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Erik K Skodvin's alter persona “Svarte Greiner” re-appears with another chapter in his “zen music for disturbed souls” series, channeling both spiritual distress and meditation in a live recording from the bunkers of a bombed out brewery.

The first piece, entitled “Devolving Trust” is recorded live in the bunkers of Schneider Brewery in Berlin, 2018. Erik explains : “I was invited to use the vast old cellars located underneath the site for a performance / installation. Wet and hollow with a dark past and long reverb, it was a perfect location to channel a cello and electro-acoustic improvisation in the spirit of my two long-form, meditative albums Black Tie & Moss Garden. As a 30 minute piece, it was left looping in the room for hours after it ended as an echo of the performance, allowing people to walk around and soak up the sounds and empty hallways alone.

I am usually not into the idea of releasing a live recording, as there are so many factors that are lost in the translation from being present and listening to it in another space. The eyes, ears and body can often see beyond small mistakes once a live performance unfolds in front of you. The details are usually lost in translating it to a pure recording. I made an exception for this as I feel it translates the live feeling in a way I like. Very personal and full of small mistakes it creates its own life. Also, as an improvisation, I am very happy with it, and have been listening to it on and off since a few years. With this in mind I decided I want it to be another document in my ongoing series of longform, atmospheric pieces following the aforementioned two albums.

The second track simply called “Devolve” is mostly constructed out of fragments from the performance as a sort of minimal, reversed echo, further tunnelling into the unknown. These pieces has given me calmness, reflection and escape from the madness escalating outside of our doors. I hope it can do the same for you”.

Originally released as a limited edition three-CD set in 1997, Enya’s ‘A Box of Dreams’ has become a must-have collector’s item among fans. 25 years later, ‘A Box of Dreams’ will receive a long-awaited reissue when it is released on vinyl for the very first time, within a beautifully designed six-disc eco-friendly box set which has been manufactured using 100% recycled board and vinyl. The set compiles highlights from the first half of Enya’s storied career, spanning selections from her self-titled debut album (later reissued and expanded as ‘The Celts’) through to the single ‘Only If…’ which had just been released and featured on her first ‘best of’ ‘Paint The Sky With Stars’.

Unlike the majority of previous Davis albums, E.S.P. consisted entirely of new compositions written by members of the group. Despite the profusion of new material, only one tune ("Agitation") is known to have appeared in the group's live performances. "Little One" might be best known for being revisited on Hancock's landmark album, Maiden Voyage, recorded a few weeks later. This version is somewhat more embryonic; Carter's bass is halting, and Davis and Shorter state the theme with winding, interlocking contrapuntal lines that evoke Davis and Coltrane's version of "Round Midnight". Hancock's solo on Carter's composition, "Eighty-One", also presages his work on that LP - particularly its title track.

The title track is reminiscent of Jackie McLean's "Little Melonae", which Davis had recorded with John Coltrane in 1956. "Iris", by contrast, is another Coltrane-like ballad, not too dissimilar to "Infant Eyes" on Shorter's Speak No Evil album. Shortly thereafter, Shorter's compositions would begin to dominate the Quintet's recordings, though here he contributes only two of the seven songs.

This was the first time Wayne Shorter recorded with Miles, and the band - in this configuration - had been together for less than a year. As you will hear, the connection between the musicians is uncanny, as if they had been playing together for decades. Especially notice Wayne Shorter's brilliant interplay with Miles on the closing track "Mood," the haunting ballad written by bassist Ron Carter. At over forty-eight minutes, E.S.P. is one of the longest jazz albums of its period.

The 1975 album "That's The Way Of the World" was also the soundtrack for a 1975 motion picture of the same name which featured some of the band members of Earth, Wind, & Fire in cameo roles. The album includes the ballad "Reasons" alongside the #1 US pop and R&B hit single "Shining Star" as well as the title track which reached #12 on the pop chart.

"Earth, Wind & Fire has delivered more than its share of excellent albums, but if a person could own only one EWF release, the logical choice would be That's the Way of the World, which was the band's best album as well as its best-selling. Open Our Eyes had been a major hit and sold over half a million units, but it was World that established EWF as major-league, multi-platinum superstars. Fueled by gems ranging from the sweaty funk of "Shining Star" and "Yearnin' Learnin'" to the gorgeous ballad "Reasons" and the unforgettable title song, EWF's sixth album sold at least five million units. And some of the tracks that weren't major hits, such as the exuberant "Happy Feelin'" and the gospel-influenced "See the Light," are equally powerful. There are no dull moments on World, one of the strongest albums of the 1970s and EWF's crowning achievement."

Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis' fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader's first venture into what would become fusion, it's historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort.

The album's wide-open soundscapes soar. As do the fluid contributions of Davis' mates. Tony Williams' percussion, central to every composition here, transpires before your eyes. Herbie Hancock's piano hovers and fades with sublime purity. And George Benson, who sits on "Paraphernalia," blows the equivalent of smoke rings with his bluesy guitar, which here takes on brilliant tonality and definition. The acoustic material that occupies the second half of the record is equally transparent and full-bodied.

Granted enhanced production and a greater field of audible information, Miles in the Sky can finally be perceived as belonging to the same upper echelon as Davis' ubiquitously acclaimed Nefertiti and Filles de Kilimanjaro – the albums that precede and follow, respectively, this watershed title. Commonly branded a "transitional" work, Miles in the Sky showcases Davis already at ease with electric instruments and eager to venture into uncharted territories. Doubling as organized jams and bridges between jazz and rock, both the rhythmically challenging "Stuff" and frisky "Paraphernalia" glancing toward the future while keeping solid footing in the past.

Similarly, so do "Country Son" and "Black Comedy." In his original review for jazz authority Down-Beat, Larry Kart observes: "Davis takes material from his earlier days and darkens its emotional tone. His opening phrase on 'Country Son' recalls a fragment from his 'Summertime' solo on the Porgy and Bess album, but here it is delivered with a vehemence that rejects the poignancy of the earlier performance. Even on 'Black Comedy,' his most straight-ahead solo here, the orderly pattern of the past is displaced and fragmented."


Flavoured with humuor, bossa nova, country, and even ballroom phrases, the compositions on Miles in the Sky explode with creativity, purpose, and color.

Terr’s debut LP 'Consciousness As A State Of Matter’ arrives on green and orange split double-vinyl, limited to a pressing of just 400 copies, housed in a sleeve of hallucinatory artwork from designer Sebastian Ofuszak.

Across eleven tracks, Terr continues a long, fulfilling journey in electronic music with a visceral, vulnerable full-length statement inspired by tireless and timeless innovators in the history of electronic music such as Giorgio Moroder, Wendy Carlos and Phil Oakey. Achieving a delicate, wide-eyed chemistry between the catharsis of the dancefloor and the ever-renewing promise of pop, 'Consciousness As A State Of Matter’ includes and expands upon the vision of singles ‘Only For Tonight’, ‘Tale of Devotion’ and ‘Layers’.

