Search:har

In the afterglow of her acclaimed 2020 album Silver Ladders (a year-end favorite of NPR, Pitchfork, The New Yorker, and others), Los Angeles-based harpist Mary Lattimore returns with a culminating counterpart release, Collected Pieces: 2015-2020. The limited-edition LP features new and previously unreleased material, Bandcamp-only singles, and other obscurities alongside standouts from her 2017
tape Collected Pieces. Beyond the vinyl compendium, an expanded tracklist on the cassette/digital version brings more of Lattimore’s archives together for the first time. Lattimore has described the process of arranging these releases as akin to “opening a box filled with memories,” and here that box continues to populate, accessible for both the artist and fans. Evocative material separated by years, framed as a portrait of an instrumental storyteller who rarely pauses, recording and often sharing music as soon as it strikes

Brandee Younger will release her second album on Impulse! Records, ‘Brand New Life’. Younger is quite often noted for standing on the shoulders of the very women who ushered in the harp as a clear and distinct voice in jazz: Dorothy Ashby. This record is an amalgamation of original pieces from Brandee and select reinterpretations of Ashby’s work. Brandee Younger represents a generation of contemporary improvisational musicians who came of age in an era when hip hop commanded a strong presence in American popular culture and emerged as leaders of a new school. In ‘Brand New Life’, she brings progressive explorations of harmony, rhythm, and melody infused with styles from hip hop, rock and pop music.

Sardinian born E.L.I.A.S is an artist who’s always evolving and producing music that combines hard kicks with distorted synths and mean rumbling grooves in equal heavy measure. His enthusiastic mind grows with each step he takes musically, becoming more and more focused with every fist clenching beat he knocks out.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’re exploiting some other-worldly storming techno here for those club conquering moments in which you’d unconditionally establish full control over the dance floor with a warlike incursion into the bass bins.

Penetration directly into the minds of those who hear this invasive release will inevitably lead to a lack of all self-control as all members of the tribe will involuntarily bust some ferocious moves on their favourite pista da ballo.

WARNING: NOT PLAYING THIS RIOTOUS MUSIC WILL INSTIGATE AN ABOMINABLE SCANDAL

Whitelabel LTD200 copies from Devil Core Recorings !
A dry efficient kicker, with cool evolutive story telling.
A side offers a super broken Speedcore intro with an expected kick deliverance after 2 min. Suspense :)

The flip is a progressive Hardcore simple item, dancefloor weapon !!

ANGEL delivers a new dub techno EP, “Sous l’eau”, on the in Stuttgart-based label AMAS_Studio. The EP unveils 4 dub techno tracks including a remix by the Amas crew and Estrato Aurora.

it is a deep journey through and under the water of her mind and soul. listen and swim through her sound of berlin streets.
The original versions of “Particule I” and “Particule II” highlight a contemporary vision of dub techno, boasting some vocals and deep layers, while being aligned to the broader dub techno genre. AMAS Remix provides a singular vision of “Particule II”, with reverbs and harmonics that are more electronica-oriented, while the version of Spanish producer Estrato Aurora, working exclusively on analog instruments, unveils a deeper and more atmospheric touch.

For more than twenty years, Roel Funcken has been a cornerstone in electronic experimentation. Alongside his brother Don, this Dutch sound sculptor melted hip-hop, industrial and soundscapes under monikers like Funckarma and Shadow Huntaz. A prolific solo musician and collaborator as well, Funcken teams up with Cor Bolten to revive the Legiac project with the eight tracks of Banisteriopsis Caapi. Keys appear through a sorrowful haze in "Mimosa Hostilis", this machined mist difussing as distorted strings penetrate before a dawning of icy brightness. Modulated forms and shapes billow in the bubble and trill of "Pyschotria Viridis" before the orbiting interference and introspection of "Epicatechine." Percussion is reduced to a texture, the duo finding structure in droplets of water, the stretch of steel and a litany of field recordings. The partnership dive deep into their chosen sounds, elongating and expanding tones to find harmony in the absence and isolation that is their focus. Pieces like "Solanaceae" bristle with an understated elegance, like starlight piercing a brooding night sky, while "Banisteriopsis Caapi" finds an eerie solace in its repurposing of voice as an undulating elegy. Legiac achieve a distant intimacy with their listener, a relationship forged through complex compositions, gentle movements and subtle shifts.

