Cerca:empath

"Empath Live In America", der dritte Teil der Devolution-Serie, ist ein Dokument der Tour, die Anfang 2020 abgebrochen wurde. Wie Devin erklärt: "Diese Tour markierte eine 'Freiform'-Version des Materials. Es gab keine Backing Tracks, Click Tracks oder gar eine Setlist, so dass jeder Abend einzigartig und anders war. Das Publikum rief uns Wünsche zu und wir machten einfach mit. Das Material wurde daher auf einzigartige Weise interpretiert, und das Erlebnis war ein ganz besonderer musikalischer Abend". Mit einer reduzierten Version der "Order of Magnitude"-Band fängt diese Veröffentlichung eine rohe und verrückte Performance ein.

hat happens when one's mind wanders in between waking and dream state? Hypnagogia is a phase leading into the dream state, in which people can have visions and rather creative ideas.

In between dreaming and being awake, people are traveling in the bordersland of consciousness. Reality is still experienced, but the logic of real life is not present anymore. People can see shadows and colors around them, hear voices, or get surprising ideas.

It it said that hypnagogia is the shortest road to your own subconscious and intuition. We can be immensely creative on hypnagogic states, because the rational mind is not present anymore.

Empath is exploring those hidden states of subconsciousness with six sound collages in his album Music For Hypnagogia. Ideas and visions for this music have been born from his own hypnagogic experiences and they could be a fascinating path to lead (greek: Agogo) listeners into dreams (greek: Hypnos).

Dark techno EP by the prolific and versatile Finnish producer Empath. Four hard and distinctive tracks inspired by cold cyberpunk fiction and built for sweaty warehouses.>

Die Alternative/Emo Rock-Band Tigers Jaw kehrt mit Lost on You zurück, einem fesselnden siebten Studioalbum, das von ihrem langjährigen Kollaborateur Will Yip (Turnstile, Scowl) produziert wurde. Das Album knüpft an den Erfolg von I Won't Care How You Remember Me aus dem Jahr 2021 an und verfeinert ihren verletzlichen, aber selbstbewussten Stil mit neuen Dynamiken, Texturen und Klängen. Durch ihre Chemie und Offenheit untereinander haben Tigers Jaw einen neuen Höhepunkt ihrer Kreativität erreicht, von dem aus die Band die Veränderungen im Leben verarbeitet, die irgendwann jeden treffen. Lost On You fängt auf elektrisierende Weise die Schönheit des Loslassens ein, die Erinnerung daran, dass man das, was man bereits erlebt hat, überstanden hat, und das Wissen, dass man auch die neuesten Übergänge im Leben meistern wird. Walsh sagt, dass es in "Primary Colors", einem hellen und nachdenklichen Track mit einem klagenden, melancholischen Gitarrensolo, darum geht, ,dass deine Gefühle völlig überwältigt und eingenommen werden. Man erlebt Dinge oder sieht Gefühle in Farben. Es ist eine allumfassende Erfahrung, die den ganzen Körper einnimmt." Das ist ein bedeutungsvoller Rat in Krisenzeiten: Bleibe inmitten der Höhen und Tiefen präsent, dann wirst du Ruhm finden. Lost On You ist eine atemberaubende Erinnerung daran, dass du, egal was du durchmachst, immer am Steuer sitzt. Empathischer Alternative

Die Alternative/Emo Rock-Band Tigers Jaw kehrt mit Lost on You zurück, einem fesselnden siebten Studioalbum, das von ihrem langjährigen Kollaborateur Will Yip (Turnstile, Scowl) produziert wurde. Das Album knüpft an den Erfolg von I Won't Care How You Remember Me aus dem Jahr 2021 an und verfeinert ihren verletzlichen, aber selbstbewussten Stil mit neuen Dynamiken, Texturen und Klängen. Durch ihre Chemie und Offenheit untereinander haben Tigers Jaw einen neuen Höhepunkt ihrer Kreativität erreicht, von dem aus die Band die Veränderungen im Leben verarbeitet, die irgendwann jeden treffen. Lost On You fängt auf elektrisierende Weise die Schönheit des Loslassens ein, die Erinnerung daran, dass man das, was man bereits erlebt hat, überstanden hat, und das Wissen, dass man auch die neuesten Übergänge im Leben meistern wird. Walsh sagt, dass es in "Primary Colors", einem hellen und nachdenklichen Track mit einem klagenden, melancholischen Gitarrensolo, darum geht, ,dass deine Gefühle völlig überwältigt und eingenommen werden. Man erlebt Dinge oder sieht Gefühle in Farben. Es ist eine allumfassende Erfahrung, die den ganzen Körper einnimmt." Das ist ein bedeutungsvoller Rat in Krisenzeiten: Bleibe inmitten der Höhen und Tiefen präsent, dann wirst du Ruhm finden. Lost On You ist eine atemberaubende Erinnerung daran, dass du, egal was du durchmachst, immer am Steuer sitzt. Empathischer Alternative

José González has delivered a new album, Against the Dying of the Light, a companion and further meditation on the themes of his critically acclaimed album, Local Valley. Where Local Valley turned inward toward place, language, and personal reflection, this new record widens its gaze, becoming an urgent call to preserve the light of humanity with all its flaws, at a moment when, technology increasingly shapes how we think, feel, and relate to one another.

While José has always embraced technological advancement, he questions the assumption that every new possibility must be pursued to its maximum potential, especially when progress comes at the expense of human flourishing, attention, and empathy.

Keeping in the tradition of folk music as protest, José’s new single — sharing its title with the forthcoming album — urges listeners to resist systems that dehumanize and divide: “Disconnect from every algorithm, every perverse incentive that drags you down. Let’s rebel against the replicators, against the dying of the light. Kill the codes that feed the hate, keep the codes that make you thrive, celebrate the **king fact that we’re alive.”

Across the album, González works within a deliberately minimal framework, pushing his familiar palette to new heights through subtle variation, restraint, and detail. Each song unfolds with its own distinct character, proving how much emotional and musical range can be achieved within self - imposed limitations. Written in English, Swedish, and Spanish, the record reflects his Swedish - Argentine roots and frames its humanist message as a global one rather than a purely personal or political statement.

José González is one of the most quietly influential artists of our generation. The Swedish - Argentine artist has built a singular musical world from hypnotic, minimal guitar work and his unmistakably gentle voice — a sound that has become deeply personal to millions of listeners worldwide. With billions of streams across platforms and hundreds of thousands of physical records sold, González’s songs often act as emotional landmarks. Ask almost anyone, and they can name at least one of his tracks tied to a defining moment in their lives.

José González has delivered a new album, Against the Dying of the Light, a companion and further meditation on the themes of his critically acclaimed album, Local Valley. Where Local Valley turned inward toward place, language, and personal reflection, this new record widens its gaze, becoming an urgent call to preserve the light of humanity with all its flaws, at a moment when, technology increasingly shapes how we think, feel, and relate to one another.