Mattias Petersson debuts on the Swiss label Hallow Ground with »Triangular Progressions,« a suite in nine parts written entirely in the SuperCollider environment using additive synthesis. The starting point for the evocative piece is a magic number triangle that Petersson invented during his early composition studies and which has been an obsession of the artist for over twenty years, previously forming the foundation of many other of his works. By exploring the harmonic progressions found hiding within the triangle, »Triangular Progressions« at once emits a sense of introspective calm that fosters deep listening and evokes a whole spectrum of emotions, mediating between the abstract and the visceral.

The Stockholm-based Petersson, also known under the moniker Codespira1 and for his long-term collaboration with violinist George Kentros as There Are No More Four Seasons, has been active as a composer of computer music as well as an artist in the realms of live coding and modular synthesis for over two decades. Originally trained as a classical pianist, he also holds a diploma in electro-acoustic composition from the Royal College of Music in Stockholm, where he currently works as an associate professor. Besides his activities as a musician and teacher, Petersson is pursuing a PhD in composition at the Luleå University of Technology. Researching modular systems comprising both human and non-human modules, he is part of the GEMM))) Gesture Embodiment and Machines in Music cluster.

»Triangular Progressions« can be considered a perfect synthesis of Petersson’s academic interests and aesthetic ideas, combining a mathematical approach with artistic rigour. The magic number triangle highlights the beauty of symmetrical properties. By exploring its idiosyncrasies, the composer manages to translate them into engaging sounds. The lush melodies and harmonies of the music at times call to mind the intimate organ and drone works by label mates Kali Malone and Maria W Horn while also maintaining a unique signature sound. The addition of pure sinusoidal waves enables a deep listening exploration of the counterpoint between melodic and harmonic rhythms, chord structures and spectral harmonies that Petersson extrapolates from those magic numbers.

Bristol multi-instrumentalist, producer and nature freak Will Yates offers a new record from his Memotone alias, an expansive, hypothetical revue titled How Was Your Life?

Launching from terrains recognizable to fans of Will’s extensive, restless discography, How Was Your Life? packs up his penchant for baroque druid folk, homespun electronics and weightless woodwinds and explodes them into glistening, fractal star dust.

Instigated by the purchase of an antiquated Y2K era guitar synthesizer, the record was produced over the first half of 2022, in a large part a result of in-studio improvisation and carved by equipment that offered both possibilities and parameters that Will relished and explored to the nth degree. The Roland GR33 not only provided sublime guitar sounds but also empowered the guitar to convincingly mimic fretless bass, tabla and a vast percussive array, also summoning an artillery of uniquely outre atmospheres over the course of the record. The resulting concoction sounds familiar yet subtly, unshakeably otherworldly, shaping up as perhaps the most honed, energized and beatific Memotone album to date.

Paradise Drips gently lifts off with wobbly guitar, randomized sequences and unidentifiable percussive elements situating us somewhere in an unearthly realm, before Open World zaps the serotonin receptors and gushes with ecstatic warmth, it’s quietly insistent soft disco shuffle and levitational fretless driving towards a totally blissed and very soft “drop”. Forest Zone sees Memotone deep in the green, with a loose, propulsive groove and dancing flutes stumbling into a medieval ritual in the clearing halfway through, and Glow In The Dark deftly bounces between spacey ambience and an undulating no wave vamp. Carved By The Moon is a delightfully melted classical cut, while Canteen Sandwich offers the record’s most explicitly nod to modernity in the form of a nimble drum workout with samurai synths and melodic percussion that heaves towards a genuine peak. Lonehead immediately backs right off, viscerally melancholic clarinet and bubbling fx making for the records most hefty introspective moment, before Walking Backwards simmers all the way down on an wistful arpeggio, rooting back in earthly reality with charmed rhythms and jazzy tunings. Catharsis complete, Memotone is onto the next incarnation.

Will Yates has been making music as Memotone since 2010, releasing music on labels like Black Acre, Disktopia and Accidental Meetings, also releasing music as O.G. Jigg and Half Nelson. He’s worked as a producer, session musician and live performer on a broad spectrum of projects, and recently provided source sounds that made up Batu’s “Opal” on Timedance.

How Was Your Life? was written, produced and mixed by Will Yates. It was mastered by Chris Wang. Art and design by Hugo Bernier.

* First album by new age and ambient music pioneer. * One of “The 20 best new age albums.“ by Facmag. * 40th anniversary reissue on limited CD and VINYL. * Taken from Original Tapes and mastered by Grammy-nominated Jessica Thompson. * Fans of Peter Klaus Wiese, Steve Roach, Erik Wøllo, Anugama, Al Gromer Khan, Brian Eno, Robert Fripp, Steven Halpern, Pauline Anna Strom, Steven Halpern, Laraaji, Inoyama Land, Michael. * Ultimate collector’s item for those who deeply in Ambient Music history. * Available on limited CD and VINYL with original artworks from 1975.

We complete 2019 with the "Sky, Horse and Catch EP" by label boss Noema himself.
On his quest to 'Bring the Jams', the world traveling DJ delivers two stunning tunes, streaked with percussion that he recorded on a trip to Sao Paulo.
Last but not least, Noema's EP comes along with a mind-bending remix by our favourite Romanians Khidja.

The title track translates a 90's Detroit House Groove to the present day and adds Cuica, Berimbau and several other Brazilian drums on top. Riding the complex groove, you encounter eccentric synths, mysterious soundscapes and of course the horse, on this 11 minute long hack.
'Minhocao' trades the horse for a racing car and takes you on a cruise on the same-named elevated highway that leads through the city of Sao Paulo. Surrounded by driving beats, guitar single-notes, massive synth-bass howls and a gritty Moog theme, this jam is a hell of a joyride!

Khidja strips down the original title track to its core and creates a solely percussive version in a half-time groove. By adding a virtuoso Qanon/Saz-like sound the tune develops an arabesque flavour with a dubby bass as the cherry on the top.

repress

Tribal dubby breakbeat project originally released in 1991 by Manchester born drummer Morgan King, brought back 30 years later with a remastered release.

Guaranteed anthem for the introspective dancefloors, with heavy dubbed out breakbeat rhythms under trance inducing didgeridoo sounds. A side takes you on trip spanning over 12 minutes starting with faster paced floor action that gracefully fades into a half tempo section – two for one – flipping over to the the B side with two more versions of “Older Brother from the Rock”, the Tribal Om Mix and the Om Beats - something for everyone. Seriously remastered and re-cut for maximum dancefloor presence. Huge on proper sound systems.

What a record! The outstanding Solar Plexus, the much-loved third album from Ian Carr and Nucleus, was first released on Vertigo in 1971. Inevitably, original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

We'll let Ian describe this one: "I wrote Solar Plexus' last year with the help of an Arts Council grant. It is based on two short themes which are stated at the beginning (Elements I & I1). The first theme is angular and has a slow, crab-like movement: the second theme is direct, simple and diatonic. CHANGING TIME and SPIRIT LEVEL explore the first theme and BEDROCK DEADLOCK and TORSO explore the second one. SNAKEHIPS DREAM tries to fuse both themes. (The title is a reference to the famous dancer 'Snakehips' Johnson)."

Solar Plexus features the same lineup as Elastic Rock and We'll Talk About It Later, but they're augmented by six guests, three of which play brass. Carr himself had almost full control of the writing and it does feel very different to the previous albums. It's more of a jazz record loosely based on a rock foundation rather than jazz fusion jamming.

