Selten tritt eine Band mit solcher Entschlossenheit und Zuversicht an die Spitze eines Genres. Revocation haben sich aus der relativen Unbekanntheit
zu einer der größten Hoffnungen des Metal entwickelt und werden von der internationalen Kritik gefeiert. Unvergessliche Songs biegen, stoppen,
verdrehen und schreddern auf virtuosem Niveau und explodieren vor frenetischer Energie. Die Mitglieder von Revocation sind Meister ihres Fachs.
Vinyl als Custom Galaxy Edition
Vinyl Reissue des 2013 erschienenen vierten Albums von Revocation. Dieses selbstbetitelte Meisterwerk vereint alle charakteristischen Elemente der
Band.Thrashige, virtuose Melodien, technisches Schlagzeugspiel der Spitzenklasse und ein stimmlicher Rundumschlag nehmen den Hörer mit auf eine
rasante Fahrt durch die heiligen Hallen des Heavy Metal.
Vinyl als Custom Galaxy Edition
Vinyl Reissue des 2009 erschienenen zweiten Albums von Revocation. REVOCATION verbinden Weltklasse-Musik mit einem ausgeprägten
technischen Flair; die Songs drehen, wenden und stoppen auf der Stelle, während schwindelerregende Soli mit der rasiermesserscharfen Präzision
des Thrash Metals tanzen. Existence is Futile transzendiert alle Subgenres des modernen Metals und etabliert REVOCATION als eine der besten neuen
Metalbands des 21. Jahrhunderts. Vinyl als Custom Galaxy Edition.
Lovely Is Today (Edit) by Eddie Harris b/w September 13 (Edit) by Deodato | Galaxy Sound Co. — GSC4540, test pressing | Hot off the presses via the always-on-point @galaxy_sound_company crew. This will mark number 40 in the GSC45 series. Every release has been stellar, elevating it to the rarified “buy-it-on-site” status. If you love hip-hop, broken beats & top-class edits, anything w/ their stamp on it — you know it’s going to be top notch. They’ve got a bottomless discography full of that good ish, & here comes another addition to the cannon in the form of a pair of glorious jazz-funk nuggets.
Side A is an edit of “Lovely Is Today” by Eddie Harris, which is taken from his brilliant 68 soul-jazz LP “Plug Me In”. Chicagoan Harris pioneered the usage of amplified electric Varitone saxophones. It features a stellar line-up: Ron Carter (bass), Haywood Henry (baritone sax), Jodie Christian (piano), Garnet Brown (trombone), James Bossy (trumpet), Grady Tate & Richard Smith on drums, &, of course, Harris on tenor sax. Here the edit trims off the intro noise & extends the breaks recalling hip-hop songs it sampled: “2 Deep” by Gang Starr, “Intro” by Mobb Deep, “It Ain’t Hard To Tell (The Stink Mix)” by Nas, “What’s My Name Yo?” by MC Lyte, among others.
Side B is an edit of “September 13” by Deodato, taken from his self-titled jazz-funk 73 LP. Deodato, aka Eumir Deodato De Almeida, is a Brazilian artist known for his range of production work for Kool & The Gang to Björk, as well as TV & film scores & collabs w/ Milton Nascimento, Ithamara Koorax & Marcos Valle. Heads will know this one as the source for heaters like “In The House” by Pete Rock & C.L. Smooth, “Park Joint” by Camp Lo, “Epoca” by Gotan Project, “Don’t U Know” by DJ Rels aka Madlib & “Track 13” on Beat CD #2 by J Dilla.
FOLLOWING THEIR RECENT REUNION, THE DELGADOS REISSUE THEIR FOURTH STUDIO ALBUM HATE ON COLOURED VINYL AND CD TO MARK ITS 21st ANNIVERSARY
Ushering in a new era of emotionally vulnerable and cinematic songwriting for celebrated Glasgow group The Delgados, 2002’s Hate is the group’s most ambitious recorded statement to date. Recorded amidst a backdrop of personal change and international crisis, Hate’s internal alchemy transmogrifies darkness into light. It’s an enclosed universe full of tragedy and magic, a swirling galaxy of lush orchestration, misanthropy dealt with kindness and black humour. Above all it showed a band coming to terms with their fragility with a new power and grace.
