Route 50, colloquially known as "Bergslagsdiagonalen" slices through the central Swedish landscape, an area that for centuries supplied Sweden with timber and ore, thus propelling industrialization forward
But as the resources dwindled and mining companies moved on, the workforce had to seek opportunities elsewhere, in the cities. Enter: Bergslagsdiagonalen, the new rock band formed in 2022, writing thoughtful rock songs contemplating modern day life with a tongue in cheek nod to relationships dynamics and parenthood
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Twin giant towers of amps grinding out minimal beat bloop, the transient sound molecules smell of burning gear and the floor of the pit—this is organic, electronic music at its finest. Dance? Why not. Freak out? For sure. Brothers from a different mother (Bjorn Copeland and Aaron Warren) à la two-thirds of Black Dice have come together with this fantastic debut Flaccid Mojo for us. These are mean beat vipers, spitting and tumescent on the abattoir floor.
I would call it drug music, but I’m not sure what drugs these humans consume. Stem cell and adrenal gland cocktails I’m guessing. Futuristic and primal it is, beats from the Thunder-Dome, fight music for fuckers. I’ve seen them on two separate occasions blow the power for an entire building. Baller move, boys. Produced perfectly by Chris Coady (look him up to be impressed). This record is a burning car in a field and I love it.
For fans of Black Dice, Container, Whitehouse, Negativland, Ralph Records, minimal beats à la Profan, vintage Japanese noise, Severed Heads, windburn and chapped lips. (John Dwyer)
- 01: Little Boats...with Love (Feat. Dwindl13)
- 02: Reflections
- 03: Dream Traffic
- 04: Amore (Feat. Bryan Wilson)
- 05: Sargasso
- 06: Radio Bamako (Feat. Bunk Bed)
- 07: Lazy Summer Halo
- 08: Smile (Feat. Bryan Wilson)
- 09: Teacher, Tell Me (Feat. Opoku Mensah)
- 10: Cold War Frontier
- 11: Daughter Of Ra
- 12: Forest Of Swords (Feat. Bunk Bed)
No Wahala Sound Orchestra is a contemporary, London-based collective with members from backgrounds as diverse as Jamaica, Ghana, Bangladesh, Poland, Trinidad, Denmark, Ireland and the UK.Gideon Coe ( 6Music) Neil Luscombe (BBC Radio 3) and Steve Barker ( BBC Radio Lancashire) have all offered their support over the years.
The music takes in elements of electronica, jazz, reggae, dub poetry, Afrobeat, classical Indian music and many other global sounds."On Gossamer Clouds" is a compilation of some key recordings over the last ten years. It features 12 tracks which vary in styles and mood, but form a coherent whole.
Following a first iteration which set the tone for our newly-minted Heimat series in explosive fashion, here comes the much anticipated second batch of our zeitgeistian take on today's scene's, its current potential and destination. Showcasing productions from artists keen to roll up their sleeves and sail into the impassible status quo, this new number packs the kind of red-hot hammering and cutting-edge punch we've been so adamant to push and defend over the past decade. Berlin-based French producer Arkan steps in first with a proper magnetic depth charge. Dwelling the darker layers of our ocean floor as its name suggests, 'Submarine' is pure hypnotic material geared up for heavy-duty boogie in the warehouse. Filling its ballast tanks with a hefty deluge of muscular bass onslaughts, sonar-like bleeps and untamed cascades of loopy arps, this one rolls and pitches like a haunted ship on predator mode. Adding his dynamic pulse and mind-bending spin to the A-side, Frameworks & Untertwegs bossman Decka cuts a path of straight mental obliteration as he smashes the doors of the club wide open and parades all guns blazing with the unapologetic crusher that is 'Circumvent'. A no-holds-barred workout for the strong stomachs, churning out fiery bars of kick-drum/squelchy bass contrast with in-your-face swagger. Switching on to the flip side, there's Manchester's Yant cruising with the ebulliently dynamic (no shit, Sherlock) tune, 'Moving'. A multidirectional concerto of pong-like modularity and racing synth arpeggios flying off like coloured bricks in a Tetris game gone absolute batshit. The kind of hi-intensity burner that'll awaken any lukewarm mid-set flow with its bouncy unpredictability and ruthless forward-pushing thrust. Rounding it off on a further minimal note, Amsterdam up-and-comer Hitam treats us to an inch-perfectly engineered finale with a stripped-back - yet, absolutely not hollow - bomb, 'Venusian Winds'. Gutsy that one sure is, with its metronomic step ticking at near-cyclonic speed and cleverly arranged, subtly FX-coated funk keeping things both suspenseful and focussed thru and thru. A sleek combo of pared-down brutalism and masterly executed analogue tailoring altogether. All dressed in clear purple marbled wax for the occasion, "Heimat II" shall please both the techno purist and visual aesthete in you with its velvet touch and effortless chic.
Die Kitchen Dwellers setzen ihre musikalische Entwicklung fort und präsentieren ihr mit Spannung erwartetes viertes Studioalbum „Seven Devils“, das am 01.03.2024 bei No Coincidence Records erscheinen wird Produziert von Glenn Brown (Billy Strings, Greensky Bluegrass), definiert das aufstrebende Quartett aus Montana weiterhin die Grenzen von Bluegrass, Folk und Rock neu. Inspiriert von Dantes epischer Reise durch die Neun Kreise der Hölle, führt das Album den Hörer auf eine ähnliche Entdeckungsreise. Die Kitchen Dwellers laden den Hörer ein, ihr Album als eine musikalische Reise ins Innere des eigenen Ichs zu betrachten.
Blizzard is an italian project well known for those who loves those 1995/1996 sounds from Italy, when Eurodance took over the european charts. Release originally on the X-Energy Records label. Produced by Francesco Alberti, also responsible for many sucessfull releases on the DWA label, teh track was sung for a young Sharon May Linn, dutch singer with a large carreer in Italian productions. It’s hard to decide which track from Blizzard is our preferred to we decided to come up with an EP including their two first singles ‘It’s Only Love' (1995) and ‘Without You’ (1996).