The haunting synth-and-bass soundscape "Elements I and II" opens the album in dramatic, experimental fashion. It gives way to the bright, funky feel-good jazz of "Changing Times". An elegant onslaught of horns, courtesy of guests Kenny Wheeler and Harry Beckett, ride a solid groove for the duration. How the brass refrains have eluded samplers is beyond us. The melancholic "Bedrock Deadlock" features the brooding majesty of Jenkins' oboe and Clyne's mournful, skittering double bass. Wah wah guitar, drums and funky percussion then take over before the horns ride us out over frenetic beats. The dark, angular "Spirit Level" is a real highlight, by turns harmonic and beautiful then dissonant and wayward. Wonky jazz with no apparent structure or melodic bones. Regardless, it represents a great showcase for each virtuoso performer.

The breezy soul of "Torso" feels like a breath of fresh air, skipping along in the uptempo style with guitar, horns, drums and bass. A track which truly sounds scintillating, featuring sax solos, fantastic propulsive interplay from all the group around the halfway stage before Marshall gets his chance to really shine in closing out with a polyrhythmic drum solo. Final track "Snakehips' Dream" stretches cooly out over 15 minutes to round out a spellbinding album. An epic, suave groove, it's a relaxing piece with warm electric keys, laconic guitar and languorous horns. Truly sophisticated soulful jazz. An absolute masterclass. We could easily listen to this all day long.

This Be With edition of Solar Plexus has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning gatefold sleeve has been restored to complete this sensational package.

Back with his second full-length release of 2022 and follow-up to the wildly successful album, “FACE,” Babyface Ray gifts fans with “MOB,” an 18-track album featuring tightly selected appearances by Lil Durk, Blxst, Ninja, Doe Boy, Samuel Shabazz,King Hendrick$ & GMO Stax. 2022 was a banner year for Ray, with him being named to XXLs Freshmen class of 2022, as well as being elected to be part of the 2022 class for YouTube Music’s Black Voices Fund. He also embarked on his first sold out nationwide headlining tour, and appeared at several notable festivals, including Rolling Loud, Lyrical Lemonade's Summer Smash, Made In America, Wireless Fest, Broccoli City and others. After making a late night appearance on Jimmy Fallon, Ray announced his second headline tour slated for 2023, entitled “Courtesy of the MOB.” If one thing is clear, it’s that Babyface Ray is a force to stay for years to come.

Kundan Lal is a highly understated artist. Little is known about his background, though some refer to him as Kunsaf Halil, his personal life remains largely a mystery.

Gathering a cult following amongst people like Den Sorte Skole or DJ Marcelle with his previous releases, he is now set to sail new shores. There is a sense of wanderlust as he opens his box of field recordings, collected on his many travels. From the buzzing streets of Alexandria, early sunday markets in Tafraoute or a crackling bonfire down by the banks of the river Ganges. Each track takes you places.

Kundan's second album is a captivating blend of dubby beats, collages, and exotic instrumentation. Drawing from classic tools like the Roland 808, SC7 and the famous Space Echo, Kundan has created a unique and minimalistic sound that is sure to captivate listeners. At once nostalgic and experimental, "Power of Ra" is a must-listen for both electronic music purists and fans of adventurous soundscapes.

Compelled to work from home on his computer during lockdown, Kundan dusted his pawnshop e-piano, downloaded some orchestral soundkits and started to digitize almost forgotten field recordings. The "Power of Ra“ came to him.

“Illgrimage” is a good example of his approach. Combining atmospheric soundscapes with swirling strings, trombones and pianos. Echoes of birds and children playing in the streets. A small town filled with life and a theremin leading the way while you hear the faint yet powerful words of Greta Thunberg saying: "Imagine...“

“Raqaqa,” a powerful orchestral journey with a hip-hop edge. Tinkling chimes add a groovy vibe, while lush layers of wind instruments weave a masterful soundscape. It’s the slow-burning intensity of this track that pulls you in.

"Nasi Chip" is a signature song that exemplifies Kundan Lal’s musical prowess. An engaging beat coupled with chopped up vocals, 8-bit synth melodies and an arpeggiated piano provide an energetic atmosphere that is both cunning and unique.

”Cen" lures you into the egyptian realm. A Harmonium slithers serpent like around a pounding beat.Horns gently swaying to the rhythm of the desert.

It is hard to put your finger on his style or genre. You can feel Kundan Lal‘s DIY spirit in his production, carving his own ethnic genre. For enthusiasts of Roberto Musci or Muslimgauze, this avant-garde album is one for your collection. Keep your senses open and let the Power of Ra pass you to another world.

»Picture a Frame,« the debut album by the Belgian composer Elisabeth Klinck, was born out of strict isolation and is nonetheless a result of a collaborative process that saw her working closely with artist Oscar Claus. Enriching her compositions for violin with electronic soundscapes and field recordings from their surroundings, the two entered an artistic dialogue that took place inside its own idiosyncratic space outside of conventional time. It is an intimate record in which Klinck’s expressive playing that incorporates unconventional techniques forms the basis of something much bigger: an invitation to inhabit a specific space at a specific time together with the two of them.

For an entire week in the spring of 2021, Klinck and Claus stayed at an abandoned monastery surrounded by beautiful gardens, but with no power or running water. The intention was to record some of Klinck’s musical ideas on violin, experiment with electronics and acoustic spaces and to get to know each other on a musical level. This proved to be an inspiring and deeply moving process—and the starting point for more. In the winter of that year, the duo set out to the Spanish Pyrenees to build a DIY studio in a small village on a mountain top and record the eight pieces that form »Picture a Frame.« The idea of losing track of time and space is a theme that found its way in these recordings. The two spent their days and nights reading, walking, talking, cooking and taking care of the animals living there but also experimenting with sound, improvising together and making field recordings.

This deep focus on being present in the moment, listening to the world around them and each other resulted in a holistic experience that was translated into music and sound. Klinck and Claus understand this album as a collage, an attempt to evoke the implicit, an essay that suggests a time and space, and a gentle collision between two people that deeply resonate with one another. It’s impossible to argue with that, and even harder not to be drawn into it.