While José has always embraced technological advancement, he questions the assumption that every new possibility must be pursued to its maximum potential, especially when progress comes at the expense of human flourishing, attention, and empathy.

Keeping in the tradition of folk music as protest, José’s new single — sharing its title with the forthcoming album — urges listeners to resist systems that dehumanize and divide: “Disconnect from every algorithm, every perverse incentive that drags you down. Let’s rebel against the replicators, against the dying of the light. Kill the codes that feed the hate, keep the codes that make you thrive, celebrate the **king fact that we’re alive.”

Across the album, González works within a deliberately minimal framework, pushing his familiar palette to new heights through subtle variation, restraint, and detail. Each song unfolds with its own distinct character, proving how much emotional and musical range can be achieved within self - imposed limitations. Written in English, Swedish, and Spanish, the record reflects his Swedish - Argentine roots and frames its humanist message as a global one rather than a purely personal or political statement.

José González is one of the most quietly influential artists of our generation. The Swedish - Argentine artist has built a singular musical world from hypnotic, minimal guitar work and his unmistakably gentle voice — a sound that has become deeply personal to millions of listeners worldwide. With billions of streams across platforms and hundreds of thousands of physical records sold, González’s songs often act as emotional landmarks. Ask almost anyone, and they can name at least one of his tracks tied to a defining moment in their lives.

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

SIMPLETON, the third album from multi-platinum indie-rock singer/songwriter YOT CLUB, dismantles the utopian view of the American suburbs, treating finely manicured life as a mirage. Across its 13 tracks, the LP wrestles with how curated feeds and predictable routines can blur, and even erase, empathy and responsibility, creating a world where difficult questions and harsh realities are easy to ignore. In 2019, Ryan Kaiser started Y ot Club in his college dorm, crafting a lo-fi, classically cool indie rock sound grounded under a dreamlike haze. Two years later, his breakthrough single “YKWIM?” quickly reached viral status on TikTok (today, it’s been streamed more than 1 billion times) and has since taken him around the world at festivals like T reefort, Kilby Block Party and Pitchfork Paris

Leinenbezogene, foliengeprägte Tip-on-Gatefold-Hülle mit 24-seitigem Comicbuch im LP-Format.

The 3rd collaborative album between Les Claypool (Primus) & Sean Lennon (the previous sold over 150,000 combined) is an elaborate concept record reflecting on morality, the warnings of A.I., and the slippery slope of optimization without empathy. Told across 14 songs - which ooze with classic psychedelic / progressive rock stylings - and the accompanying comic book by Rich Ragsdale, The Great Parrot-Ox and The Golden Egg of Empathy is a peak for both The Claypool-Lennon Delirium and rock music at large.

Paperbark is the ambient project of Jon Mulville, who has been shaping rhythmic and textural soundscapes since 2016. His music is rooted in memory, as a way to process emotional fragments. Guided by time spent in nature and created in response to a culture that often feels lacking empathy, his work aims to create space for reflection.

He has released eight albums, primarily on Seil Records, as well as Constellation Tatsu. 'Light Behind Me' marks his first CD release and only his second appearance on vinyl.

Huge and uncompromising experimental techno jams from Finland. Prominent percussion elements combine with otherworldly synth jams to create epic, hypnotic vibes from the land of endless forests and deep lakes. Half A Map makes, performs and releases experimental music. They're especially fascinated by rhythms outside 4/4. They attempt to combine catchiness with surprise, and roughness with gentleness. They relish sampling various objects and weaving them into their sound.

Eoism return with six tracks of driving and atmospheric Electro, Techno and beyond. All based on live jamming, expect some crispy rhythms, pounding baselines and lush melodies suitable for both home listening and excessive club treatments.

TRON: Ares (Original Motion Picture Soundtrack)
24 neue Tracks von Nine Inch Nails: das Duo aus Trent Reznor und Atticus Ross veröffentlicht am 19.
September 2025 sein Album zum Disney-Kultfilm „TRON: Ares“, inklusive der neuen Single „As Alive As
You Need Me To Be”. Damit setzt die Band eine erfolgreiche Soundtrack-Geschichte fort: ihre vorherigen
Untermalungen zu Filmen wie „The Social Network“ (2010), „Soul“ (2020) oder „Challengers“ (2024)
wurden unter anderem mit zwei Oscars, drei Golden Globes, einem Emmy und einem Grammy ausgezeichnet. Die düstere Industrial-Handschrift Trent Reznors fängt die Stimmung der Sci-Fi-Reihe „TRON“, für
deren letzten Film Daft Punk komponierten, perfekt ein. Reznors Einfluss auf die alternative Musikwelt ist
seit den späten 80ern ungebrochen: mit Hits wie „Closer“ und „Hurt“ sowie Alben wie „The Downward
Spiral“ kombinierte das Mastermind elektronische Sounds mit Rockmusik wie nie zuvor. „TRON: Ares“ ist
die erste NIN Veröffentlichung seit fünf Jahren und liefert gleich 70 Minuten neue Musik – erhältlich ab
dem 19.09. auf CD und Vinyl.

Today, Manchester’s Maruja announce their highly anticipated debut album ‘Pain to Power’, due for release by Music For Nations on 12th September and produced by Samuel W Jones, who the band worked with on their three EPs to date. The extraordinary eight track collection not only confirms the four piece as a creative force of nature but finds a deeply emotional and empathetic band concerned primarily with the power of community, both in the nuclear sense, as a tight knit creative unit, but also as a wider force for social and political change in the age of the individual.

Maruja believe passionately in the ability of art to empower, heal and unite and have created a body of work with ‘Pain to Power’ that they hope will offer both strength and an emotional release to anyone who is struggling with the impact of years of political turmoil and social isolation.

Nine Inch Nails returns with over 70 minutes of new music for the motion picture TRON: Ares, the first soundtrack / score work from Trent Reznor and Atticus Ross that will live under the Nine Inch Nails moniker; consisting of all original music, complete at 24 tracks. Reznor and Ross bring their Grammy and Oscar-winning sonic vision to the Grid, crafting a soundtrack that hums with menace, melancholy, and momentum. More than an album, its architecture in sound: pulsating synths, distorted textures, and haunting melodies that rewire the TRON universe from the inside out. It is the collision of analog soul and digital dread—a score that doesn't just accompany the film, it possesses it.

2025 Repress

After a short hiatus Deep In Dis intl. is back in the game. This time bringing you a split EP by two young prolific producers who have been in our radar for quite sometime now, Eric OS and Lewis. With both artists being based in Sweden and each one of them with a characteristic sound, we thought it would be a good idea to split our next release between these two cutting edge talents and that's how the Timebomb EP came to life.