In Hate, the band’s ambition saw them striving to reflect the breadth of human experience, both the joy and tragedy of living in tumultuous times. Initially commissioned by The Barbican in London to compose music for a film about artist Joe Coleman, the instrumental music that instigated Hate was laden with darkness from the outset. The Delgados’ worldview has always been informed by nuance, an oblique but incisive lyrical perspective but on Hate a new rawness is woven throughout the songs. Coleman’s original subject matter - portraits of troubled historical figures like Ed Gein, Mary Bell and Jayne Mansfield - influenced the tonality of the music but the songs were written against a backdrop of international tumult and personal life changes for the band members. Beginning writing sessions following a family bereavement in drummer Paul Savage’s family, Hate was then recorded while both Alun Woodward and co-singer/guitarist Emma Pollock were expecting new additions to their young families, the latter with drummer Paul Savage. In the background to the recording process were the attacks on the World Trade Center of September 2001 and their aftermath. In this context, it’s remarkable that an album was made at all, let alone one so grand and compassionate. It’s a masterclass in restraint and imagination.
Hate sounds like the world in all its ugly glory. Recorded in Glasgow and New York with Tony Doogan, Dave Fridmann and the band as producers and using over 20 additional musicians, Hate grabs the baton from the group’s breakthrough critical and commercial success The Great Eastern. Bolder, broader and more all-encompassing than anything the band had previously attempted, the album’s palette is furnished by a string section, brass and reed instrumentation, a choir and electronic elements augmenting the core group of Emma Pollock, Alun Woodward, Paul Savage and Stewart Henderson. Far from being over the top, the group’s skill is in attention to detail, in honing and refining each arrangement, allowing each element its space.
It’s a fine balancing act that pays massive dividends. Woodward’s new lyrical vulnerability is spotlighted on tracks like The Drowning Years, which throws elegiac string arrangements against the narrative of characters living in darkness, punctuated by couplets that bring a real-life documentary feel to the narrative. All Rise brings a black comedy to the idea of a confessional before a transcendent, choir-led refrain brings ecstatic resolution to Woodward’s vocal in its highest register. On the single All You Need Is Hate, Woodward’s trick of subverting the Beatles standard showcases the dark humour at the centre of Hate. Here The Delgados’ perversity is in full flow, nurturing a glowing light from darkness, the resolving melody and Fridmann production recalling contemporaries The Flaming Lips (whose Michael Ivins assisted in mixing) or Mercury Rev. The perversity is the surging serotonin induced by the group while singing the lines “Hate is everywhere, inside your mother’s heart and you will find it there. You ask me what you need? Hate is all you need.”
It’s a dark magic that pervades Hate, indeed it’s almost the driving force throughout the album. Flipping minor to major and back again, Favours is fuelled by fear and violence before blasting into the heavens with the gauche line “and you’re feeling fine,” operating in stark contrast to the verses’ tone. Album opener The Light Before We Land finds Emma Pollock in the aftermath of recent family trauma. Her vocal is effortless; a study in steady restraint against the massive, Fridmann-patented drum sound powering Savage’s playing and Henderson’s instantly recognisable melodic basslines. Coming In from the Cold is Pollock in full flight, lifted to the heavens by wide-screen, instrumental texture. Her presence on Hate highlights her knack for lyrical impressionism, the timbre of her voice lending itself to drama while always retaining a mystique. Never Look At The Sun, inspired by the Coleman painting The Big Bang Theory (itself an explosives-themed study), revels in paranoia, her performance ringing out in the eye of the storm conjured by the swirling arrangements. It reaches the peak of a redemptive arc while seemingly parodying the very idea of redemption.