High Roller Records, Wiederveröffentlichung 2023, schwarzes Vinyl, ltd 150, Einleger. In den Fußstapfen der einzigartigen Mercyful Fate und zusammen mit obskureren Acts wie Alien Force, Randy und Crystal Knight gehören die Kopenhagener Witch Cross zu den besten dänischen Heavy-Metal-Bands aller Zeiten. Das 1984er Album "Fit For Fight" ist sicherlich eines der Top-5-Alben in der Geschichte des dänischen Heavy Metal. Nach einer langen Pause folgte auf "Fit For Fight" das zweite Album "Axe To Grind" im Jahr 2013 (ursprünglich veröffentlicht von Hell's Headbangers und nun auf High Roller Records für ein breiteres Publikum wiederveröffentlicht). "Axe To Grind" war für mich ein großartiges Comeback-Album", sagt Gitarrist und Gründungsmitglied Mike Koch heute. "Wir hatten einige Gastmusiker/Sänger Gastsänger und Chris Tsangarides hat das Album gemischt, es war also eine starke Verbindung zur Vergangenheit. Die Songs waren wirklich gut, vielleicht ein bisschen zu old-school, aber das ist es, was wir auf dem Album wollten."Wir waren überwältigt, wie die Presse uns gelobt hat", fährt der Witch Cross-Gitarrist fort. "Es fühlte sich gut an und gab uns das Gefühl, dass die Band das Richtige getan hat, obwohl "Fit For Fight" so ein Kultalbum war. Es gab allerdings eine Ausnahme: "In unserem Heimatland bekam "Axe To Grind" nicht so viel Aufmerksamkeit, wie wir gehofft hatten. Aber die Konzerte, die wir dort gespielt haben, waren großartig." "Axe To Grind" war das zweite Album der Band nach einer langen Pause. Wie kam es überhaupt zu der Wiedervereinigung und wann und warum hat Mike Koch beschlossen, doch ein neues Studioalbum aufzunehmen? "Ich war mit einer Menge anderer Musik beschäftigt und wollte ein Metal-Album schreiben", erklärt er. "Also habe ich angefangen Ideen zu sammeln, und als wir 2012 bei Keep It True spielten, hatten wir ‚Demon In The Mirror' aufgenommen, das wir auf dem Festival spielten, um zu sehen, wie die Leute darauf reagieren. Zusammen mit 'Demon In The Mirror' sind 'Pandora's Box' und 'Bird Of Prey' meine Lieblingssongs auf der Platte. Nach 'Keep It True' beschlossen wir, dass wir mit 'Witch' weitermachen müssen." Koch hält es jedoch nicht für richtig, zu sagen, dass "Axe To
Grind" dort weitermachte, wo "Fit For Fight" aufgehört hatte: "Nein, das stimmt nicht wirklich. Es ist eher eine Verbindung zur Vergangenheit, als zu dem, was wir 1985-86 musikalisch weitergekommen wären, wenn wir ein weiteres Album gemacht hätten. Es gibt einen Song namens 'The Chosen One' auf dem neuen Album "Angel Of Death", der meiner Meinung nach viel mehr im Stil von Witch Cross von 1985 ist."

High Roller Records, Wiederveröffentlichung 2023, schwarzes Vinyl, ltd 150, Einleger. In den Fußstapfen der einzigartigen Mercyful Fate und zusammen mit obskureren Acts wie Alien Force, Randy und Crystal Knight gehören die Kopenhagener Witch Cross zu den besten dänischen Heavy-Metal-Bands aller Zeiten. Das 1984er Album "Fit For Fight" ist sicherlich eines der Top-5-Alben in der Geschichte des dänischen Heavy Metal. Nach einer langen Pause folgte auf "Fit For Fight" das zweite Album "Axe To Grind" im Jahr 2013 (ursprünglich veröffentlicht von Hell's Headbangers und nun auf High Roller Records für ein breiteres Publikum wiederveröffentlicht). "Axe To Grind" war für mich ein großartiges Comeback-Album", sagt Gitarrist und Gründungsmitglied Mike Koch heute. "Wir hatten einige Gastmusiker/Sänger Gastsänger und Chris Tsangarides hat das Album gemischt, es war also eine starke Verbindung zur Vergangenheit. Die Songs waren wirklich gut, vielleicht ein bisschen zu old-school, aber das ist es, was wir auf dem Album wollten."Wir waren überwältigt, wie die Presse uns gelobt hat", fährt der Witch Cross-Gitarrist fort. "Es fühlte sich gut an und gab uns das Gefühl, dass die Band das Richtige getan hat, obwohl "Fit For Fight" so ein Kultalbum war. Es gab allerdings eine Ausnahme: "In unserem Heimatland bekam "Axe To Grind" nicht so viel Aufmerksamkeit, wie wir gehofft hatten. Aber die Konzerte, die wir dort gespielt haben, waren großartig." "Axe To Grind" war das zweite Album der Band nach einer langen Pause. Wie kam es überhaupt zu der Wiedervereinigung und wann und warum hat Mike Koch beschlossen, doch ein neues Studioalbum aufzunehmen? "Ich war mit einer Menge anderer Musik beschäftigt und wollte ein Metal-Album schreiben", erklärt er. "Also habe ich angefangen Ideen zu sammeln, und als wir 2012 bei Keep It True spielten, hatten wir ‚Demon In The Mirror' aufgenommen, das wir auf dem Festival spielten, um zu sehen, wie die Leute darauf reagieren. Zusammen mit 'Demon In The Mirror' sind 'Pandora's Box' und 'Bird Of Prey' meine Lieblingssongs auf der Platte. Nach 'Keep It True' beschlossen wir, dass wir mit 'Witch' weitermachen müssen." Koch hält es jedoch nicht für richtig, zu sagen, dass "Axe To
Grind" dort weitermachte, wo "Fit For Fight" aufgehört hatte: "Nein, das stimmt nicht wirklich. Es ist eher eine Verbindung zur Vergangenheit, als zu dem, was wir 1985-86 musikalisch weitergekommen wären, wenn wir ein weiteres Album gemacht hätten. Es gibt einen Song namens 'The Chosen One' auf dem neuen Album "Angel Of Death", der meiner Meinung nach viel mehr im Stil von Witch Cross von 1985 ist."

Mit "Where The Light Goes" erscheint am 26. Mai 2023 das erste neue Album seit über einem Jahrzehnt.

Die mehrfach mit Platin ausgezeichneten US-Pop-Rocker Matchbox Twenty meldeten sich zuletzt mit ihrer neuen Single "Wild Dogs (Running In A Slow Dream)" zurück und veröffentlichen damit ihre erste neue Musik seit über einem Jahrzehnt.
Der Song erscheint zeitgleich mit der Ankündigung des kommenden fünften Studioalbums "Where The Light Goes" , das am 26. Mai 2023 über Atlantic Records erscheinen wird.

Produziert von Gregg Wattenberg mit Paul Doucette und Kyle Cook, bietet die kommende Platte authentische, relevante und glaubwürdige Songs voller Energie.

2023 klingt die Band auf ihrem kommenden Album "Where The Light Goes" erfrischt wie eh und je und profitiert dabei auch von den jeweiligen Solo-Reisen der Musiker. Rob Thomas hat sich als einer der
angesehensten Künstler der letzten Jahre erwiesen. Er veröffentlichte fünf Soloalben und erhielt drei GRAMMY Awards, 11 BMI Awards, den allerersten Songwriters Hall of Fame Hal David Starlight Award, zwei Billboard "Songwriter of the Year"-Auszeichnungen und eine Top-5-Platzierung in den Billboard Top 20 Hot 100 Songwriters (2000-2011).