We first discovered Eric tunes through a Binh set last year at the Nostromo Festival and we instantly knew we had to get Eric on board for a future project with us and here we are. With releases on System Error, Eya Records and his own imprint Space Trace, Eric brings to the table all those elements that made us get up off the back stage sofa and lose it on the floor. Flipping the record we have the Data Flow head label Lewis bringing us another two special club cuts. Having released a digital EP with us before, we couldn't wait to press some of Lewis analog soundscapes.

A1. 'Eden' is a true dance floor filler , endless groove and quirky sounds penetrating your brain while taking you in a break with some dreamy pads and even stranger synth lines. A2. 'Timebomb' keeps the vibe going, even higher this time. The formula seems to be timeless. Progry melodies, wonky bassline, and solid drum patterns.B1. 'Project Mayhem' invites us to close our eyes and travel without moving with its hypnotic groove, the feeling of pleasure, energy and empathy increases and floats the dancefloor in a never ending way. Closing the EP 'Acid44' spills a lysergic groove on the floor with no possibility of escape or return. Infected synth lines, snappy snares and some serious bassline are the powerful potion of the track.

Australia's powerhouse Hammond Organ trio Cookin' On 3 Burners serve up a heavy double-sider, offering DJs and collectors a taste of what's to come from their first studio LP in six years, due October 2025. With a 27-year legacy in the global funk and soul scene, CO3B have earned praise from the likes of Dusty Groove, Wax Poetics, and Rolling Stone Australia, and boast over 2 billion streams worldwide — thanks in part to their breakout hit "This Girl" (Kungs remix).

Side A – Cookin' The Books
A gritty, upbeat Hammond-led instrumental cooked low and slow in the heart of Melbourne's funk scene. It's all business up front — deep pocket drums, greasy organ licks, and guitar work that snaps and struts. No vocals, no fat — just a raw funk workout that's ready for the crates.

Side B – Give a Little Bit More (feat. Stella Angelico)

A classic-feeling, mid-tempo soul joint with a message that cuts deep. Longtime collaborator Stella Angelico delivers a powerful vocal performance about generosity, empathy, and turning things around when it matters. With uplifting lyrics, smooth horns, and a groove that nods to vintage 45s, this one lands straight in the heart — timeless, spiritual, and soul-drenched.

Captured live to tape at Soul Messin' Studios using vintage gear, the record oozes warmth and authenticity. Supported with airplay from Craig Charles (BBC6) and limited to just 500 copies on black vinyl in a Soul Messin' Records disco sleeve, this 45 is a must-stock item for funk, soul, and groove-focused retailers.

FFO: The Meters, El Michels Affair, Menahan Street Band, Quantic, Daptone Records

Am 14. Juni 2023 ist DJ Patex nach langer Krankheit gegangen. Wohin, das wissen wir nicht genau. Darüber werden wir uns heute auch nicht einig. Der Autor dieses Textes will jedoch ahnen, dass sie dort – frisch angekommen – erstmal von ihren vorausgegangenen Lieblingshundis überrannt und abgeschleckt wurde. Der Autor mag dieses Bild. Auch weil Patex sich zeitlebens mit Hundis leichter getan hat als mit Menschen. Hunde durften bei ihr alles, was sie vom Menschen getrennt hat: Parolen kläffen, Eigentum heranzerren, egoistisch und unterkomplex sein. Nie hat sie auch nur einem Hund jemals etwas krumm genommen. Der Menschheit begegnete Patex eher mit pessimistischen Sätzen: „An Allem ist zu zweifeln“ ist so eine Feststellung. Oder: „Nur Weil Du Mir Deine Wunden Zeigst Bist Du Noch Lange Nicht Mein Heiland“.
Damit wären wir auch bei der A-Seite der vorliegenden Single. Sie berührt. Ihr Text zeigt in viele Richtungen. Die Coverversion von Mitpudeln enstammt ihrem finalen School-Of-Zuversicht-Album und dokumentiert eine Patex, die an ihrer schweren Krankheit gewachsen ist, statt zu brechen. Auch weil sie sich erlaubt hat, ihre typische Skepsis mit einer Art Camu’schen Akzeptanz zu tauschen. Denn Ablehnung hat in ihrer Situation nicht gegriffen, sie hätte alles viel schlimmer gemacht. Nicht das Nicht-leiden oder gar das Nicht-leiden-wollen besiegt das Leid, sondern dessen voll umfängliche Akzeptanz. Das hat sie einfach genial hingekriegt. Und damit vielleicht das Leben und den Tod gleichzeitig besiegt. Noch besser: Für diese Erkenntnis musste sie nicht einmal ihren Pessimismus über Bord werfen. Denn auf einer Ebene, viel weiter im Vordergrund, handelt das Lied natürlich vom Mitleid, oder besser Mitleiden. Mitleid gerät in Schieflage, wenn wir vergessen, worum es wirklich geht. Empathie verbindet uns mit der Welt, sie erfüllt uns. Sie eignet uns aber allzu schnell das Leid anderer an, ohne dass wir selbst wirklich leiden müssen. Und wenn wir nicht aufpassen, dann macht sie uns selbstgewiss.
An Allem ist zu zweifeln, merkt Euch das. Außer daran, dass uns Patex fehlt. Uns fehlt was sie umtreibt und die Fragen, die sie uns schenkt. Und dass die umwerfende B-Seite, die uns über Hans Nieswandt aus Südkorea erreichte, nur ekstatisch tanzend erklärt werden will — und daran, dass Ihr Euch jetzt diese Single kauft. Text: Sebastian Reier

Dense, deep, drifting in the universe between dream, memory and reality.
Thought-provoking impulses with a philosophical background add an empathetic component to the power of the narrators' words in a charismatic way.
The common thread running through the four tracks like a warm red ribbon is a homage to the freedom of the individual.
A utopian sound clip that tells of acceptance and departure.

2025 Repress

Under the motto «We become more from what is left, deliver else than just the now, build sound stories for the then», Sediments is the new label and sonic adventure launched by Estrato Aurora and d_o_ppelgaenger, partners in the electronic duo Pajaro Dune.

d_o_ppelgaenger || aka David Ortolà || is a pianist, composer, electronic music producer, teacher and scholar specializing in contemporary music and electroacoustic composition and performance. As a solo artist, he has composed multiple electronic, ambient and techno works, modular scores as Grooves #1 (2017) and Déjà vu (2024), unique musical events such as Efímeras for 20 Pianos (2011), compositions for piano and electronics as well as his latest release Live at Perpendicular (2024).