Ursprünglich 1991 veröffentlicht, war dies das vierte Studioalbum der Band, das über Atlantic Records erschien. Es erreichte Platz 29 der US Billboard HeatseekersC hart und ist bis heute eines der meistverkauften Alben der Band. Enthält die berühmten Tracks "Coma", "Frankenstein" und "Horrorscope".

Limited Edition in blau-schwarz marmoriertem Vinyl.

Als eines der beständigsten Aushängeschilder der Rockund Popgeschichte hat Shaky mehr gesehen und erreicht, als sich die meisten Menschen erträumen können, seit er als Teenager das Publikum zum ersten Mal verzauberte.

Mit "Re-Set" liefert Stevens nun ein weiteres aufregendes Kapitel in dieser einzigartigen Geschichte und freut sich sehr darauf, es mit seinen treuen Fans, aber auch neuen Bewunderern zu teilen. "Im Grunde genommen ist es eine Fortsetzung", sagt er, "aber es ist auch anders.
Die Menschen waren von "Echoes Of Our Times" überrascht, und ich schätze, dass das Gleiche mit "Re-Set" passieren wird."

Wie auch beim Vorgänger "Echoes Of Our Times" erzählen die Songs auf "Re-Set" zutiefst persönliche Geschichten, inspiriert aus der Familienchronik, aber auch auf das Arbeitermilieu anspielend, aus der der junge Michael Barratt heraus seine unglaubliche Karriere startete. Die einzigartige Kombination aus stimmlichem Können und unaufhaltsamer Entschlossenheit half ihm dabei, zu einem Star zu avancieren, der zum meistverkauften britischen Single-Künstler eines
Jahrzehnts wurde. Seine beeindruckende Erfolgsbilanz umfasst 33 Top-40-Hits in Großbritannien, vier Nr. 1-Hits, unzählige Hit-Alben und eine nach wie vor ungebrochene Popularität in ganz Europa und dem Rest der Welt.

Two tracks from Numero’s Eccentric Soul compilation which documented Bob Abrahamian’s passion and devotion to celebrating unknown Chicagoland group harmony music. His untimely passing in 2014 left a huge hole for many music devotees. SO, I CAN MAKE THIS CHANGE was THE KRASH BAND’s only record, it came out in 1976 and is a revered 45 amongst serious collectors. With it’s crisp bass, phased harmonies and the crowning accomplishment, the seraphic falsetto by Evelyn Holder!ONENESS previously known as The Audition’s recorded HARD TO KNOW in 1977 for Cincinnati’s AMG label, alas this sweet harmony jewel never got released and was only heard by those who tuned into Bob’s Sitting in the Park radio shows until the compilation put that to rights.

Please note this song was rescued / restored and there is tape damage in parts.

Asphalt Records second output is a forward thinking, hardcore continuum friendly take on the grittier side of industrial techno from Birmingham by the neighbourhood's new pestilent squathouse residents NeonDemon. This EP has its roots buried deep in seamless concrete foundations scaffolded by Mick Harris, via Surgeon & Regis inspired techno half-times, while pushing tech-step’s most asphyxiating soundscapes to sheer schizophrenia (i.e Guided by Whispers). The grime influxed club architectures (Pattern Down), the weightless demonic punk industrial attitude reminiscent of Throbbing Gristle (Pentastar) and the dark humor embedded in this 12’ (Pandeirada de Tella Remix) make Stains EP the perfect soundtrack for today’s apocalyptic contemporary events. Mastered as usual by Jason Goz at Transition, pressed in thick asphaltic 180g and wrapped in our usual pavement-black outer sleeve.

Neuauflage des Klassikers

Das Debut Album der 2019 gegründeten Thrasher SINTAGE!

High Roller Records, black vinyl, ltd 250, insert, includes a download code & poster

Through Crooked Aim has the feel of a record to accompany the listener on epic journeys through strange and daunting territories. Adjust the rear-view mirror and press play as the landscape rolls behind you. Filmic. Atmospheric. Classic, Americana and Folk influences peppered throughout, It's a journey that rolls through valleys, painting its own rich, vivid pictures inhabited by troubled, nuanced characters looking for ways to keep going. Recording it at Old Jet in Suffolk, an old US Airforce base turned creative arts community developed and run by Quin added its own majesty to proceedings. Waking up to see herds of deer walking through the moors and mist whilst surrounded by these aircraft hangers. You can't help but find some of that magic seeping into the recordings.

One side of a banging Hardcore, legendary tune ! And on the flip a pityless double tempo Speecdcore killaz.
A record that won't let you down.