Zunächst nannte Gia Margaret ihr neues Album Romantic Piano, um ein wenig frech zu sein. Denn die sparsamen, sanften Klavierstücke haben mehr mit Erik Satie, Emahoy Tsegué-Maryam Guébrou und den "Marginalia"-Veröffentlichungen von Masakatsu Takagi gemeinsam als mit einem gemütlichen Date-Abend bei Kerzenschein. Doch in dieser Frechheit liegt eine verborgene Absicht: In dem wunderschönen Set wird "Romantik" in einem eher klassischen Sinne suggeriert, was die Deutschen als Waldeinsamkeit bezeichnen. Die Kompositionen beschwören die erhabenen Themen der romantischen Dichter herauf: Einsamkeit in der Natur, die Fähigkeit der Natur zu heilen und zu lehren, ein Gefühl von zufriedener Melancholie. "Ich wollte Musik machen, die nützlich ist", sagt Margaret und untertreibt damit gewaltig die Kraft der Platte. Romantic Piano ist neugierig, beruhigend, geduldig und unglaublich bewegend - aber es verweilt nicht länger als eine Sekunde. Margarets Debütalbum There's Always Glimmer war ein lyrisches Wunderwerk, aber als sie wegen einer Krankheit auf Tournee nicht mehr singen konnte, nahm sie ihr Ambient-Album "Mia Gargaret" (ein weiterer frecher Titel!) auf, das ein feines Gespür für Arrangement und Komposition zeigte, das bei den lyrischen Songs von There's Always Glimmer nicht voll zum Tragen kam. Auch Romantic Piano kommt fast ganz ohne Worte aus. "Das Schreiben von Instrumentalmusik ist im Allgemeinen ein viel freudigerer Prozess als das Schreiben von Lyrics und wirkt sich letztlich auf mein Songwriting aus.", sagt sie. Romantic Piano festigt sie als kompositorische Kraft. Ursprünglich hatte Margaret einen Abschluss in Komposition angestrebt, brach die Musikschule aber auf halbem Weg ab. "Ich wollte wirklich nicht in einem Orchester spielen", sagt sie über ihre Entscheidung, "ich wollte eigentlich nur Filmmusik schreiben. Dann begann ich, mich mehr und mehr darauf zu konzentrieren, eine Songschreiberin zu sein." Romantic Piano berührt in der Tat ein seltenes Gefühl in der Kunst, das oft nur dem Kino vorbehalten ist - die gleichzeitige Ehrfurcht vor dem Dasein mit der großen Linse und der intime innere Monolog nach der Sprache, wenn wir in unseren Schädeln festsitzen. Und das ist sehr romantisch!

Zunächst nannte Gia Margaret ihr neues Album Romantic Piano, um ein wenig frech zu sein. Denn die sparsamen, sanften Klavierstücke haben mehr mit Erik Satie, Emahoy Tsegué-Maryam Guébrou und den "Marginalia"-Veröffentlichungen von Masakatsu Takagi gemeinsam als mit einem gemütlichen Date-Abend bei Kerzenschein. Doch in dieser Frechheit liegt eine verborgene Absicht: In dem wunderschönen Set wird "Romantik" in einem eher klassischen Sinne suggeriert, was die Deutschen als Waldeinsamkeit bezeichnen. Die Kompositionen beschwören die erhabenen Themen der romantischen Dichter herauf: Einsamkeit in der Natur, die Fähigkeit der Natur zu heilen und zu lehren, ein Gefühl von zufriedener Melancholie. "Ich wollte Musik machen, die nützlich ist", sagt Margaret und untertreibt damit gewaltig die Kraft der Platte. Romantic Piano ist neugierig, beruhigend, geduldig und unglaublich bewegend - aber es verweilt nicht länger als eine Sekunde. Margarets Debütalbum There's Always Glimmer war ein lyrisches Wunderwerk, aber als sie wegen einer Krankheit auf Tournee nicht mehr singen konnte, nahm sie ihr Ambient-Album "Mia Gargaret" (ein weiterer frecher Titel!) auf, das ein feines Gespür für Arrangement und Komposition zeigte, das bei den lyrischen Songs von There's Always Glimmer nicht voll zum Tragen kam. Auch Romantic Piano kommt fast ganz ohne Worte aus. "Das Schreiben von Instrumentalmusik ist im Allgemeinen ein viel freudigerer Prozess als das Schreiben von Lyrics und wirkt sich letztlich auf mein Songwriting aus.", sagt sie. Romantic Piano festigt sie als kompositorische Kraft. Ursprünglich hatte Margaret einen Abschluss in Komposition angestrebt, brach die Musikschule aber auf halbem Weg ab. "Ich wollte wirklich nicht in einem Orchester spielen", sagt sie über ihre Entscheidung, "ich wollte eigentlich nur Filmmusik schreiben. Dann begann ich, mich mehr und mehr darauf zu konzentrieren, eine Songschreiberin zu sein." Romantic Piano berührt in der Tat ein seltenes Gefühl in der Kunst, das oft nur dem Kino vorbehalten ist - die gleichzeitige Ehrfurcht vor dem Dasein mit der großen Linse und der intime innere Monolog nach der Sprache, wenn wir in unseren Schädeln festsitzen. Und das ist sehr romantisch!

Jimmy LaValle’s The Album Leaf has spun from solo outlet to full band and back in its nearly 25 years. His acclaimed catalog spans releases for labels such as Sub Pop, City Slang, Relapse, and others. He also composes music for film and television, scoring over 20 projects (narrative features, documentaries, and TV series) since 2009. The cinematic sensibilities of The Album Leaf were present from the beginning. His 1999 debut introduced the start of a signature sound: melodic and meditative electro-organic soundscapes constructed with guitar, percussion, Rhodes, and field recordings.

His seventh full-length LP, and first since 2016, arrives in 2023 via Vancouver’s Nettwerk Records. FUTURE FALLING finds LaValle working with an array of musicians, shaping slightly darker, more spacious, and synth-driven songs with contributions from Bat For Lashes, Kimbra, and many others.
The music registers a shade darker and more synth-driven than most moments in his acclaimed catalog, a bridge between shadowy, cerebral terrain and dreamy precision pop, where softly percussive frameworks meet shimmering sound design and emotive instrumentation.
LaValle sees the construction of FUTURE FALLING as less conventional than past work. Contributions were done remotely with a “throw everything at it” mindset, making LaValle the arranger of layers from all over: drums, synths, horns, violins, voice, and more. LaValle created a pastiche of these layers and elements; in some cases even moving vocal takes to new tracks entirely. Without the in-the-room dynamics, he had more time to experiment, adding and subtracting ad infinitum.
The album opens on “PROLOGUE,” an evocative, slow-building instrumental that rides a pattern into a symphonic sea of static. Keys and horns glide atop the rhythmic pulse of “DUST COLLECTS,” setting the contemplative scene for “AFTERGLOW,” the record’s most pop-minded performance. Here Kimbra, the Grammy-winning New Zealand singer-songwriter, renders a striking recollection of past love as percussive elements shimmer and swirl.
A plaintive piano line moves throughout “Cycles 19.9” encircled by light ambient washes, both a valley between two peaks and a powerful composition in its own right. “Future Falling” follows; with origins tracing back to 2015, the track embodies the full sonic journey LaValle has taken. All the hallmarks of The Album Leaf — melodic builds, vivid sprawl, tonal shape-shifting — assemble to a blissful finish.

For the next stretch, “Cycles” begins with a uneasy Rhodes loop that builds and erupts into a wall of texture paving its way into “Give In,” where LaValle models a movement that begins subtle and measured before curving up with skyward, percussive bursts (“Stride”) and settling back down to the album’s back-half centerpiece, “Near” featuring the acclaimed English artist Natasha Khan aka Bat For Lashes. “Do you feel me near?” she sings into a mist of widescreen synths and soothing, distant drum beats as if searching through the dark.

