avadhut Kasinadhuni (India / Romania) on tabla and Mohamad Zatari (Syria) on oud.
Their debut ISTEHLAL plunges into its own aesthetics, politics and sound intricacies and represents the combined efforts of three musicians hailing from different, yet deeply rooted cultures. Over the course of eleven songs, the album transcends stylistic, ideologic and
geographic boundaries and reflects on the human condition in an interconnected and interrelated technological world. The repertoire includes not only original compositions in different stylistics
but also rearranged traditional pieces by influential composers Riad Al Sunbati (Egypt) and Hossein Alizadeh (Iran).
The Mohamad Zatari Trio introduces itself as a strong new voice within a new generation of young musicians that carry the musical heritage of great masters like Ravi Shankar, Nusrat Fateh Ali Khan or Zakir Hussain with a fresh and contemporary approach.

Mohamad Zatari is a composer and oud player from Aleppo, Syria, currently based in Bucharest, Romania. His artistic effort is devoted to deconstructing stereotypes and blending various musical genres. He has been taught traditional and regional music by Tarek Al-Sayed,
and has a Bachelor in classical composition at the National University of Music Bucharest (2021). His compositions were used for short films as well as educational courses. He performed in various ensembles and groups, in countries such as Syria, Romania, Hungary, Germany, Italy
and Austria.

Sara Eslami is an Iranian composer, tar and setar instrumentalist and improviser. She has a bachelor's in musical Performing at the Tehran University of Arts (2011).


Romanian/Indian Avadhut Kasinadhuni has a Master in Musical Performing / Violin at the National University of Music Bucharest (2022) and started studying tabla intermittently in India with Prof. Kamal Kant (2008) and Prof. Durjay Bhaumik (2017).

Credits:
Recorded by Alexandru Zaharencu at Avanpost media, Bucharest, Romania
on 29th & 30th January 2022
Mixed by Dirk Dresselhaus at ZONE, Berlin, Feb. 2022.
Mastering & lacquer cut by Anne Taegert at D&M.

Landing on Cosmocities right on cue for the summer season ahead, Japanese producer Masumi Nishimura alias Inner Science deals out a new entry into his shimmering, shape-shifting mindset. Flying us off to a soothingly dreamy and colourful headspace, bristling with vibrant sound design minutiae to wrap your ears around, Inner Science exhibits the elevating power of his music through three original joints, complemented by two exquisite remixes from multi-faceted British genius Joe Goddard and Giegling staple, Map.ache. The acid-infused glitter of “Unfold” paves the way with understated bravura; a piece of squelchy yet dazzling nature, organically making the rounds between propulsive club music territories and exotica-laced cascades of sound. “Quiet Track 3” follows a similar course with its phantasmagoric landslides of chimey melodies and driving bass traction on stealth mode, all scudding and mingling with haiku-esque spiritual balance, while “Never Fade Away” blows the winds of poetic transcendence through a finely engineered mix of forward-racing groove and a honey-dripping, rainbow-like shower of elementally lush textures and envelopes.

Flip it over and here’s Joe Goddard taking “End of the Beginning" for a slower, slightly less sign-busy jaunt across sun-soaked clearings and pastures. Laying further focus and emphasis on the synth work and build-up here, Goddard channels Inner Science's many facets and wildland-like exuberance through a more directed, further orchestrated pathway. Tackling “Momentary Spread”, map.ache treats us to a further dynamic, floor-friendly approach, routing its listener onto proper functional, gridlocked tracks. Bleached-out pads evaporating into aether as the bass etches into your mind with durable effect, it’s a proper oneiric roller that engulfs you down its gushing throat of faded escapism and brittle, post-discoid melancholy

* Hypnotic and seductive, Emika crafts Earthy Melodic Techno track 'Breath Cuts' using her breathy vocals, kick and devilish sub bass.

* Pleasure and pain, the euphoria Emika knows how to create sonically in order for her to lose her mind through the music and escape reality, composed and produced during the darkest chapter in her life, she mixes in the inevitable pain of a once locked-down Berlin.

* Breath Cuts is a journey-style dance track, for song-lovers or DJs that like to tell stories on their dance-floors. Emika reveals a poem in the middle of the song, a dream about being free again; 'I like to look out the window.. I like to imagine the clouds..'

* Norman Nodge, Berghain resident by night and lawyer by day, pulls out and enhances the lush ethereal vocal elements, remixing them further into an angel-like chorus, one can imagine the dancefloor in Berghain - people rushing from the sound while spirits float above them looking down.