- A1: Niche News
- A2: 1954: Godzilla Attacks Tokyo - Reconstruction
- A3: 1966: Godzilla Attacks Tokai - Government's Decision
- A4: 1996: Godzilla Attacks Osaka
- A5: Superior Officer Miyagawa's Demise
- A6: Main Title
- A7: Scout
- A8: Special G Task Force
- A9: Unfortunate Disaster
- A10: G Confirmation I
- A11: Test Preparation
- A12: Black Hole Gun Engaged
- A13: The Late Night Abnormality
- A14: Dumping The Egg
- A15: Identification Tag
- A16: Cell Division
- A17: Meganulon
- A18: Kiriko And Jun
- A19: G Confirmation Ii
- A20: The Griffon Mobilizes
- B1: Godzilla Surfaces
- B2: Transmitter Installed
- B3: Dimension Tide
- B4: Submerged Shibuya
- B5: The Underwater Search In Shibuya - Godzilla In The Trench
- B6: Leading
- B7: Fight Of The Meganula
- B8: Starting The Dimension Tide
- B9: Godzilla X Meganula
- B10: The Dimension Tide Fires
- B11: Immortal Godzilla
- B12: Larval Growth
- B13: Megaguirus Is Born
- B14: Ultra-High Frequency
- B15: The Ultimate Combat Form
- B16: Godzilla To Tokyo
- C1: Godzilla Lands In Odaiba
- C2: Godzilla X Megaguirus I
- C3: The Effect Of Ultra-High Frequency
- C4: Godzilla X Megaguirus Ii
- C5: Godzilla X Megaguirus Iii
- C6: Godzilla X Megaguirus Iv
- C7: Program Restored - Conclusion
- C8: The Falling Dimension Tide
- C9: Kiriko's Decision - Lock On
- C10: Dimension Tide X Godzilla
- C11: A Moment Of Victory
- C12: End Credits
Godzilla returns once more to face the combined might of Japan's most extraordinary scientists in the second picture of the Millennium-era: GODZILLA VS. MEGAGUIRUS. Looking for new ways to defeat the Big G, the JSDF invent an incredible new weapon called Dimension Tide, which creates a miniature black hole that will transport Godzilla far away from Earth. However, a byproduct of weapon testing leads to thousands of winged insects invading Tokyo and attacking Godzilla. The Big G fights back, but their new queen appears, now kaiju-sized due to Godzilla's atomic breath. A thrilling battle then occurs as Godzilla goes head-to-head with Megaguirus while the JSDF frantically works to disappear both monsters forever.
GODZILLA VS. MEGAGUIRUS saw the introduction of composer Michiru Oshima into the franchise with a fantastic score that built on previous Toho musical traditions with a view to the future. While using music composed by the great Akira Ifukube for two sequences, Oshima also unveiled her own theme for Godzilla. First heard in a slow and foreboding mode, it's quickly unleashed in gigantic low tones, as terrifying and inevitable as the Big G himself. Soaring heroic material represents the JSDF and their advanced Griffon aircraft, while powerful brass is used for the threat of Megaguirus. Cementing Oshima's reputation as a great composer, GODZILLA VS. MEGAGUIRUS is a classic of kaiju musical mayhem. - Charlie Brigden
Composed by Michiru Oshima
Artwork by Attack Peter
Manufactured in Czech Republic
black LP[30,46 €]
Als der inzwischen verstorbene Rhett Forrester die New Yorker Band Riot nach dem viel beachteten Album "Born In America" von 1983 verließ, dauerte es nicht lange, bis er eine Solokarriere startete, die in zwei Studioalben mündete: "Gone With The Wind" (1984) und "Even The Score" (1988). Am 22. Januar 1994 wurde der legendäre Sänger in Atlanta, Georgia, im Alter von 37 Jahren erschossen. Die "Sessions"-Compilation vereint eine Reihe verschiedener Projekte, an denen Rhett Forrester im Laufe seiner allzu kurzen, aber dennoch beeindruckenden Karriere beteiligt war. Die meisten dieser Aufnahmen sind im Vergleich zu den bekannteren Veröffentlichungen von Rhett Forrester, sei es mit der legendären Band Riot, Jack Starrs erstem Soloalbum "Out Of The Darkness" oder Rhett's eigenem Solo-Output, in Vergessenheit geraten. Den Anfang machen die "Dirty Water Sessions", die erstmals auf dem längst vergriffenen Compilation-Album "Hell Or Highwater" zu hören waren und in Texas mit dem Gitarristen und Co-Autor Jonathan Grell aufgenommen wurden, der früher bei der Band Winterkat spielte. Diese Songs sind die allerletzten Aufnahmen, die Rhett vor seinem frühen Tod machte. Als nächstes folgt das Projekt "Dogbone", eine Band, die Rhett mit den ehemaligen Keel-Mitgliedern Brian Jay und Dwain Miller gründete. Diese Aufnahmen wurden Mitte der 1990er Jahre in begrenztem Umfang halboffiziell veröffentlicht, sind aber bis heute weitgehend ungehört geblieben. Außerdem enthält "Sessions" den einzigen Track aus dem "Thrasher"-Projektalbum mit Rhett. Dieser Track wurde von Andrew Duck McDonald und Carl Canedy produziert und war auch auf der "Hell Or Highwater"-Compilation zu hören. Den Abschluss dieser Veröffentlichung bilden die Demos für Dr. Dirty, bekannt als "The Clear Lake Sessions". Diese Aufnahmen bildeten die Grundlage für die vollständigen Dr. Dirty-Aufnahmen, die auf der High Roller Records-Veröffentlichung "Rhett Forrester - The Canadian Years" zu hören sind.