Live at Perpendicular 2024 is Sediment's inaugural offering. Recorded May 25, 2024 by d_o_ppelgaenger at Perpendicular Festival in the woods of Cuenca, Spain, this album is both an ambient live set and a sound journey inspired in the Doppelgänger archetype from the early gothic novel.

d_o_ppelgaenger's signature chiaroscuro medley of styles and ideas relies on narrative sound design, using both electronic production, classical instrumentation, field recording and generative synthesis. His music challenges the boundaries between acoustic and electronic sound calling on a wide range of oft-conflicting aesthetics: from early music to soundtrack atmospheres or disruptive avant-garde trends. This album explores the liminal terrain between divergent languages, trying to create perceptional experiences in search of empathy between the known and the misunderstood or the unheard-from.


|| We
become more from what is left,
deliver else than just the now,
build sound stories for the then. ||

As we get into the groove of the summer time; it comes with great pleasure to introduce the next release instalment that comes as a collaborative pressure of collectivity & quality musicianship to produce the EP that we had decided to title as the 'Forward On Riddim' which best describes the vast amount of works that has been going on with this link up between Ashanti Selah & Hark's riddim factory (many work in yet to be released in the pipeline!)

Featuring on the Forward On Riddim we have the vocal works of Zed Regal with a version called 'Magical Connection' which describes the deep sense of understanding and empathy between what would be seen as a search for the search of that divine soulmate.

Then leading into the next version on the riddim 'Overstand' with a message of upliftment for the good of Humanity to rise up and stand as one for the right cause in the spirit of Equal Rights & Justice for all Mankind - that is what we must overstand!

Last but not least we have the real deal artist Mad Sam with a track that he had voiced with no rehearsal fresh from the vibes of JA called 'Unbreakable' preaching words of wisdom to the youths of today to keep it firm and always show love & respect to receive it!

Hope you feel the vibe and message in the music as we bring you these heartikal sounds with an immense line up of top-class international musicians in what turned out to be the first collaborative project between Ashanti Selah and Zac Harkavy!
credits

There is a parallel, submerged dimension in which musicians meet when they improvise. Sound microcosms emerge in those moments, and this is precisely the magic that BOTTAZZ! wanted to photograph in their first album: BOTTAZZ! VOL.1.

A "live" album, capable of transmitting spontaneity, sonic truths, empathy, feelings; ingredients that are difficult to transmit by recording the instruments individually or with other techniques.
Recorded in the historic "Auditorium 900" studios, a true time achine, as well as an institution for music in Naples.

Auditorium 900 took up the challenge in the figure of sound engineer Fabrizio Piccolo and from here the sound of BOTTAZZ was born!

A sound made up of lysergic Funk trips, 70's influences in all possible nuances: from progressive funk to Santana's Hispanic rock, up to touching its darkest and most hidden latitudes; audio waves
nfluenced by the soundtracks of the cinematography linked to those times, organs, synths, percussion and wah wah guitars, which generate a melting pot in which nothing is taken for granted.

BOTTAZZ! VOL.1 is a ship's diary, a journey into which each sailor has inserted its own emotions accumulated over the years, thus giving us a sincere and genuine record. Happy navigation.

Nous'klaer Audio and Sound & Vision's RE:VIVE initiative have teamed up for the third and final LP in their film scoring trilogy. Capping off with a soundtrack made for a progressive, angular take on a color-soaked, geometric educational archival film. Combined with a soundtrack for a film that is a personal intensifier to the city of Rotterdam, which is the home of Nous'klaer Audio. The collaboration invites two musicians to compose for these archival films from the collection of Sound & Vision, the national media archive of the Netherlands. This final instalment features through and through Rotterdammer, Kems Kriol and the Amsterdam based Turkish composer, pianist and DJ Loradeniz. Kems Kriol accompanies the amateur documentary collage film "Rotterdam in de Jaren 90", a dark period of strife, economic and social crisis for the now booming metropolis, with the compassion and empathy of someone who experienced those years first-hand but with enough time removed to reflect with heart. Loradeniz angularly and precisely moves her way through the delicate film "Tegenlicht", a surprisingly colorful and fluid educational film about painting, a bold juxtaposition that propels the film into the 2020s. Extended info: Side A, Tegenlicht (English: back lit) is a 1969 education film by Ton Gramsbergen. The short meditative film, follows stained glass artist Leo Hofman through his entire workflow to create beautifully abstract stained glass window panes. Loradeniz?angularly and precisely moves her way through the delicate Tegenlicht creating a bold juxtaposition that propels the film into the 2020s. Employing processed vocal work, deep dry kicks, and jarring percussion-- reminiscent of scratching glass-- Loradeniz's haunting modernization suits the cinema and the club equally, a testament to the rising composer's fluid versatility and creative prowess as a musical pantomath. Side B, Rotterdam in de Jaren 90 directly contrasts the zoomed in artistry of Tegenlicht. The amateur documentary Super 8 footage captures Rotterdam in one of its most tumultuous times from police brutality, poverty, drugs, violence, racism and the city's ongoing architectural modernization. Kems Kriol, who lived in Rotterdam during this time period, brings a deeply emotional weight to the Ed Millecam amateur documentation, as an artist with the compassion and empathy of who experienced those years first-hand but with enough time removed to reflect with heart. Kems Kriol's influences from modern and avant garde composers, jazz, acid bass lines and field recording Kems Kriol made at different locations featured in the film equate to a musical collage wholly comparable to the city's diverse population. The prior installments in this series featured Nous'klaer Audio staples, Ranie Ribeiro, Mattheis, Thessa Torsing (upsamy) and Tammo Hesselink.

‘Apathy Is Death’ is a precisely engineered, restless and longing work of experimental bass music. Tinkah has created a sonic landscape that is both mesmerising and haunting.

The fundamental note is tension as he speaks a tale of ego and its myriad manifestations.. highs & lows. Climax & anticlimax. Adoration & pity. A 12” quest through the taverns of retrospect.

The 6 tracks, live arranged on a MPC alongside a whimsical bounty of synths & effects, are packed rich with cinematic soundscapes, driving rhythms and an ever evolving temper.

Inspired by true events and adorned with sounds from his world. ‘Apathy Is Death’ tells the parable of being jointly lost and found in the intensity of life.







e B2. Skin 22 Feat. Arpen Daks

Recorded spontaneously in a single afternoon, the album captures an unguarded musical conversation between two of the most compelling voices of their generation. Born in Brixton and now based in Harlem, Ruben Fox has emerged as a major presence on the international jazz scene, renowned for the depth of his sound, the emotional clarity of his ballad playing, and a voice rooted in tradition while speaking firmly in the present. His work follows collaborations with artists including Wynton Marsalis, Barry Harris, Roy Hargrove, Jon Batiste, and George Coleman, and builds on the critical acclaim of his 2021 debut Introducing Ruben Fox.

Micah Thomas is one of the most celebrated pianists of his generation, praised for a style that is both restlessly inventive and deeply grounded in the history of the music. A Jerome L. Greene Fellow and Juilliard alumnus, Thomas has worked extensively with Immanuel Wilkins, Joshua Redman, Ambrose Akinmusire, and Billy Drummond, and has been recognised by DownBeat, Jazz Magazine, and The New York City Jazz Record as a defining contemporary voice. Fox and Thomas first developed their musical relationship while studying at Juilliard, where they regularly played duo sets. In Two Minds was recorded on a whim at Chris Pattishall's apartment in Washington Heights, with no rehearsal, no edits, and no agenda beyond mutual respect, listening, and shared musical values. Over three hours, the pair simply showed up and played.