Hate was the sound of The Delgados completely fulfilling their potential, a fully realised vision buoyed by the weight of coming through a darkness into light. For its 21st anniversary, the album is being reissued on the band’s own Chemikal Underground on coloured vinyl and CD. Hate is all you need
Umweltfreundliches, recyceltes Vinyl. Jede recycelte Schallplatte ist individuell und erhält durch den Recyclingprozess ein eigenes Aussehen. Die aufstrebende Indie-Rock-Band KAFFKIEZ aus Rosenheim schlägt ein neues Kapitel auf: Ab sofort können Fans das zweite Album "EKSTASE" vorbestellen. Sänger Johannes Eisner dazu: "EKSTASE" beschreibt unser aktuelles Leben ganz gut. Es passiert alles. Unser Traum, die Zweifel, die großen Bühnen, die langen Nächte im Studio, alles prasselt auf uns ein und wir lieben es. Das neue Album soll das erzählen." Zwischen Studio, Interviewterminen, Festivalbühnen, Tourbus und mit über 70 Millionen Streams, hunderttausenden Tiktok und Spotify-Follower*innen, der Auszeichnung als MTV PUSH Artist 2022, Auftritten auf renommierten Festivals wie dem Southside, Hurricane und Highfield Festival hat sich KAFFKIEZ als eine der aufstrebendsten Indie-Bands der Musikszene etabliert. Die große Tour im März 2024 ist bereits in vielen Städten ausverkauft, unter anderem in renommierten Hallen wie der Columbiahalle in Berlin, Tonhalle in München, Große Freiheit (2x) in Hamburg oder dem Palladium in Köln. Die Single "Sommer Mit Dir" zeigt eine völlig neue Facette der Band. Ruhig wabernde Key-Flächen, ein emotionaler Text und ein starker, verletzlicher Song, der die Fans abermals begeistert. Die Attitüde der 5 Rosenheimer Jungs, die mitten in die Ungewissheit 2020 ihre Karriere starteten und sich immer nur auf ihren eigenen "fucking Mut" und ihre mitreißenden Songs verlassen haben, ist sonst die einer der mitreißendsten Bands der letzten Jahre. Optimistisch, eingängig, treibend. Dass sie damit offensichtlich einen Nerv getroffen haben zeigt der Erfolg ihres Debüt-Albums "Alles Auf Anfang" 2022 und die Zahlen neuer Hits wie der ersten Vorab- Singles "Alles Nur Gelogen", "Mut", "Scooter" oder Schrei es Raus" die in wenigen Monaten schon weit über 11 (!) Millionen Streams und das Cover der "Wilden Herzen" auf Spotify erreichte. Ein Indie-Märchen. "EKSTASE" liefert eine einzigartige musikalische Reise, die von KAFFKIEZ' unverkennbarem Stil geprägt ist - erdige, raue und begeisternde Indie-Hits, die immer tanzbar, aber nie langweilig sind. Immer zum Mitsingen, egal ob im Radio, dem Festivalslot oder nachts in der Kneipe. Produziert wird das Album wieder von Johann Seiffert. Das zweite Album wird das Ergebnis von KAFFKIEZ' eindrucksvollen Erfahrungen und der steilen Bergauffahrt im Musikbusiness der letzten drei Jahre, darunter die Herausforderungen der Pandemie und der Stress einer neuen Welt, in der sich die Mittzwanziger auf einmal in ein neues Leben als Musiker manövriert haben. In den vergangenen 3 Jahren haben Sänger Johannes Eisner, Keyboarder Johannes "Gotti" Gottwald, Bene Vodermaier, Niki Mayer und Florian "Weiny" Weinberger bewiesen, dass es sich lohnt, an Träume zu glauben. Aus einem Kaff sind sie wortwörtlich zu einer der gehyptesten Indie-Bands des Landes herangewachsen, die im letzten Jahr auf ausverkauften eigenen Konzerten und vollen Festival-Slots bewiesen haben, dass sie gekommen sind, um zu bleiben. "EKSTASE" erzählt diese Geschichte einer Band, die die Gedanken, Sorgen, Aängste, aber vor allem die guten Dinge des Lebens so energetisch vertont, konsequent weiter. Und das tun vor allem die Fans, Medienmacher*innen und Konzertliebhaber*innen des Landes. KAFFKIEZ sind bereit, ihr Publikum mit ihrer mitreißenden Live-Performance zu begeistern. Die jetzt schon zu weiten Teilen ausverkaufte Tour im März 2024 zeigt das: Eines ist sicher: KAFFKIEZ haben noch viel zu erzählen. Wir dürfen uns freuen, dass es endlich wieder eine Band gibt, die ohne großen Schnickschnack einfach mit guten Songs begeistert.
