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Darning Woman is an intentional, beautiful, sometimes confrontational album that shreds expectations of DIY, bedroom music, and feminine themes. There's a lushness and maternal instinct at play, as Coope connects the dots between physicality, ephemera, and the ultrafeminine. "I don't really like to deal that much with themes of personal hardships, or heartache and love," says Anastasia Coope. "Ultimately, I work most honestly with the language of what is happening in a moment and the passage of time around it. That, coupled with my reaction to entering the artistic landscape, and my thoughts about what does and doesn't get representation, comprises most of this album." Darning Woman explores, among other things, the meditative aspect of sewing, patching and embellishment, care and repair, collection not as modern, craven consumption but as a counterpoint to materialism. This sort of collection - the good kind, the gathering of things to make a home - can be, in Coope's words, "A very baby way to critique capitalism. Birds make nests, right? It can be a new life for a thing that was made. What you surround yourself with matters." To that end, Anastasia Coope is also the founder and leader of the Bonzo collective and show series, an exciting new home for the type of expansive, profoundly creative scene that New York has been missing for some time. And while Bonzo may well be the ascent of a new community, Darning Woman is the story of Anastasia Coope, herself. It is the sound of Coope entering the world as an artist, acknowledging the tangle of what changes - the gaze of the world, Coope's art in reaction and community to art in general - and what does not: her ideas and her own self.

Darning Woman is an intentional, beautiful, sometimes confrontational album that shreds expectations of DIY, bedroom music, and feminine themes. There's a lushness and maternal instinct at play, as Coope connects the dots between physicality, ephemera, and the ultrafeminine. "I don't really like to deal that much with themes of personal hardships, or heartache and love," says Anastasia Coope. "Ultimately, I work most honestly with the language of what is happening in a moment and the passage of time around it. That, coupled with my reaction to entering the artistic landscape, and my thoughts about what does and doesn't get representation, comprises most of this album." Darning Woman explores, among other things, the meditative aspect of sewing, patching and embellishment, care and repair, collection not as modern, craven consumption but as a counterpoint to materialism. This sort of collection - the good kind, the gathering of things to make a home - can be, in Coope's words, "A very baby way to critique capitalism. Birds make nests, right? It can be a new life for a thing that was made. What you surround yourself with matters." To that end, Anastasia Coope is also the founder and leader of the Bonzo collective and show series, an exciting new home for the type of expansive, profoundly creative scene that New York has been missing for some time. And while Bonzo may well be the ascent of a new community, Darning Woman is the story of Anastasia Coope, herself. It is the sound of Coope entering the world as an artist, acknowledging the tangle of what changes - the gaze of the world, Coope's art in reaction and community to art in general - and what does not: her ideas and her own self.

Neues Album erscheint am 31. Mai 2024 bei City Slang inklusive der Single 'Big Swimmer' featuring Gesangsharmonien von Sharon Van Etten!

King Hannah entwirft einen musikalischen Wandteppich, der nahtlos zwischen den ruhigen Tiefen des meditativen Pops und den weitläufigen, klangvollen Landschaften voller Dunkelheit, Witz und schrägem Humor pendelt. Merricks Gesang, ein rauchiges Vergnügen, verleiht ihren Worten tiefes Gewicht und Kraft, ergänzt durch die bluesigen Leinwände, die Whittle meisterhaft unter ihnen malt. Ihr Sound wechselt mühelos von Momenten post-rockiger Weite zu dem Gefühl, dass Springsteen auf eine düstere Seitenstraße abseits seines Highways zur Freiheit gerät. In jüngster Zeit hat das Duo die Bühnen neben geschätzten Künstlern wie Kurt Vile, Thurston Moore, Kevin Morby und DIIV geziert und das Publikum auf Festivals in ganz Europa und Nordamerika, darunter End of the Road, Green Man, Primavera Sound und Fusion, in seinen Bann gezogen. King Hannah wurde unter anderem von Stereogum als "Band to Watch", von The Guardian als "Ones to Watch" und von Paste als "Best of What's Next" gefeiert und in der Rubrik "NEU" des DIY Magazins sowie als "Rising Artists" von SPIN vorgestellt.

These tracks are among my absolute favourites in the realm of house music. Their haunting grooves seamlessly blend into house, techno or even garage sets. Despite being recorded about 30 years ago the sonic quality remains unmatched for its time, embodying the essence of timeless music.

However, I’ve never been entirely satisfied with the sound of the original pressings. The vinyl limited total time length compromised the audio quality. Thus, I’ve long desired to remaster it in my studio and properly cut them, which led to our decision to undertake this endeavour.

I am immensely proud of this release and thrilled to include it in our exquisite collection on Pariter. YA.

Volume 3 of a set of collaborations between the prolific Argentine polymaths Reynols and the inescapable Acid Mothers Temple. Recorded in Buenos Aries on AMT’s 2017 South American Tour, the music has identifiable sonic elements from both groups but ends up sounding like neither, with a surprising weightlessness that keeps things jammy and psychedelic until the final track’s blustering rock. Taking up most of side 1, “Kicking Air Bricks” has a loose Gong/’70s Euro-classic vibe, with Satoshima Nani getting to swing on the drums in a way that isn’t always part of AMT’s steamroller, while the rest of the gang layers in abstract piano, percussion, glissando guitar, etc. “Multiverse Turtle Reflex” closes the side with a thick drone coda. Side two starts with Miguel Tomasin’s gentle vocal and organ accompaniment on “Smelling Oneiric Asado” before the group gradually gathers momentum with Wolf’s thick bass anchoring layers of clean and loose guitar interplay. “Lemurian Tsunami Inside A Hat” is a thriteen-minute heavy rock epic, with the Reynols’ guitars going head to head with Makota Kawabata’s easily recognized interjections, ramping up into a riffy crescendo.

The landmark 2006 album that showcased Brooklyn's legendary Hip Hop collective with their original lineup for the first time since their 1997 debut LP "For the People." Buckshot, Smif-N-Wessun, Heltah Skeltah, and O.G.C. sound as raw as ever over a hall-of-fame production lineup including beats by Pete Rock, Large Professor, Da Beatminerz, 9th Wonder, Marco Polo, and more.

Atmosphere and gravity lean into each other. They are simultaneously expansive, and anchoring. They hold us, and lend a sense of perspective. They provide a stability and a knowingness which is essential in the absolute, and yet we can't help but find ourselves gazing upward, outward and reaching towards that which sits outside those things and ways we know. Selene is a record about that this lingering desire for that which sits beyond. It is work that seeks new perspectives snatched from familiar vistas, and it meditates on that sense of anchor and perspective. The work is also a speculative hymn to the visions of the celestial zones that spill ever outward. These visions, once merely what we could perceive with the naked eye are now so much more. Our minds eye is fed in equal parts by radio telecopy, filmic dreams and fiction renders of a place most of us will never know first-hand. This recording ties into a linage that reaches back, while stretching forward. It is just one story of so many, told across places, across cultures, across generations. It sits in the in-between of before and after, and in that moment invites us to situate ourselves and lean into it.