Flautist Johanna Orellana teams up with Carmen Villain for a collection of horizontal, pastoral field recordings and close mic-ed flute sounds that zero in on the instrument’s unstable resonance and levitational magic. There’s no cringe virtuoso business or fourth world firewalking here - just sonic purity, sublime minimalism and the precise capture of time, place and poetry.

You might have come across Johanna Orellana before if you’ve listened to Carmen Villain’s music (or seen her perform live), and Villain appears here in a producer’s role, using her engineering expertise to impart a level of restraint and sonic fidelity that’s quite startling. There are only really two central elements to the album: environmental recordings and flute. There’s no psychedelic delay, no cavernous reverb; no audible treatments at all - Orellana and Villain instead force us to consider the flute and its musical lineage.

‘El Jardín I’ introduces the instrument as a physical conduit; Orellana allows her breath to distort the sound - the padded pat pat of the keys forms a kind of rhythm, closely recorded so it’s amplified and jarring, linking to primal wind instruments like conch shells, bamboo flutes and wooden whistles. Recalling the way in which Debit interfaced with the ancient world using AI- assisted tech on last year’s ‘The Long Count’, Orellana uses a comparatively modern contemporary transverse flute, an instrument with roots that stretch back through the baroque era, into Medieval Europe, back to the Byzantine era and into Asia. The component that connects the instruments and eras is breath, and its amplification and modification through differently shaped pipes and vessels.

Orellana lets the environment sing: insects, rushing water and zephyr-like winds form a stage that presents her mortal energy, suggesting a harmony between our use of breath and its environmental ubiquitousness. Her technique is steeped in folk history and decouples itself from expectation by rooting itself in nature. It allows her to bridge the gap between equal temperament and less ordered (less commercially-focused) microtonality without overstating the concept. Other sounds waft in from the sidelines; what might be an Indian bansuri, stray notes, a gust of air.

There’s a link to the foundational new age recordings that Joanna Brouk made with Maggi Payne back in 1980, but Orelanna also absorbs the outdoor folk magic of Fonal or Stroom, and the improvisational grist of Bendik Giske or legendary US horn duo Nmperign.

JIMMY EDGAR's latest release for Innovative Leisure, LIQUIDS HEAVEN, is a psychedelic canvas of future R&B, euphoric bass, mutant tear-theclub-up rap, foundation-splintering noise, and gossamer soul.
On a surface level, it is a starburst of avant-garde fusion, collecting a diverse cast of eccentric geniuses and re- configured into an anthology of n - musique concrete.

As with all of his work, there is a deeper and subversive intent.
Do not mistakenly believe that LIQUIDS HEAVEN is merely a technicolor dream of ethereal abstractions. It bangs as hard as anything to ever bump from a subwoofer.

Over a polychromatic blast of crunk, bounce on Everybody like a rap
rave inside a 31st century space station. Bite That 2 finds Trinidad James spitting flames over booty- shaking, wall- crumbling bass. On Ya, 645AR chirps over a metallic chassis of booming industrial funk.For all the high energy propulsion, there is a counter-balance of melancholic beauty.

The album's opener, Euphoria features a Liz Y2K vocal that levitates with plaintive longing. The Milk- aided Dreams 1000000 sounds like the chimerical soundtrack to a manga utopia that needs to be imagined. Milk also appears on the finale, Never Leave, which
captures a bittersweet sadness, the wistful emotion of the tide slipping away.


Jimmy's career has been a series of fascinating left- turns. Signed to Warp Records as a teenage electronic music prodigy, his work needs a scholarly bibliography to properly assess. He's recorded for the world's most respected imprints (Warp, K7, Hotflush, Innovative Leisure and his own New Reality Now).

Raised in Detroit, there have been stints soaking up inspiration in Berlin, Atlanta, LA, and New York. His list of close collaborators includes the most innovative musicians of the millennium, including Hudson Mohawke, Danny Brown, SOPHIE, DAWN, Mykki Blanco, Vince Staples, and several full projects with Machinedrum
as J-E-T-S.

The first VA release from Scottish rave Headset, showcasing unsung Scottish artists making sound system music in any tempo.

LWS opens with a broken UK techno tool. Kamus follows with a halftime 90bpm techy stomper.

On the B-side, Aggregate Culture go hardcore jungle rave. With Delahunt closing the EP with a unique, dubbed out 160bpm number.

Pressed by Mobineko (Taiwan)

DJ approved by Hodge, Yushh, Feena, Om Unit, Peverelist, Chris Farrell (Idle Hands) & many more

MOOD CHILD is the new artistic platform of DJ/Producers, SIRUS HOOD & MANDA MOOR.

Evolving from a collective idea during our difficult pandemic period, MOOD CHILD is, at its centre, about community, collaboration, friends and family. Working together, feeding each others creativity and forging fresh and exciting new sounds and projects.

MOOD CHILD is an invitation to a journey that blends different feelings, emotions and desires. To activate your inner child. Reinvigorate the wild, primitive and unfiltered state of being and create an almost divine sense of unity. All through the power of music and art.

Their collective sensibility is nurtured upon the dancefloor and last summer they were blessed to have presented a first MOOD CHILD experience in collaboration with Hï and Café Mambo in Ibiza. The mood then took them to Bagatelle in Zürich and Lovefest in Serbia and they now prepare to launch their 2023 campaign alongside the elrow family for a sold out event in Andorra 1st of April.

However, what is a party without its soundtrack? Their first release, as its title suggests, brilliantly displays the labels primal perception… ‘Homo Sapiens’ is the mood child of Sirus Hood and Malikk. Four carnal creations, all guaranteed to ignite a rabid dancefloor response.

‘Booty Side’ uses its compass to expertly navigate its way through bubbling acid and rolling snares as we go in search of Jack, while the title track will have us going ape to its chest-beating bump and knuckle-dragging groove.

Silverback beats swing low on the flip too as ‘King MTF Kong’ bites hard with its heavy Chicago hustle and detuned synth, while the feral Juke-infused finale, ‘Gorilla Walk’, is a break-neck bass-driven and bruising encounter that is more Jersey club than Empire State building.

The ‘Home Sapiens’ EP is released on the 14th April and will be available on vinyl and digital formats, alongside a series of exclusive NFTs.

MOOD CHILD’s official online store will launch soon and feature not only the music and digital art projects, but also an official clothing brand, sample packs and exclusive content from their artists.

It’s time to connect with your MOOD CHILD.

2023 Repress

Dublin based producer M4A4 releases his debut 12” for Running Out of Steam, with 4 luscious cuts of NY House inspired goodness.

It’s hard to believe that ‘Forever Underground’ was scene newcomer M4A4’s first vinyl outing, the talented young Irish producer flawlessly blends the sounds of Deep House with those of Jersey & NY House, creating a record that’s destined to make people dance.

Die beliebtesten Hardrock-Monster der Welt, LORDI, rüsten sich für das nächste Kapitel ihrer gruseligen Bandgeschichte:
Nach der Veröffentlichung ihrer 7-CD(!)-Albumbox »Lordiversity« hat die berühmte finnische Gruppe um Mastermind Mr. Lordi ihre Zeit zu
Hause während der Pandemie vollends ausgenutzt, um ihr neues Album "SCREEM WRITERS GUILD" aufzunehmen - ein wahrlich spuk-takuläres Hardrock-Meisterwerk voller Mitsing-Hymnen und cineastischer Kunstwerke.

In the early 1990s, a handful of black metal artists were enticed by the possibility of conjuring new fantastical worlds from the deep isolation of their home setups. Rather than the dense metal sound of their existing projects, this new direction would be centred around intimate synth soundscapes: forlorn organs and otherworldly MIDI theatrics.

The music on ASCEND is predominantly from self-produced, self-distributed releases, typically manufactured in small numbers. Though some artists producing this style of music, most notably Mortiis and Burzum, gained wider recognition outside underground circles, it is only in recent years that the sound and its influence has really been appreciated. This is particularly the case with the late Matthew Davis and his recently reappraised Secret Stairways project, whose song ‘Lammas Tide’ (from the 1997 Enchantment of the Ring album) appears on ASCEND. A simple home recording on a Yamaha KX-W392 manages to be both elegant and tortured, ambiguously devotional and recalling latter years Popol Vuh.

This battle between dark and light is a constant thread through ASCEND, with simple minimal synth lines that can be both delicate and menacing. Compilation opener ‘The Dark Dreamquest’ from Italian black metal group Evol is loaded with occult warning, and Finnish act Kadotus 609’s ‘The Summoning Through Crimson’ is languid, twisted and dark. In spite of the darkness, several pieces of the music on ASCEND have formal similarities with the sometimes saccharine new age music that rose to prominence in that era: but to a rougher, darker ends. The closing song from Darkthrone icon (and past NTS radio host) Fenriz, under his Neptune Towers pseudonym, pulls us further out, with ‘To Cold Void Desolation’ — an astral synth project, akin to ’70s kosmische muzik masters Harmonia.

The gentler side can often amplify an uncannily sinister edge, heard in German act Dolch’s ‘Tumulus’, where orc marching horns contrast against delicate rompler harps and softly whispered chanting. It hammers home a deep loneliness and detachment constant throughout ASCEND, made possible by these unusual contrasts, both unsettling and otherworldly.

Two years after their previous effort, regular as clockwork, Swiss throbbing synth pop duo Veil Of Light is back with a new album and what can we say? These guys keep on getting better and better.

If you have followed the Zurich-based outfit over the past few years, you must have noticed the constant moving towards 80’s FM new wave and synthpop tones – without losing their electro/body music outline – that have marked the band’s parable, especially since their latest Landslide LP.

Sundancing is their sixth full-length and it stays the course, bringing what we’ve just said to the next step. Nine new dancy and bright tunes with emotional depth that blend lush instrumentation and robust rhythms, guided by funky and rubbery basslines. Syncopated rhythm sections match suburban cool synths in the lead single Apricot Kiss and Hypersleep, while Raindancing and Tonight summon a sinuosity long gone since the mid Eighties. The musical backdrop here serves as the fundament for emotional vocals delivering lyrics dealing with the fragility of love, joy and loneliness.

There’s some subtle addictiveness to these songs, one that will gently grab you by the collar of your coat and stick the refrains from Sundancing inside your head for good.
Veil Of Light might make it look easy to keep it neat without being minimalist, intimate without being depressing, romantic in the most true sense of the word, but we know that’s possibly the hardest thing to do.

Orange Vinyl

»Love As Projection« is the new album by Frankie Rose, her fifth studio LP and second for Night School following the reissue of her interpretation of The Cure’s »Seventeen Seconds«. Frankie Rose has forged an enviable musical legacy, from playing with bands like Crystal Stilts and The Vivian Girls but on »Love As Projection« she takes a bold step into electronic pop production. A sumptuous recorded statement, it dances in ecstasy and broods on the tumult of the western world’s decay in equal proportion. At the heart of the album is glowing, confident songwriting, resplendent in hooks and choruses but still touched with an optimism undimmed.

After spending nearly two decades establishing herself across New York and Los Angeles independent music circles, Rose re-emerges after six years with a fresh form, aesthetic, and ethos. Celebrated over the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal melodies and harmonies, »Love As Projection« is a reintroduction of her established style through the lens of contemporary electronic pop. Recorded with producer Brandt Gassman and mixed with long-term collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career.

More than a rebirth, a refinement, a resurgence, »Love As Projection« boasts a widescreen scope: a long- form project heavily considered for half of a decade, culminating in the most personal and accessible collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead track »Anything«, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible chorus that marries classic epic 80s American pop with the cult effervescence of Strawberry Switchblade »It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning fear even if the world is quite literally on fire.. In the end, at least we have each other,« says Rose. »Sixteen Ways« further boasts a propulsive, massive chorus, though tempered by a cynicism built in global post-truth, global malaise. »It’s about getting your hopes up, but simultaneously making lists in your head about how it will never work out in your favour.«

The big anthems don’t let up there. On »DOA« some massive, rolling drums lathered in big mid-80s gated reverb dovetail with a syncopated baseline for the ages as Rose’s vocal sails effortlessly above. The effect isn’t unlike ethereal vocalists Clannad circa Howard’s Way or Enya jamming with Simple Minds in their stadium-conquering heyday. Rose tempers the adrenalin with heart-tugging bittersweet tones and there are plenty of them. »Sleeping Night And Day« takes its time with an off-the-cuff chorus, swirling around in harmony and chorus-bass. »Saltwater Girl« picks up the balladeering baton with another nod to album track-mode Switchblade, deep space opening up in the mid-tempo drum track and soupy, digital atmospherics. Album closer »Song For A Horse«, reimagines modern Pop production a-la-PC Music but shorn of the meta-atmosphere. Pianos, swelling synths, minor keys cut through with major. These moments, also seen in Feel Light offer ballast to the soaring pop choruses. Moments like these are big oceans of emotion to fall into before being led out by Rose into a bright new day.

»Love As Projection« is released in the USA by Slumberland.