"Keith Porteous, who was A&R at BMG brought me to a bar called The Absinthe to check out a new band he was working with. What was immediately interesting about them was that, while their tastes were root-ed in ‘70’s rock, they didn’t sound retro. They had created a classic rock sound for their generation. What was also great is that they were four distinct personalities-four characters, like the Beatles or the Monkees. But they all dressed in matching outfits and did coordinated rock moves on stage. Amazing. I went to Moncton, NB and met the guys at an old schoolhouse that they’d wrangled to do pre-pro-duction. We spent a week or so workshopping their super cool songs and hanging out at their favorite watering holes. They had sold me with their live show and part of the trick of producing them was to try to capture that. I knew we weren’t going to do a lot of overdubs or ornate production. That week was an absolute blast. The guys were so funny and so engaging, just dripping with personality, which I knew was going to serve them well in the music business. I remember going to a Chinese Buffet with them and their girlfriends and watched them eat half of the food in the restaurant. I think the bill came to less than $100 for the nine of us. I still love the record and I wish it had made them world famous rock superstars. Every song on it is so uniquely them, they had perfectly distilled their influences, both old and new, and I don’t think any other band could have made this record. " - Moe Berg
Gary Martin is well known for his unique productions and his label Teknotika is surely a classic coming out of the famous motor city. This special 10" holds two sought after tracks that were found on a lost DAT tape by Yossi Amoyal and Gary Martin himself. On the A side we have a long time secret weapon, it's a hypnotic groove that was heard on many classic sets, Zip and Ben Klock to name a few. An extremely insane, hard to find Gigi Galaxy track that was changing hands for silly prices is on the B side, for those who know... massive release!
GLBDOM sub-label GLBDOM Classic is dedicated to nostalgic house sounds inspired by the great styles of Chicago, Detroit and New York vibes, with hints of Italo-Dream house and even the Balearics. We get all that here on this new split EP from French house producer Sunny Galaxy and Englishman Dan T.
Sunny opens up with some happy, piano-laced party starters, well-swung garage-house grooves and steamy basement jams, then Dan T offers a B-side trio headed up by the gloriously vocal laced 'Wrong Time.' 'My Desire' cuts up the groove with some nice raw percussion and 'Want To Love You' is a sultry and jazz-tinged number for lovers.
Die Zeit ist gekommen für ein neues Scanner Album nach fast einem Jahrzehnt. Wie es die bisherige Diksographie fast zwingend verlangt, ist "The Cosmic Race" ein Konzeptalbum geworden: Das Überleben auf der Erde ist immer schwieriger geworden, Naturkatastrophen häufen sich und militärische Konflikte haben ihren Höhepunkt erreicht, große Teile der Kontinente sind nuklear verseucht. Das Leben konzentriert sich auf wenige Großstädte, und die Enge und die Hitze in ihnen ist unerträglich geworden. Der Scanner (eine Mischung aus Mensch und Androide), holt einen Teil der Menschen, um sie zu einem bewohnbaren Planeten namens Terrion in einer anderen Galaxie zu bringen. Die lange Reise endet erfolgreich. Aber auch in der neuen Welt müssen sich die Menschen gegen Aliens und Invasoren von anderen zivilisierten Planeten wehren und fangen wieder von vorne an. Sie wollen ihre zweite Chance nutzen und es besser machen als auf der Erde. Da es aber auch Zweifler und Abtrünnige unter ihnen gibt, die sich der neuen Gemeinschaft widersetzen, hat der Scanner ein System entwickelt, das diese Abtrünnigen in ihren nächtlichen Traumphasen identifizieren kann. Sie finden sich in einer Twilight Zone wieder. Sie werden schließlich in Trance an riesigen Totempfählen festgezurrt, in der Traum und Wirklichkeit gegeneinander kämpfen, bis sie gereinigt werden.