"Tools of Oppression / Rule by Deception" ist das neue Album von The Hope Conspiracy. Das Album wurde von Kurt Ballou und Zach Weeks in den God City Studios produziert. Das Artwork für die Veröffentlichung stammt von dem gefeierten Künstler Alexander Heir (Death/Traitors).

Dies ist wahre akustische Gewalt, die sich gegen politische Spaltung, wirtschaftliche Manipulation, Kriegsgewinnlerei, Medienpropaganda und andere abscheuliche Formen globaler Unterdrückung richtet. Luftschutzsirenen heulen auf, während die ahnungsvollen "Those Who Gave Us Yesterday" und "The Prophets and Doom" wie brennende Schrapnells explodieren. Der Höllenritt geht weiter mit "A Struggle For Power" und "Live In Fear", zwei bösartigen Blasts, die vor Bosheit und Verachtung nur so strotzen. "Shock By Shock" und "Of A Dying Nation" leiten die doomig-düstere Schwere ein
und drosseln das Tempo auf ein mittelschnelles Sperrfeuer. "Confusion/Chaos/Misery" zieht das Tempo an und geht mit verbrannter Erde auf die soziopolitischen Alpträume los, die uns alle umgarnen, während "Broken Vessels" die Opioid-Krise und die Sucht als Ganzes thematisiert. Dies führt zu "The West Is Dead", einer dystopischen Hardcore-Hymne mit vielen Hooks, und dem epischen Schlussstück "The Specter Looms"; ein unheilvoller Soundtrack zum stetigen Niedergang unserer modernen Zeit.Keine Frage, The Hope Conspiracy ist zurück, um eine kalte, harte Aussage über die Existenz in der Endzeit zu treffen.

The phenomenal three-piece band includes members of Oranssi Pazuzu, K-X-P, Grave Pleasures and Aavikko


Svart Records is proud to release the debut album, I, from Haunted Plasma, a powerhouse of futuristic synth in symbiosis with the super violent atmospherics of kosmische Black Metal. Haunted Plasma is “man meets machine” in a cybernetic wasteland, set to a conceptual backdrop of William Gibson and Phillip K. Dick style mind-melt. The highly evolved creatives at the heart of Haunted Plasma’s sound, cite Terry Riley, Massive Attack, a contemporary take on Krautrock hypnosis, psychedelic Black Metal and 90s Techno, resulting in an orgy of mutant sound.



The phantoms at the beating nucleus of this unearthly machine are Juho Vanhanen (Oranssi Pazuzu, Grave Pleasures), Timo Kaukolampi (K-X-P, Op:l Bastards) and Tomi Leppänen (Circle, Aavikko, K-X-P), transmitting a music form evolved from a life of redefining sonic boundaries in their respective projects. Also featuring guest vocals from Mat McNerney (Hexvessel, Carpenter Brut, Grave Pleasures/Beastmilk), Pauliina Lindell (Vuono, Dust Mountain) and Ringa Manner (Ruusut, The Hearing). Haunted Plasma promises an extraterrestrial experience from some of the foremost contemporary musicians at the heart of the Finnish heavy and avant-garde musical underworld.



Haunted Plasma reveals:

“We are liberated futurists, embracing free-form and natural composition, mirroring the merciless forces of cosmic creation. We have a motto to stay true to our feelings, to spawn a sound that’s never been heard before. Servants of music. Energizing, radical and pure”


The first single from Haunted Plasma’s cascading debut, Reverse Engineer, is a creepy, slowly erupting, synthetic nightmare, of a downloaded being waking up in the wrong future. Ghostly vocals demand the listener to “give us what we want” in an Orwellian glimpse into the current dystopia we live in, where information is controlled, and thoughts are bought and sold. As McNerney intones the words “technology of power” he describes the threat of a malevolent and omnipresent artificial intelligence, as much as describing the oppressive and electromagnetic sonar pulse of Haunted Plasma’s sound itself. Psychedelic guitar hypnosis from Vanhanen snakes around Kaukolampi’s molten and morphing synths, while Leppänen’s uncanny man/machine rhythms pull our strings and animate their other-worldly mechanisms. Have a look at the official visualiser of "Reverse Engineer" on the Svart YouTube channel here


Culminating in the full-blown fast Krautrock of the final self-titled track, oozing with blistering noise elements and enigmatic vocals from Ringa Manner, the album's journey reaches its zenith, taking you to unknown territories on a Kubrikian space trip. I is a rare record of talented musicians coming together to create a completely new sound, which is entirely their own, boldly glowing, where no light has shone before. From the dreamy psychedelia of Echoes to the discombobulated Spectral Embrace, Haunted Plasma is a willful force of deliberate sound contortion.


Whether you want to give in to Haunted Plasma’s sound or not, you are being watched, you are being recorded and your every move is monitored. Haunted Plasma will enter your system on the 31st of May 2024. Turn on your phantom circuits and be prepared for an interdimensional excursion into Haunted Plasma’s alien dreams.

The debut album from Haunted Plasma will be packaged in a beautiful tip-on sleeve, swirling fog artwork, complete with 12” booklet and pressed on 3 exclusive vinyl colours: 300 copies on Standard Black Wax, 500 copies in Amber + Black Smoke and 200 copies of Svart exclusive Turquoise/Black Marble. The album will also be available on CD and digital platforms.

THE 1968 ALBUM ON WHICH JOHNNY CASH BECAME A LEGEND: AT FOLSOM PRISON AMONG THE MOST IMPORTANT AND POTENT STATEMENTS OF THE 20TH CENTURY


Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution’s forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He’d played there two years prior. But this time was different.

Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.

You can hear it echo off the walls of the room; pulse through the itchiness of the Tennessee Three’s acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash’s knockout singing. The bedrock foundation of all his music, the singer’s baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him — and the extent he was living the narratives.

Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions — mental, emotional, physical, geographical, legal, social — the inmates confronted on a daily basis. Beginning with the explicit messages of the opening “Folsom Prison Blues,” Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That’s how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.

Listen to the sorrow, regret, pity, and loneliness of Merle Travis’ “Dark as the Dungeon,” Cash pulling syllables til they threaten to break and inhabiting the mood of bleak phrases such as “pleasures are few” and “the sun never shines.” Witness the isolation, dejection, and sadness punctuating the walking-blues “I Still Miss Someone,” matched in gravity by a solemn reading of “The Long Black Veil” — a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of “Send a Picture of Mother” and plainspoken version of Harlan Howard’s “The Wall,” detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.