The result is an intimate, conversational record that foregrounds generosity, empathy, and deep musical listening. Sparse, direct, and emotionally rich, In Two Minds offers a rare document of two artists meeting in real time, balancing history, intellect, warmth, and spontaneity.

Der englische Produzent, Songwriter und Musiker James Blake kehrt mit „Trying Times“ zurück, seinem siebten Studioalbum und ersten vollständig unabhängigen Release. Das Album, das zwischen London und Los Angeles geschrieben wurde, setzt sich mit den Turbulenzen der letzten Jahre auseinander – globalen Unruhen, Uneinigkeiten und persönlichen Abrechnungen – und sucht dabei inmitten des Chaos nach Empathie, Verbundenheit und Liebe.

Wah Wah 45s present a limited edition vinyl special from Afro-dub masters, Soothsayers. With a history that goes back three decades, having released two classic LPs (Tradition and We Are Many) and numerous EPs and remixes on the imprint, the band deliver two brand new and exclusive versions of one of the highlights of their new LP, entitled Fly Higher.

Love Will Find a Way features vocalists Maia Avery and Akin Soul, both former members of Youthsayers - a South London based music performance and education group, taught by Soothsayers band members. With new mixes by acclaimed Sao Paulo based producer Victor Rice, it's a stepping reggae vocal duo piece with a strong, universal message asserting that despite the current divisive political rhetoric and the championing of greed over human empathy by those in power, love will always be a more powerful force than hatred and division. Maia and Akin Soul's distinctive voices blend and weave beautifully over a hypnotic groove with a fresh and poignant emotional energy contributing to what should be a future steppers classic. These previously unreleased mixes are available in both vocal and dub versions on hand-stamped 7-inch vinyl and Bandcamp only. "We are so proud and happy to be able to feature Maia and Akin on this beautiful song. Both are former members of Youthsayers, the youth music education organisation set up by Soothsayers in 2016. Maia (from recent Wah Wah 45s signings Kotoa) and Akin are now great artists in their own right and it feels very satisfying to feature them on this new Soothsayers release." Robin Hopcraft (Soothsayers)

a A1: Love Will Find A Way (Light Still Shines Version) [feat. Maia Avery & Akin Soul]
[b] B1: Love Will Find A Way (Victor Rice Dub) [feat. Maia Avery & Akin Soul]

[a] A1 | Love Will Find A Way (Light Still Shines Version) [feat Maia Avery & Akin Soul]
[b] B1 | Love Will Find A Way (Victor Rice Dub) [feat Maia Avery & Akin Soul]

Emerging artist Beifer presents his highly anticipated debut album "constant.transition": an eclectic fusion of electronic music with strong influences from dubstep, garage and drum&bass, enriched with captivating jazz elements. This cross-genre work takes listeners on a journey through dark atmospheres and avant-garde soundscapes, brought to life by the artist's complex percussion layers and interesting chord structures.
With great experimentation and a desire to break new ground in electronic music, Beifer has created an album that captures the listener's attention with its unique textures and unconventional soundscapes. Each track is an exploration of musical possibilities, with Beifer masterfully blending a wide variety of genres while creating a cohesive and infectious atmosphere.

The album also features notable collaborations with renowned musicians. Wanja Slavin, Moritz Stahl (Ark Noir/Lyder) and vocalist Enji have collaborated with Beifer to add an additional dynamic and layered dimension to the album. Their unique talents and empathy blend seamlessly with Beifer's vision, opening up new worlds of sound for the listener. Beifer has managed to push the boundaries of electronic music and make an impressive artistic statement with his debut album.

"constant.transition" is the first release on the newly founded tunnel.visions label. Starting as a event-series, the three members of the electronic alternative experimental jazz band Ark Noir have made it their mission to present progressive, contemporary music that includes acoustic and electronic instruments, takes up compositional and improvisational concepts and thus breaks down the boundaries between academic and autodidactic practice.
Over the past year, Ark Noir has featured Beifer several times at concerts and brought the music of "constant.transition" to the stage with live instrumentation. The program was enthusiastically received by the audience.

Taupe’s latest album release, waxing | waning delivers jazz experimentalism, ‘skronk’, avant-rock, and electronics, by the Glasgow-based trio, due out via Minority Records. Across its seven tracks, waxing | waning captures Taupe’s approach – bold and boundary pushing – shaped by a fresh shift in the band’s dynamic and compositional approach.

Taupe’s waxing | waning, co-composed and realised by its players in a studio that was once an undertaker’s premises in Glasgow, is an absolutely affirmative album, an act of cultural defiance in desperate times.

Comprising Mike Parr-Burman (guitar, bass guitar, electronics), Jamie Stockbridge (alto and baritone saxophones) and Alex Palmer (drum kit, percussion), Taupe work up a storm of skronk, free jazz and harmolodic frenzy whose closest relations include Zu, Melt Banana and John Zorn. However, waxing | waning is from its opening, stuttering blasts, an exercise in seeking out and claiming new territory, finding unique and novel permutations in which jazz, rock, electronics interbreed at breakneck pace. Here is a group determined to say and do things they don’t get to say and do elsewhere in their musical lives.

‘Lemonade Tycoon’ hits the ground skronking. It’s cubistic jazz, cumulative in its impact, avoiding the white lines of the conventional freeway, bridling, bustling, coming at you from all angles – a three way conversation of astonishing rapidity, fast track, telepathic communication – everyone from James Chance to Albert Ayler coming at you at once, before morphing in to a spidery scrawl of electronics and furious percussion. ‘Anti-Bird-Spike BirdNest’s‘ title somehow sums up the sort of mental images evoked by the music – its sheer creative disobedience, as if being chased in vain, like a delivery rider evading capture by ICE agents -– shapeshifting, assuming different shades, sprouting metal quills and, in its midsection, seeming almost to swallow itself alive, before regurgitating itself in a sublime mess.

‘Interlude (Stride)’ is not exactly ambient, more a horizontal enmeshment of percussion, drones, reverberant noise, electronics, a sonic mulch. ‘allcapsallbold' reminds of early Aksak Maboul, in its playfulness, a haywire series of short phrases, subject to mechanical interference, a complex weave of irregular rhythms, increasingly eloquent sax phraseology and caustic guitars, which land heavier and heavier. ‘Pet Boss' is the new jazz equivalent of a highly evolved, mature conversation among brilliant equals, sharp, empathetic, complementary, rising to a collective, joyful noise. On the title track, electronics descend like a shower of bright particles, intensifying in their luminosity, whitening the skies, as sax and drums kick up a tempestuous, spontaneously sculpted noise that summons the ghosts of the great free jazz players, before a dark calm descends slowly. Finally, ‘Turn Push Kick’, a burgeoning chatterstorm of electronics, before the group kicks in, at angles to one another, led by abrasive guitars, reminiscent of Sunn O))) in their ritualistic concussion, riffing, digging deep amid squealing sax and piledriving percussion.