Nico Santos meldet sich nach mehr als 1 Milliarde globaler Streams mit seinem dritten Album zurück:
„Ride“ ist nicht nur eine faszinierende, sich an keine Regeln haltende Songsammlung, ein Werk, dessen Bestandteile wie Puzzlestücke ineinander greifen. Nico: „»Ride« beschreibt perfekt meine letzten Jahre.

Mein Leben war ein unglaublicher Ritt. Die Hochzeit, die Höhen und die Tiefen… Es gab große Momente, aber nur wenig Zeit, in der umso mehr passierte. In diesem Sinne ist mein Album autobiografisch. Ich
habe mein Leben Revue passieren lassen, es ist eine Bestandsaufnahme.«

”The Girl Is Crying In Her Latte” ist Sparks’ erste Veröffentlichung seit fast fünf Jahrzehnten, nach Klassikern wie dem 1974 erschienenen Erfolgsalbum ”Kimono My House”, mit der Hit-Single ”This Town Ain’t
Big Enough For Both Of Us”. Das neue Album wird von Ron und Russell Mael als eine Platte beschrieben, die ”so kühn und kompromisslos ist wie alles, was wir damals gemacht haben, oder auch zu jeder anderen Zeit unserer Karriere”.

Das Album enthält fesselnde neue musikalische Elemente wie „Mona Lisa’s Packing, Leaving Late Tonight“ und „Nothing Is As Good As They Say It Is“, Songs, die Sparks’ unermüdliche Fähigkeit unter Beweis stellen, in perfekten dreieinhalbminütigen Pop-Meisterwerken vollständige und detaillierte Geschichten zu erzählen.

„The Girl Is Crying In Her Latte“ ist sowohl charakterlich zeitlos als auch modern und bekräftigt einmal mehr, dass Sparks nach mehr als einem halben Jahrhundert, in dem sie solche Meisterwerke geschaffen haben, originell, genial und wie immer absolut einzigartig blieben.

Das Album ist erhältlich auf Vinyl und als CD.

Das Leben ist im Moment furchtbar düster und dennoch ist es nicht ganz unlustig. Das ist genau das Gefühl, das Water From Your Eyes auf ihrem ersten Album für Matador beseelt. Auf dem Nachfolger ihres Debüts "Structure" tanzen Albernheit und Fatalismus im Gleichschritt. Rachel Brown und Nate Amos verwenden herzklopfende Rhythmen und zum Teil absurde Texte, um ihre Geschichten von persönlichem und gesellschaftlichem Unbehagen zu erzählen. Das Duo begann 2016 in Chicago gemeinsam Musik zu machen und beschloss, eine "Sad Dance Band" zu gründen. Schnell veröffentlichten sie eine EP. In den folgenden Jahren entwickelte sich die Musik von Water From Your Eyes in Richtung schräger und weniger konventioneller Klänge, die ruhige industrielle Polyrhythmen, Ambient-Drone-Musik und zeitgenössische Kompositionen verschmelzen ließen. Amos und Brown trennten sich, zogen aber beide nach New York und begannen mit der Arbeit an "Structure". Dieses Album brachte die Pop-Momente und die experimentellen Impulse des Duos in Einklang, bestand aus hauchdünnen Popsongs, die sowohl von ihrem Gespür für klassische Hooks als auch von ihrem Sinn für Humor zeugten. Obwohl beide Trost in der Band fanden, beschreiben sie das Jahr 2021 als eines der schlimmsten Jahre ihres Lebens - Brown musste sich mit dem Unbehagen auseinandersetzte, den beide empfanden, als sie sahen, wie Kapitalismus und Establishment-Politik wieder auf Hochtouren liefen, als die Pandemie in ihre letzten Monate eintrat, und Amos mit Browns Unterstützung seine Drogenprobleme bewältigte. Das Ergebnis ist, dass "Everyone"s Crushed" von ungelösten Spannungen durchzogen ist. Die neun Tracks weigern sich beharrlich, ein eindeutiges Ende zu finden oder sich an traditionelle Strukturen zu halten. Viele Songs wurden unter Verwendung von Serialismus und Mikrotonalismus geschrieben und erinnern zuweilen an die futuristisch-poppigen Bewegungen des japanischen Komponisten Haruomi Hosono und den Brutalismus von Glenn Branca.

His remarkable journey has seen him embrace folk, jazz, rock, and worldbeat styles while earning high praise as an exceptional songwriter and a revered guitarist. He remains deeply respected for his activism and humanist song lyrics that thread throughout his career. On all his albums Cockburn has deftly captured the joy, pain, fear, and faith of human experience in song.''O Sun O Moon' is
Cockburn's latest studio album from True North Records, a collection of 12 new original songs that demonstrate the songwriting and guitar- playing skills that come from more than 55 years of artistry. Since his self-titled debut in 1970, he has won 13 Juno Awards, an induction into the Canadian Songwriters Hall of Fame, a Governor General's Performing Arts Award, and has been made an Officer of the Order of Canada, among many other accolades. He has 22 gold and platinum records including a 6 times platinum record for his Christmas album.

Cockburn continues to tour internationally.

This is a Double LP Gatefold Silver plate !

Bacchus Harsh is the alias of Melbourne based multi-disciplinary artist Christian Bishop. Predominantly known in international music circles as Australian breakcore pioneer Xian, Bishop has expanded his already widescreen musical horizons to embrace an even broader creative cosmos under this new alias. Bacchus Harsh is the sonic embodiment of occult-themed electronics and deconstructed club music. De-territorializing exotica, occult psychedelia and industrial techno with polyrhythms and distorted blast beats, Bacchus Harsh confuses the dance floor.

Caveat Tumultum is an expansive double LP of icy post-breakcore industrial heaviness, where hallucinogenic cinematic atmospheres collide with sample-driven mania and complex mechanical rhythms. The resulting album is a 60-minute masterclass in foreboding electronic production, dystopian sonic manipulation and the thrillingly visceral experience of true underground party music.

”The Girl Is Crying In Her Latte” ist Sparks’ erste Veröffentlichung seit fast fünf Jahrzehnten, nach Klassikern wie dem 1974 erschienenen Erfolgsalbum ”Kimono My House”, mit der Hit-Single ”This Town Ain’t
Big Enough For Both Of Us”. Das neue Album wird von Ron und Russell Mael als eine Platte beschrieben, die ”so kühn und kompromisslos ist wie alles, was wir damals gemacht haben, oder auch zu jeder anderen Zeit unserer Karriere”.

Das Album enthält fesselnde neue musikalische Elemente wie „Mona Lisa’s Packing, Leaving Late Tonight“ und „Nothing Is As Good As They Say It Is“, Songs, die Sparks’ unermüdliche Fähigkeit unter Beweis stellen, in perfekten dreieinhalbminütigen Pop-Meisterwerken vollständige und detaillierte Geschichten zu erzählen.

„The Girl Is Crying In Her Latte“ ist sowohl charakterlich zeitlos als auch modern und bekräftigt einmal mehr, dass Sparks nach mehr als einem halben Jahrhundert, in dem sie solche Meisterwerke geschaffen haben, originell, genial und wie immer absolut einzigartig blieben.

Das Album ist erhältlich auf Vinyl und als CD.