Die Zeit ist gekommen für ein neues Scanner Album nach fast einem Jahrzehnt. Wie es die bisherige Diksographie fast zwingend verlangt, ist "The Cosmic Race" ein Konzeptalbum geworden: Das Überleben auf der Erde ist immer schwieriger geworden, Naturkatastrophen häufen sich und militärische Konflikte haben ihren Höhepunkt erreicht, große Teile der Kontinente sind nuklear verseucht. Das Leben konzentriert sich auf wenige Großstädte, und die Enge und die Hitze in ihnen ist unerträglich geworden. Der Scanner (eine Mischung aus Mensch und Androide), holt einen Teil der Menschen, um sie zu einem bewohnbaren Planeten namens Terrion in einer anderen Galaxie zu bringen. Die lange Reise endet erfolgreich. Aber auch in der neuen Welt müssen sich die Menschen gegen Aliens und Invasoren von anderen zivilisierten Planeten wehren und fangen wieder von vorne an. Sie wollen ihre zweite Chance nutzen und es besser machen als auf der Erde. Da es aber auch Zweifler und Abtrünnige unter ihnen gibt, die sich der neuen Gemeinschaft widersetzen, hat der Scanner ein System entwickelt, das diese Abtrünnigen in ihren nächtlichen Traumphasen identifizieren kann. Sie finden sich in einer Twilight Zone wieder. Sie werden schließlich in Trance an riesigen Totempfählen festgezurrt, in der Traum und Wirklichkeit gegeneinander kämpfen, bis sie gereinigt werden.
Die Zeit ist gekommen für ein neues Scanner Album nach fast einem Jahrzehnt. Wie es die bisherige Diksographie fast zwingend verlangt, ist "The Cosmic Race" ein Konzeptalbum geworden: Das Überleben auf der Erde ist immer schwieriger geworden, Naturkatastrophen häufen sich und militärische Konflikte haben ihren Höhepunkt erreicht, große Teile der Kontinente sind nuklear verseucht. Das Leben konzentriert sich auf wenige Großstädte, und die Enge und die Hitze in ihnen ist unerträglich geworden. Der Scanner (eine Mischung aus Mensch und Androide), holt einen Teil der Menschen, um sie zu einem bewohnbaren Planeten namens Terrion in einer anderen Galaxie zu bringen. Die lange Reise endet erfolgreich. Aber auch in der neuen Welt müssen sich die Menschen gegen Aliens und Invasoren von anderen zivilisierten Planeten wehren und fangen wieder von vorne an. Sie wollen ihre zweite Chance nutzen und es besser machen als auf der Erde. Da es aber auch Zweifler und Abtrünnige unter ihnen gibt, die sich der neuen Gemeinschaft widersetzen, hat der Scanner ein System entwickelt, das diese Abtrünnigen in ihren nächtlichen Traumphasen identifizieren kann. Sie finden sich in einer Twilight Zone wieder. Sie werden schließlich in Trance an riesigen Totempfählen festgezurrt, in der Traum und Wirklichkeit gegeneinander kämpfen, bis sie gereinigt werden.
Part two of our various artists series is a well narrated intergalactic journey that teleports listeners to different spheres whilst remaining in the same galaxy. The curation of forward thinking techno is tailored to those who strive transcending planet earth.
Tracks by Chlar, Holden Federico, Julian Muller and VNNN. make this release not only a unique piece of music but an energizing big room filler - acceleration and drive guaranteed. T3R VA Series 02 convinces with four euphoric and bright sound comets that claim ultimate presence and eliminate gravity. Out on December 1st - Make sure to grab your limited copy and be ready for the
next one!
Van Halen did more than announce to the world the earthshaking arrival of a revolutionary guitarist. Performed by an enterprising California quartet that took its name from two of its principal members, the 1978 debut ripped headlines away from punk, injected fresh energy into a then-moribund rock 'n' roll scene, reimagined how heavy music and throwback pop could coexist, and invited everyone to experience the top-down pleasures of a beach-front Saturday night every day of the week no matter where they lived. Painstakingly restored by Mobile Fidelity Sound Lab, and the first of a multi-album series in an exciting partnership between the famous reissue label and Van Halen, Van Halen delivers feel-good thrills and hormonally charged desires like never before.
Limited to 12,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and allows fans to experience Van Halen's original blend of raw power, Hollywood flair, and vaudeville fun for generations to come. Playing with reference-setting sonics that elevate a 10-times-platinum landmark whose importance cannot be quantitatively measured, this definitive version provides a clear, clean, transparent, balanced, and turn-the-volume-up-to-11 view of an album that birthed entirely new styles. Since MoFi's unique SuperVinyl compound allows you to crank the decibels to your wildest desires without risking noise-floor interference, prepare to not only hear but feel Van Halen in your chest, no fifth-row concert seat necessary.
The premium packaging and gorgeous presentation of the UD1S Van Halen pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic cover art to the meticulous finishes and, yes, of course, Eddie Van Halen's pioneering fretwork and his brother Alex's double-bass percussion.
Indeed, could a piece of music that transformed how countless guitarists approached their instrument be more fittingly named than "Eruption"? Likely not, and in just 102 seconds, Eddie Van Halen rewrote, reimagined, and reconfigured a vocabulary last significantly updated a decade earlier by fellow six-string wizard Jimi Hendrix. Akin to the Washington State legend, Eddie Van Halen developed his own techniques and tones all the while making his seismic accomplishments seem effortless. Devoid of the pretence, ego, and showiness that infected many of his imitators, the Dutch native sticks to a straightforward approach that underlines the authority, prowess, and visionary scope of his playing and then-unheard-of finger-tapping skills. Throughout Van Halen, he establishes himself as an instant idol – a savant whose otherworldly combination of breadth, poise, feel, speed, force, and melody seems beamed in from another galaxy.
As does nearly every song on the record, whose cohesiveness and dynamic put into perspective the advanced chemistry and one-for-all spirit the youthful band had out of the gates. Having paid its dues for years in bars and clubs – going as far as recording a 24-track demo for Kiss bassist Gene Simmons at Village Recorders only to be spurned by management companies that felt its music wouldn't go anywhere – Van Halen finally got a deserved break when Warner Bros. executives signed the group in 1977. The subsequent recording sessions further testify on behalf of the band's synergy and alignment. Completed in just a few weeks with producer Ted Templeman, Van Halen was primarily cut live in the studio with minimal overdubs and edits. The explosiveness, energy, and electricity remain definitive, and as heard on this UD1S set, put the group on a private stage – humming amplifiers, Frankenstrat guitar, bright spotlights, sweaty headbands, and then some.
Van Halen yielded just one hit in the form of a Top 40 single (a breathless cover of the Kinks' "You Really Got Me") but practically every song on the revered LP has become a staple. Named the 202nd Greatest Album of All Time by Rolling Stone and considered by countless experts as one of the best debuts in history, the record displays what can happen with four distinct talents gel and strive for the same purposes. In Van Halen's case, the latter almost always involved partying, freedom, sex, and, in the immortal words of singer David Lee Roth, living "life like there's no tomorrow." The celebration manifests from the opening notes of the strutting "Runnin' with the Devil" – announced with the blare of droning car horns, Michael Anthony's robust bass line, and Alex Van Halen's thumping drumming – and continues through the conclusion of the white-hot "On Fire," goosed by Eddie Van Halen's race-track-ready lines, Roth's flamboyant deliveries, and the rhythm section's cat-like pounce.