black LP[30,46 €]
Als der inzwischen verstorbene Rhett Forrester die New Yorker Band Riot nach dem viel beachteten Album "Born In America" von 1983 verließ, dauerte es nicht lange, bis er eine Solokarriere startete, die in zwei Studioalben mündete: "Gone With The Wind" (1984) und "Even The Score" (1988). Am 22. Januar 1994 wurde der legendäre Sänger in Atlanta, Georgia, im Alter von 37 Jahren erschossen. Die "Sessions"-Compilation vereint eine Reihe verschiedener Projekte, an denen Rhett Forrester im Laufe seiner allzu kurzen, aber dennoch beeindruckenden Karriere beteiligt war. Die meisten dieser Aufnahmen sind im Vergleich zu den bekannteren Veröffentlichungen von Rhett Forrester, sei es mit der legendären Band Riot, Jack Starrs erstem Soloalbum "Out Of The Darkness" oder Rhett's eigenem Solo-Output, in Vergessenheit geraten. Den Anfang machen die "Dirty Water Sessions", die erstmals auf dem längst vergriffenen Compilation-Album "Hell Or Highwater" zu hören waren und in Texas mit dem Gitarristen und Co-Autor Jonathan Grell aufgenommen wurden, der früher bei der Band Winterkat spielte. Diese Songs sind die allerletzten Aufnahmen, die Rhett vor seinem frühen Tod machte. Als nächstes folgt das Projekt "Dogbone", eine Band, die Rhett mit den ehemaligen Keel-Mitgliedern Brian Jay und Dwain Miller gründete. Diese Aufnahmen wurden Mitte der 1990er Jahre in begrenztem Umfang halboffiziell veröffentlicht, sind aber bis heute weitgehend ungehört geblieben. Außerdem enthält "Sessions" den einzigen Track aus dem "Thrasher"-Projektalbum mit Rhett. Dieser Track wurde von Andrew Duck McDonald und Carl Canedy produziert und war auch auf der "Hell Or Highwater"-Compilation zu hören. Den Abschluss dieser Veröffentlichung bilden die Demos für Dr. Dirty, bekannt als "The Clear Lake Sessions". Diese Aufnahmen bildeten die Grundlage für die vollständigen Dr. Dirty-Aufnahmen, die auf der High Roller Records-Veröffentlichung "Rhett Forrester - The Canadian Years" zu hören sind.
Mutagenicos (in English, "Mutagens...agents of change) were formed at the end of 2008, their base of operations being the wine region of Spain, Logroño in La Rioja. Influenced by traditional garage, surf and rockn´roll, but with their feet firmly planted in the present. Their brilliant, long-delayed, new album is finally out! They started as a quintet playing mainly instrumental songs, but little by little, both the formation and the compositions, have been undergoing mutations, making way for other musical genres with a greater number of sung songs, although always there remains room for instrumentals. For more than 3 years the band had stabilized as a trio: Santi Pequeno (bass) Pablo Magariños (drums and vocals) Alfredo Roto (guitar and vocals). But as they are irresistible to change, Miguel Aguas has joined, contributing percussion, synths, choruses, and much-needed height! But what has never, and will never, change is the is the fundamental driver of the band: fun above all. Which is what rock´n´roll is supposed to be, right?
United Kingdom-based Dirty Water Records has signed the California-based rock and roll / Power Pop outfit The Tearaways to a 5-year deal. The label has released the Ed Stasium-produced (Ramones, Talking Heads, Smithereens) digital version of their new record called “And For Our Next Trick.” The band features the dual lead singers of bassist John “Fin” Finseth and rhythm guitarist Greg Brallier, lead guitar David Hekhouse and Rock & Roll Hall of Fame drummer Clem Burke (Blondie). Also, from Tom Petty & The Heartbreakers, Benmont Tench played keyboards and Steven McCarthy (Jayhawks, The Long Ryders) added pedal steel guitar. The new record was recorded at legendary Village Recorders in Los Angeles and mastered at Sterling Sound by Greg Calbi. The first single being released to radio was “Charlie, Keith and Ringo,” along with the the award-winning video (Raindance Festival directed by Stephen David Brooks (“Flytrap”). The spring single is called “Saturday Everyday” and is being serviced to radio stations and other outlets right now. Label chief Paul Manchester: “We are thrilled to have assembled an all-star team of distributor Cargo Records UK, Wipe Out Music Publishing, Seán Crossey from the UK promotion firm High Violet PR & Plugging, and US publicity specialist Lou Mansdorf to help launch this project.“
- A1: Main Title
- A2: The Giant Tail
- A3: Facing Fear
- A4: A Close Call
- A5: Godzilla Appears In Nemuro
- A6: In The Ocean Depths
- A7: A Sleeep Of 60 Million Years
- A8: The Object From Outer Space / Unusual Phenomenon
- A9: The Self Defence Force Mobilizes
- A10: Godzilla’s Theme 2000
- A11: End Title – The Feared God Godzilla
- B1: The Object From Outer Space Flight
- B2: Eerie Silence
- B3: Eerie Silence Ii
- B4: Ominous Premonition
- B5: The Wonder Of G Revealed
- B6: The Flight Of The Giant Ufo
- B7: The Earth Invasion
- B8: Before The Explosion
- B9: Millennium
- B10: Thinking Of Dad
- B11: Millennial Kingdom
- C1: Miraculous Survival
- C2: Organizer – Godzilla’s Theme
- C5: Extraterrestrial Life/The Metamorphosis
- C6: Astonishing Resurrection
- C7: Millennial Kingdom
- C8: G’s Decision
- C9: The Space Monster Ironic Fate
- C10: End Title – The Feared God Godzilla
- C11: End Title – The Feared God Godzilla Ii
- C3: Extraterrestrial Life /The Birth
- C4: Rising Tension
He's back - again! Years after the end of the Heisei era, the big G came back to film in 1999 with the first of a new era: GODZILLA 2000: MILLENNIUM. Directed by Takao Okawara (GODZILLA VS. DESTOROYAH), a new look Godzilla is still harassing Tokyo, with the Godzilla Prediction Network out there trying to figure out where he'll show up next. To make matters worse, the government's Crisis Control Intelligence care more about firing missiles, but everything changes when they discover a mysterious meteor has a UFO inside. All of this results in Orga, a kaiju made from Godzilla's DNA, and of course it's up to the Big G to kick its ass back to space. Scoring GODZILLA 2000 was Takayuki Hattori, who had previously composed 1994's GODZILLA VS. SPACEGODZILLA. Hattori's music is very much about mood; the composer brings a sense of lyricism to proceedings, but of course, he also knows how to get us excited for Godzilla's appearances. Hattori does that with a spectacular new theme for the Big G that perfectly captures the creature's grandeur and immense power. There's also a fantastic piece for the UFO that has a wonderfully primevil beat, and of course, Akira Ifukube's classic theme for Godzilla returns in a big way. A perfect start to the Millennium era! (Charlie Brigden)
Artwork by Matt Ryan Tobin
2X 140gram Eco-Vinyl
toechter is an all-female trio operating from Berlin. toechter’s 2nd full-length album »Epic Wonder« sees its classically trained members blend elaborate string arrangements with ethereal indie pop and delicate rhythms. Katrine Grarup Elbo, Lisa Marie Vogel and Marie-Claire Schlameus exclusively use analogue sound sources (such as violin, viola, cello, and their voices), which were then electronically processed.
Named after the Greek god of the wind, toechters 2022 album »Zephyr« exhaled deeply with concurrently invigorating and confusing sounds. »Epic Wonder«, their second album, was created in the spring and summer of 2023. Playing with forms and contours, the music sounds like the awakening of something new. One seems to be listening to an ongoing conversation, an exchange about what music could be, where it wants to go and how it contributes to our view of life. It all rests on a simple premise:
»Every sound you hear in our universe comes from us. The string trio is the core of toechter, the starting point of all our work.«
Those looking for new worlds of sound can find them in the work of this classically- trained musicians. Whether they add voices or percussive instruments, sample the sounds, or manipulate them electronically; ultimately they are exploring the string trio's place in a world shaped by the digital.
»Prelude« opens the album, seemingly a conversation, yet not only between humans. We catch the word ›love‹ which soon morphs into pure sound images, while a violin theme tentatively takes over. Is it the dawning of a new day? The chorus of sound transforms into a fascinating rhythmic figure, creating a club-like experience that fades out in delicate structures. A perpetual transformation.
According to toechter, »Epic Wonder« is all about making connections. Connections between people, animals, plants, fungi, rocks, soils, oceans, ice caps, stars, and planets. One imagines oneself in a folk-pop song of the 60s, or even blown around by Morricone's desert wind:
»The world as we see it is in desperate need for a deeper understanding; for compassion, for empathy. We have to understand that we are all part of the same organism. Epic Wonder is a dream, a wish, a longing for kinship between all species that share the world - all that is alive.«
The acoustic throbbing and knocking in »Sea Of Serenity« makes you think of encounters with mythical creatures or planetary oceanography; and out of the mechanically clacking groove of »Shift Souls« a gentle, but steady movement awakens with voices that seem to sound from the depths of the sea. Everything is in flux, floating in and out of dimensions and elements.
The album ends with »Mercury«, spherically elegant and almost science fiction-like. Here, a pizzicato melody leads us back to the baroque, simultaneously representing a detail of intertwined sonic worlds, while the steady, housy baseline develops its driving theme.
»Creating the music for the album, we allowed ourselves to waft away with the aspiration that connections are possible. Sometimes dwelling on subtle, yet marveling phenomena like the evening fog covering a valley on Midsummer, sometimes on grandiose splendors like the genesis of mountains or the birth of a child - letting interactions and encounters with other beings float through the musical universe as drips of emotional perceptivity.«
For the visual manifestation of »Epic Wonder«, toechter has engaged with Finish up-and-coming lens-based artist Aino Kontinen. Her work will grace both the cover art of the album and accompany the first single and video as an ephemeral tale in motion.
Dwell into The Outside Agency's mechanical mind - an enclosed sphere through which soundwaves and hard-hitting beats bend and deform to the automatic articulations of the machinery that is their 'Machine Visions' EP. Feel the tracks' grinding bass wrench open your inner-spirits and guide you to an elevated sense of mechanical completeness!
Batov Records' Middle Eastern Grooves 45s series welcomes the latest addition to its eclectic roster - a two-track EP from Eje Eje, the psych and funk inspired project from Şatellites band leader and producer, Itamar Kluger. Featuring the tracks "That Rainy Down" and "Coral Sex," the EP showcases Eje Eje's unique blend of Middle Eastern melodies, soulful grooves, and psychedelic sounds.
On the A-side "That Rainy Down," The electro baglama player takes the lead, building and building as if, “he is pushing himself to his limit”, says Itamar, “seeking catharsis as he walks to the edge of the cliff with confidence”, whilst the a baladi rhythm plays like an immense march of drummers. On the B-side we find the funkier "Coral Sex", which according to Itamar tells a story of a drunk tramp bothering the refined and self-important occupants of an exclusive hotel lobby. Reflecting this friction, the track juxtaposes a silky and sophisticated R&B sound, with loosely, pr even drunkenly, played take on rebetiko, a traditional Greek music associated with the poorest of city dwellers, played on a long-necked Greek lute known as a bouzouki.
As each track develops, new layers are revealed, inviting the listener to delve deeper. The effect is intentional. As Itamar says, "there is this kind of music that hooks you in a different way every time you hear it, different places in the songs lighting up in different colors, like slowly revealed layers. In our (Eje Eje) case, it is just such a hazed blend. It could make a very specific atmosphere, color a very specific movie scene that is lost in time or yet to be directed, or a very specific moment with your headphones on a long bus to the desert."
Itamar Kluger is best known for his work with the Şatellites, a six-piece band whose blend of Turkish folk and psych with funk and disco won them champions and listeners across the globe, from KEXP in Seattle to BBC Radio 6 Music, and FIP in France.
Eje Eje’s first 45 promises to be at least as quirky and original, if not more so, since the project is even more unshackled from traditional concepts of a band.
The new album The Commune Of Nightmares by noise artist David Wallraf is a tapeloop-based musical game of cadavre exquis, a technique developed by surrealist artists.
David Wallraf is a noise artist and theorist living in Hamburg. His artistic work deals with the repressed and uncanny sonic residues of quotidian life, crafting soundtracks for the creeping disaster we inhabit. His works have been released on numerous international tape labels. A recent interest of his is the live scoring of silent films, including works by Luis Buñuel, Maya Deren and Jean Genet. His PhD thesis Grenzen des Hörens. Noise und die Akustik des Politischen (Limits of Hearing.Noise and the Acoustics of the Political) has been published in German, an English translation is in progress.
The Commune of Nightmares stems from the idea that nightmares are the logical reverse of 'capitalist realism': an uncanny undercurrent of daily experiences and an algorithmic haunting of dreams that at the same time is a shared – communal – experience of everybody. All songs are based on tapeloops that were cut arbitrarily from a stash of cassettes, some of which found on the street, others from a stockpile of 4 track tapes recorded in the late 90s and early 2000s – a musical game of cadavre exquis played with random strangers and former versions of DW.