Fünf Jahre nach "Footprints In The Rock" melden sich die unbesungenen NWOBHM-Helden TRESPASS mit einem großartigen neuen Album namens "Wolf At The Door" zurück. Das Album umfasst Themen, die ihnen am Herzen liegen - insbesondere Umweltthemen - und wurde von Gründungsmitglied, Gitarrist und Sänger Mark Sutcliffe in seinem Heimstudio geschrieben und später in den Crooks Hall Studios in der Wildnis von Suffolk aufgenommen. Nigel Palmer (Raging Speedhorn, Satan's Empire) gab dem Ganzen dann in Lowland Masters den letzten Schliff. Diese typisch britische Umgebung half Trespass dabei, ihren charakteristischen NWOBHM-Zwillingsgitarren-Sound beizubehalten, während die Rhythmusgruppe
einen Drive und eine Energie an den Tag legt, die sie direkt in die 20er Jahre zurückversetzt. Das Artwork von Mark Wilkinson (Iron Maiden, Judas Priest) gibt dem Album den letzten Schliff und wird sowohl die Fans der alten Schule als auch die neuen nicht enttäuschen. Trespass wurde 1979 in Sudbury, Suffolk, von Mark Sutcliffe (Gitarre, Gesang) und seinem Bruder Paul am Schlagzeug gegründet. Die Band hatte Anfang der 80er Jahre als Teil der New Wave of British Heavy Metal Erfolg und wurde von der Kritik gelobt, obwohl sie nur ein paar Singles und eine EP - die kultige Bright Lights" von 1981 - veröffentlicht hat. Songs wie "One Of These Days", "Stormchild" und "Bright Lights" haben sich einen Namen gemacht.

Tangerine Dream haben die elektronische Musik grundlegend beeinflusst, seit Edgar Froese die Band 1967 in West-Berlin gründete. Sie legten den Grundstein für mehrere elektronische Musikgenres wie Ambient und Electronica, inspirierten Musiker und andere Kunstformen und wurden für sieben Grammys nominiert. In den letzten Jahren wurde ihre Musik in beliebten Fernsehserien wie "Stranger Things" und Videospielen wie "Grand Theft Auto" verwendet.

Nach dem Tod von Froese im Jahr 2015 halfen die verbleibenden Bandmitglieder Thorsten Quaeschning, Ulrich Schnauss und Hoshiko Yamane bei der Umsetzung von Edgars Vision eines Konzeptalbums, das versucht, Quantenphysik und -philosophie in Musik zu übersetzen: "Quantum Gate" wurde 2017 unter großem Beifall der Kritiker veröffentlicht.

In neuer Besetzung haben sich Thorsten & Hoshiko mit dem in Berlin lebenden Keyboard-Virtuosen Paul Frick verstärkt. Das Trio hat das Jahr 2021 in seinem Berliner Studio mit der Arbeit an "Probe 6 - 8" verbracht, einem ersten Vorgeschmack auf das kommende komplette Tangerine Dream-Studioalbum, das Anfang 2022 erscheinen soll.

Probe 6 - 8" sieht die klassischen Studioproduktionen und nächtlichen Echtzeit-Kompositionen der Gruppe als Blaupause für sich langsam entwickelnde Ambient-Strukturen, wobei der Sequenzer-getriebene Sound der Band an die frühen 1970er Jahre erinnert und sich mit einer üppigen, kristallinen Glückseligkeit der 1980er Jahre verbindet. Das Trio komponierte und produzierte 'Probe 6 - 8' mit vollem Zugriff auf Edgar Froeses Cubase Arrangements und Otari Tape Archive mit Aufnahmen aus den Jahren 1977 - 2013.

Der erste Track 'Raum' ist eine Anspielung auf die frühen Live-Studio-Performances 'Zeit' und 'Phaedra' der Band, wobei ein markanter schwerer Moog-Bass den Anfang und das Ende dieses 15-minütigen Einführungsstücks markiert. Diese neuen Aufnahmen enthalten auch zwei Remixe - die in Berlin lebende Komponistin und Produzentin Grand River (Aimée Portioli) hat "Raum" ihren unverwechselbaren Sound verliehen und "Continuum" wurde von Berghain Resident und Leisure System Mitbegründer Sam Barker neu abgemischt.

* 300 COPIES FOR UK/EU* With a friendship stretching back nearly 20 years, it strangely ended up being a couple of childhood photographs that finally brought Ben Chasny and Rick Tomlinson together as collaborators. Both have rich musical backgrounds: Chasny being a member of the psych-rock outfit Comets on Fire but probably best known for his solo project, Six Organs of Admittance, while Tomlinson has released numerous records as Voice of the Seven Woods/Thunders and under his own name. “A mutual acquaintance, Jamie Tugwell, took me to go see Rick play live around 2005,” remembers Chasny. “Jamie kept saying how Rick was sort of an ornery fellow and that I would like him a lot. He was right. I loved his guitar playing right away, which seemed so far from what a lot of players were doing. We had drinks and hit it off. We remained friends over the years.” Chasny became a regular visitor to Tomlinson when on tour in the UK and one particular stay unearthed something serendipitous that would kickstart the making of a joint album. “I was staying at Rick’s house after a show and I looked over and saw a photo of him in a Halloween costume as a box of matches,” Chasny recalls. “It cracked me up because I have a similar photo of me as a robot and I tried to explain to him how it matched his photo.” About 6 months later Chasny found it and sent it to Tomlinson to show him the uncanny likeness of their childhood outfits. “Pretty soon after that we realized we needed to do a duo record and have those photos be on the cover,” says Chasny. “The entire record comes from the photos on the cover.” Tomlinson adds: “It was a pretty odd coincidence. Even down to us both standing on flags with a conifer behind us. We obviously had no option but to use these for the sleeve.” Recorded at Tomlinson’s house in Todmorden over three days one June, initially the pair didn’t quite know where they wanted to go with their musical direction. Tomlinson kept pulling out super rare records from his vast collection for inspiration and they sat and listened to the solo piano recordings of Popol Vuh’s Florian Fricke but they knew they needed to land on something that was intrinsically them. “We knew we wanted to do a record together but we weren’t sure what direction to take,” says Chasny. “When we first sat down to work out some ideas it was pretty much just us getting down to finally having a guitar showdown where each of us tried to outdo each other with flashy moves and ridiculous riffs and playing. After we got that out of our system, we were able to settle down and concentrate on a mood for the record to focus on.” The result is 6 instrumental tracks that capture beautifully fluid and interlocking guitars played with deft grace and skill but also a subtle looseness. On the 9 minute-plus ‘Wait For Low Tide’, the sparse and spacious back and forth playing becomes utterly hypnotic, neatly capturing the kind of natural and intuitive playing that can only come from music made between friends who understand the crucialness of leaving space for one another. While acoustic guitars are the primary means of expression on the record - from the soothing and gentle ‘i’ to the intricate playing of ‘Waking of Insects’ - the pair delve into ambient drone tape loop territory on the humming 16 minute ‘Paths of Ocean Currents and Wind Belts’, which further adds to the deeply textural, spacious and immersive feel of the album. All the tracks were recorded in one take, with the titles all stemming from translations from the Chinese book, The Dream Pool Essays, and then mixed in London at Jimmy Robertson's SNAFU studio, with additional mixing and mastering from Andrew Liles. The laid back, breezy and spontaneous approach to making this record is one that was reflective of the pair’s friendship and camaraderie, with their relationship ultimately driving the tone and feel of the finished album. “We hiked around the countryside, climbed into church bell towers, drank delicious beer in the middle of sunny afternoons, and had fantastic dinners,” says Chasny of the three-day recording period. “I think all of that wound up in the music. I really had the best time in the world.