One of the UK’s most singular voices, Murkage Dave has spent the last decade crafting a body of work that refuses to fit neatly into any genre box. His music, loosely pop but informed by indie, outsider art, and an instinct for storytelling, is built on honesty, empathy, and fearless social commentary. Across his career, he has earned a cult following and praise from Pharrel Williams, Iggy Pop, BBC Radio 6 Music, The Guardian, Rolling Stone, Pitchfork, Clash, Complex, Highsnobiety, and Vogue. His debut album Murkage Dave Changed My Life (2018) amassed over 12 million Spotify streams, while follow-up The City Needs A Hero (2022) reached #10 on the UK iTunes Chart and #15 on the UK Independent Chart.

8-page lyric / drawing booklet, glossy poster, download card (inc. mp3s), white inner paper bags, sticker on cover.

After 7 strange years of relative silence, and 13 years of being a band, Dog Chocolate have returned with ‘So Inspired, So Done In’. Their fourth album is their most focused, cohesive and song-y yet. They still sound like a bin full of wasps, but now the bin has double-cream or a Viennetta or something at the bottom. While many of the 16 songs on here barely make it past the 3-minute mark, each one is bursting with all the textures and colours of an office cupboard: full of old sweets, fluorescent markers, and multiple ways to fix paper together.

Thematically, a lot of ground is covered, with songs tackling subject matter as diverse as overheard conversations, healing fungal toenails, the Rogerian concept of the Actualising Tendency, bronze age living conditions, dreaming songs into being and human-plant relations. Work (and anti-work) is a recurring theme, as is artistic inspiration and burnout. Dog Chocolate revel in the mundane and incidental, to explore bigger, existential questions. Recorded and mixed by POZI’s Toby Burroughs and mastered by Sofia Lopes, ‘So Inspired, So Done In’ charts a long and confusing period in the band’s collective life, marked by major life changes, losses and shifts, colouring the band’s trademark frantic, daft and anxious energy with a contemplative glaze. Dog Chocolate continue to investigate their internal and external landscapes with playful curiosity, frustration, silliness and empathy.

Pre/history of the band: In the early 2000’s Andrew (vocals), Rob (guitar, vocals) and Matthew (guitar, vocals) played together as teenagers in South-East London-based maximalist, costumed surrealist punk band Yeborobo. They met drummer Jonathan playing with his instrument-swapping masked band Limn at art space Utrophia in Deptford. Later, when both bands had split, Dog Chocolate formed with a shared desire to make a band that was simpler than their theatrical past: small amps and light guitars, no more than 2 drums at any one time, a keyboard no longer than a ruler and a shared ethos… “it’s about giving a shit, but at the same time not giving a shit, but not ‘whatever’, not giving up never!”. The band floated the term “pencilcase punk” to describe their jumbled, colourful, dense and instant music.

Dog Chocolate built on this early scrappiness, bedding into their sound over several albums. Their first “Or” (2014) was a split with Ravioli Me Away, soon followed by “Snack Fans” (2016) and “Moody Balloon Baby” (2018). Along the way they played gigs with bands as wide ranging as Deerhoof, No Age, Dry Cleaning, Palm, Daniel Wakeford, Shopping and Pozi.

With a tendency to converse with each other both lyrically and musically cultivated over many years, the members of Dog Chocolate bounce off each other, respectfully disagree, try to make each other laugh and share some of their most vulnerable feelings with each other. ‘So Inspired, So Done In’ is their own unique offering during these unsteady times: a language of friendship translated into songs.

ULI SAILOR -> File under: Punkrock am KlavierNach über 30 Jahren auf Bühnen zwischen Punkkeller und Festivalhauptbühne bringt Uli Sailor nun sein erstes Piano Solo-Album heraus. ,Besser Anders" ist das Ergebnis von zwei Jahren intensiver Arbeit - zehn Songs voller Energie, Melancholie und Haltung. Produziert wurde das Album halb in Berlin von Thies Neu, halb in Köln von Tobias Röger (Wohlstandskinder, Udo Lindenberg, Slime).Musikalisch schlägt Uli eine Brücke zwischen Indie-Rock und Punk, bleibt dabei aber weit entfernt von weichgespültem Pop. Klavier, Cello und Gesang treffen auf kantige Arrangements und Texte, die irgendwo zwischen Tagtraum und Knochenfabrik liegen - poetisch, wütend, reflektiert. Themen wie Gentrifizierung, digitale Entfremdung und die unerschütterliche Liebe zum Punk ziehen sich durchs ganze Werk.,Besser Anders" ist ein Album gegen die Austauschbarkeit. Kein KI-Produkt, keine Routine - sondern Handarbeit, Schweiß und Herzblut. Uli zeigt, dass Punkrock auch mit Klaviertasten funktionieren kann, solange man das richtige Maß an Wut, Humor und Zärtlichkeit mitbringt.Patrick Reerink (GUTS PIE EARSHOT) sorgt auf dem Album für die Cello-Parts. ,Kiezblock" entsteht gemeinsam mit Chris Kotze (KOTZREIZ), unterstützt von Totze Trippi (BEATSTEAKS) am Bass und einem Chor von Freund*innen - unter anderem Dead End Kids, Berlin Blackouts, Von.Orten und Töff Malstroem. In ,Der demagogische Wandel" greift Guido Donot (DONOTS) zur Gitarre und setzt ein Solo, das hängen bleibt. Das macht ,Besser Anders" zu mehr als einem einsamen Solo-Projekt, sondern ein kollektives Statement mit Haltung.Mittel-Version (2600 Zeichen)Sommer 2025: In einem Berliner Proberaum sitzt ein Mensch und macht das, was er am liebsten tut - Musik. Dieser Mensch heißt Uli Breitbach, besser bekannt als Uli Sailor. Seit über 30 Jahren ist er kreativer Arbeiter, mal euphorisch, mal verzweifelt, und nach zwei Jahren intensiver Arbeit erscheint nun sein erstes Solo-Album: ,Besser Anders".Was wie eine klassische Musikerbiografie klingt, steht im Kontrast zur Gegenwart. Während Künstliche Intelligenz längst komplette Bands ersetzt, bleibt Uli Sailors Musik das Gegenteil davon: handgemacht, ehrlich, mit hörbarem Herzblut. Uli geht auf die 50 zu und bringt sein Debüt erst jetzt heraus - nach Jahrzehnten als Teil verschiedenster Bands wie den Skatepunks D-SAILORS, den Indierockern TUSQ und der legendären Deutschpunkband TERRORGRUPPE.Nach deren Ende wagte Uli ein ungewöhnliches Experiment: Punksongs seiner Jugend auf dem Klavier - unterstützt von Cello. Was zunächst abwegig klang, traf einen Nerv. Seine Konzerte führten ihn in kleine Clubs ebenso wie auf große Bühnen - vom Sisyphos über Rock am Ring bis zur Volksbühne. Egal ob Punkkneipe oder Festival: Uli Sailor funktioniert überall.2024 folgte die EP ,Für immer jung", fünf eigene Songs zwischen Wut und Sentimentalität, die von Kritikern durchweg gelobt wurden. Jetzt also das Album. ,Besser Anders", das am 27. Februar 2026 erscheint - zehn Songs, produziert zur Hälfte von Thies Neu (SHIRLEY HOLMES, DYSE, DEAD END KIDS) in Berlin und von Tobias Röger (WOHLSTANDSKINDER, SLIME, UDO LINDENBERG) in Köln.Musikalisch wagt Uli den Schritt vom Piano-Punkrock hin zu einem Mix aus Indie und Punk, ohne dabei seine Haltung zu verlieren. ,Sellout?", mögen manche rufen. ,Hört doch erst einmal rein", wäre die passende Antwort. Denn ,Besser Anders" ist weit entfernt von weichgespültem Befindlichkeits-Pop. Die Texte bewegen sich zwischen Tagtraum und Knochenfabrik, kraftvoll, poetisch und differenziert. Uli Sailor benennt Missstände, bleibt aber empathisch, reflektiert und wirkt nie platt. Es ist ein vielseitiges, eigenständiges Album mit Songs über Gentrifizierung, digitale Abhängigkeit, verblühende Liebe und die unerschütterliche Kraft des Punk.Patrick Reerink von GUTS PIE EARSHOT steuerte die Cello-Parts bei. Mit Chris Kotze (KOTZREIZ) entstand eine gemeinsam geschriebene Anti-Gentrifizierungshymne, unterstützt von Totze Trippi (BEATSTEAKS) am Bass und einem Backgroundchor, der sich gewaschen hat: Mitglieder von Berlin Blackouts, Dead End Kids, Von.Orten und Töff Malstroem. Bei ,Der demagogische Wandel" wiederum griff Guido Donot (DONOTS) zur Gitarre und setzte ein Solo, das man so schnell nicht vergisst. ,Besser Anders" ist damit weit mehr als ein Solo-Album - es ist ein Gemeinschaftswerk mit Haltung.Vielleicht wird Uli Sailor keine Millionen Klicks erzielen. Aber das ist gut so. Dieses Album ist kein Algorithmusprodukt, sondern das Ergebnis ehrlicher Handarbeit, Leidenschaft und einer großen Liebe zur Musik. Punkrock bleibt hier der rote Faden - anders, besser, echt.