Credits:
All music composed and recorded by David Wallraf in Hamburg-Wilhelmsburg, first half of 2023
Dutch lute player and composer Jozef Van Wissem's new album The Night Dwells in the Day out 19th January 2024. “It's like a part of my body,” says Jozef Van Wissem of the relationship he has to his chosen instrument, the lute. “The complexity of it is what keeps me going because you can always find something new.” The ability to constantly extract something different and explore fresh terrain is evident throughout Van Wissem’s sprawling back catalogue and up to his latest album, ‘The Night Dwells in the Day’. Over the years he’s released countless solo albums stretching into double figures, there’s been collaborations with Jim Jarmusch and Tilda Swinton, award-winning computer game soundtracks, along with award-winning film soundtracks, from Jarmusch’s Only Lovers Left Alive to Pierre Creton’s 2023 film A Prince. Since studying the lute in New York with Patrick O'Brien in the 1990s, Van Wissem has gone on to create works equally as rooted in classical Renaissance and Baroque forms of lute music, as contemporary sounds spanning drones, electronics and field recordings. Throw in some of his formative influences from the no wave and industrial scenes, alongside a dedicated approach to minimalism and this has resulted in Van Wissem producing distinct and singular work whose sound is often a marriage of opposites; meditative and intense, forward thinking but with a sense of the arcane. The Quietus has called him “probably the most famous lutenist in the world”. The genesis for his latest album began during lockdown in Warsaw, where Van Wissem splits his time between Rotterdam. “The Call of the Deathbird” was the first song he wrote from the album and is the first to be shared, along with an accompanying video today. Over a hypnotic yet beautifully fluid and plucked melody - captures scenes of deserted streets, death and the intense isolation that gripped us all. One of the relatively rare tracks that Van Wissem sings on - along with some stirring and enveloping guest vocals from Hilary Woods (who will tour with Van Wissem later this year – details below) - his towering voice circles above the music much like the swooping deathbird he sings of. Normally Van Wissem writes all the music for one album within a confined period but this one song from a few years ago stuck around and took on a new lease of life and so joined a bunch of freshly written songs for the album. While one song written during, and about, the pandemic came to be the album’s centerpiece, the rest of the album grapples with the world as it moved on and all the dualism and dichotomies that followed. “It has to do with darkness and light,” Van Wissem says of the album. “The title can mean different things to people but sometimes people say that if I play a happy piece of music that it still sounds sad. So this is why I came up with that title.”
It's not hyperbole to state that Touché Amoré's third album Is Survived By is the band's most pivotal album. Released 10 years ago on September 24th, 2013 via Deathwish Inc., Is Survived By tackles the complicated nature of leaving a lasting legacy and the uncertainty that surrounds that; ultimately resulting in a record about learning to find the validation and love within one’s self. Produced by the legendary Brad Wood (Sunny Day Real Estate, Liz Phair, mewithoutYou), the recording sessions were a lesson in growth for the Los Angeles quintet - vocalist Jeremy Bolm, guitarists Nick Steinhardt and Clayton Stevens, bassist Tyler Kirby, and drummer Elliot Babin - as the band transformed from a group of individuals who play hardcore songs to the established headlining act that Touché Amoré is today. Is Survived By received critical acclaim from the likes of Pitchfork, The A.V. Club, The Needle Drop, and more - resulting in the album being 13th highest rated album of 2013 per Metacritic. It was also the band's first record to chart on the U.S. Billboard 200, peaking at 85. But most importantly, Is Survived By is beloved by fans new and old.
Drumskull returns to Hooversound with a powerful new EP, featuring an official remix from Dwarde who makes his debut on the Hooversound imprint.
Drumskull operates at the intersection of the aggressive sonics of modern jungle, footwork, breaks and the more soulful atmospheres of deep house, UKG and broken beat. The versatile and seasoned DJ released his ‘Muscle Memory EP’ which was unleashed by SHERELLE and NAINA's Hooversound Recordings in 2023, which included remixes from Lone and LMajor. He now returns to Hooversound with another unique body of work, which brings in jungle affiliate Dwarde in for a remix. Having gained support across the electronic dance music scene and radio play on BBC, NTS and Rinse FM, plus glowing reviews in DJ Mag and Bandcamp, Drumskull begins the year with this inimitable release on Hooversound, setting the pace for the rest of 2024.
The eyes cannot see without varying the perception.
Thought dwells over rapid, constant change.
There is no moment in which any power of the soul remains the same; senses and faculties in their nature instinctively stimulate the alteration of the state.
No simplicity at any given time, nor identity at different times.
Distinct scenes make their appearance, pass and repass, slip and mix with an infinite variety of attitudes and situations: the mind opens the curtain, becoming theatre.
Warehouse find.
Indigenous travelers are Ron Trent and Jose Rico. They met at the Madrid Red Bull studios to pay homage to Jose Roberto Bertrami the brilliant leader and keyboardist of the Brazilian Jazz-funk trio, Azymuth. The result is "Paradise Ritmito Carnival", a hot, melodic and percussive house music with afro-brasilian influences. It is presented in a one-sided record with surprise in B side.
The Drip EP brings together four distinctive producers and one set of sounds - The Drips. The result is a compilation of 4 tracks that bring the swing and sampling of some of Accidental Jnr's finest to produce a soaking wet dancefloor.
First up is label boss Matthew Herbert with a trademark groove that harks back to his Wishmountain moniker albeit found lurking in the swamp. Cosmo Sheldrake takes a slight departure from his usual multi-instrumentaling live-looping avant-folk to deliver a track that could only be described as travelling circus aqua-techno. Bahraini born, French / US bred and now Edinburgh dwelling video game builder, sound designer and sometime Scottish league football referee Yann Seznec opens the B-side with an absolute stormer of a rain drenched club hook. Sussex based producer Crewdson and builder of such electronic instruments as the Eggiophone and Concertronica closes proceedings with a drizzling evolving 2-step number.
- 1: Einkehr
- 1: 2Der Stille Fluss
- 1: 3Repulsion
- 1: 4Skepsis Part I
- 1: 5Skepsis Part Ii
- 2: 1Ewigkeit
- 2: Zeichen
- 2: 3Aufbruch
- 2: 4Lichtmensch
- 2: 5Ruhe
2023er Reissue des 2019er Live-Albums der Deutschen Black Metal Institution DER WEG EINER FREIHEIT! Reduziert auf das Wesentliche repräsentiert diese Live-Aufnahme den wahren Charakter und Sound der Band. 80 Minuten voller Live Energie mit Songs aus der kompletten Diskografie, live mitgeschnitten am 14. Oktober 2017 im Lido, Berlin und professionell für Vinyl gemischt und gemastert. 180 Gramm schweres, farbiges Doppel-Vinyl (Transparent Rot mit Schwarz) im Gatefold Cover! Für Fans von Deafheaven, Emperor, Dark Funeral, Wiegedood, Helrunar
Mit "Urlaub in der Bredouille" erscheint Ende 2023 der 12. Longplayer von DRITTE WAHL. Die Rostocker Punk-Rock-Institution begeht ihren 35 Geburtstag also nicht mit einem Best-Off Rückblick sondern mit neuen Songs und einem Ausblick in die Zukunft. Thematisch bleibe das Quartett wieder am Puls der Zeit. Viele aktuelle Themen finden sich in den Texten der Band wieder. Musikalisch geht die Reise quer durch die Punk-, Metal- und Indiewelt. Da treffen skalastige Beats auf harte Gitarren, Hochgeschwindigkeit auf Up-Tempo und DRITTE WAHL signalisieren mit ihrem neuen Album dass sie lange nicht am Ende ihres Weges sind
- 01: Wir Schießen Die Milliardäre Ins All
- 02: Simulation
- 03: Urlaub In Der Bredouille
- 04: Panama
- 05: Keine Zeit Für Weiße Fahnen
- 06: Das Regelt Der Markt
- 07: Edwin Aldrin
- 08: Steine Im Weg
- 09: Der Spion
- 10: Statistik
- Disc #2: 01. Rausch
- 02: Was Zur Hölle
- 03: Brot & Spiele
- 04: Resolution Der Kommunarden
- 05: Zu Wahr Um Schön Zu Sein
- 06: Störung
- 07: Das Regelt Der Markt
- 08: Der Spiegel
- 09: Zur See
- 10: Tobias
- Disc #3
- 01: Ikarus
- 02: So Wie Ihr Seid
- 03: Der Himmel Über Uns
- 04: Keine Angst
- 05: Zum Licht Empor
- 06: Sonne & Meer
- 07: Greif Ein
- 08: Halt Mich Fest
- 09: Zeit Bleib Stehen
- Disc #4: 01. Zusammen
- 02: Sklave
- 03: Fliegen
- 04: Runde Um Runde
- 05: Auge Um Auge
- 06: Sirenen
- 07: Fliegen (Sommer Edition)
Mit "Urlaub in der Bredouille" erscheint Ende 2023 der 12. Longplayer von DRITTE WAHL. Die Rostocker Punk-Rock-Institution begeht ihren 35 Geburtstag also nicht mit einem Best-Off Rückblick sondern mit neuen Songs und einem Ausblick in die Zukunft. Thematisch bleibe das Quartett wieder am Puls der Zeit. Viele aktuelle Themen finden sich in den Texten der Band wieder. Musikalisch geht die Reise quer durch die Punk-, Metal- und Indiewelt. Da treffen skalastige Beats auf harte Gitarren, Hochgeschwindigkeit auf Up-Tempo und DRITTE WAHL signalisieren mit ihrem neuen Album dass sie lange nicht am Ende ihres Weges sind
Mit "Urlaub in der Bredouille" erscheint Ende 2023 der 12. Longplayer von DRITTE WAHL. Die Rostocker Punk-Rock-Institution begeht ihren 35 Geburtstag also nicht mit einem Best-Off Rückblick sondern mit neuen Songs und einem Ausblick in die Zukunft. Thematisch bleibe das Quartett wieder am Puls der Zeit. Viele aktuelle Themen finden sich in den Texten der Band wieder. Musikalisch geht die Reise quer durch die Punk-, Metal- und Indiewelt. Da treffen skalastige Beats auf harte Gitarren, Hochgeschwindigkeit auf Up-Tempo und DRITTE WAHL signalisieren mit ihrem neuen Album dass sie lange nicht am Ende ihres Weges sind
Mit "Urlaub in der Bredouille" erscheint Ende 2023 der 12. Longplayer von DRITTE WAHL. Die Rostocker Punk-Rock-Institution begeht ihren 35 Geburtstag also nicht mit einem Best-Off Rückblick sondern mit neuen Songs und einem Ausblick in die Zukunft. Thematisch bleibe das Quartett wieder am Puls der Zeit. Viele aktuelle Themen finden sich in den Texten der Band wieder. Musikalisch geht die Reise quer durch die Punk-, Metal- und Indiewelt. Da treffen skalastige Beats auf harte Gitarren, Hochgeschwindigkeit auf Up-Tempo und DRITTE WAHL signalisieren mit ihrem neuen Album dass sie lange nicht am Ende ihres Weges sind
Provocative percussion from the jazz trio Zen Widow!
Recorded live to 2-track analogue tape at Capitol Studios (CAP A)
Produced by Tone Poet's Joe Harley, recorded by Mike Ross
100% analogue mastering* by Kevin Gray at Cohearent Audio
Pressed on 180-gram ultra-quiet vinyl at RTI
Deluxe Old Style Tip-On single pocket gatefold jacket by Stoughton Printing
*Track 8 finished from high-resolution digital for vocal track
Intervention Records presents a special collaborative distribution effort with Italian objet-a records, Zen Widow IV – (from one dark age to another). This AAA 180G vinyl release is the fourth recording of Zen Widow, and it places an emphasis on highly melodic, spacious, and engaging treatments of medieval compositions ranging from Gesualdo Da Venosa, the Burana and Chantilly Codex, Welsh Gower folk melodies and texts, as well as the Bach Cello suites. These rich compositions are then reimagined through the lens of a highly accomplished and adventuresome jazz-improvised music trio.
Zen Widow is an international improvisational music-jazz super group. They have recorded and performed in clubs and festivals throughout the United States and Europe for that last 20 years. The trio consists of Gianni Gebbia (Bb soprano saxophone – cornettophone ) from Sicily, Italy, Matthew Goodheart (grand piano – transducer-actuated gong) from New York, Garth Powell (drums, percussion, and gongs) from Los Angeles, and is joined by special guest Dwight Trible (vocals) for this recording. Their previous release featured trumpet and jazz master Wadada Leo Smith, and like this recording was produced by Joe Harley (Blue Note – Tone Poet Series, Charles Lloyd, and Music Matters Jazz).
Garth Powell is also an audio industry legend, and AudioQuest’s Sr. Director of Engineering. Garth is the driving force behind the company’s multi award-winning line of Niagara series power conditioners and its Mythical Creatures ultra high-performance cables.
As powerful as these performances are, the sonic results created by this production/engineering team is equally stunning – a truly reference quality analogue experience.
This recording is captured live-to-two-track analogue, 30ips tape at Capitol Studios (studio “A”) by Mike Ross and Steve Genewick. 7 of the 8 tracks are AAA, while the last track alone is finished high-res digital to accommodate the vocal track. Mastering and lacquers cut by Kevin Gray at CoHEARent Audio, with 180-gram pressings by RTI (Camarillo, California).
The single-gatefold jacket is a deluxe Old Style “tip-on” from Stoughton, designed by Intervention’s longtime Art Director Tom Vadakan.
Tricatel is proud to present, in a limited edition of 777 hand-numbered copies, the superb double vinyl/book dedicated to 7×7, inspired by Bertrand Burgalat.
Seven notes in the scale, seven days in the week, seven colors in the rainbow, seven wonders of the world, seven virtues and seven sins, seven ages of life, seven samurai, seven dwarfs for Snow White… Under the sign of 7, Belgian artist Jean Pierre Müller, in close collaboration with seven music legends (Robert Wyatt, Archie Shepp, Sean O’Hagan, Mulatu Astatke, Kassin, Nile Rodgers, Terry Riley), has conceived a magical project combining visual and sound compositions, in all senses and meanings.
In the summer of 2012, 7×7 was first presented to the public in its entirety at Edinburgh’s Summerhall, the start of a series of high-profile exhibitions and shows that have taken 7×7 from New York to Cannes. Ten years later, Jean Pierre and Tricatel would like to dream again with you, this time of a physical object celebrating 7×7 and offering the general public the opportunity to own a piece of the 7 colors dream.
This art and music object is a Gatefold double-vinyl, comprising two white vinyl records in printed inner sleeves and a 64-page booklet in the center, like a book.
Destroyer ist das dritte Solowerk von DOWNFALL OF GAIAS Peter Wolff. Dieses Mal schließt er sich mit dem niederländischen Folksänger Jens Boogaard von Knifefight und dem Filmemacher Kai Lietzke zusammen, der bereits mit Peter am letzten Albumfilm ,Breath" zusammengearbeitet hat. Der Drang, zu vergessen, irgendwo anders als hierher zu fliehen und irgend jemand anderem außer sich selbst die Schuld zu geben. Das Album erzählt die Geschichte eines schweren Autounfalles, den Jens Borgaard mit ansehen musste, aus den Augen des Verursachers. ,Was als reines Instrumentalprojekt begann, entwickelte sich durch die Hinzufügung von Gesang zu einer persönlichen Erzählung", so Wolff über das Album. ,Destroyer" ist eine Platte, die die düsteren Ambient-Klanglandschaften von Peter Wolff mit der tiefen, warmen Stimme von Jens Borgaard und der unglaublichen Filmarbeit von Kai Lietzke kombiniert, der für das Album wiederum einen kompletten Film produziert hat. Die Kombination des traditionellen Folk-Hintergrunds von Jens Borgaard mit Peter Wolffs Affinität zu düsterer elektronischer Musik sowie mit seinen Post-Metal/Crust-Core Einflüssen erzeugen eine hypnotisierende, einschüchternde Klanglandschaft. File Under: Post Rock, Elektro, Goth, Avandgarde For fans of: Jesu, Ulver, Low Subheim Black / coloured vinyl available
EVOLV is a visionary window into the mind of Dubfire, the journey of the ‘hybrid’ being and its evolution. Last year in October, an 11-track debut album was released on his long-standing SCI+TEC imprint. And now, just over a year later, Grammy award winning producer Dubfire returns to that sonic discourse, drafting in an impressive array of names to re-interpret the material, and accompanied by Dubfire's new audio-visual EVOLV show which picked up where the critically acclaimed electronic performance experience HYBRID had left off.
The eclectic package will include such notables as Glaskin, Arjun Vagale, Nadia Struiwigh, Mathimidori (dub alias of Mathias Kaden), Maral, Decka, Carl Craig, Truncate, Drumcell, Chris Liebing, Radio Slave and Luke Slater who have all given the original music in their own unique style.
With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy Award-winning (2001) duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works, ‘RibCage’ (2007), ‘Emissions' (2007), ‘Roadkill’ (2007) and the highly acclaimed ‘Grindhouse’ (2009) remix from Radio Slave which led to a host of other notable projects over the years.
Collaborative work highlights include projects with Miss Kitten, Luke Slater, Flug, and Oliver Huntemann, as well as co-producing two songs on Underworld’s Barking album. A true artist, he has always been heavily invested in exploring performance technology, unveiled to wide praise with his HYBRID live show. A two-year world tour commenced in 2015 and was followed by his retrospective album, A Decade Of Dubfire (2017), a celebration of his immense output during the first 10 years of solo artist stardom. EVOLV is Dubfire’s debut solo artist album.