In chronicling temptations, mistakes, mortality, punishment, and life “inside” — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant — At Folsom Prison also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of “Cocaine Blues,” taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of “25 Minutes to Go”; quicksilver accents and resigned acceptance of “I Got Stripes”; train-whistle blare and twangy locomotion of “Folsom Prison Blues” — all fight the law only to see the law win.

Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day’s first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black’s soon-to-be-wife, June Carter. The couple’s fiery duet on “Jackson” scorches; their combination of surrender and fortitude “Give My Love to Rose” puts us in the dying protagonist’s shoes.

And with the closing “Greystone Chapel,” famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he’d return for the remainder of his illustrious career.

From weaving thought-provoking poetics to channeling the spirit of vintage West Coast gangsta rap, acclaimed Los Angeles emcee Blu is a dynamic musical presence, forever evolving and defying expectations. Supremely talented producer and musician Shafiq Husayn has a similarly diverse skill set, with a storied history as a member of Sa-Ra Creative Partners and solo production credits for top artists across the musical spectrum, from Erykah Badu to Ice-T to Anderson .Paak to Jurassic 5 and many more. After linking up for the mixtape The Blueprint back in 2018, Blu and Shafiq Husayn are reuniting for the new album Out Of The Blue, elevating their collaboration to a new level. “The Blueprint was just me rhyming over some of Shafiq's beats that I found online,” Blu explains. “This time we were actually in the studio together. We’ve been working together since 2008, but this is our first official album.” Awash in Shafiq’s dense sonic architecture, Out Of The Blue showcases the intricacy of Blu’s spiritual street talk while simultaneously delivering a series of bass-heavy L.A. anthems. Entirely produced by Shafiq Husayn, the collection features guest appearances by MED, Exile, Chuuwee, Thurz, Speed Walton, Jimetta Rose, and Freestyle Fellowship members Myka 9 and Self Jupiter. “Out Of The Blue is my G-Funk album,” Blu explains. “Big brother Shafiq gave us a master class in production. We just in here being funky and having fun.”

Nach einer beeindruckenden Reihe von Alben in den 2010er Jahren, die ihm eine treue Fangemeinde, Auszeichnungen von Zeitungen wie der New York Times, Fresh Air und Pitchfork und einen Platz in der oberen Riege der modernen Americana-Singer-Songwriter eingebracht haben, hat John Moreland in diesem Jahrzehnt bereits zwei unerwartete Wendungen vollzogen, die beide seine starke künstlerische Unabhängigkeit unterstreichen.

Zunächst veröffentlichte er 2022 mit Birds In The Ceiling eine brillante und klanglich vielschichtige Folk-Electronica-Meditation über moderne Entfremdung, die einige seiner Fans überraschte. Nachdem er im November 2022 eine schwierige Tournee hinter sich gebracht hatte, stellte er seine Arbeit komplett ein. Er nahm sich ein ganzes Jahr Auszeit von Auftritten und benutzte 6 Monate lang kein Smartphone.

Nach fast einem Jahrzehnt im Rampenlicht, in dem er ständig von den Erwartungen seines Publikums bedrängt wurde, nahm er sich zum ersten Mal Zeit, sich auszuruhen, zu heilen und zu reflektieren. Das Ergebnis dieses Unplugged-Jahres zu Hause ist 2024 Visitor, ein Folk-Rock-Album, das intim, unmittelbar, zutiefst nachdenklich und verdammt eingängig ist.

AAA Audiophile 200g 45rpm Triple Disc LP!
Sourced from First Generation Analogue Recordings without Any Digital Corruption!
2xHD Mastering on Nagra Equipment by René Laflamme!

Sound Restoration by George Klabin & Fran Gala!

Cut All Analogue at Bernie Grundman Mastering on Tube Cutting Equipment!

There have been many guitar gods, but there's never been an electric bassist as deified as Jaco Pastorius. – Michael J. Agovino

This live album by Jaco Pastorius and the Word-of-Mouth Big Band, featuring harmonica virtuoso Toots Thielemans as special guest, was recorded in analog 24 tracks by the Record Plant mobile truck at Avery Fisher Hall in NYC on June 27, 1982, as part of George Wein's Kool Jazz Festival. This Deluxe 45rpm 200g edition is the first one to be mastered from the original 2 track master tapes that were found some 30 years later (the previous digital download versions were released from a digital remix of the 24 tracks). What we have here is the direct copy of the original pure analogue 2 track mix.

The brightest star in the electric bass firmament, Jaco Pastorius burst onto the national scene in 1976 with his audacious self-titled album on Columbia Records, featuring a line-up of top jazz musicians. With his extraordinary fretless electric bass playing as the centerpiece, Jaco Pastorius created an immediate sensation with the public and the media. His signature approach employed Latin-influenced funk, lyrical solos on fretless bass, bass chords, and innovative use of harmonics. In Jaco's work with Weather Report and beyond, the self-described "greatest bass player in the world" (an assessment shared with virtually the entire music world) established a new identity and role for his instrument and became the torch-bearer for a new way of playing both technically and conceptually. But behind it all was an ever present R&B and Latin-influenced groove and a screaming rock-'n'-roll attitude that he refined and incorporated into sophisticated jazz harmonic structures.

In addition to his extraordinary virtuosity, Jaco was also developing into an accomplished and sophisticated composer and arranger and those talents are gloriously on display on this album. The 3-time Grammy Award nominee was inducted into the Down Beat Jazz Hall of Fame in 1988, one of only seven bassists so honored (and the only electric bassist). His legacy as a bass innovator continues to this day, more than 30 years after his untimely death in 1987.

1973 was an amazing year for the pop/rock duo Hall & Oates as they ushered their superstardom further with the incredible second album masterpiece Abandoned Luncheonette.

Produced by the great Arif Mardin, this nine-song album fused with classic Philly soul, rock and acoustic pop anthems delivered in a big way for the history making duo. Including the huge hit single "She's Gone," as well as the celebrated title track, Abandoned Lunchonette was a watershed album which has rewarded them with non-stop success for the past four decades.

Abandoned Luncheonette is the most commercially successful of the duo's Atlantic Records period; the album reached No. 33 on the Billboard Top LPs & Tapes chart. Twenty-nine years after its release, the album was certified platinum (over one million copies sold) by the Recording Industry Association of America (RIAA).

This top-notch Analogue Productions reissue is pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Released only eight months after his exhilarating debut, Bruce Springsteen's The Wild, the Innocent & the E Street Shuffle contains rousing dispatches from the boardwalk, the street, the beach, and the bedroom. It explodes with energy, dares to dream, teases with humour, crackles with tragedy, clings to hope, and overflows with discovery, youthfulness, and personality. It features an unforgettable cast of characters — corner boys, teenage hustlers, doomed lovers, jazz men, junk men, factory girls, fortune tellers, alley cats, pimps, escorts, and more — illuminated by vivid colour, breathtaking detail, and poetic action.