Picking out individual highlights on Van Halen is akin to trying to count all the stars in a clear nighttime desert sky: There are far too many to identify, once you see one you notice another dozen you didn't spot before, and the cluster is best enjoyed as a whole. What's evident over repeat listens is the sheer diversity, a fact that's often overlooked: The high harmonies and background funk of "Jamie's Cryin'"; the insistent cane-and-a-tophat shuffle and doo-wop shoo-bop vocal break on "I'm the One"; the throwback acoustic blues that spreads into fast-paced, single-entendre wildfire on the Roth-led standout interpretation of John Brim's "Ice Cream Man." Like the man says, on Van Halen, all the flavours are guaranteed to satisfy.
More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.
MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
Red Vinyl[35,25 €]
The long-anticipated debut album "Infernal Fractality", set for a late 2023 release, unleashes a relentless onslaught of sonic brutality that has consumed over half a decade of tireless devotion from the band's enigmatic founder, Ødemark (known for his work with 3rd Attempt, Ovate, and Necrocave). Ødemark, an artist driven by both the fiery passion of psychedelics and a relentless pursuit of extreme metal's uncharted territories, has woven these elements into an epic, violent, and boundary-defying soundscape that delves deep into the realms of the Luciferian ideals, non-duality pointers, and the mystic principles found in his own psychedelic experiences.
THE LAST EON was formed to push the boundaries of the established but dormant industrial black metal sound pioneered by bands such Thorns and Mysticum and to its maximum exponential, with the vision of "creating the most intense music in history", objective that took 6 years of obsession, a couple burnouts, and a whole galaxy of multi-colored uppers, downers, screamers and outers, to map the depths of the psychedelic experience that would be distilled into "Infernal Fractality". With the help of drummer Jarle Byberg, Ødemark created this whole beast by himself.
After years of pushing every conceivable boundary, and breaking every possible rule and standard in composition, production and sound design, the masterpiece was ready for the crucible of Zardonic's mastering process, who consolidated the behemoth of a more than 300 track project into a time-space shattering soundscape of cosmic proportions.
Mainman Ødemark states: “I wanted to push the limits of what extreme metal can be, and materialize a vision for the future of electronic black metal that required me to rebel against every single rule in my mind of what black metal is, to create what black metal can be. This included also the theme and lyrics, spreading awareness of the mind expanding psychedelic experiences and self exploration within the black metal culture.”
Black Vinyl[35,25 €]
The long-anticipated debut album "Infernal Fractality", set for a late 2023 release, unleashes a relentless onslaught of sonic brutality that has consumed over half a decade of tireless devotion from the band's enigmatic founder, Ødemark (known for his work with 3rd Attempt, Ovate, and Necrocave). Ødemark, an artist driven by both the fiery passion of psychedelics and a relentless pursuit of extreme metal's uncharted territories, has woven these elements into an epic, violent, and boundary-defying soundscape that delves deep into the realms of the Luciferian ideals, non-duality pointers, and the mystic principles found in his own psychedelic experiences.
THE LAST EON was formed to push the boundaries of the established but dormant industrial black metal sound pioneered by bands such Thorns and Mysticum and to its maximum exponential, with the vision of "creating the most intense music in history", objective that took 6 years of obsession, a couple burnouts, and a whole galaxy of multi-colored uppers, downers, screamers and outers, to map the depths of the psychedelic experience that would be distilled into "Infernal Fractality". With the help of drummer Jarle Byberg, Ødemark created this whole beast by himself.
After years of pushing every conceivable boundary, and breaking every possible rule and standard in composition, production and sound design, the masterpiece was ready for the crucible of Zardonic's mastering process, who consolidated the behemoth of a more than 300 track project into a time-space shattering soundscape of cosmic proportions.
Mainman Ødemark states: “I wanted to push the limits of what extreme metal can be, and materialize a vision for the future of electronic black metal that required me to rebel against every single rule in my mind of what black metal is, to create what black metal can be. This included also the theme and lyrics, spreading awareness of the mind expanding psychedelic experiences and self exploration within the black metal culture.”
Listen Here Limited-edition double green/ red vinyl. 12 tracks spread across three sides and a screen-printed fourth side. We are very pleased to announce a special 10th anniversary vinyl version of this classic Dean Wareham live album, recorded over two nights in London back in December 2013 and featuring a mix of songs by Galaxie 500 and Luna as well as solo material. It is pressed on double red and green vinyl, with the 12 tracks spread across three sides and a screen-printed fourth side. The recordings were mixed by Britta Phillips and have been remastered especially for this release by Mikey Young (of Eddy Current Suppression Ring, Total Control and others). The new artwork by Marc Jones includes a printed insert featuring photos from the shows, which almost didn’t happen at all after Dean and his band got stuck on a train between Manchester and London. “We left Piccadilly Station at 12:15 but stopped rolling after just 20 minutes,” he recalls. “A voice informed us that a tree had fallen on the track somewhere up ahead, and this tree was on fire. We sat there for a couple of hours and started to think about alternate ways to get down to London, someone sent out a plea on Twitter and one kind fan did offer to drive us, if only there was a way to get off the train. But at around 3 o’clock the train lurched forward at last, we made it to Euston and cabbed it straight to St Pancras Old Church. “I’m not a believer but there’s something special about playing in churches, especially one that dates to the 12th century; the cavernous spaces and wooden pews make you speak softly and play quietly too – if you play too loud the sounds will just bounce all over the place. And the engineer doesn’t need to add reverb to your vocals – it is there already. “Nat from Sonic Cathedral promoted the shows and had the presence of mind to record them to multi-tracks, and I’m so glad he did. When we got back to Los Angeles, Britta mixed the live tracks, and the result is this record
Repress!
Synergy in motion, London five-piece Ezra Collective are proving themselves as a harmonious tour de force. Their sound nods respectfully to a classic jazz footprint, celebrating the originators whilst simultaneously carving a path solely their own.
Ezra Collective marry the delicate technicalities of jazz musicianship with afrobeat and hip hop, tied together by a sound that's unmistakably London. Their live show is one of dynamic union; the strength of their partnership shines in performances that are commanding yet sensitive, soulful and pertinently groove-laced.
Following a joyous and stunningly cohesive show in May 2016, Boiler Room rightly labelled the group as 'pioneering the new-wave of U.K. jazz'. As the genre enjoys a new lease of life that is gaining momentum across the country, Ezra Collective are adding their own fresh and imaginative face to a style that continues to be 'as entertaining as it is educational' (Trench).
In a year that saw them sell out legendary London venue Ronnie Scott's not once but twice, 2017 also bought with it the release of their genre-bending second EP, Juan Pablo: The Philosopher.
After Ezra Collective took the EP on a successful tour across the U.K and Europe and completely sold out of the vinyl, Juan Pablo: The Philosopher went on to win the accolade of Best Jazz Album at Gilles Peterson's esteemed Worldwide Awards Jan 2018
The Touch Infinity project involves the creation of works of art based on Spira and the way it is harmonized in modern art, an action with an emphasis on design and contemporary electronic music. We live in a spiral galaxy. The first sensation that a spiral shape gives is the image of evolution and the will to touch the infinity. Modern technology and binary code give us the ability to touch the infinity. With the use of modern technology, the music will be rendered in addition to vinyl and in shape and color in the form of a spiral ceramic vase.
With the financial support and under the auspices of the Hellenic Ministry of Culture.