* The two producers decided to provide listeners and DJs with a functional kick-less mix for advanced mixing pleasure.

The pandemic affected each of us in different ways. From colossal stars to complete unknowns, it up-ended our lives, and demolished our expectations.

Take Lil Skies. The Philly talent found himself back in his home city, completing a journey that began in pace on his 2017 mixtape ‘Life Of A Dark Rose’. Re-connecting with his roots – his moniker is a nod to his father, while 2019 debut album ‘Shelby’ named after his mother – he’s delivered some of his most potent, open material to date.

‘Unbothered’ is a tight, focussed return – a snappy 14 tracks, is exudes a sense of purpose, retaining the swagger of his debut while upping the word play. It’s an inward journey, one exemplified by those early viral singles ‘OK’ and ‘Havin’ My Way’ but it’s also lit up by some special guests.

Working with alacrity, Lil Skies built ‘Unbothered’ from a series of freestyles, yet every element on the album feels exact, placed with real precision. Using a mere three features – a trilogy that boasts Wiz Khalifa, Lil Durk, and Jodeci – the emphasis is placed on his vocals, on his ability to utilise the voice as an instrument.

‘Trust Nobody’ hinges on fragile paranoia, while ‘Riot’ bristles with a palpable sense of rage. An attempt to channel the repressed – and often extreme – emotions of the past 12 months, ‘Unbothered’ pitches a cool facade against a depth of feeling that often threatens to explode – just check out ‘Think Deep Don’t Sink’ for a mission statement.

Working within clear definitions, ‘Unbothered’ feels more distilled than Lil Skies’ previous work, the sound of someone choosing to work with what they know. Lyrically it’s marked by pain and redemption, lingering on messages of perseverance, and renewal. He may claim to be ‘Unbothered’, but the marks of the pandemic are there for all to see on a brave, at times powerful, new album

Sleight of The Third Eye' is the third release by Total Leatherette - made up of recordings from a two week residency at the CCA in Glasgow. The residency culminated in an 8 hour durational performance in the theatre of the CCA which we dedicated to Linda Di Franco’s Balearic hit ‘My Boss ‘, a segment of which is presented here for the first time.

The tape comes in a limited edition of 100 on Green Glitter Hub Tapes with a Risographed paper sleeve . Mastered for higher listening by Sam Smith.

Das Sony Classical-Debütalbum "Arctic" der international hochgelobten norwegischen Geigerin Eldbjørg Hemsing ist eine musikalische Reise durch die Arktis mit neuer Musik u.a. von den Star-Komponisten Jacob Shea ("The Blue Planet") von Bleeding Fingers Music und Frode Fjellheim ("Frozen"). Zusammen mit dem Arctic Philharmonic Orchestra zelebriert Eldbjørg Hemsing darauf die zerbrechliche und weithin unentdeckte Schönheit eines Ökosystems, das in einem beispiellosen Ausmaß vom Klimawandel bedroht ist. "Die Arktis wird oft als ein schroffer, unbewohnbarer Ort verkannt, dabei handelt es sich um eine Region von einmaliger Schönheit und voller Leben, die auf faszinierende Weise illustriert, wie alles in fragilen Kreisläufen zusammenhängt. 'Arctic' ist eine musikalische Reise durch diesen einmaligen, gefährdeten Naturraum", erklärt Eldbjørg Hemsing. "Ich möchte mit diesem Projekt den Menschen zeigen, wie großartig und schützenswert diese Landschaft ist und auf die Bedrohung durch den Klimawandel hinweisen, die Auswirkung auf uns alle hat." "Arctic" ist voller mitreißender Melodien und beeindruckenden orchestralen Klanglandschaften, die sich beim Anhören des Albums aufbauen, wie die atemberaubenden Lebensräume der Arktis im Lauf der Jahreszeiten. Für die musikalische Gestaltung ihres Albums hat die im norwegischen Valdres geborene Musikerin mit einer Vielzahl an Komponisten zusammengearbeitet und ein einmaliges Album kreiert, das amerikanische Filmmusik mit europäischer Klassik verbindet. So enthält "Arctic" neue Musik von den Filmkomponisten Jacob Shea von Bleeding fingers Music und Frode Fjellheim wie auch neue Arrangements von Melodien der Komponisten Selim Palmgren, Einojuhani Rautavaara, Henning Sommerro, Ola Gjeilo, Ole Bull, Edvard Grieg und James Newton Howard. Aufgenommen wurde das Album in Bodø innerhalb des norwegischen Polarkreises mit dem Arctic Philharmonic Orchestra. "Ich wollte einmalige, einprägsame Melodien mit einem malerischen orchestralen Klang verbinden, der dem großen Panorama der Arktis entspricht, um diese emotionale Geschichte zu erzählen. Entstanden ist eine sehr abwechslungsreiche Art Filmmusik für den Konzertsaal oder ein Soundtrack für eine innere Reise", sagt Eldbjørg Hemsing über die Musik von "Arctic". Das zentrale Werk des Albums ist die 20 Minuten lange "Arctic Suite" des amerikanischen Filmkomponisten Jacob Shea von Bleeding Fingers Music, der zusammen mit Hans Zimmer die millionenfach gespielte, ikonische Musik zu "The Blue Planet" geschrieben hat. In den sechs Teilen der "Arctic Suite" vertont Jacob Shea die einmaligen arktischen Naturphänomene und findet Melodien für "Frozen Worlds" im Winter, die "Aurora" in der Polarnacht oder den "Sunrise" in der Morgendämmerung des Polartages. Er gibt den Fischschwärmen im Malmström einen Klang in "Rush of Life" oder dem poetischen Pfeifen der "Polar Winds" und endet mit einem melancholischen Blick auf aktuelle Veränderungen in "Sea Ice Melting". Komponist Frode Fjellheim ist bekannt von seiner Arbeit zu "Frozen". Er entstammt den Samen, einem Volk, das bereits seit Jahrhunderten den europäischen Polarkreis bewohnt. Für seine Kompositionen "Under the Arctic Moon" und "The Return of the Sun" lässt er sich von den traditionellen Liedern der Samen, den "Joik", inspirieren. In "The Return of the Sun" singt er sogar eine dieser traditionellen Melodien. Die musikalische Reise durch die "Arctic" umfasst weitere neue und farbenfrohe Orchesterarrangements von Werken nordischer Komponisten wie das klangmalerische "Snowflakes" von Selim Palmgren, "Whispering" von Einojuhani Rautavaara, "Dawn" von Ola Gjeilo und "Vårsøg" von Henning Sommerro. "Vårsøg" ist eine bekannte Melodie in Norwegen und steht sinngemäß für die "Suche nach einem neuen Frühling". Das ursprünglich als Folk-Pop Song geschriebene Lied verkörpert damit die Hoffnung auf einen Neuanfang im Leben. Arrangeur Ben Palmer hat die Melodie in eine emotionale Hymne für Violine und Orchester gebettet.

‘Energy MC2’ began as an energetic bunch of 10 and 11year old neighborhood kids, who initially formed a band under the name of ‘Congressional Funk’. The founding members were Vincent Bonham, Opelton Parker (the brother of Ray Parker Jr) and brothers Ufuoma and Eric Wallace, with the later addition of Fred Gordon. Later becoming the backing band for local Detroit act Mad Dog & The Pups. Featuring on some of the ‘Pups’ earliest Magic City releases “Hep Squeeze” (MC-007) and the follow up release “Funky Monkey” (MC-009). A name-change to ‘The Soulful Hounds’ followed which they are credited as on the instrumental flipside of Mad Dog & The Pups vocal version of “Why Did You Leave Me Girl” Magic City (MC-012).

After leaving Magic City, the band went through several changes in both name and personnel, upon hiring bass player Ben "Rat Bass" Adkins, they adopted the name of his former band, ‘Energy’ to which they added Albert Einstein’s formula for special relativity (E=MC2) to finally became ‘Energy MC2’. As Energy MC2” they soon began seriously recording their own original material which included the two previously unissued 70’’s tracks “If You Break It” and “Other Side Of The Mirror” first released on Soul Junction in 2016. The group’s line up on these songs included Vincent Bonham, Ufuoma Akill-Wallace, Arnell Carmichael, Ernestro Wilson, Opelton Parker, Gordon Carlton, Eric Wallace, Leon Lopez, Marvin Carlton and Marlene Rice. A further unissued song the mellifluous ballad “Juliane” also the gained release on the ‘We Got A Sweet Thing Going On’ volume 2 SJCD 5011 cd compilation album.

During 1974 several members of the group boarded a Greyhound bus for Los Angeles. During their week long stay there under the supervision of Ray Parker Jr they recorded the two featured songs the mellifluous “You And Only You” and “Love To Make Love To You” featuring Arnell Carmichael on lead vocals with the session remaining unissued Energy MC2 returned to Detroit. Vincent Bonham and Arnell Carmichael in 1977 returned to L.A. to join

Ray Parker Jr and Jerry Knight to form the band ‘Raydio” later becoming Ray Parker Jr & Raydio when Jerry Knight left to go solo. Ray Parker later too chose to persue a solo career leading to him recording the title track of the box office hit movie “Ghostbusters” a song he will forever be remember for. During 2014 Arnell Carmichael, Vincent Bonham, James Carmichael and Giovanni Rogers revived ‘Raydio’ but only as a touring band. The remaining members of Energy MC2 all enjoyed successful careers as session and backing musicians with many major artists, The Four Tops, The Temptations, Areatha and Carolyn Franklyn, Michael Henderson, Cheryl Lynn, Bettye Lavette, and Parlet’ (part of the P-Funk family) that help George Clinton Land the Mothership!

After a year and a half writing and recording rock music, I needed to clear my head. I listened to and made music where things generally happen gradually rather than suddenly. I would set up patches on a Monomachine or Analog Four and listen to them, hearing one sound morph into others, making changes to a patch only after having listened for quite a while, gradually adding elements, and finally manipulating the sounds on the fly. All tracks were recorded live to CD burner, with no overdubs, and executed on one or two machines.

While I was almost exclusively listening to artists such as Chris Watson, Peter Rehberg, Bernard Parmegiani, CM Von Hausswolff, Jana Winderen, Oren Ambarchi, Hazard, Bruce Gilbert, Klara Lewis, Ryoji Ikeda, and so on, I was also inspired by my mental image of John Lennon's tape and mellotron experiments he made at home during his time in the Beatles, as well as events like the first minute of Bowie's Station To Station, ...And The Gods Made Love by Jimi Hendrix, the synths in the song Mass Production by Iggy Pop, and the general idea of Eno's initial concept of Ambient music.

Music being a solitary sculpture in sonic space was the main motivating thought. I was looking at pictures of sculptures and trying to make music that simultaneously conveyed both movement and stillness. I refrained from sudden musical changes, especially avoiding sequences of notes and rhythms. In fact, this music was made from sequences which never exceed a single note, many of these pieces being made on a single pattern. The movement which a good sculptor conveys when the shape of his medium meets the eyes of the viewer who walks around the piece, or the sun changes its position, are the kinds of movement which it was the role of the synth patches to communicate.

I've been listening to music like this since I was 13 or so, but I felt that making it was out of my reach because of the amount of restraint I imagined it required. Once I found myself making this music, it did not feel like a matter of restraint at all. I wanted to build a certain type of building, and hear certain types of movement, and I knew when it was complete. There was no place for sequences of notes and rhythms in my plans.

I also cannot overstate the role that being in my band played. I had previously spent 12 years programming and engineering my own music, and then spent a year and a half making music where my role was basically to write songs and play guitar. When the band's recording phase was completed, I needed to go back to my adopted language. I had done enough with chords, rhythms, notes, defined sections, sharp transitions, etc.. What I needed was to create music from the ground up with nothing but sound, and have that music reflect "being" rather than "doing". It was a therapeutic way of re-balancing myself, before and during my band's mixing process.

This music seeks to just exist, and is not attempting to manipulate or grab the listener in any way. I believe it works well if one listens loud and focuses on it, but also works well at soft volumes and in the background. It can compete with silence on silence's own terms, and it can also happily wipe silence out.

There are two versions of this album. The CD version is pronounced "two" and called : I I . This is the longer version. The vinyl version is pronounced "one", and called . I : This version is shorter, but contains one vinyl-only track. The reason the vinyl is shorter is that some of the tracks have sounds that can not be pressed on vinyl.

John Frusciante

Scaphandre' is the story of an image found in a lost time on the internet a few years ago. It inspired two sound pieces conceived so that one can dive into it as into the sea.
Once their composition was finished, I looked for the origin of this image. It is one of the very first submarine pictures in history, taken by Louis Boutan in 1893 in the bay of Banyuls-sur-Mer... my home town. The original photo as well as a fantastic series of archives documenting this event can be found at the Arago Laboratory, where I often went as a child, after school, amazed by what the researchers were showing me. They just had never told me this story.
This is how this record found its scenery.
Gaspar Claus


The two pieces Gaspar Claus brought together on Scaphandre form an abstract and mysterious B-side of Tancade, released in the fall of 2021. Both composed during the long, initial period of his first album's conception, this mini album's two episodes, each tinged with minimal and noisy abstractions, unfold more than 10 minutes of total immersion into the abyss of experimental music on the first, and drone for the second.

In their own way, these tracks are a form of raw, unadorned escape, a film negative of the cellist's surface creations, which we know are bathed in sunshine and fresh air.

'Inside' is a moment of distraction while Gaspar worked on a film soundtrack. The title took time to mature in the musician's head, abandoned then picked up again and modified until it found its signature progression of strings where time seems suspended. The reverberations dress its fourteen-minute sound canvas in a way that is reminiscent of endless, sub-marine darkness.

'Beyond' was recorded in three takes during a writing session for his first album with David Chalmin in the Basque Country. The post-production phase required a long process of refinement to obtain this invasive sound material that cuts the listener off from their real environment and films them with a hypnotic feeling of depths and apnea.

Taken in 1898 by Louis Boutan a few dozen kilometres from the beach of Tancade in Banyuls sur mer - Gaspar's family village - the photographs of Scaphandre seal the vinyl sleeve with a unique auditory experience presenting the submerged side of the cellist. Obscure, dense, haunting, excitingly weightless.

It is recognized today that these tutelary pieces for four pianos are among the most powerful in contemporary music,their impact is almost unparalleled. After the historical version recorded forty years ago, this one, featuring four of the greatest European performers, is now regaining its full power. High level recordings too.

There was some for John Cage, then came Christian Wolff, and finally Morton Feldman, from this school in New York. Only Julius Eastman remained outside the game, the last figure, the most solitary and enigmatic - undoubtedly also one of the most powerful, and it is this power that is revealed through these recordings. In the 1970s and 1980s, Eastman was one of the very few African-Americans to gain recognition in the New York avant-garde music scene. He was politically committed, a figure of queer culture and a solar and solitary poet whose melancholy influenced his genius as well as his tragic destiny : suffering from various addictions, declared missing, actually homeless. During Winter of 1981-82, he got deported from his apartment by the police, who destroyed most of what he owned - including scores and recordings. He was found dead in 1990, on the streets of Buffalo, after years of vagrancy.

The Performers Nicolas Horvath, pianist and electroacoustic composer Nicolas Horvath is known for his boundariesless musical explorations - he has collaborated with leading contemporary composers from around the world, including Alvin Lucier, Alvin Curran and Valentyn Silvestrov - the recordings of his complete works for piano by Phil Glass made a lasting impression. He has collaborated recently with Lustmord on the Deconstruction of November by Dennis Johnson (Sub Rosa SR502: The Fall).

Melaine Dalibert, a French composer and pianist, fascinated by natural phenomena which are both expected and unpredictable, Dalibert has developed his own algorithmic procedures of composition which contain the notion of stretched time evoking Morton Feldman, minimal and introspective, adopting a unique concept of fractal series.

Stephane Ginsburgh, a tireless surveyor of the repertoire but also explorer of new music, collaborated with composers such as Philippe Boesmans, Jean-Luc Fafchamps, Stefan Prins, Frederic Rzewski and Matthew Shlomowitz of whom he premiered works, as well as with choreographers such as Anne Teresa De Keersmaeker (Rosas) and recorded Feldman, Duchamp and Satie for Sub Rosa and the complete set of Prokofiev piano sonatas for Cypres. Wilhem Latchoumia, he embraces both new music and the classical repertoire with success and charisma. His two last recordings for La Dolce Volta (Prokofiev and de Falla) have been highly acclaimed by critics with a FFFF in Télérama. Winner of the Hewlett-Packard Foundation and the Montsalvatge International Piano Competition, he brilliantly won the First Prize in the 2006 Orléans International Piano Competition.

Recorded in just one day, Tripwire is the latest album from saxophonist and composer Will Vinson. Realising a long-held ambition to record a chord-less trio album, Vinson is joined here by bassist Matt Penman, one of today"s most adventurous bass players, and drummer Eric Harland, known for his impressive work with the world"s jazz luminaries. Special guest tenor saxophonist Melissa Aldana also joins for two tracks. The record captures the energy of returning to the studio and playing for the first time since the Covid-Pandemic lockdowns, and further cements Vinson"s reputation as a virtuosic risk-taking leader. Tripwire skilfully brings together Vinson"s vision of freedom and collaboration into a cohesive album that documents the highly charged reunification of musicians, masterfully captured during a one-off recording session.