Musically, the heartfelt 1973 record is inhabited by sympathetic vignettes and cinematic arrangements steeped in rock 'n' roll, soul, jazz, and R&B. It finds the New Jersey native looking beyond the parameters of his preceding record and seeking to move on from environments he knows well (and chronicles here) by rushing headlong toward unknown territories, adventures, and people. Underpinned by the singer-guitarist's ambitious poetic enterprise and will to succeed, The Wild, the Innocent & the E Street Shuffle is the album on which Springsteen becomes the Boss.

Mastered on Mobile Fidelity's renowned mastering system, pressed at RTI on MoFi SuperVinyl, and strictly limited to 7,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP set is the definitive-sounding version of Springsteen's sophomore record. Benefitting from SuperVinyl’s nearly non-existent noise floor, superb groove definition, and dead-quiet surfaces, The Wild, the Innocent & the E Street Shuffle plays with a clarity, energy, presence, and openness that complement the expressiveness, dynamics, and scope of the seven restless songs that comprise a work Rolling Stone ranked the 345th Greatest Album of All Time.

Beyond the audiophile sonics that practically place you behind the console at 914 Sound Studios — listen to the separation between the instruments, natural decay of the notes, interplay within the widescreen soundstaging, and nothing-to-lose youthfulness of Springsteen’s voice — this reissue takes seriously this record’s influential merit by presenting it in packaging that underlines its status. Tucked in a beautiful slipcase, the LP is housed in a special foil-stamped jacket with faithful-to-the-original graphics. This reissue is made for listeners who prize sound quality and who want to engage themselves in everything involved with the invigorating set that busted Springsteen loose from the club circuit and landed him on the radio

Determined to liberate anyone within earshot and unafraid to come on strong, The Wild, the Innocent & the E Street Shuffle serves as the debut of the E Street Band — not only heard but seen for the first time by most of the public courtesy of the back-cover photograph. This is where saxophonist Clarence Clemons, organist-accordionist Danny Federici, and pianist David Sancious step out of the shadows — and drummer Vini Lopez and bassist Garry Tallent again stoke a fiery rhythmic engine that helps drive the untamed, reimagined big-band swing of “Kitty’s Back,” breathless R&B thrust of “Rosalita (Come Out Tonight),” and carefree dance steps of the funky “The E Street Shuffle.”

Of course, the main attraction remains a then-24-year-old visionary on the precipice of becoming a sensation and turning a then-bloated rock scene on its head. Recorded over three months while Springsteen and company were busy touring his debut LP, The Wild, the Innocent & the E Street Shuffle reflects the high-octane approach the vocalist embraced onstage and drifts away from the label-dictated acoustic-based frameworks of his debut. The set also witnesses Springsteen deepening his observational skills, with narratives such as the romantically tinged “4th of July, Asbury Park (Sandy)” and redemptive epic “Incident on 57th Street” mirroring changes taking place in the singer’s own life, small towns, and America at large.

A thrilling collision of memories, reflections, and composites — Sandy, Rosalita, and the latter’s parents are all based on actual people Springsteen knew, as is the community depicted in the opening track — the aptly titled The Wild, the Innocent & the E Street Shuffle resonates decades on due to its truths, authenticity, and spirit. Those characteristics — as well as the fact that many of its lengthy songs come on as the equivalent of sweaty, feverish soul revue that won’t stop until you’ve been exhausted — also explain how this now-iconic album triumphed over the reservations of industry “experts” that both demanded Springsteen re-record it and instructed deejays not to play it.



Yet there’d be no stopping a record that saw the past, present, and future, a band whose will would not be denied, and a phenomenon who was born to run. A never-ending invitation to act real cool and stay up all night, The Wild, the Innocent & the E Street Shuffle always feels alright.

Nach einer beeindruckenden Reihe von Alben in den 2010er Jahren, die ihm eine treue Fangemeinde, Auszeichnungen von Zeitungen wie der New York Times, Fresh Air und Pitchfork und einen Platz in der oberen Riege der modernen Americana-Singer-Songwriter eingebracht haben, hat John Moreland in diesem Jahrzehnt bereits zwei unerwartete Wendungen vollzogen, die beide seine starke künstlerische Unabhängigkeit unterstreichen.

Zunächst veröffentlichte er 2022 mit Birds In The Ceiling eine brillante und klanglich vielschichtige Folk-Electronica-Meditation über moderne Entfremdung, die einige seiner Fans überraschte. Nachdem er im November 2022 eine schwierige Tournee hinter sich gebracht hatte, stellte er seine Arbeit komplett ein. Er nahm sich ein ganzes Jahr Auszeit von Auftritten und benutzte 6 Monate lang kein Smartphone.

Nach fast einem Jahrzehnt im Rampenlicht, in dem er ständig von den Erwartungen seines Publikums bedrängt wurde, nahm er sich zum ersten Mal Zeit, sich auszuruhen, zu heilen und zu reflektieren. Das Ergebnis dieses Unplugged-Jahres zu Hause ist 2024 Visitor, ein Folk-Rock-Album, das intim, unmittelbar, zutiefst nachdenklich und verdammt eingängig ist.

Castle Face present Dan Rincon’s (OSEES, Wild Thing, Apache, Personal and the Pizzas) premier solo release Spotlight City.

Artificial landscapes and melodies comprised of Moog Grandmother, Mellotron and a kinky Modular system span from beautiful and lilting to haunting and etherial. The album was a years long learning experience of getting all components and ingredients to link arms and blend comfortably. Wrangling was part of the process. Strings soaring and sines weaving. Sometimes in the atmosphere, sometimes in the Earth’s core, sometimes flanked by neon blur as it hums & weave patterns through a world imagined in vintage sci-fi pulp.

“I was listening to a lot of solo Roedelius and Conrad Schnitzler records while writing this record and I’d say that both have been hugely inspirational on what I want to do as a solo recording artist. The way both of those of those artist pushed the early, chaotic electronic music into something more melodic is really inspiring to me, it’s not that dissimilar than trying to get melodies out of a modular synthesizer.”

An absolute necessary slab for anyone a fan of CF, OSEES, Popol Vuh soundtracks , 8 bit video game accompaniment & 80s Tangerine Dream. Burn one and burn out.

"Tools of Oppression / Rule by Deception" ist das neue Album von The Hope Conspiracy. Das Album wurde von Kurt Ballou und Zach Weeks in den God City Studios produziert. Das Artwork für die Veröffentlichung stammt von dem gefeierten Künstler Alexander Heir (Death/Traitors).