This is Parand Haghi’s debut project for Specimen, and here we indulge the concept of events based around Area 51. This has always created controversy and conspiracy as a covert space for experimenting on extraterrestrial aliens. We can only imagine the horrors of human endeavour to probe the inner bodies as a means of developing advanced interstellar technology. Albeit, driven by fear and paranoia as a means of conquering outer space the alien species remain a puzzle, but they are here among us have no doubt.

An alien organism reaches planet earth it is sent in the form of a superior female whose dark, passionate embrace allures us to the magical and mystical bewilderment of sonic worlds. Parand is the future of Specimen with PATIENT-X. This is a taste of things to come, after probing into the future with a dark remix of Arsonist Recorder’s "Vaxxer", she is proving to be a formidable force in the realms of electro.


PARAND is Berlin-based producer
At an early age, she developed her passion and taste for music. While her musical roots are grounded in classical piano training, her broad influences and obsession with electronic beats led her to experimenting with DJing and producing what could be considered a unique style of electro with experimental sound shapes, infused with dark bass-lines and beats.

10 Jahre Tacheles – das MiA. Erfolgsalbum erscheint als Vinyl Neuauflage “Unser fünftes Album fühlt sich an wie unser erstes“, beschrieb Frontfrau Mieze das Gefühl zum Album, welches mit Tacheles einen Titel trägt, das einen Zustand beschreibt, den sie mit den Worten „Geradeaus, direkt, unmittelbar“ definiert. Es herrsche ein „absolutes Jetzt-Gefühl, ich fühle mich Tacheles“.

Genau 10 Jahre später lässt sich festhalten, das hat wunderbar funktioniert. Tacheles ging in den deutschen Charts hoch bis auf Platz 3 und die Single Fallschirm wurde zum Hit. Eingängiger, aber doch außergewöhnlicher, farbenfroher Pop, getragen durch Miezes einprägsame Stimme. Eine Rezeptur, welche Nostalgie mit Moderne vereint, und eben jenen Jetzt-Zustand zeitlos erscheinen lässt.

Zur Feier dieses runden Geburtstages und pünktlich zur kommenden MiA. LIVE Tour, erscheint das Album nun erstmalig als (Doppel-)Vinyl. Neben dem Studio Album veröffentlicht die Band erstmals einen KonzertMitschnitt aus der ausverkauften Max-Schmeling-Halle in Berlin aus der Tacheles Tour 2012, einem für MiA. absolut einzigartigen Konzerterlebnis.

Fans erhalten ab dem Start der Vorbestellungen am 14. Oktober 2022 die Chance, sich das limitierte Stück für ihre Sammlung zu sichern, offizieller Release der Re-Issue ist am 11. November.

Die beliebte Band Bright Eyes mit der dritten Welle von Veröffentlichungen im Rahmen ihres laufenden Companions-Reihe. Das Projekt sieht vor, dass die Band ihren gesamten Katalog neu auflegt, wobei jedes Originalalbum von Neueinspielungen begleitet wird. Diese Companion EP enthält dazu Gastauftritte von Johanna and Klara Söderberg (aka First Aid Kit) und Alynda Segarra (Hurray For The Riff Raff) sowie eine Coverversionen "When You Were Mine" von Prince. Eines der Dinge, die Conor Oberst auffielen, als er und seine Band durch mehr als zwanzig Jahre Musik gingen, war, dass er vielleicht tatsächlich die ganze Zeit über denselben Song geschrieben hat. Natürlich nicht klanglich, aber konzeptionell. Diese letzte Welle enthält mit Noise Floor frühe Bright Eyes-Songs, die so roh sind, dass Oberst sie damals nicht direkt veröffentlicht hat, sowie mit Cassadaga und The People's Key die ausgefeiltesten und anspruchsvollsten Alben der Band. Als Bright Eyes mit Cassadega auf Tournee gingen, spielten sie 7 ausverkaufte Abende in der Town Hall in New York. Was gibt es Erwachseneres als einen Rockstar? Und doch ... "Thematisch unterscheiden sich diese frühen Songs gar nicht so sehr von denen, die ich jetzt mache", sagt Oberst und schüttelt den Kopf. "Es hat etwas Bestätigendes und Entmutigendes an sich. Man fragt sich: Habe ich mich wirklich verändert oder bin ich gewachsen? Aber vielleicht liegt es auch nur daran, dass ich von Anfang an wusste, worüber ich schreiben wollte. Es war eine interessante Reise, all diese alten Songs wieder aufzugreifen und neu zu interpretieren."

Annett Gapstream is back on Artminding with her first EP. Two originals show her distinctive and characteristic musical variety drawn by vivacious DJ gigs all over Europe. Just as her international career, also her latest productions are picking up speed and reflect the constant process of heading a little further.
For the title track “Halluzination” Annett Gapstream premiered herself in the recording booth of the studio and created a dynamic, highly memorable iteration towards illusional, hallucinatory messages that wreathe the audience in a higher mental state while dancing. Surrounded by a lofty melody and very present drums the track reveals an entire new range of melodic techno creativity.
Meanwhile “Surrealism” and its warm bassline conveys a more soothing or relaxed atmosphere with lots of potential to dream away during clubby mornings.
The whole idea of this release is fulfilled by three extraordinary remixes. Amsterdam based electronic music gem Hollt, shootingstar Max von Sternberg from Vienna and Live artist Concious complete the EP with their majestic note right on top of modern electronic music production.

Smith was involved in the music business from an early age; at the age of 8, he was a deejay for the local sound Observer. Like many other great reggae musicians, Smith learned his musical skills from a combination of sound system culture and schoolwork. At age 15 he sang in school with Nadine Sutherland, who urged him to move to Kingston to pursue a singing career. It took five years for Smith to follow this advice as he had difficulty leaving his mother, with whom he had a very close and loving relationship.
Arriving in Kingston at the age of 20, Smith was thrown into the digital revolution of reggae music. His first track, "Indian Lady," was released on George Phang's Powerhouse label, Final Mission LP on the extremely popular version the old Heavenless riddim recorded by Sly & Robbie (the riddim from Half Pint's Greetings). Though it didn't become a major hit, producers discovered Smith's unique and convincing singjay talent. During the next five years (from 1985-1990) Smith put out a long line of tunes. His biggest hit was the 1988 tune "Dangerous," released on the progressive Redman label. A cheering audience watched him perform the song live at Sting '88. This song was even adopted by a British boxer called Nigel 'The Dark Destroyer' Benn and used as his entrance music, a tune that sounded out his intentions in any forthcoming fight.

In the words of Bill Brewster - DJ History

‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol

Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and EZ-AL, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.

Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/WBLS/Kiss FM respectively.

Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on WBLS, WKTU and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.

Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his WBLS/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.

In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.

DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.

In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.

Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound.