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Sein Ruf eilt ihm voraus: unerschrocken, brillant, ein Grenzgänger. Als einer von wenigen Künstlern
wurde er in Klassik und Pop gleich mehrfach mit einem ECHO ausgezeichnet. Nun kehrt der Stargeiger
David Garrett mit einer neuen Aufnahme zurück – Iconic. Sie erscheint als Deluxe-Edition (1 CD) mit
drei Bonustracks und bietet ein 12-seitiges Booklet, das den Violinisten in Wort und Bild in seiner Kunst
präsentiert. David Garrett zollt hier den großen Geigern des Goldenen Zeitalters Tribut – Legenden des 20.
Jahrhunderts wie Heifetz, Kreisler und Menuhin. Seine persönliche Auswahl bringt Perlen der Klassik zu
Gehör. Es sind atmosphärische Miniaturen und glanzvolle Virtuosenstücke, von Bach oder Mendelssohn,
Schumann oder Dvořák, Gluck oder Kreisler und vielen mehr. Eigens für Violine, Gitarre und Orchester
arrangiert, erhalten diese Stücke eine neue, einzigartige und intime Note. David Garrett wird begleitet
von seinem Gitarristen Franck van der Heijden, der auch das Orchester The Prezent dirigiert. ”Ich habe
selbst schon viele virtuose Alben aufgenommen”, sagt David Garrett, ”aber diesmal wollte ich mich aufs
Wesentliche konzentrieren, auf das, was zu Herzen geht.” In Duo-Arrangements ist David Garrett mit
seinem ehemaligen Lehrer Itzhak Perlman, dem Startenor Andrea Bocelli, der Flötistin Cocomi und dem
Trompeter Till Brönner zu erleben.

Metal Blade Records is proud to announce the signing of British death metal band, Ingested, to its global roster. The flagbearers of modern UK death metal recently celebrated the band's 15th anniversary, as well as the 10th anniversary of their sophomore effort "The Surreption" with "The Surreption II," a complete re-recording of the album earlier this summer. Ingested was founded in 2006 in Manchester, England and have since toured extensively with Cannibal Corpse, The Black Dahlia Murder, Nile, Carnifex, Revocation, and have been seen on European festival stages including Summer Breeze Open Air. The band earned Billboard chart entries in 2018 with their album "The Level Above Human," including: #35 Independent Albums, #16 Hard Rock Albums, #135 Top 200. The band saw chart action again with their 2020 release "Where Only Gods May Tread" including #4 Current Hard Music Albums, #10 Top new Artist Albums, #139 Billboard Top Albums and #15 on the UK Rock & Metal Albums, and #50 UK Independent Albums chart. With an already extensive release and touring history, Ingested are eagerly anticipating an exciting new era as part of the Metal Blade Records roster.

After a year of releases exploring recent musics from the USA, Europe and the southern hemisphere the Horn of Plenty presents a survey of archival private, demo, and live tapes from local avant-anarcho-punks The Apostles. The tapes were (poorly) recorded in Islington & Hackney squats between 1981-1983 and they capture the fledgling band exploring various line-up’s, styles & techniques with limited means and ability. In 1983 The Apostles released their first vinyl EP and switched mainly to a more straight-ahead anarcho-punk style. They gained a strong following then called it a day in 1989. Their vinyl output is still regarded highly by fans and collectors and their ‘official’ demo tapes have become highly sought-after, particularly since being namechecked by Ty Segall in a 2014 interview. In a 2009 article charting the band’s history (frontman) Andy Martin gives these early tapes a mere footnote and states that, in his opinion, they are ‘Best Forgotten’. With respect Andy, I beg to differ. Best Forgotten shows the band grappling with the political, racial and cultural tensions of the time whilst exploring radical politics and issues around homosexuality and mental health. Their sympathies with The Angry Brigade’s ‘direct action’ ethos extended to their involvement with the squatted Centro Iberico and The Wapping Autonomy Centre where they worked closely with Crass, Poison Girls, Flux of Pink Indians and The Mob among others. Viewed retrospectively, it’s easy to draw comparisons with early Fall records, The Door and The Window etc… but also at their melodic best they echo 60’s beat groups and even 70’s blues-rock. A keen interest in tape collage (supplied here by Ian Rawes who later became established with his London Sound Survey project) and the avant garde also inform the mix. Highlights include a bleak reworking of Lemon Kittens’ Chalet D’Amour and a live version of Simon & Garfunkel's I Am A Rock segueing into their take on Alternative TV’s Splitting In Two recorded at The Recession Club in Ponsford Street, Hackney. The short-lived Recession Club, which The Apostles co-ran and where Andy Martin worked the door, also hosted the first ever Coil concert. On that night he refused entry to Death In June on account of their ‘inappropriate attire’. Best Forgotten comes in a hand stamped, stickered and assembled edition of 500 copies and includes an A3 poster and 32 page A4 zine collecting archival photos and images from The Apostles tapes & zines along with liner notes and reflections on the tracks written by Steve Underwood (Harbinger Sound), Chris Low (former Apostles drummer) and The Apostles frontman Andy Martin, who thought this whole thing was daft.

Welcome to BM-18 the biokinetic realm created by Dana Kuehr, a lush audio environment where organic and synthesized matter coalesce. As we float disembodied above this verdant pixel plain, Dana offers us shifting repetitions and sequences in disguise, each track a landscape within a world created in the utmost detail, from the minute bleeps and chirps to the enveloping and bumping bouncy basslines. Flickering drums explode like dandelion seeds in a breeze, searching for a place to lay, grow, and flourish. Sounds are captured (fingers tapping, rain patter, Belgian parakeets released from a '70s zoo, vocal oohs and ahhs) and hybridized with patterns, samples, and musical manoeuvres (jungle breaks, west coast hip hop, layered drums, IDM crunch and twinkle, reverb, delay, '90s R&B, underwater video game soundscapes). As in any imaginary sphere, there are characters who exchange and converse: rivers, coasts, clouds, lakes, echoes of dolphins, and peaceful frogs. Amidst their complex chatter, the sounds of BM-18 extend an invitation to dance, to feel our bodies alive and present, to acknowledge the impulse of movement and the pulsing heartbeats of each track. An ode to the Taoist consideration that all creatures live together in mystic unity, co-evolving and feeding each other, Dana brings together cloud ethereal with earth pounding, and like an orca's tail upon a restless sea, it slaps!!! All tracks written and produced by Dana Kuehr between April 2020 and November 2021 in Brussels, and mixed by Dan Piu at Checkpoint Charly Studio in Zurich between November 2021 and March 2022. Mastered and cut by Stefan Betke at Scape in Berlin. Original artworks by Camiflage and text by Ailsa Cavers. A1 was first digitally released on Ojoo Music. Dana thanks Michiel, George, Jakob, Camiel, Ailsa, Tania, Victor, Jill, Karen, Daphne, Arne, Oscar, Joe, and Gwenan for the love and inspiration. True voyage is return!

Freedom is both an integral and multi-layered topic for improvised music, describing its mechanics, aesthetics, and values and often an underlying political dimension as well. In the case of free jazz specifically, the word carries additional weight given the music's deep connection to the black liberation movement of the 1960's and 70's.

The passionate and unclassifiable work of Calgary-based improviser Jairus Sharif embraces each of these definitions of freedom and others, albeit strictly on its own personal and idiosyncratic terms. Since early 2020, the 34 year-old autodidact has been generating a steady stream of homespun solo recordings that forge unprecedented connections between hip-hop abstraction, cosmic skronk, outsider jazz, and staunch post-punk DIY ethos.

Leading up to the pandemic, Sharif's immersion in spiritual and exploratory jazz had culminated in him deciding to purchase an alto saxophone. Unbeknownst to him this instrument would be a catalyst for him to discover his own ardently individualistic artistic voice.

Prior to that point, he had always been somewhat of a solitary musical traveler. In 2002, he acquired his first instrument—a pair of Technics 1200s — but struggled to find local collaborators that had equal investment in hip hop culture. Ultimately, Sharif picked up the guitar, turning to the resilient local punk community, that had also nurtured both of his mothers some time earlier.

As Black Lives Matter gained momentum in the wake of George Floyd's murder, Sharif was suddenly flooded with an acute awareness of his own identity. It compelled him to zealously plunge headlong into open-ended spontaneous solo creation. Water & Tools, his strange and stirring debut for Toronto's Telephone Explosion Records (home to full-lengths from the likes of Brodie West's Eucalyptus, Mas Aya, and Joseph Shabason), offers a glimpse into this ongoing hermetic journey.

As Sharif dedicated himself to uncovering his own deeper musical truths, he assembled a home studio in his basement, cobbling together a drum kit from bits his bandmate had left at his house pre-pandemic, chaining effects together and outfitting the entire space with microphones. Somewhere between the chaos of child's treehouse and the tidy import of a shrine, this space (pictured on the album's back cover) consecrated his own imagination. He laid it out to maximize access to any and every tool in his arsenal, providing him a freedom to explore that he had never permitted himself to consummate before.

Within this cozy private universe, his recent purchase—the saxophone—assumed new meaning. It furnished a tangible connection to the black radicalism that mobilized free jazz, but also something far more personal. From a technical standpoint, the instrument was completely unfamiliar to him, yet rather than this being a hindrance to Sharif, his inexperience opened fruitful path forward, unencumbered by preconceptions. Resolving to shirk formal training, convention, and build his own understanding of it from scratch, allowed him to access his most raw, fundamental creative impulses. The Saxophone's inseverable bond with breath compounded this effect, echoing revelatory discoveries he had been making about breathing through yoga, research, and psychotherapy. Of course, the parallels with BLM's harrowing rallying cry—“I can't breathe”—were not lost on him either.

Water & Tools is a dense, contradictory statement with a blustery surface that shelters a soulful heart. It's generous music, exuding profound vulnerability—grappling with the loss of one his mothers, Lisa—all the while brimming with electric wide-eyed wonder. Almost every one of the nine pieces seems to carry some semblance of a groove, while remaining completely untethered from pulse. For Sharif, this collection is an expression of newfound lucidity, however for the listener his sonic concoctions act as powerful psychotropics. At points, there's a timelessness that's conveyed through the music's processional, ritualistic tenor, and yet there's an endless amount of wild, futuristic detail waiting to unspool at any given moment. Similarly, while this recording emerges from Sharif's private pilgrimage and personal emancipation, he also leaves room for collaboration. Woven throughout Sharif's one-man-ensemble textures, one finds Maxmilian Turnbull (of Badge Epoque, U.S. Girls, and Cosmic Range infamy) providing sundry keyboards and treatments, as well as his mixing skills.

Whether conjuring effusive psychedelia or plumbing introspective depths, the music that Jairus Sharif produces is singular, visceral, and wondrously unpredictable. Water & Tools sketches a raw, firsthand account of his nascent explorations within his own unbridled imagination.

Nkrumah "Jah" Thomas reggae deejay and record producer who first
came to prominence in the 1970s, later setting up his own Midnight Rock
and Nura labels
Rhythm tracks recorded at Channel One Studio.
Voiced & Mixed at King Tubby Studio
Mixed By - Scientist
Backing Band - The Roots Radics
Drums - Radigon
Bass - Errol Flaba Holt
Organ - Winston Wright
Lead Guitar, Rhythm Guitar - Bingy Bunny
Piano - Gladstone Anderson
Percussion - Sky Juice Blake
Saxophone - Headley Bennett
Trombone - Val Bennett
Trumpet - Bobby Ellis
Backing Vocals - Sister Jackie
Released 1983
Advertising in Black Echoes and Record Collector Magazine

A new pressing, limited to 500 copies on red vinyl. Joy Division live at the Leigh Rock Festival in 1979. It has a gatefold sleeve with previously unseen Leigh festival images. This item will only be manufactured for a short period of time so will be very limited. Order now. The Leigh Rock and Music Festival was a 3-day mini-festival co-hosted by Zoo Records and Factory Records, held in Leigh on 25, 26 & 27 August 1979. Factory gave the event the catalogue number Fac 15 and the title 'Zoo Meets Factory Half-way'. The roster included A Certain Ratio, Joy Division, Crawling Chaos, The Teardrop Explodes, OMD, and Echo and the Bunnymen. The event was so titled because the town Leigh is Half-way between Liverpool (the home of Zoo) and Factory. Catalogue number also allocated to a poster for the event which was designed by Peter Saville. Tracklisting : Side One : 1 Disorder/ Stage Announcements 2 Leaders Of Men 3 Colony 4 Insight 5 Digital. Side Two : 6 Dead Souls 7 Shadow Play 8 She’s Lost Control 9 Transmission 10 Interzone 11 Sound Of Music- Intro.

Ireland based American songsmith Peter Broderick announces the release of Piano Works Vol. 1 (Floating in Tucker’s Basement) — a new comprehensive album of solo piano recordings out November 25. Shining a light on the artist’s ongoing piano-based compositions, this release offers an opportunity to celebrate his more intimate work. A comprehensive collection of Peter Broderick’s piano work to date, these recordings were originally captured in Berlin to accompany the 2017 sheet music book Piano Works Vol. 1. The book contains 20 pieces for solo piano and a download code to access new recordings of all 20 pieces. Up until now, the only way to hear these recordings was to purchase the sheet music book. This release sees the original recordings receiving further treatment and processing by Tucker Martine in the customised echo chamber of his studio in Portland, Oregon—the region where Broderick grew up. The clean and unaffected original recordings were intended for educational purposes, so for this release Erased Tapes founder Robert Raths suggested to ‘throw the recordings into the well’, for a more dynamic and conscious listening experience. “We gave these recordings a bit of a makeover. We sent all the tracks over to legendary engineer/producer Tucker Martine, who processed all 20 of them with unique tape and reverb treatments, utilising the echo chamber of his Portland studio, Flora Recording & Playback,” explains Broderick. Now these recordings are set to be released on doublevinyl, double CD and all digital platforms.

Experimental post-punk outfit GIRLS IN SYNTHESIS are set to release the eagerly anticipated follow-up to 2020’s incendiary debut, ‘Now Here’s An Echo From Your Future’. Entitled ‘The Rest Is Distraction’ and available this coming October 14th via the band’s own label Own It/Cargo Records, its mix of fractured guitar, crushing drums and bass, intense vocals and lyrical content - create as challenging a record as you will hear this year. Formed in 2016, GIRLS IN SYNTHESIS are John Linger (bass / vocals), Jim Cubitt (guitar / keys) and Nicole Pinto (drums). The trio’s double a-sided debut single ‘The Mound’/’Disappear’ came out in the early part of 2017, and since then they have established themselves as the most forward thinking, viscerally challenging band around with unmissable live shows that continue to excite and astound in equal measure. Recorded last year amidst the uncertainty of continuous lockdowns as a result of the global Covid-19 pandemic, ‘The Rest Is Distraction’ is far darker in content than its predecessor. Mainly exploring internal and mental struggles as opposed to external current affairs, it focuses on the claustrophobia of emotional anguish and continues to bravely delve into previously un-ventured topics. Featuring frequent collaborators funkcutter and Stanley Bad on horns and violin, respectively, two songs also see Eleni Poulou, ex-The Fall, on keyboards. The album was mixed by long-term collaborator Max Walker and features stunning landscape photography by Bea Dewhurst. The album was mastered in France by Ayumu Matsuo. Sonically atramentous and less one dimensional than the band’s debut, ‘The Rest Is Distraction’ takes its cues from ‘Join Hands’ era Siouxsie & The Banshees, Brainiac and Crass’ ‘Christ The Album’, among others. From the first crackle of electricity on the opening track, to the heart wrenching taped voice-recording on the final outro, this LP triumphantly retains every ounce of intensity and vitality that makes Girls In Synthesis the most captivating band to emerge from the UK DIY underground in recent years. Listeners will find ‘The Rest Is Distraction’ a challenging, yet ultimately cathartic listen. Prepare yourselves for a sonic cleansing, Girls In Synthesis style. Side A 1- It’s All Beginning To Change 2- Watch With Mother 3- Total Control 4- Swallowed Pill 5- Screaming
6- My Husband Side B 1- Cottage Industry 2- Not As I Do 3- Lacking Bite 4- Your Prayers Have Changed 5- To A Fault

Experimental post-punk outfit GIRLS IN SYNTHESIS are set to release the eagerly anticipated follow-up to 2020’s incendiary debut, ‘Now Here’s An Echo From Your Future’. Entitled ‘The Rest Is Distraction’ and available this coming October 14th via the band’s own label Own It/Cargo Records, its mix of fractured guitar, crushing drums and bass, intense vocals and lyrical content - create as challenging a record as you will hear this year. Formed in 2016, GIRLS IN SYNTHESIS are John Linger (bass / vocals), Jim Cubitt (guitar / keys) and Nicole Pinto (drums). The trio’s double a-sided debut single ‘The Mound’/’Disappear’ came out in the early part of 2017, and since then they have established themselves as the most forward thinking, viscerally challenging band around with unmissable live shows that continue to excite and astound in equal measure. Recorded last year amidst the uncertainty of continuous lockdowns as a result of the global Covid-19 pandemic, ‘The Rest Is Distraction’ is far darker in content than its predecessor. Mainly exploring internal and mental struggles as opposed to external current affairs, it focuses on the claustrophobia of emotional anguish and continues to bravely delve into previously un-ventured topics. Featuring frequent collaborators funkcutter and Stanley Bad on horns and violin, respectively, two songs also see Eleni Poulou, ex-The Fall, on keyboards. The album was mixed by long-term collaborator Max Walker and features stunning landscape photography by Bea Dewhurst. The album was mastered in France by Ayumu Matsuo. Sonically atramentous and less one dimensional than the band’s debut, ‘The Rest Is Distraction’ takes its cues from ‘Join Hands’ era Siouxsie & The Banshees, Brainiac and Crass’ ‘Christ The Album’, among others. From the first crackle of electricity on the opening track, to the heart wrenching taped voice-recording on the final outro, this LP triumphantly retains every ounce of intensity and vitality that makes Girls In Synthesis the most captivating band to emerge from the UK DIY underground in recent years. Listeners will find ‘The Rest Is Distraction’ a challenging, yet ultimately cathartic listen. Prepare yourselves for a sonic cleansing, Girls In Synthesis style. Side A 1- It’s All Beginning To Change 2- Watch With Mother 3- Total Control 4- Swallowed Pill 5- Screaming
6- My Husband Side B 1- Cottage Industry 2- Not As I Do 3- Lacking Bite 4- Your Prayers Have Changed 5- To A Fault

Treviso, Italy-based two piece Kill Your Boyfriend will release their fourth album 'Voodoo' on October 14th via Sister 9 Recordings (Europe), Little Cloud Records (North America) and Shyrec (Itay). A frantic and hypnothising bacchanalia of Psych & Industrial tinged soundwaves, the new album is a collection of reverb laden necromantic charms, summoning the souls and bones of the greats in the Rock & Roll pantheon of the 1950s. The duo delivers such glittery dark enchantment via 7 hoodoo hymns, travelling with a crumbling, ghostly and magically whizzing Rocket 88, in the company of Marie Laveau and madame Lalaurie. It's a relentless whirl of Voodoo-Psych, Industrial-Billy, Electro-GrisGris, which you can dance to. The new LP follows 'Killadelica', where Kill Your Boyfriend had refined their debut signature sound, bridging the gap between the semi-obscure but hauntingly fascinating tradition of Veneto's Post-Punk (Death In Venice, Evabraun, Pyramids, etc.) and contemporary Psych-Nouveau. With 'Voodoo', Matteo Scarpa and Antonio Angeli, explore new genres and expand the sonic borders, without losing their original intent. They replace the synth bass with a bass-guitar, adding more fluidity and weight to a renewed and punchier rhythmic section. Electronic and acoustic percussion are fuller and heavier, and the band's new stomp-machine is a hyper-convulsive version of the saturated Rock & Roll and R&B drumming, from the cheap garage studios of 1950s indie labels. Sida A is the most Rock & Roll of the two, and it is inspired by Michael Ventura's essay "Hear that Long Snake Moan", which brought forward the idea that "the Voodoo rite of possession by the god became the standard of American performance in Rock’n’Roll" where the performers "let themselves be possessed not by any god they could name but by the spirit they felt in the music”. Each song invokes one or a set of the lost souls of the Rock & Roll era, with 'The Day The Music Died' referring to the infamous 3rd of February 1959. Side B descends deeper into the magic swamps of Creole magic, with music taking on a much more liturgical function, conjuring shamanic possessions via extra layers of tribal percussion. The band says of side B: "we see it as a one long ritualistic descent into a psychedelic underworld made of echoing voices, claustrophobic spaces populated by lost souls, enchanters and witchdoctors."

TRACKLIST 1. The King 2. The Man In Black 3. Mr Mojo 4. Buster 5. The Day The Music Died 6. Papa Legba 7. Vodoo

The kaleidoscopic third album from Sean Mulrooney and his Ireland
meets Berlin ensemble Ecstatic folk- psych that full embraces the natural world and living ancestry, through joyful experimentation and deeply rooted sonics.

An inspired soundscape that echoes eclectic and eccentric atmospheres:
traditional Irish folk, outsider pop, global sacred music and drone rock.

2 x 180 g black LPs

"Insieme" ("Zusammen") heißt das erste Duett-Album von Jonas Kaufmann und seinem Freund, dem französischen Star-Bariton Ludovic Tézier. Die berühmten Duette aus Opern von Verdi, Puccini und Ponchielli wurden mit dem Orchestra dell'Accademia Nazionale di Santa Cecilia unter der exzellenten Leitung von Antonio Pappano aufgenommen. "Insieme" erscheint als Doppel-Vinyl (180g) am 11. November bei Sony Classical.Auf der Bühne sind sie oft Rivalen, im wahren Leben verbindet Jonas Kaufmann und Ludovic Tézier eine enge Freundschaft. Nach zahlreichen gemeinsamen umjubelten Live-Auftritten erscheint das erste Duett-Album der beiden Ausnahmesänger: "Insieme", Italienisch für "Zusammen" ist der Titel. Mit dem hervorragenden Orchestra dell'Accademia Nazionale di Santa Cecilia unter Antonio Pappano präsentieren sie Duette, die sie zusammen auf der Bühne gesungen haben, und Stücke, die sie extra für dieses Album einstudiert haben.Seit ihrem gemeinsamen "Werther", 2010 in Paris, sind sie immer wieder Bühnenpartner in verschiedenen Produktionen; und wie bei ihrem Duett-Album spielen die Werke Verdis dabei eine zentrale Rolle. Als sie 2013 an der Bayerischen Staatsoper zum ersten Mal die Rivalen in "La forza del destino" verkörperten, war sofort zu spüren: da haben sich zwei gefunden, die sich gegenseitig anfeuern. 2017 standen sie in Paris in der französischen Urfassung von Verdis "Don Carlos" auf der Bühne; da ist es nur logisch, dass das berühmte Duett von Carlos und Rodrigue auf ihrem Duett-Album in dieser Fassung erklingt. Hier sind sie einmal nicht die ewigen Widersacher, sondern echte Verbündete, in einer der schönsten Männerfreundschaften der Oper. Außerdem sind die beiden hier zum ersten Mal zusammen in "Otello" zu hören. Bei Kaufmanns Debüt als Otello, 2017 am Royal Opera House in London, sollte eigentlich Tézier an seiner Seite als Iago debütieren, doch leider musste er absagen. Und so kam es, dass die Aufnahmesitzungen während des Lockdowns 2021 zum ersten gemeinsamen "Otello" der beiden wurden, noch bevor Tézier seinen ersten Bühnen-Iago an der Wiener Staatsoper "nachholte". Dass mit Antonio Pappano am Pult seines Orchestra dell'Accademia Nazionale di Santa Cecilia einer der profiliertesten Operndirigenten unserer Zeit mit seinem exzellenten Orchester an Bord ist, ist ein weiterer Glücksfall für diese Einspielung.Beide Sänger sind hier erstmals in den großen Duetten aus Verdis "Les vêpres siciliennes" zu erleben, in der selten gespielten französischen Fassung. Auch das Duett aus Ponchiellis Verismo-Meisterwerk "La Gioconda" ist ein echtes Doppel-Debüt, dem bald auch eine gemeinsame Aufführung der kompletten Oper folgen soll. Puccinis "La bohème" hingegen haben beide bereits auf der Bühne gesungen, jedoch noch nicht gemeinsam; hier sind sie zum ersten Mal gemeinsam mit dem Duett aus dem 4. Bild zu hören.

In einer Szene mit unzähligen Kopien und seelenlosen Versuchen, die Majestät des alten schwedischen Black/Death Metal-Erbes zu beschwören, stehen WATAIN allein und feierlich da. Sie schauen aus den Schatten, in echter, siegreicher Aufrichtigkeit. Die heiß ersehnte zweite Veröffentlichung "Casus Luciferi" dieser satanischen Schweden ist endlich wieder erhältlich!

Ursprünglich in einer sehr begrenzten Stückzahl exklusiv für den Underground veröffentlicht, haben die Originale große Summen bei Internet-Auktionen erzielt. Jetzt neu gemastert mit einem Bonustrack und komplett neuem Artwork, gehört diese Neuauflage in jeden gut sortierten Plattenschrank!

In einer Szene mit unzähligen Kopien und seelenlosen Versuchen, die Majestät des alten Black/Death Metal-Erbes zu beschwören, stehen WATAIN feierlich, fremdartig, aus dem Schatten heraus, in echter, siegreicher Aufrichtigkeit.

Nach ihrer von der Kritik gefeierten zweiten Veröffentlichung "Casus Luciferi" (Album des Monats im Terrorizer) und einer erfolgreichen zweimonatigen Tournee zusammen mit DISSECTION, präsentieren WATAIN nun ihren dritten Black Metal-Monolithen "Sworn to the Dark".

­The mysterious afro-­soul of The Shaolin Afronauts first echoed across the dance floors of Australia in early 2008, captivating audiences with a highly evolved and unique approach to avant-garde soul music matched with an improvisational pedigree that immediately set them apart from their peers. In the almost fifteen years since the ensemble's debut they have released three albums on Freestyle Records and toured across Australia and around the world.

After an extended hiatus punctuated by rare live performances, The Shaolin Afronauts return with The Fundamental Nature of Being, an epic five album release that expands the sonic vision of the ensemble to towering new heights of burning afro-funk alongside esoteric and ethereal new sonic excursions. This expanded musical journey further explores the wide spectrum of the band's musical identity – with each of the five parts designed as both standalone records, while also offering a singular listening journey across the band's expansive musical world. This third part in the collection starts to explore influences from spiritual & free jazz sounds while still retaining the band's rich pan-african groove pallette.

Waterloo Teeth is true demonstration of Sugar Horse's refusal to conform or sit still. A community-building, genre-hopping release, the EP sees Sugar Horse letting the good times roll. Recorded during the Christmas break at Small Pond studios, sleeping among the amps, the four-track record is the Bristol group's excuse to work with some of the coolest musicians on the planet.

“A weird and jagged record for weird and jagged times.” – The Quietus
"A sucker punch of sludge-punk"
"Bold, charismatic, and nuanced.” – Everything Is Noise
“An extraordinary act” – Noizze
“Expertly balance filth and ambience” – Metal Hammer 7/10
“SUGAR HORSE are definitely a band to look out for.” – Distorted Sound Mag
“they truly deserve to be massive.” – Echoes And Dust

“This set was recorded and filmed at the CEMES laboratory, in Toulouse, south of France. The place is called "La Boule", and the structures you see behind us are the top of an old particle microscope. The sound turns infinitely in this sphere of aluminum. We wanted to confront our songs with this environment full of endless echoes and noises. Thank you very much to our crew, LEVITATION, and all the good people at CEMES, it was an intense sonic and physical experience for us, we hope you'll enjoy watching it. Can't wait to play for ya'll in real life, but until this day arrives... We salute you, from the deep space and the night !” - SLIFT

28th October 2022 sees the release of Pop-Up Dynamo! from PG Roxette, the new era of Roxette. Per Gessle continues the adventure he and Marie Fredriksson began, over 35 years ago. Together with members from the classic Roxette band and a sound echoing somewhere between "Look Sharp!" and "Joyride"; Gessle returns to the musical peak of his life with a new album.
Per Gessle gathered the classic Roxette band – Jonas Isacsson, Clarence Öfwerman, Magnus Börjeson, Christoffer Lundquist, Helena Josefsson and Dea Norberg with the aim to make a classic Roxette record. On the new album, Gessle says “When I started to write, my ambition was to try to create a sibling to “Look Sharp!" and "Joyride" – and that's actually exactly how it sounds. I've wanted to create a modern production, but with the typical Roxette trademarks”.
Per is joined by two other singers: Helena Josefsson and Dea Norberg. Both have been in the inner circle of Roxette for years.

28th October 2022 sees the release of Pop-Up Dynamo! from PG Roxette, the new era of Roxette. Per Gessle continues the adventure he and Marie Fredriksson began, over 35 years ago. Together with members from the classic Roxette band and a sound echoing somewhere between "Look Sharp!" and "Joyride"; Gessle returns to the musical peak of his life with a new album. This 1LP 140g gatefold white vinyl is accompanied by an 8-page booklet and exclusive photos.
Per Gessle gathered the classic Roxette band – Jonas Isacsson, Clarence Öfwerman, Magnus Börjeson, Christoffer Lundquist, Helena Josefsson and Dea Norberg with the aim to make a classic Roxette record. On the new album, Gessle says “When I started to write, my ambition was to try to create a sibling to “Look Sharp!" and "Joyride" – and that's actually exactly how it sounds. I've wanted to create a modern production, but with the typical Roxette trademarks”.
Per is joined by two other singers: Helena Josefsson and Dea Norberg. Both have been in the inner circle of Roxette for years.

Recital publish an album of lost Derek Bailey sessions recorded with his friend and collaborator Charlie Morrow. In 1982, Bailey and Morrow organized a series of live concerts and studio sessions around New York. This new LP is a boiled-down rendering of the master tapes that lived dormant in Charlie’s archive, until now.

Throughout the album, Bailey and Morrow are joined by a rotating cast of New Wilderness players including frame drum percussionist Glen Velez, sound poet Steve McCaffery, publisher and artist Carol E. Tuynman, composer Patricia Burgess, and multimedia artist Michael Snow. The results are surprising and marvelous.

The energy of the live concert, which makes up the first half of the record is particularly exciting, with Morrow and McCaffery’s visceral sound poetry and Glen’s frame drum echoing off of Derek’s fret stabs, and Carol, Patricia, and Michael’s horns swirling through the air between. A very raw and intense recording.

The second side of New York 1982, is a session recorded at The Record Plant, and is clearly more ‘produced’ with panning and tape echo processing, plus experiments with water whistles and other devices.

Derek Bailey stands out for personal achievements as a guitarist and for his way of bringing together performance meetings ranging from duos to large ensembles. Working across style and genre, his music and musical unions have inspired the breakdown of boundaries, embracing all flavors of musicians as improvisers. Players focusing on the moment, “without memory.”

LP Edition of 400 copies on 175gram black vinyl, including an 8-page booklet with program notes and artwork.

Derek Bailey - Acoustic Guitars
Charlie Morrow - Trumpet, Ocarina, Voice
Glen Velez - Percussion
Patricia Burgess - Saxophone (1,3,6)
Steve McCaffery - Voice, Saxophone (1,3)
Carol E. Tuynman - Trumpet (1,3,6)
Michael Snow - Trumpet (3)

Debut Harkin LP now available via Forte: Recorded at: Seahorse Sound, Los Angeles USA (Carlos Gonzalez), Tesla Studios, Sheffield UK (Richard Formby and David Glover), Echo Canyon West, New Jersey USA (John Agnello), Spirit Level, Peak District UK (Harkin). Additional recording by Jeff T Smith at The Bungalow, Leeds UK. Mixed by John Agnello at Water Music, New Jersey USA Mastered by Heba Kadry

Martin Khanja (aka Lord Spike Heart) and Sam Karugu emerge from Nairobi's flourishing underground metal scene as former members of the bands Lust of a Dying Breed and Seeds of Datura. Together in 2019 they formed Duma (Darkness in Kikuyu) with Sam abandoning bass for production and guitars and Lord Spike Heart providing extreme vocals to the project. Recorded at Nyege Nyege Studios in Kampala over three months in mid 2019 their self-titled debut album fuses the frenetic euphoria, unrelenting physicality and rebellious attitude of hardcore punk and trash metal with bone-crunching breakcore and raw, nihilist industrial noise through a claustrophobic vortex of visceral screams. The savant mix of brutally adrenalized drums, caustic industrial trap, shredding grindcore inspired guitars and abrupt speed changes create a darkly atmospheric menace and is lethal on tracks like the opener "Angels and Abysses" , "Omni" or "Uganda with Sam". The gruelling slow techno dirges and monolithic vocals on "Pembe 666" or "Sin Nature" add a pinch of dramatic inevitability bringing a new sense of theatricality and terrifying fate awaiting into the record's progression. A sinister sonic aggression of feral intensity with disregard for styles, Duma promises to impact the burgeoning African metal scene moving it into totally new, boundary-challenging experimental territories.

RAW SPACE" is rooted in chaos and chance, sensuality and intensity - it's an album that's able to sound alarmingly freeform and tightly controlled simultaneously. Already established as a genre-disrupting DJ, and even dubbed "demon of the Nile" by Ugandan politicians after an exuberant performance at Nyege Nyege festival in September 2019, Kampala-based sonic hypnotist Authentically Plastic brings a digger's literacy, an activist's intent, and an artist's playfulness to their jagged debut album. As both a DJ and a producer, Authentically Plastic is drawn to the idea of chance as a creative tool - to push against the idea of the all-knowing genius, and approach artistry instead as a facilitator, unraveling parallel mismatched rhythmic events. Their musical process is to start with chaos, then attempt to mold those fleshy structures into polyrhythmic mutations, pulling influence from East Africa's innovative musical landscape and augmenting it with an exploratory sense of surrealism. On opening track 'Aesthetic Terrorism', rough-hewn industrial rhythms chug mechanically against course, dissonant synth blasts and acidic arpeggios. There's a faint sparkle of Detroit's chrome-plated Afro-futurism, but bathed in neon light, reflecting Africa's contemporary electronic revolution. Authentically Plastic's productions have a sense of thematic coherence, but their myriad influences are torched into cinders, leaving inverse impressions and ghost rhythms: the tuned overdriven clatter of 'Anti-Fun' echoes Ugandan kadodi modes, yet simultaneously mirrors the rugged out-zone grit of Container or Speaker Music; standout centerpiece 'Buul Okyelo' meanwhile is as rhythmically cross-eyed as Slikback or Nazar, but juxtaposes kinetic dancefloor thumps with chaotic microtonal ritual cycles. Writing "RAW SPACE", Authentically Plastic found themselves fascinated by sonic flatness. They realized that in Western art, there's an obsession with depth of field that carries into music, robbing it of intensity. The album is an example of the power that can be reclaimed when you let go of depth, letting sounds rub together carnally and spawn something fresh and unexpected.

As a duo they embrace both sides of the coin, drums and guitar, chaos and order, male and female, ying and yang, the angel and the devil. They are more than the sum of both counterparts though, making for a maximalist auditory experience. PIKA brings her skills of mystifying performance to the table, all free-drum bluster and vocals veering between shrine maiden and wild spirit. Kawabata's guitar-work moves from a roar to a whisper, a yell to a sob, he's working on the same canvas of extremes. The aim of their unity is to write truly celestial hymns for the outer world and odes of love for the inner cosmic context.
 
No strangers to one another, the pair have not only gigged together with their respective bands but also recorded together, when these two outfits temporarily fused in 2005 to become Acid Mothers Afrirampo (releasing an album of the same name). Two years later they distilled their collaboration, all other players being stripped away to leave the core of Pikacyu's manic drums and pop vocal, and Makoto's schizoid guitar conjurings. In 2011 they spent five weeks touring the US and their first album, 'OM Sweet Home: We Are Shining Stars From Darkside', which was released by the esteemed UK label of all things heavy and brilliant, Riot Season. Last year they spent two weeks touring through Europe whilst writing a new album suffused with the outreaching sound and message of their impulsive live performances. This new album is entitled 'Galaxilympics' and will be released by Upset The Rhythm on August 4th on LP and CD.
'Galaxilympics' is an album of contrasts, so much colour, so much shade! 'Space Sumo' kicks off the record in explosive style. Pikacyu's drums jitter, crash and stumble, but steadfastly refuse to groove. Makoto attacks his guitar, cloaking himself in reverb to produce a wall-of-sound, alternating between melody and noise. 'Funifunikonefuni' follows with it's frenzied take on pop music, bubbling with energy and PIKA's multiple vocal layers. 'I'll Forgive' is chant-like in its devotion to following the tumbling melody line of the song even to absurd and unpredictable dimensions. 'Pika Mako Hall' is a more serene affair, with whispered echoes and guitar drones swirling amongst bursts of rapid sequencer ambience. 'Castle Of Sand' picks up on this more spacious approach with slowly developing programmed electronics, before the title track erupts with gurgling synths, soaring guitar trails and PIKA's most searching vocal yet.
 
The album concludes in reflective manner with the suitably titled 'Sayonownara', a song as much in the present as it is in the act of saying farewell. It's positively elegiac with washes of cymbal and deep acres of guitar drone for the first five minutes before PIKA's drums take things up a gear and into more psychedelic out-rock terrain. This insurgence eventually peaks and the album melts away to silence. PIKACYU-MAKOTO have made an album that takes you on a trip into your very soul before emerging once more at the edge of another galaxy. 'Galaxilympics' is a triumph of opposites united, it enjoys walking out into the unknown, but it's also a portal into the very real world of two musicians who find peace and semblance through their interaction. Hymns and odes to one side, this is a giant album of future-facing song and noise, where better to find harmony enthroned

Solo project of Nathan Van Brande (TUKAN, Saudade), Bleu Mustang navigates between Lone, ClapClap and Floating Point. The young Brussels producer signs his first EP "NOCTUELLE" on the MAGMA label (Umbra, ECHT!, TUKAN). Between powerful and jerky rhythms and melancholic chords, Bleu Mustang's music can be listened to both in the back of a Berlin hangar and while contemplating a landscape. Currently in residence in Volta for the creation of his live album, he is preparing a duo with a drummer.

We're happy to report that the music on the 'Son of a Biscuit' EP from Kuwahara aka Mick Wilson and Scott Gray is every bit as colourfully eccentric as the title it bears. 'Ginger Cut' is dubbed up cloud of sound billowing over choppy hip-hop breaks, with an old skool female MC poking her head out of it to have her say every now and again. Rich Tea's edit of the track takes it into housier territory but, like one of those old Orb ambient singles singles on Wau Mr Modo, still gives plenty of work to the studio's echo chambers. 'Jaffa Quake' goes for snazzy, jazzy overtones and off kilter breaks, 'Kustard Cream' offers up reggae skank, again served up with plenty of sonic exotica, and there's even a more relaxed, Balearic bonus mix of 'Ginger Cut'. A thoroughly nutty record, but a genius one at the same time.

„Techno. Simply Techno. The way I see it and like to hear it.“ is the simplistic idea behind RICO PUESTEL's new album THE VERGE, THE ROPE & THE ROOFTOPS. And that's what is delivered on this LP – 12 high density Techno productions following his highly anticipated 2021 album OBI THINE XI.

Besides the two special Electro jams OUT OF THE BOUNDS and SAVED AGAIN, all tracks deliver a coherent forward motion that have an inner connection while being able to work seperately and individually in a functional as well as special-moment-way throughout any Techno DJ set.

While there happens to be a deeper connection within, RICO PUESTEL himself recorded an album DJ mix, giving another perspective on how these tracks are intertwined.

As the opening of the CD is declaring: „This sound is relentless. It knows no stops. Standing on the verge. Climbing on the rope. Echoes from the rooftops.“

Domino Records announce the Tenth Anniversary
edition of ‘Melody’s Echo Chamber’, the
eponymously titled debut album from French
musician Melody Prochet.
Recorded and co-produced with Tame Impala’s
Kevin Parker in Perth, Australia, and finished in the
South of France, the album became a cornerstone
of the new wave of psychedelia on its release in
2012.
The reissue will be released alongside ‘Unfold’, the
lost follow-up album from which seven rare and
unreleased tracks will be made available for the
first time.
‘Melody’s Echo Chamber’ is a hypnotic and
sometimes hypnagogic adventure of the senses,
full of summery, shimmery songs that still sound as
dreamy and vivid as they did a decade ago. At the
time Pitchfork called it “... enchanting, psychedelictinged pop with just the right amount of thematic
darkness,” while NME said it was “subtly
disorientating” and noted that Prochet had created
something that was “just as dark as it is light.”
2LP bundle includes ‘Melody’s Echo Chamber’ on
transparent orange coloured vinyl with two-page
insert and bonus anniversary 16-page booklet plus
digital download card.
Also includes ‘Unfold’ on black vinyl with printed
inner sleeve and digital download card.
Obi-strip style bellyband placed over both LPs.

Following on from last year’s acclaimed Sylva Sylvarum, the epic double LP from Ora Clementi (her collaborative project with James Rushford), crys cole returns to Black Truffle with Other Meetings. Originally commissioned and released on cassette by Boomkat Editions in 2021, Other Meetings is a major addition to the body of carefully hewn solo work cole has released over the last decade, offering up two side-long suites of her radically intimate approach to sound. After many years dominated by touring and travel, cole found herself in lockdown in her Berlin apartment, working in a limited space with minimal equipment. Digging through archives of recordings taken overseas and exploring the sonic potential hidden in the objects surrounding her (including a coffee pot and a vase of dying flowers), she crafted what in her liner notes she calls ‘an internal dérive, a journey that drifted through many places without a defining compass’. Totalling over 50 minutes, the two pieces unfold at an unhurried pace, each containing four individually titled subsections. Beginning with a sequence of the highly amplified small sounds characteristic of much of cole’s work, the opening moments of ‘The time between two durations of sleep’ are underpinned by a gentle rocking motion, weaving together contact mic crunch, metallic resonance, glimpses of bird song, and isolated drum machine hits, the sonic space expanding and contracting as focus moves between elements. Briefly side-lined by a tactile but unplaceable sizzling, this complex weave of voices then returns in a kind of dubbed-out ‘version’, the percussive accents echoing around the stereo space. In one of the record’s most beautiful and unexpected moments, these sounds are joined by a sparse melodic line performed on a broken 1980s digital synth, the vaguely New Age timbres being taken on a long, tonally ambiguous wander. Cole’s immersion in memories of travel comes to the fore in the final section of the first side, titled ‘Wat Paknam’ after a royal temple in Bangkok, where snatches of voices, ringing bells and distant waves of chanting blur together with synth tones into an increasingly abstracted wave of sound. The second side, ‘Slices of cake’, opens in a similarly hallucinatory outdoor space of echoing bird song and liquified traffic before abruptly zooming in on a microscopic world of subtly processed and highly amplified objects, explored with a starkness and quiet insistence that calls to mind the fringe not-quite-concrète of outsiders like Paul A.R. Timmermans or Knud Viktor, whose obsessive interrogation of dripping water might also serve as a point of reference for the following sub-section, the aptly titled ‘magischer Abfluss’ (magic drain).

While Other Meetings develops many aspects of cole’s previous work – the hyper-magnification of small gestures, the unsettling edits and fades partly inspired by hypnagogic states, the location recordings smeared into oneiric haze – it is almost as if these pieces are somehow songs, the remnants of an evaporated music of which nothing remains except isolated hits from a synthetic drum, a handful of notes, or simply a duration of emptied atmosphere. Radically reductive yet deeply musical, Other Meetings is a major work from an artist driven by an uncompromising and idiosyncratic vision.

Presented with an inner sleeve with photos and liner notes from the composer and remastered audio.

Mit seinem neuen Album beschreitet der Pianist Yaron Herman ganz neue Wege.

Nachdem er bereits zehn Alben veröffentlicht hat, lässt er sich ins Leere fallen und bietet erstmals ein Korpus völlig improvisierter Musik - einen verblüffenden Schnappschuss und einen lebendigen Spiegel seiner Vergangenheit. Das Klavier wird damit zum Mittelpunkt umfassenderen Nachdenkens, ein Gefährte, der dabei hilft, die Geheimnisse der Welt zu lüften. Dieser schöpferische, vielseitige und atypische Werdegang steht im Hintergrund einer begeisternden, großherzigen globalen Reflexion, die er kürzlich in einem früheren Werk durchführte.
Ohne irgendein Konzept im Hinterkopf überlässt er sich völlig dem, was die Musik zu sagen hat; er eröffnet Räume, in denen er selbst noch nicht war. Improvisieren heißt in Echtzeit Komponieren. Beim Komponieren ist die erste Geste - das, was man manchmal "Inspiration" nennt - improvisiert.
Auf diese Weise konzise und kunstvoll aufgebaute Stücke zu konstruieren, Melodien zu erfinden, die sich gemäß einer in Echtzeit entstehenden Logik entwickeln, ist ein unendlich komplexer Vorgang. Er setzt eine außergewöhnliche Erfindungs- und Konzentrationskraft voraus, einen Sinn für die Gegenwart, der mit Offenheit für die Zukunft gepaart ist, ohne die keine Entwicklung möglich ist. 'Alma' ist eine seltene Aufforderung, ein innerer Tanz, der uns sehr weit mit sich führt, eine sensorische Reise, zu der der Hörer eingeladen ist, und eine tiefe Emotion, die ihn nie loslässt.
CD und Doppel-LP (Schwarzes Vinyl)!

The 'Privacy Angels' dwell in a liminal zone, a folk magical world sprawling within some remote nodes of the digital universe. An a-chronic plane of contradictions in which the spiritual and the machinic exist in a contrast that, instead of leading to mutual annihilation or subjugation, produces weird forms of life and uncanny forms of beauty. Like flowers sprouting from glitching fluxes of data transmissions, in the corrupted memory of a heavenly landscape. It is the vision of Italian (though London-based) musician and multidisciplinary artist Nicola Tirabasso, channeled through his usual musical avatar VISIO, a dimension he came in contact with while retreating in his native Sibillini Mountains in Marche, central Italy. A type of forced hermitage dictated by the global pandemic and whose idyllic premises were constantly unbalanced and contaminated by the constant presence of the digital world. But again, it is by means of this contrast that art is born. While channeling the magic, the fables and even the superstitions the locals have imbued the region with, Tirabasso developed them into audial spirits of electronic abstraction. A juxtaposition of mystic retreat and information-age alienation that, for some brief, ineffable and baffling moments, seemed to make him able to hear the angels. The album itself is a collection of digitally broken folk songs and logarithmic chants of praise. Acoustic instruments are broken down, replicated and re-materialization, while computer-generated ghosts and synthetic tones are allowed to exist and resonate in ancient spaces. Most of the actual recordings have been in fact made at desecrated XVI church in a town near Montappone, not far from the birth place of XX century painter Osvaldo Licini, whose influence echoes all throughout the region. Licini’s idiosyncratic mix of primitivism, futurism and orphic realism similarly echoes all throughout the record, with VISIO even paying tribute to his painting ‘Angelo Ribelle’ in titling one of the tracks. Collaborations made in person and through file-swaps have traversed the album’s conception and enrich its palette by presenting different versions of reality. Haunter co-founder Daniele Guerrini (Heith) co-produced every track with Tirabasso and gave a fundamental contribution to the album’s final form. Elsewhere, City and Kenichi Iwasa evoke their own privacy angels and let them dance with VISIO’s. Be it, in the depths of the earth or in the dissolution of a digital cloud, it is just as possible to (un)know the divine. Genre: Electronic / Experimental Listen: Track list: 1. Moonchild 2. Extasi Exile 3. Youth Grows Forever 4. Untitled X 5. Blessed Mystery 6. Years Of Silence 7. angelo ribelle

This compilation is a research project commissioned by Urvakan with the support of the Goethe-Institut. It archives a selection of recordings contributed by some of the artists from post-Soviet countries who were meant to play at Urvakan 2020 - a festival that never really happened. The artists were asked to explore the idea of "collective memories" in sound by using aural techniques capable of evoking reminiscences in the subconsciouses of people from fairly different locations, but that are in some ways similar in their cultural codes. The submissions we received were not only inspiring, but also quite accurately fell in line with Urvakan's declared focus on "hauntological" music practices, referenced in the festival's name itself - "urvakan" is the Armenian word for ghost, phantom, or spirit.

Marked by resilience, maturity, and the optimistic joy of a creative resurgence, Pat Green’s Miles and Miles of You is the work of an icon reclaiming ground only he himself could have ceded. Ten fresh tracks feel like the spiritual exhale of a celebrated troubadour, taking fans on a journey to the other side of turmoil… and to a place where the old ways feel new again.

Credited as one of Texas country’s modern-era founding fathers, Green has traveled many roads in the 25 years since his debut album, Dancehall Dreamer. A Grammy nominated singer-songwriter with a restless creative spirit, his career has gone beyond the bounds of a “country star” to include the work of a painter, sculptor, philanthropist, family man and more. But one constant has remained – his vision.

Green’s 14th album overall, Miles and Miles of You is also his first in nearly seven years – since his inspiration-first writing style means he won’t force a song into existence. But that philosophy also makes it possible for a whole album to arrive in a dam-burst of expression, and Green now calls Miles and Miles of You an “effortless” project.

“It was just so smooth and natural,” he says. “I write the song when it comes, and it was like ‘Man, we’re on a roll.’”

Recorded outside Austin with producer Dwight Baker (Bob Schneider, Josh Abbott Band), more of that story is revealed with each track, as Green and his band mirrored the loose vibe of the songwriting with country balladry, dancehall energy, soul-baring reflection and at times, a swampy blues strut. “The older you get, you just have more to think about,” he says. “So that’s
what this record is – a guy with more to think about, coming through a hard time and into something as fun and beautiful as creation. I’m just gonna take the ball and run with it.”

Following on from 2018’s Echo Principle LP, the Pleasure System full length sees Steve Hyland return to the crisp drum programming and colorful IDM soundscapes that dominated his debut on the FILM label. A veteran of music production back in the driving seat after a long hiatus, Hyland’s approach on this latest offering draws on the isolation of modern life for inspiration. Pleasure System sees the British artist ruminating on his place in the world, and the mournful synth flourishes and washed-out drums, paired with more hopeful moments of electronic abstraction communicate a delicate yin and yang, constantly working against one another to find balance.

Der Horror-Meister JOHN CARPENTER ist zurück und hat wieder seine Mitarbeiter DANIEL DAVIES und CODY CARPENTER für den fesselnden neuen Soundtrack zu der 2022er Verfilmung von Stephen Kings Romanklassiker "Firestarter" an Bord. Der Score ist der erste offizielle Soundtrack, den das Trio außerhalb der "Halloween"-Reihe gemeinsam komponiert hat, und ihre Inspiration und Entwicklung als kreatives Team ist deutlich zu hören. Der Film ist eine Neuauflage des Thrillers, in dem es um ein Mädchen mit außergewöhnlichen pyrokinetischen Kräften und ihren Kampf geht, ihre Familie und sich selbst vor finsteren Mächten zu schützen, die sie gefangen nehmen und kontrollieren wollen. Der Film kommt am 13. Mai 2022 in die Kinos. In den Hauptrollen spielen Zac Efron, Sydney Lemmon und Ryan Kiera, Regie führt Keith Thomas (The Vigil). Der "Firestarter"-Soundtrack bedient sich einiger der besten Elemente aus CARPENTERs berühmtem musikalischen Repertoire und betritt dabei aufregendes Neuland. Die Tracks reichen von pumpenden Sci-Fi-Hymnen bis hin zu langsamen, von Hall durchtränkten Piano-Balladen und nutzen jeweils eine Vielzahl von Klanganwendungen. Schleichende Beats, flirrende Synthesizer, krachende Gitarren und ein ständig lauerndes Echo kommen zusammen, um ein Album zu schaffen, das sowohl atmosphärisch als auch zutiefst melodisch, kohärent und vielseitig ist. Diese drei Musiker arbeiten alle auf dem Höhepunkt ihrer individuellen und kollaborativen Kreativität und dieser Soundtrack festigt sie als Meister ihres Fachs.

Der Horror-Meister JOHN CARPENTER ist zurück und hat wieder seine Mitarbeiter DANIEL DAVIES und CODY CARPENTER für den fesselnden neuen Soundtrack zu der 2022er Verfilmung von Stephen Kings Romanklassiker "Firestarter" an Bord. Der Score ist der erste offizielle Soundtrack, den das Trio außerhalb der "Halloween"-Reihe gemeinsam komponiert hat, und ihre Inspiration und Entwicklung als kreatives Team ist deutlich zu hören. Der Film ist eine Neuauflage des Thrillers, in dem es um ein Mädchen mit außergewöhnlichen pyrokinetischen Kräften und ihren Kampf geht, ihre Familie und sich selbst vor finsteren Mächten zu schützen, die sie gefangen nehmen und kontrollieren wollen. Der Film kommt am 13. Mai 2022 in die Kinos. In den Hauptrollen spielen Zac Efron, Sydney Lemmon und Ryan Kiera, Regie führt Keith Thomas (The Vigil). Der "Firestarter"-Soundtrack bedient sich einiger der besten Elemente aus CARPENTERs berühmtem musikalischen Repertoire und betritt dabei aufregendes Neuland. Die Tracks reichen von pumpenden Sci-Fi-Hymnen bis hin zu langsamen, von Hall durchtränkten Piano-Balladen und nutzen jeweils eine Vielzahl von Klanganwendungen. Schleichende Beats, flirrende Synthesizer, krachende Gitarren und ein ständig lauerndes Echo kommen zusammen, um ein Album zu schaffen, das sowohl atmosphärisch als auch zutiefst melodisch, kohärent und vielseitig ist. Diese drei Musiker arbeiten alle auf dem Höhepunkt ihrer individuellen und kollaborativen Kreativität und dieser Soundtrack festigt sie als Meister ihres Fachs.

Der Horror-Meister JOHN CARPENTER ist zurück und hat wieder seine Mitarbeiter DANIEL DAVIES und CODY CARPENTER für den fesselnden neuen Soundtrack zu der 2022er Verfilmung von Stephen Kings Romanklassiker "Firestarter" an Bord. Der Score ist der erste offizielle Soundtrack, den das Trio außerhalb der "Halloween"-Reihe gemeinsam komponiert hat, und ihre Inspiration und Entwicklung als kreatives Team ist deutlich zu hören. Der Film ist eine Neuauflage des Thrillers, in dem es um ein Mädchen mit außergewöhnlichen pyrokinetischen Kräften und ihren Kampf geht, ihre Familie und sich selbst vor finsteren Mächten zu schützen, die sie gefangen nehmen und kontrollieren wollen. Der Film kommt am 13. Mai 2022 in die Kinos. In den Hauptrollen spielen Zac Efron, Sydney Lemmon und Ryan Kiera, Regie führt Keith Thomas (The Vigil). Der "Firestarter"-Soundtrack bedient sich einiger der besten Elemente aus CARPENTERs berühmtem musikalischen Repertoire und betritt dabei aufregendes Neuland. Die Tracks reichen von pumpenden Sci-Fi-Hymnen bis hin zu langsamen, von Hall durchtränkten Piano-Balladen und nutzen jeweils eine Vielzahl von Klanganwendungen. Schleichende Beats, flirrende Synthesizer, krachende Gitarren und ein ständig lauerndes Echo kommen zusammen, um ein Album zu schaffen, das sowohl atmosphärisch als auch zutiefst melodisch, kohärent und vielseitig ist. Diese drei Musiker arbeiten alle auf dem Höhepunkt ihrer individuellen und kollaborativen Kreativität und dieser Soundtrack festigt sie als Meister ihres Fachs.

Der Horror-Meister JOHN CARPENTER ist zurück und hat wieder seine Mitarbeiter DANIEL DAVIES und CODY CARPENTER für den fesselnden neuen Soundtrack zu der 2022er Verfilmung von Stephen Kings Romanklassiker "Firestarter" an Bord. Der Score ist der erste offizielle Soundtrack, den das Trio außerhalb der "Halloween"-Reihe gemeinsam komponiert hat, und ihre Inspiration und Entwicklung als kreatives Team ist deutlich zu hören. Der Film ist eine Neuauflage des Thrillers, in dem es um ein Mädchen mit außergewöhnlichen pyrokinetischen Kräften und ihren Kampf geht, ihre Familie und sich selbst vor finsteren Mächten zu schützen, die sie gefangen nehmen und kontrollieren wollen. Der Film kommt am 13. Mai 2022 in die Kinos. In den Hauptrollen spielen Zac Efron, Sydney Lemmon und Ryan Kiera, Regie führt Keith Thomas (The Vigil). Der "Firestarter"-Soundtrack bedient sich einiger der besten Elemente aus CARPENTERs berühmtem musikalischen Repertoire und betritt dabei aufregendes Neuland. Die Tracks reichen von pumpenden Sci-Fi-Hymnen bis hin zu langsamen, von Hall durchtränkten Piano-Balladen und nutzen jeweils eine Vielzahl von Klanganwendungen. Schleichende Beats, flirrende Synthesizer, krachende Gitarren und ein ständig lauerndes Echo kommen zusammen, um ein Album zu schaffen, das sowohl atmosphärisch als auch zutiefst melodisch, kohärent und vielseitig ist. Diese drei Musiker arbeiten alle auf dem Höhepunkt ihrer individuellen und kollaborativen Kreativität und dieser Soundtrack festigt sie als Meister ihres Fachs.

Italian duo Agents Of Time have been incredibly busy over the past few years, from releasing a string of classic singles – including their recent single for Afterlife, “The Mirage”, which earned more than five million views on Instagram – to remixing The Weeknd’s “Take My Breath”, which appeared on his recent Dawn FM (Alternative World). But the biggest news is here now – their second album, Universo, is ready. Elevating their trademark melodic techno with an exquisite pop-ness, Universo has found its ideal home with Kompakt, following their Music Made Paradise 2020 debut EP for the label. It’s a meeting of minds that makes perfect sense.

Andrea Di Ceglie and Luigi Tutolo, the two members of Agents Of Time, used their time during the pandemic to work on Universo, an album loosely conceptualised around their ‘personal universo’, a manifestation of the world Di Ceglie and Tutolo built both within and around their studio. This accounts for the sparkle and brightness of Universo – it’s full of personality, vim and vigour, the duo experimenting with their music, exploring its furthest corners. If you come to Universo expecting just another album of melodic techno, get ready to be pleasantly surprised – there’s a whole lot more going on here, and it’s all equally compelling.

After a typically poetic opening gesture – the swirling, synaesthetic, self-titled intro track – expectations are immediately blindsided with the two-step pop of “Fallin’”, sung with gentle clarity by guest Audrey Janssens, a dream of a song that harks back to the glory days of early ‘00s UK garage. “Interstellar Cowboy” is a confident, lithe, disco-fied strut; the gentle minor-key piano of “Liquid Fantasy” spirals into a gorgeously melancholy techno-pop epic, Vicky Who?’s voice rich with yearning. Janssens also reappears on the electro-swirl of “Poison”; “Dream Vision” revisits their single “The Mirage”, soft with sweeping strings, loaded with drama; “Part Of Life” sashays into view with a schaffel-stomp.

This rich variety throws the more dancefloor-focused tracks, like “Ciao”, into even starker relief – they’re more decisive, streamlined, yet rich with detail, chugging, Moroder-esque bass meeting strobe-lit synths that fire melodies out into the firmament. Universo feels texturally dense, but it still breathes, its sounds so tactile you want to reach out and grab them, its tunes so seductive you can’t get them out of your head. Universo is a fiercely beautiful album, brave in its spirit, a perfectly poised meeting-point of pop melody and stylish, lush techno: Agents Of Time in excelsis.

Das italienische Duo Agents Of Time war in den letzten Jahren unglaublich fleißig, von der Veröffentlichung einer Reihe klassischer Singles - darunter ihre jüngster Beitrag für Afterlife, "The Mirage", der mehr als fünf Millionen Aufrufe auf Instagram erhielt - bis hin zum Remix von The Weeknds "Take My Breath", der auf dessen aktuellen Album “Dawn FM (Alternative World)” erschien. Aber die bahnbrechendeste Neuigkeit ist erst jetzt endlich da - ihr zweites Album "Universo" ist fertig! “Universo" verbindet ihr Markenzeichen, melodischen Techno, mit einer besonderen Pop-Haltung und findet nach der EP "Music Made Paradise 2020" sein ideales Zuhause bei Kompakt. Eine Seelenverwandtschaft, die absolut Sinn macht.

Andrea Di Ceglie und Luigi Tutolo, die beiden Mitglieder von Agents Of Time, nutzten die Zeit während der Pandemie, um an "Universo" zu arbeiten, einem Album, das lose um ihr "persönliches Universum" herum konzipiert ist, eine Manifestation der Welt, die Di Ceglie und Tutolo in und um ihr Studio herum aufgebaut haben. Das macht den besonderen Glanz und die strahlende Helligkeit von "Universo" aus - es strotzt nur so von Persönlichkeit, Elan und Kraft, das Duo experimentiert mit Musik und erkundet auch noch deren entfernteste Ecken. Wer bei "Universo" nur ein weiteres Album mit melodischem Techno erwartet, wird angenehm überrascht sein - hier ist viel mehr los, und alles ist gleichermaßen spannend.

Nach einer poetischen Eröffnungsgeste - dem wirbelnden, synästhetischen, selbstbetitelten Intro-Track - werden mit dem 2-Step-Pop von “Fallin” alle Erwartungen sofort über den Haufen geworfen. Mit sanfter Klarheit von Gastsängerin Audrey Janssens gesungen, ist “Fallin” ein Traum von einem Song, der an die großen Zeiten von UK-Garage in den frühen 00er Jahre erinnert. "Interstellar Cowboy" ist ein selbstbewusstes, geschmeidig über den Laufsteg stolzierender Disco-Track; das sanfte Moll-Klavier von "Liquid Fantasy" entwickelt sich zu einem wunderbar melancholischen Techno-Pop-Epos, mit Vicky Who?’s Stimme voller Sehnsucht . Danach taucht auch Janssens Gesang auf dem Elektro-Wirbel von "Poison" wieder auf; "Dream Vision" greift die Single "The Mirage" auf, sanft und mit schwungvollen Streichern, voller Dramatik; "Part Of Life" dagegen ist ein echter Schaffel-Stomp.

All der Abwechslungsreichtum lässt eher tanzflächenorientierte Tracks wie "Ciao" noch deutlicher hervortreten - sie wirken noch entschlossener, stromlinienförmiger und dennoch reich an Details, pluckernde, Moroder-eske Bässe treffen auf stroboskopisch blitzende Synths, von denen aus die Melodien ins Firmament schießen. “Universo” fühlt sich textlich dicht an, aber es atmet trotzdem, seine Klänge sind so greifbar, dass man sie anfassen möchte, seine Melodien so verführerisch, dass man sie nicht mehr aus dem Kopf bekommt. “Universo” ist ein wunderschönes, mutiges Album, ein perfekter Treffpunkt von Pop-Melodien und stilvollem Techno: Agents Of Time in excelsis.