Dies ist wahre akustische Gewalt, die sich gegen politische Spaltung, wirtschaftliche Manipulation, Kriegsgewinnlerei, Medienpropaganda und andere abscheuliche Formen globaler Unterdrückung richtet. Luftschutzsirenen heulen auf, während die ahnungsvollen "Those Who Gave Us Yesterday" und "The Prophets and Doom" wie brennende Schrapnells explodieren. Der Höllenritt geht weiter mit "A Struggle For Power" und "Live In Fear", zwei bösartigen Blasts, die vor Bosheit und Verachtung nur so strotzen. "Shock By Shock" und "Of A Dying Nation" leiten die doomig-düstere Schwere ein
und drosseln das Tempo auf ein mittelschnelles Sperrfeuer. "Confusion/Chaos/Misery" zieht das Tempo an und geht mit verbrannter Erde auf die soziopolitischen Alpträume los, die uns alle umgarnen, während "Broken Vessels" die Opioid-Krise und die Sucht als Ganzes thematisiert. Dies führt zu "The West Is Dead", einer dystopischen Hardcore-Hymne mit vielen Hooks, und dem epischen Schlussstück "The Specter Looms"; ein unheilvoller Soundtrack zum stetigen Niedergang unserer modernen Zeit.Keine Frage, The Hope Conspiracy ist zurück, um eine kalte, harte Aussage über die Existenz in der Endzeit zu treffen.

Luxury Apartments have spent long enough pondering in the orb of creative frustration as art charged city dwellers and have alchemised a jagged piece of guitar work that calls on the past for a quick catch up before cracking on with their day as a witty, energised and wiry punk band. Formed before your favourite East London neighbourhood became full of high rises, cockapoos and pubs with Madri & Beavertown on Draft, there’s a whole swath of words you could use to describe Luxury Apartments, but doing so might draw too many parallels to estate agent listings wo we’re gonna let their track record and new LP do the talking… LA played with the likes of TOY, TELEGRAM, Deep Tan, Es, The Chisel and Rifle before even having an LP. Mixing dry humour with a belting live show served them well while the guys were woodshedding and earnt them early fans such as Graham Coxon and Jamie Reynolds, who I can only gather shed a single tear of seeing where they came from with all the chaotic guitar-busting, skin-splitting, bottle-smashing madness of an early LA show. But we’re here talking about NOW and NOW is the time to get your pre-order for their first LP, a half hour of power smashing the atoms of 80s c86 indie on lead track ‘Energy’, 77 punk on ‘Wire’ and new garage rock explosions on ‘Taliban’ which morph in to a piece of black wax that’s 100% guaranteed to get the disenfranchised wiggling, the fed-up hurling half bricks through foxtons windows and the punk lifers flipping off yet another boss before carving out another fork in their paths of resistance.

The Telescopes Radio Sessions collects together the essence of three live session recordings in 3 different countries over a three year period between 2016-2019. This is the third in a series of radio session releases from Tapete Records that have so far included The Monochrome Set and Comet Gain. More session releases are being lined up for the rest of the year and beyond - enjoy the sonics and stay tuned. Over the years I have read a lot on people’s impressions of The Telescopes. Some folk think it’s a collective, others imagine it used to be a band and feel nostalgia towards what they consider to be the original line-up (even though many had come before, during and since) and some people refer to it as currently a solo career. In a way this is all true and none of it is. When faced with these kind of questions, along with questions about the style of music that The Telescopes make I often say The Telescopes house has many rooms, which explains things perfectly for me but for people on the outside looking in it only serves to increase their confusion. For me, confusion isn’t such a bad thing. Everything is born into confusion, the sense we try and make of that chaos is interesting and excites me. The universe often disorientates, it sends me a jumble of thoughts and impressions coupled with a feeling of something I need to express… if I could only decipher the encryption. This is how The Telescopes music comes to be and it is also how The Telescopes came to me. I regard The Telescopes as an entity of it’s own that introduced itself in my darkest hour and I was chosen as its vessel. From the second it arrived I was obsessed to the point where there was nothing else. A bit like having an imaginary friend. As the obsession grew it began to infect others, everybody loved my imaginary friend and wanted a piece of it. As its success grew however, so did the corruption, until one day the entity fell silent. The silence lasted for years, I tried everything to reconnect but it was having none of it. I had been a bad caretaker, I had let the house become infested and I had lost my way. This epiphany served to remind me of simpler times when anything felt possible with this entity by my side. It had trusted me with something so simplistically profound and I had let it down. The realisation of this was a eureka moment. I am not The Telescopes, I never was and never will be, I am the caretaker, the lighthouse keeper and if a job is worth doing it is worth doing well. With this dawning, I felt a crack open up in the cosmic egg and a familiar confusion in my head. The entity had returned. It was time to start untangling its tangled threads once more, to make sense of what it was saying, this time without corruption. It’s all about listening. I listen to what my cosmic friend sends me and channel this expression into what you hear through your speakers. It may take one person to achieve this, it may take more. There is no set line up or instrumentation that can hold The Telescopes. Whatever it takes to hit the zone, whatever is available, absolute focus is imperative. Sometimes it takes sabotage to keep that line of vision intact, there is no room for preconceptions or complacency in making the music. The Telescopes music is the now

incarnate and a state of total being is necessary to achieve. From the outside looking in... again, it’s all about listening. What comes through your speakers is the only thing that matters. The music either reaches you or it doesn’t. Everything else may seem interesting or confusing but ultimately it is corruption. So if you’ve bought the record, read the sleeve notes and bought a ticket to see a live show, don’t be surprised if the line-up is or isn’t the same as the recording. The only thing that is for sure is that The Telescopes as an entity is speaking to you in its own voice in every scenario.
Of course the difference between albums and live shows is that you can play the record over and over again to the point where you know every line and every note that was played. Whereas with live events you are left with an impression that can only be replayed in your mind. It can be frustrating at times. When you are touring with a great line-up and feel like something exciting is happening, you want everyone to hear it, not just the people at the shows but the people that couldn’t make it on the night as well. There is no guarantee that there will be the same line-up at a live show as there is on the album. This is why live sessions are important, they document a side of things that is often fleeting. Here we have three sessions, all different people transmitting The Telescopes sound on each. Some are regulars, some dip in and out and some were just passing through. In each case The Telescopes chose them as their vessel and as the lighthouse keeper I did everything I could to help them on that journey while trying to be a good caretaker to the house of many rooms. The Telescopes have been invited in for many sessions over the years, the first two were for John Peel on BBC Radio 1. We also recorded a session for Marc Riley and Mark Radcliffe before their
celebrity when they had a show on BBC Radio Manchester. We could have compiled this album from those sessions, it was certainly considered but Tapete and myself believe this selection gives an exciting glimpse into that fleeting side of The Telescopes in a constant state of flux that is left mostly to myth and imagination. For those who listen to the records but have never had the chance to take in the live experience, welcome to the other side. For those that follow us live, here’s a little reminder and a keepsake. Infinite suns. Stephen Lawrie February 2024.

Galaxy Orange/Black Vinyl. Limited to 500 copies. Data Diamond is the sound of FOUR STROKE BARON at their most confidently unhinged. Originally conceived as two separate EPs (one purely electronic - Data, one heavy - Diamond) that would then meld together on one full length release, the idea morphed into what is now the succinct sucker punch of an album that is heading our way at speed. Heavily inspired by their own work on Data Diamond's predecessor, Classics, Witt and Vallarino got to work in their laboratory creating the most potent, concentrated form of FOUR STROKE BARON possible. Data Diamond - a dizzying sub-40 minute dive into the deranged psyches of its creators. The tracks on Data Diamond are lithe yet still allow enough room for idiosyncratic flourishes that mark this out as a true FOUR STROKE BARON opus. If Classics was a Man vs. Food belly busting plate of indulgence, Data Diamond is an upmarket Gordon Ramsay dish, served with a side of insanity. Finding a co-conspirator in Cynic's Paul Masvidal, the trio get somewhat psychedelic on the album's eponymous closing - and most expansive - track, which also features Vola's Adam Janzi on drums. Thematically, this is their most murderous anthology to date. Those who find themselves embroiled in these bloodthirsty tales include a Radio Shack CEO, an internationally acclaimed cyborg, an accidental trafficker of human body parts, and the leader of a death cult located in a convenience store. FOUR STROKE BARON's anomalous view of the world takes a particularly dark turn across the songs on Data Diamond, yet, as ever the macabre tragedies are dressed up with catchy melodies, pop hooks for days and a big shimmering bow of positivity.

Listening to The Softies has always felt like peeking into a diary, with no personal detail spared. Lyrically the band documents a lovelorn heart in every manifestation, and hope is the bright silver lining adorning each song. As the third Softies album, Holiday in Rhode Island KLP119 presents a more accessible view to the humble honesty of their emotive universe. When Holiday in Rhode Island was originally released in Sept. 2000, it had been three and a half years since The Softies previous album Winter Pageant [KLP061]. In that time Jen and Rose's introspective musings are reborn, sparkling with renewed vision, both musically and spiritually. The trademark harmonies between Jen Sbragia (All Girl Summer Fun Band) and Rose Melberg (Tiger Trap, Gaze) simply shimmer, brighter than ever before, benefiting from strong yet simple arrangements and excellent production (at a house on Galiano Island near Victoria, British Columbia) by Dave Carswell and John Collins. The beautiful surroundings and supportive production crew inspired The Softies to extend their minimalist blueprint of two delicately jangling guitars and two crystalline voices to include acoustic guitar embellishment on "Just a Day," "You and Only You;" piano and sparse drums on "Me and the Bees;" a xylophone makes subtle appearances here and there. Holiday in Rhode Island is a stunning artistic accomplishment from these two much heralded pop icons.

Gemma Blackshaw is a scholar, writer and curator currently Senior Tutor for research at the Royal College of Art. She has curated major exhibitions for galleries and museums in London (National Gallery; Wellcome Collection and Vienna (Leopold Museum; Wien Museum).
This is her debut album.

Who Will You Love is the debut collaborative album from The Dengie Hundred with Gemma Blackshaw. In 2023, The Dengie Hundred co-produced with Japan Blues two albums for Demdike Stare’s DDS label, and released the solo album Tube on London’s Sagome imprint; their solo debut Brackenbank appeared on Ethbo in 2022, when they also contributed to World of Echo’s Thorn Valley compilation. Here, they collaborate with Gemma Blackshaw on an album of smudged dream pop.

Gemma’s vocals were recorded from home at night on an old iPhone. Who Will You Love surfaces dark, desiring songs on the passion and exhaustion of looking after others. Emerging in simple rounds that expand with layers of field recordings, synths and drum machines, the songs include lullabies for baby boys and men, enchantments of wary lovers and spells of protection for a daughter.

Moving between her children and her lover, the mother sings of the demands of daily intimacy (play with me, carry me, sing to me…) that echo through adult relationships too.

Who Will You Love was mastered by Carim Clasmann, and mastered and cut for vinyl by Stefan Betke (aka Pole). Artist Alexis-Soul-Gray gifted Screen Memory of 2022, a painting on found paper, for the artwork. Mark Thomson designed the sleev

The cheeky chaps at Cheeky Chops return with another disco packed 12" of dancefloor goodness. Editing a couple of 80s anthems, on the A side we find the Queen Of Pop strung out for over 11 minutes of hand raising ecstasy that wouldn't have sounded out of place at the Paradise Garage, whilst over on the B side a denim dungaree clad trio get the extended long summer break we've all been waiting for.

‘EVERYTHING IS HERE’ is a journey through space and time, inspired by the more rarefied aspects of prog rock and the wistful side of psychedelia.


Fusing these influences with the accessibility of French electronic and the groove of R&B and disco, this album depicts the sweet dizziness of contemplation. Nostalgic, yet determined and modern in it’s genre blending, the first album of Kartell truly reveals what’s been underlining in his previous EP.

Taking influences in the space and dream pop aesthetic, the musical approach of the album embraces the 60’s and 70’s fascination for outer space, exotic locations, technologies and science fiction which was on the edge of becoming reality.

Nebulous textures and otherworldly sounds characteristic of space rock are infused throughout the record, while keeping a focus on making catchy songs, leaning on a minor-key groove and a pop yearning. It’s also a challenge and an artistic proposition to gather a wide range of genres to tell a story. Densely produced and cinematic, the album draws a truly living landscape where live bass, drums and guitars hold the line, evolving around hazy effects and synthesizer layers.

Platz 5 Powermetal SOUNDCHECK 05/24
Aus den Tiefen des Black-Metal-Undergrounds kommt eine seiner wichtigsten Figuren mit einer neuen Band und einer noch härteren Gangart. Als Frontmann der legendären schwedischen Maniacs Nifelheim hat Hellbutcher den schlechten Ruf des echten Black Metal mit eiserner Faust verteidigt. Jetzt, mit der gleichnamigen neuen Band, geht die wilde Mission weiter: Nichts weniger als die totale Metal-Manie wird hier geboten. Nach dem Ende von Nifelheim, die Ende 2022 ihre letzte Show spielten, verschwendete Hellbutcher selbst keine Zeit, um weiterzumachen. "Mir wurde klar, dass ich meine eigene Band gründen musste, um den wahren Geist des Metal aufrechtzuerhalten. Ich war unglaublich inspiriert!" Zusammen mit alten Weggefährten des Bösen, den Gitarristen Necrophiliac (ebenfalls von Mordant) und Iron Beast, dem Bassisten Eld und dem Schlagzeuger Devastator (Ex-Nifelheim), machte sich HELLBUTCHER schnell daran, diese Vision in die Tat umzusetzen.

Deluxe black on white splatter 2LP edition (double LP with gatefold sleeve and printed inner sleeves!). Including original sleevenotes by Byron Coley and a new introductory essay from Dinosaur Jr. fan Henry Rollins! First issued in 2002 only in the States and Australia,
‘Ear Bleeding Country’ is the only career-spanning compilation of Dinosaur Jr. Dinosaur Jr. are one of the most successful and influential alternative guitar bands from America, and fronted by laconic singer/guitarist J. Mascis, they’ve enjoyed global success and inspired generations, from Grunge onwards.

The first six tracks are drawn from the band’s early career in the 1980s, when they recorded for independent labels like Homestead and SST. Among them are the classic single ‘Freak Scene’ and the follow- up cover of The Cure’s ‘Just Like Heaven’. Most of the compilation
samples the best of Dinosaur Jr.’s output after signing with Warner Bros in 1990, including hit singles such as ‘The Wagon’, ‘Whatever’s Cool With Me’, ‘Out There’, ‘Start Choppin’ and ‘Feel The Pain’. ‘Ear Bleeding Country’ ends with ‘Where’d You Go’, a track by J. Mascis’
post-Dinosaur Jr. band The Fog.

"Palm Reader", das zweite Album der Texaner HIGH DESERT QUEEN, strotzt geradezu vor roher Kraft und dem Donnern von gefühlt 666 heißblütigen Dieselpferden. Der Langspieler steckt voll von coolen Vibes, packenden Leads und jeder Menge Desert-Feeling. Dabei liegt der Fokus der Wüstenrocker auf großartigen Songs, statt sich hinter Genre-Zäunen zu verstecken. Diese ungezähmte Attitüde fand den Zündfunken für ihre sprudelnde Energiequelle auf der letzten Tour. Als die Band nach sechs Wochen auf Europas Straßen und Bühnen mit den legendären FATSO JETSON nach Texas zurückkehrte, hatte sie sich von deren allabendlichen Improvisationen und Jamsessions inspirieren lassen und zahlreiche Ideen notiert. Trotz Jetlag konnten es HIGH DESERT QUEEN kaum erwarten, mit neuen Aufnahmen zu beginnen. Dabei konzentrierte sich die Truppe weniger darauf, wer bestimmte Parts wie einspielte, sondern sie erlaubte sich Unvollkommenheit und ließ den Click weg. Frei von künstlichen Schranken begann ihre Musik so frei zu fließen wie nie zuvor. Schon bei der ersten Studiosession nach der Tournee entstanden gleich drei neue Songs. Die Band aus Austin, Texas hat den musikalischen Jackpot geknackt, und "Palm Reader" ist der schlagende Beweis dafür. HIGH DESERT QUEEN waren schon immer etwas anders und viel mehr als nur eine weitere Desert Rock Band. Von Sänger Ryan Garney und Gitarrist Rusty Miller im Jahr 2019 in Houston, Texas gegründet, rekrutierte das Duo bald darauf Schlagzeuger Phil Hook (MONTE LUNA) und zog 2020 nach Austin um. HIGH DESERT QUEEN wurde von Anfang an das Zeug dazu nachgesagt, die dümpelnde Wüstenrockszene wieder in Schwung zu bringen. Ihre vielseitigen musikalischen Einflüsse, die von Grunge bis Funk, sowie von Old School Metal bis Doom und vielen weiteren Musikstilen reichen, boten eine ideale Grundlage für neue Ideen und die nötige Verjüngung des Genres. Ihre donnernden Verzerrer-Hymnen kommen mit einer gesunden Portion Groove und eingängigen Melodien daher, die massiven Anschub durch eine seltene emotionale musikalische Intelligenz erhalten. Der frisch geprägte Sound ist dennoch eng mit dem reichen Erbe des Wüstenrocks verbunden - was in ihrer Stilbezeichnung "Texas Desert Rock" ein Echo findet. Mit "Palm Reader" vollziehen HIGH DESERT QUEEN den nächsten Quantensprung ihrer rasanten Entwicklung. Die Texaner haben die perfekte Balance zwischen den kräftigen Wurzeln ihres Genres und dem pointiert-eigenen Ausdruck gefunden. Angetrieben von Geist und Kraft der live gespielten Musik, rockt dieses Album hart und ehrlich!

Lock on for a legit excursion into 140 realness as Sneaker Social Club welcomes Silas into the fold. The breakthrough Oxford beatsmith has been on the bubble-up for a minute, facing off with the likes of Trends and Boylan on Mean Streets, remixing PRAGA and throwing down for repeat appearances on Rinse and elsewhere.

The sound Silas pushes on the ‘Wot’ EP - his debut solo 12” no less - is steeped in the original dank pressure of OG grime and dubstep, where moodiness and minimalism create the perfect storm for all-consuming soundsystem immersion. There’s a wavey swing to ‘Know Yourself’ which contrasts with the strict, claustrophobic drive of ‘Wot’. ‘Ubuntu’ on the flip teases an evocative sound world just past the edge of the mix, but manages to hold down the stripped back approach on a skippy 4/4 rhythm which nudges garage into a kind of tech-house-funky amalgamation. ‘Make It Happen’ offers yet another subtle slant on Silas’ style, crooked and gritty but still executed with
an unrelenting, austere focus.

Consider this an essential pin dropped on forward-leaning bassweight sounds which carry the torch for grime and dubstep’s ice-cold origins, maintaining maximum presence without even a whiff of derivative wobble.

Co-founded by Detroit natives Rahill Jamalifard and Lenny Lynch, Habibi got its start in Brooklyn in 2011, earning early raves every- where from Pitchfork and NME to All Things Considered and The New Yorker, who praised the band for infusing “the Colgate-white glisten of sixties-girl-group pop with an uncensored edge.” Dreamachine, Habibi’s mesmerizing new record releasing on Kill Rock Stars, marks a major sonic evolution for the band, rising beyond the critically acclaimed five-piece’s garage rock roots to arrive at a singular swirl of analog and digital elements that underpin their search for spiritual and physical transcendence. Produced by Tyler Love and longtime collaborator Jay Heiselmann and featuring MGMT multi-instrumentalist James Richard-son, the collection draws on a mix of post-punk, experimental pop, and vintage disco, calling to mind Tom Verlaine, Diana Ross, Kate Bush, and Kim Deal, all filtered through the band’s shared love of Middle Eastern psych music. The songs here are their own distinct worlds, each an immersive quest in pursuit of something greater, and the band’s performances are relentless and hypnotic to match, driven by lush synthesizers, sinewy guitars, and a muscular rhythm section. The result is a record as fearless as it is enthralling, an alternatingly fierce and joyous work that ascends to new heights as it reckons with desire and escape, love and surrender, rebellion and reality.

"Supermodel (You Better Work)" ist die erste Single aus RuPauls Debüt-Studioalbum "Supermodel of the World". Der 1992 veröffentlichte Song erreichte Platz 2 der Billboard's US Dance Club Songs Chart und wurde zu einer Dance Club und Gay Pride Hymne. 7" Single mit der B-Seite "A Shade Shady (Now Prance)", die dritte Single aus dem gleichen Album

SloMo A/V is the cooperation of DJ and producer Chloé Thévenin, who works in the studio to build soundscapes, Dune Lunel, Paris-based art director and Adrien Godin, a young artist from ECV Digital in Paris who works as an art director and graphic designer. This special live recording will now be available on limited edition gatefold vinyl.

Es fühlt sich an wie eine Infusion: die Kochsalzlösung strömt durch die Kanüle in dich hinein, ist aber etwas kühler als deine Körpertemperatur, deshalb breitet sich diese angenehme Kälte in dir aus. Klar, diese Infusion ist die 7"-EP von MANTAROCHEN, dieser lichtscheuen Kreatur aus den Untiefen der Leipziger Unter(wasser)welt. Die verhuschte Gitarre, grobkörnig verpixelt wie eine VHS-Kassette aus den 80ern, flangert sich durch ein Labyrinth aus melodisch-organischen Bassläufen. Die Rhythmusmaschine treibt die sechs Songs gnadenlos und nonchalant an den Abgrund. Seltsamerweise hauchen die Synths keine zusätzliche Kälte ein, viel mehr hüllen sie den Coldwave in eine wärmende Decke. Keine Kuscheldecke, eher eine dieser gold-silbernen Folien-Rettungsdecken. Über all dem schwebt eine distanziert, unterkühlte Stimme. "Alles wird gut, es ist bald vorbei" scheint sie dir zuzuraunen. Doch es werden tiefe Wunden besungen und die Sehnsucht, den Ballast und die ganzen Banalitäten hinter sich zu lassen. Das jedoch völlig unverkrampft. Die Tragik lauert zwischen den Zeilen, während sich dein Verstand schon im Bann der Hooklines verabschiedet hat. MANTAROCHEN, das sind Diana, Sebi und Tom. Alles ist selbst aufgenommen und gemixt. Das Mastering übernahm Jean-Baptiste Meyrieux (u.a. in Broncho Libre & Laxisme aktiv). Die 7"-EP erscheint am 31.05 auf It's Eleven Records.

Double A-side pressure! With his fast paced and beautifully organic approach to Techno we excitedly bring you a four track vinyl EP from true rising star Human Safari. Hailing from the Mediterranean Techno stronghold Malta, Human Safari perfectly blends the energy of Techno with earthiness tribal sounds to maximum effect throughout this powerfully electric release on EarToGround Records.

“Thou Shalt” is the second album by The Answer Lies In The Black Void. Serene, invoking imagery of darkness; sweeping soundscapes tear and twist at the emotions. The latest album by The Answer Lies In The Black Void is a work of magical beauty. The duo, a collaboration of Martina Horváth from avant-garde folk metal project Thy Catafalque and Jason Köhnen from Celestial Season, The Lovecraft Sextet, Bong-Ra, Mansur and The Kilimanjaro Darkjazz Ensemble, follows up on their 2021 debut “Forlorn”.

The prevalent element here is doom, but there is so much more buried deep within the dark vaults of this compelling record. The nine new tracks are deep, richly layered songs, with Horváth demonstrating her stunning shimmering vocals over the complex creativity of Köhnen, the multi-instrumentalist who takes responsibility for everything instrument-driven here. There are crushing riffs, echoing lead guitar work, melodic choruses and harrowing passages which send shivers down the spine, and all the time the atmosphere builds; The Answer Lies In The Black Void seeks to embrace beauty in darkness and fragility in heaviness.

Paddy and Al from the English indie space/trance/techno/noise-rock band GNOD have a new thing going called Born In A Headlock. It’s heavy experimental stuff; noisy, blackened, mechanical and sometimes even melodic avant-garde post-punk, or something like that, with a violent, dark & maximized post-lofi-ness vibe along it.

Witchorious is a doom metal / stoner rock band from Paris, France. Founded in 2019, the trio is composed of Antoine Auclair (guitar / vocals), and brother and sister Paul (drums) and Lucie (bass / vocals) Gaget. Their first two singles “3 AM” and “Evil Creature” came out of darkness in 2020. Their music blends bluesy riffs inherited from Black Sabbath, aggressive sounds supported by fuzzy bass lines in the likes of Electric Wizard and Trouble, and intense atmospheres inspired by bands like Amenra, Cathedral, The Obsessed, YOB and Mastodon.

All this led by adventurous and solid drums, spawning modern chaotic doom metal songs with enraged vocals. Between screams and whispers, Antoine and Lucie’s voices have us travel from incantations to outpouring of despair. Each track on this debut album will immerse you in the darkness of your mind, where you will keep looking for answers.

Die britische Sängerin Becky Hill, die kürzlich zum dritten Mal in Folge für den BRIT Award als bester Dance Act nominiert wurde, veröffentlicht am 31. Mai ihr mit Spannung erwartetes, zweites Album „Believe Me Now“?. Mit 2 bereits gewonnen BRIT Awards, 13 Platin Singles und über 10 Milliarden Streams gehört Becky Hill seit Jahren zu den erfolgreichsten Sängerinnen und Songwriterinnen Großbritanniens. „Believe Me Now?“ enthält den #1 UK-Airplay-Hit ”Side Effects”, ”Disconnect” featuring Chase & Status, der auf Platz 6 der UK-Charts landete und mit Gold ausgezeichnet wurde, sowie die aktuelle Single ”Never Be Alone”, die mit Sonny Fodera aufgenommen wurde. Auf dem Album arbeitete Becky mit einer Reihe von Top-Produzenten zusammen, darunter PARISI, Mark Ralph, Toddla T, Maur, Solardo, MJ Cole, Jax Jones und Franky Wah, und enthält Einflüsse aus der Welt des Drum’n’Bass, House, Techno und Trance. Nach einem fulminanten Jahr 2023, in dem Becky Hill u.a. ein großartiges Glastonbury-Set spielte, eine Sommerresidency auf Ibiza hatte und den Start der zweiten Staffel ihres Podcasts „The Art Of Rave“ mit Gast Fatboy Slim feierte, wird 2024 das Jahr sein, in dem Becky Hill endgültig ihren Status als eine der einflussreichsten Stimmen der Dance Music festigt.