Fixed Abode labelhead Rainy Miller met Space Afrika through regular nights he runs at Salford’s The White Hotel, a hub for leftfield electronic music. What started out as an idea for a collaborative EP between Rainy and Space Afrika turned into a longer form project, with features from Mica Levi, Coby Sey, Richie Culver, Voice Actor and Iceboy Violet, amongst others. ‘A Grisaille Wedding’ is an immersive experience that fills the space these artists have come to dwell in during their creative journeys. It not only pushes the boundaries of music but also bridges regional dialects within the conversation of contemporary electronic music. Rainy Miller: “‘A Grisaille Wedding’ is a project based in the personification of the semi-fictitious world that Space Afrika have come to build over the years. Using musique concrete and British soundscapes, I wanted to fuse the sonic with both noise and the contemporary.” Space Afrika: “The record’s title figuratively describes the marriage of two similarly motivated perspectives, each affected by a common backdrop and familiar ground tread amongst the scrimmage of urban sprawl, sombre, a boisterous landscape and clouds of uncertainty.” Rainy Miller’s 2022 solo album was included in 6 Music’s Albums Of The Year and Crack Magazine’s Best Albums Of 2022. Following the LP release, Rainy Miller and Space Afrika will be announcing joint UK and EU live shows taking place at the start of 2024. For fans of Actress, Dean Blunt, Lee Gamble, Loraine James
Deafheaven’s monolithic second LP Sunbather, was not only a massive success in 2013, it created a radical shift in heavy music culture, an acceptance of the genre by previous outsiders, and a trailblazing sound that heretofore hadn’t been heard outside of learned circles. It was a reville introducing the changing of the guard in metal, featuring phenomenal reviews across the board, and breaking the mold used by buttoned-up indie types and false-flag musical dilettantes intent on keeping the status quo. A maverick release in every facet, the cornerstone for the triumph that is Sunbather truly lies in its world class songwriting. From the opening anthem “Dream House,'' it's clear to see that Deafheaven was soaring triumphantly into the unknown, through the emotional highs and lows, the fire and rain, and onto the unseen road ahead. Lyrically, Sunbather examines themes of existentialism, diving headfirst into the abyss, and the pursuit of self-discovery. The album's title itself is similar in scope, representing the embrace of the light and movement out of the dark unknown. Sunbather takes influence from the majesty of early Emperor and underground US heroes Weakling, the dark beauty of France’s Alcest, the introspective nature of post-rock and shoegaze gods like Mogwai and Slowdive, as well as the DIY spirit of punk ranging from Fugazi to Man is the Bastard to create a new realm for their emotional and expansive epics.
Gloam is the highly anticipated sophomore album from alternative folk band MAYBEL. Similar characteristics from their debut, Gathering, are carried forward: elegant harmonies, soft instrumentals and a shared optimism coupled with a wide open vulnerability. The songs still echo the intimacy, warmth and closeness of their relationships, yet the band has matured. MAYBEL's evolution shines through with ambitious compositions, thoughtful songwriting, and a deeper understanding of themselves as the album’s themes pierce with growing pains, anxieties and hopes for change. It’s a record about movement and stopping; the ongoing act of coming apart and coming together. Gloam is for listening in your bedroom or in transit, missing friends, on your way to see them. It holds an optimism that rings clear yet nestles and dwells in a brooding, muddy darkness - placing it firmly in the illustrious Canadian folk canon. This is the first album for which all four members (Fez Gielen, Ali Hendra, Loris Kecaj and Lauren Spear) wrote songs. For the most part, they were written during the pandemic separately and then shared in the upstairs living room where Lauren, Ali and Loris used to live together. The result is a shared diary on love, grief and moving on. The band's ability to effortlessly blend traditional folk elements with modern production techniques is reminiscent of the collaborations between Emmylou Harris and Daniel Lanois. Just as Harris and Lanois brought a fresh perspective to country music, MAYBEL embraces experimentation in their sound without compromising the warmth and intimacy inherent to folk music. As with their debut Gathering, MAYBEL recorded Gloam with producer/engineer Jonas Bonnetta at Port William Sound in Mountain Grove, Ontario. Resonating with a sound borne of the studio’s deeply intimate rural environs it is no wonder the band chose to return. Here they were joined by Eliza Niemi on bass/cello, Caylie Runciman on bass/drums with Jonas adding synths and percussion. Gloam is an old Scottish word for twilight. It appears like a fantasy between the day and night, a time seemingly frozen, drifting, or ignored all together. Gloam is the mood and time within which the album takes place. MAYBEL describes it as being: “In transition, between sleeping and waking—a quiet underworld where one is alone with their thoughts, in true presence with the in-between.” The final track on the album, “For Nothing”, captures something of the album’s twilight hope. It begins with lilting solos and gracefully builds in energy and color. MAYBEL sings to its listeners, “All that work for nothing” with a buoyancy and radiance that chimes against the lyrics. They repeat: “All that work for nothing”. For all of the band, the last few years have resulted in significant change and stress. Yet they continue to try, through their music, to will themselves towards optimism. They ask for you to marvel with them at the charming and terrifying possibility of life. They harmonize again, not despairingly, but almost ecstatically “All that work for nothing!”
Er hat es wieder getan! „The Mystery Of Time“ markiert quasi den Rücktritt vom Rücktritt, den Tobi Sammet nach der AVANTASIA-Show auf dem „Wacken Open Air“ 2011 verkündet hatte. Mag Sammet damit zwar auch gewissermaßen wortbrüchig geworden sein, so darf man sich in diesem Fall dennoch darüber freuen, denn mit „The Mystery Of Time“ liefert der quirlige Frontmann einen absoluten Geniestreich ab. Jetzt als Reprint im Ltd. 10 Jahre Anniversary Red /Gold Vinyl 2 LP !
- Guitars, Cadillacs 4:01
- Smoke Along The Track 3:41
- T Know 4:07
- Home Of The Blues 3:10
- 1: 00Miles 4:24
- Please, Please Baby 3:22
- Little Ways 3:03
- Honky Tonk Man 3:02
- Streets Of Bakersfield 3:29
- Buenas Noches From A Lonely Room (She Wore Red Dresses) 4:37
- Always Late With Your Kisses 2:29
- Little Sister 3:52
- I Sang Dixie 3:23
- Will Kill Me 4:23
Twentysomething Dwight Yoakam was literally the new kid in country music when he stepped onto the Austin City Limits stage in October 1988. But even then, as he has ever since, he was doing things his own way. Dwight was born in a small Kentucky town and grew up listening to mountain and bluegrass music, and unlike most of the mainstream country-pop crooners of the eighties, he almost single-handedly revived the rockabilly / honky tonk / hillbilly sound that was one of the cornerstones of country music’s formative years. Early on he discovered the fabled “Bakersfield” sound of the 60’s and adopted it as his own, in the tradition of country legends Merle Haggard and Buck Owens. Buck, in fact, became his hero and friend. When Dwight was playing a fair in Bakersfield, he stopped by Buck’s office and coaxed him into playing a few songs with him onstage that night. The result was a lasting friendship and their historic duet, “Streets Of Bakersfield.” Much like his heroes, Dwight has been true to his roots and breaking new ground for almost 20 years. - Terry Lickona (Producer Austin City Limits)





