ULI SAILOR -> File under: Punkrock am KlavierNach über 30 Jahren auf Bühnen zwischen Punkkeller und Festivalhauptbühne bringt Uli Sailor nun sein erstes Piano Solo-Album heraus. ,Besser Anders" ist das Ergebnis von zwei Jahren intensiver Arbeit - zehn Songs voller Energie, Melancholie und Haltung. Produziert wurde das Album halb in Berlin von Thies Neu, halb in Köln von Tobias Röger (Wohlstandskinder, Udo Lindenberg, Slime).Musikalisch schlägt Uli eine Brücke zwischen Indie-Rock und Punk, bleibt dabei aber weit entfernt von weichgespültem Pop. Klavier, Cello und Gesang treffen auf kantige Arrangements und Texte, die irgendwo zwischen Tagtraum und Knochenfabrik liegen - poetisch, wütend, reflektiert. Themen wie Gentrifizierung, digitale Entfremdung und die unerschütterliche Liebe zum Punk ziehen sich durchs ganze Werk.,Besser Anders" ist ein Album gegen die Austauschbarkeit. Kein KI-Produkt, keine Routine - sondern Handarbeit, Schweiß und Herzblut. Uli zeigt, dass Punkrock auch mit Klaviertasten funktionieren kann, solange man das richtige Maß an Wut, Humor und Zärtlichkeit mitbringt.Patrick Reerink (GUTS PIE EARSHOT) sorgt auf dem Album für die Cello-Parts. ,Kiezblock" entsteht gemeinsam mit Chris Kotze (KOTZREIZ), unterstützt von Totze Trippi (BEATSTEAKS) am Bass und einem Chor von Freund*innen - unter anderem Dead End Kids, Berlin Blackouts, Von.Orten und Töff Malstroem. In ,Der demagogische Wandel" greift Guido Donot (DONOTS) zur Gitarre und setzt ein Solo, das hängen bleibt. Das macht ,Besser Anders" zu mehr als einem einsamen Solo-Projekt, sondern ein kollektives Statement mit Haltung.Mittel-Version (2600 Zeichen)Sommer 2025: In einem Berliner Proberaum sitzt ein Mensch und macht das, was er am liebsten tut - Musik. Dieser Mensch heißt Uli Breitbach, besser bekannt als Uli Sailor. Seit über 30 Jahren ist er kreativer Arbeiter, mal euphorisch, mal verzweifelt, und nach zwei Jahren intensiver Arbeit erscheint nun sein erstes Solo-Album: ,Besser Anders".Was wie eine klassische Musikerbiografie klingt, steht im Kontrast zur Gegenwart. Während Künstliche Intelligenz längst komplette Bands ersetzt, bleibt Uli Sailors Musik das Gegenteil davon: handgemacht, ehrlich, mit hörbarem Herzblut. Uli geht auf die 50 zu und bringt sein Debüt erst jetzt heraus - nach Jahrzehnten als Teil verschiedenster Bands wie den Skatepunks D-SAILORS, den Indierockern TUSQ und der legendären Deutschpunkband TERRORGRUPPE.Nach deren Ende wagte Uli ein ungewöhnliches Experiment: Punksongs seiner Jugend auf dem Klavier - unterstützt von Cello. Was zunächst abwegig klang, traf einen Nerv. Seine Konzerte führten ihn in kleine Clubs ebenso wie auf große Bühnen - vom Sisyphos über Rock am Ring bis zur Volksbühne. Egal ob Punkkneipe oder Festival: Uli Sailor funktioniert überall.2024 folgte die EP ,Für immer jung", fünf eigene Songs zwischen Wut und Sentimentalität, die von Kritikern durchweg gelobt wurden. Jetzt also das Album. ,Besser Anders", das am 27. Februar 2026 erscheint - zehn Songs, produziert zur Hälfte von Thies Neu (SHIRLEY HOLMES, DYSE, DEAD END KIDS) in Berlin und von Tobias Röger (WOHLSTANDSKINDER, SLIME, UDO LINDENBERG) in Köln.Musikalisch wagt Uli den Schritt vom Piano-Punkrock hin zu einem Mix aus Indie und Punk, ohne dabei seine Haltung zu verlieren. ,Sellout?", mögen manche rufen. ,Hört doch erst einmal rein", wäre die passende Antwort. Denn ,Besser Anders" ist weit entfernt von weichgespültem Befindlichkeits-Pop. Die Texte bewegen sich zwischen Tagtraum und Knochenfabrik, kraftvoll, poetisch und differenziert. Uli Sailor benennt Missstände, bleibt aber empathisch, reflektiert und wirkt nie platt. Es ist ein vielseitiges, eigenständiges Album mit Songs über Gentrifizierung, digitale Abhängigkeit, verblühende Liebe und die unerschütterliche Kraft des Punk.Patrick Reerink von GUTS PIE EARSHOT steuerte die Cello-Parts bei. Mit Chris Kotze (KOTZREIZ) entstand eine gemeinsam geschriebene Anti-Gentrifizierungshymne, unterstützt von Totze Trippi (BEATSTEAKS) am Bass und einem Backgroundchor, der sich gewaschen hat: Mitglieder von Berlin Blackouts, Dead End Kids, Von.Orten und Töff Malstroem. Bei ,Der demagogische Wandel" wiederum griff Guido Donot (DONOTS) zur Gitarre und setzte ein Solo, das man so schnell nicht vergisst. ,Besser Anders" ist damit weit mehr als ein Solo-Album - es ist ein Gemeinschaftswerk mit Haltung.Vielleicht wird Uli Sailor keine Millionen Klicks erzielen. Aber das ist gut so. Dieses Album ist kein Algorithmusprodukt, sondern das Ergebnis ehrlicher Handarbeit, Leidenschaft und einer großen Liebe zur Musik. Punkrock bleibt hier der rote Faden - anders, besser, echt.

My Days of 58 is the eighth Bill Callahan album, his first since 2022. The twelve tunes here open uncanny depths of expression as Bill continues to blaze one of the most original songwriting-and-performance trails out there. Applying the living, breathing energies of his concerts to this album production, he sharpens his slice-of-life portraiture to cut deeper, releasing a stream of singalong consciousness: poetic, cinematic, novelistic, comedic - and above all - musical.

Jubiläumsedition inklusive dem Original Sonderlust Album und einer zweiten Disc mit zwei brandneuen, unveröffentlichten B-Seiten und einer ,Demo-arigato"-Version von Sonderlust mit frühen Demos jedes Songs. Die Doppel-LP erscheint auf farbigem Vinyl: "Bone Vinyl" (LP1) und "Gold Vinyl" (LP2). Vor zehn Jahren war Kishi Bashi nach jahrelangen Tourneen zu seinen gefeierten Alben ,151a" und ,Lighght" kreativ und emotional ziemlich ausgelaugt. Die orchestrale Ausgelassenheit, die seinen Sound früher geprägt hatte, begann zu verblassen, was ihn dazu brachte, seinen künstlerischen Zweck zu hinterfragen. Aus dieser Erschöpfung entstand ,Sonderlust" (2016), eine sehr persönliche Neuerfindung, die von Verletzlichkeit, analoger Wärme und spiritueller Ehrlichkeit geprägt ist. Ishibashi verzichtete auf kunstvolle Violinen-Loops und setzte stattdessen auf Vintage-Synthesizer und reduzierte Texturen, wodurch ein Album entstand, das vor souliger, menschlicher Energie nur so sprühte. Songs wie ,Say Yeah", ,Honeybody" und ,Ode to My Next Life" fingen sowohl den Schmerz als auch die Freude der Selbstfindung ein und verankerten seine üppige Fantasie in gelebter Erfahrung. Jetzt, mit seiner Neuauflage zum 10-jährigen Jubiläum, steht Sonderlust als ein entscheidendes Werk da - in dem Kishi Bashis schillernde Verspieltheit der Selbstbeobachtung und Verbundenheit Platz machte. Die Neuauflage zeigt ein überarbeitetes Artwork des ursprünglichen Cover-Künstlers Ssin Kim, das Wachstum und eine neue Perspektive symbolisiert. ,Wenn man jünger ist, kann die Welt überwältigend wirken", reflektiert Ishibashi. ,Mit zunehmendem Alter beginnt man, seinen Platz darin zu sehen." Was als Album über Liebeskummer begann, ist zu einer zeitlosen Meditation über Empathie, Kreativität und die bleibende Schönheit des Menschseins geworden.

This is Jah Wobble"s first post punk LP in recent years following travel and dub records. The brash guitar driven tracks reflect his continuing preoccupation with the declining state of the nation. Driven by his experience working each week at a music based community project in Merton, with Jon Klein, it is reminiscent of Mark Stewart. Angry in an empathetic, constructive way it resolved with the beautiful instrumental "Brockwell Lido". Like much of his work these days, much of the lyrical content comes while traversing London"s transport system. Jah Wobble, is an English bass guitarist and singer. He became known to a wider audience as the original bass player in Public Image Ltd (PiL) in the late 1970s and early 1980s; he left the band after two albums. Following his departure from PiL, he developed a solo career. In 2012, he reunited with fellow PiL guitarist Keith Levene for Metal Box in Dub and the album Yin & Yang. Since 2013, he has been one of the featured pundits on Sunday morning"s The Virtual Jukebox segment of BBC Radio 5 Live"s Up All Night with Dotun Adebayo. His autobiography, Memoirs of a Geezer, was published in 2009. Jon Klein Is an English guitarist and producer, best known for being a member of Siouxsie and the Banshees for seven years, from 1987 until 1994. He also founded Specimen and The Batcave nightclub. Klein has worked for other artists including Talvin Singh and Sinéad O"Connor. More recently he has worked as a co-producer and guitarist with Jah Wobble.

Mal Devisa is the songwriting, liberation, and poetry project of multifarious artist Deja Carr. Starting in 2014 and breaking through with 2016's Kiid, Mal Devisa's work spans a selfmade spectrum of sound from gravitic, soulful rock to soliloquy to unabashed hip hop. Although known for her unmistakable, smoldering voice and loop-based, bass-forward compositions, Carr's talents also extend to reaches of spoken word and production, paralleled by aspirations to start both a youth foundation and Afrobeat orchestra. Such boundless inspiration is a central facet of Mal Devisa's work, whose sonically and narratively unrestrained passages teem with empathy and liberatory visions for a better world.

My Days of 58 is the eighth Bill Callahan album, his first since 2022. The twelve tunes here open uncanny depths of expression as Bill continues to blaze one of the most original songwriting-and-performance trails out there. Applying the living, breathing energies of his concerts to this album production, he sharpens his slice-of-life portraiture to cut deeper, releasing a stream of singalong consciousness: poetic, cinematic, novelistic, comedic - and above all - musical.