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All The Best Cowboys Have Chinese Eyes - All The Cowboys was Pete Townshend’s Second solo album and was released in 1982, it was produced by Chris Thomas at various recording studios around London. All the Best Cowboys Have Chinese Eyes contains compositions that were salvaged from later albums by the Who, and was released just under three months before their album It’s Hard. The Album was well received and charted in the Top 50 both sides of the Atlantic.This black vinyl version is engineered by Miles Showell at Abbey Road Studios using a half-speed mastering technique which produces a superior vinyl cut. White City (A Novel) - Released in 1985, White City (A Novel) was Pete Townshend’s 5th solo album. The album tells a story of cultural conflict, racial tension and youthful hopes and dreams in the 1960s. Produced again by Chris Thomas it features guest appearances by David Gilmour, Clem Burke, and John ‘Rabbit’ Brunswick. The album which features the single Face the Face and Give Blood also appeared as a long form video. This black vinyl version is engineered by Miles Showell at Abbey Road Studios using a half-speed mastering technique which produces a superior vinyl cut.

In a world of announcements of announcements, Gatecreeper are firing no warning shots before dropping their new release. “I think the social media environment has just fried our attention spans,” vocalist Chase Mason says. “Trying to hold someone’s attention for two or three months with a typical album roll-out doesn’t seem feasible with everything else currently going on in the world.” That’s not the only reason An Unexpected Reality comes with no pre-release hype whatsoever. “It’s meant to be listened to as a whole, so we didn’t wanna break it up or release a couple songs ahead of time as ‘singles’ or whatever,” Mason clarifies. “We also didn’t wanna treat it like it’s our next full-length. Because it’s not.” Written, recorded and now released during the Covid-19 pandemic, An Unexpected Reality is Gatecreeper like you’ve never heard them before. Exploring both ends of the tempo spectrum, the release offers two opposing sides of the band’s musical personality. Side one consists of seven short, sharp shocks that have a total running time of less than seven minutes. Inspired by grind, punk and hardcore, tracks like “Starved,” “Rusted Gold” and “Amputation” are some of the fastest offerings the Arizona death metal squad has ever recorded. Side two is the exact opposite.

When ANY GIVEN DAY took to the international metalcore stage six years ago, most of the audience had already left and the scene police were already busy sweeping out the hall. ANY GIVEN DAY, the hard-working guys from Gelsenkirchen, still put their backs into it. Musically gifted and well marketed, the band didn't quite make it to the top, but secured a place at the front of the field behind bands like KILLSWITCH ENGAGE and CALIBAN. This status is further cemented with "Overpower". And now this convincing Overpower is finally being re-released on vinyl.

The multi dimensional Emcee and Vocalist Yinka, is redefining his sound by releasing a fully deep bass project. The album cover a big space of the urban sound spectrum, featuring Dubstep and Grime fills, UK Garage vibes and futuristic Hip-Hop beats. Yinka is getting in touch with his roots as he started as a Drum & Bass and Jungle MC grinding in clubs and bars in Greece.
This project will make you dance and flow as the veteran Emcee dives in to his inner soul and unfolds his lyrical and vocal skills over hard, space and deep beats.

Diving is released on vinyl by the label Mind The Wax and on all digital platforms by Stay Independent as of May 17th, 2024 and includes 10 tracks.

BRUX are back with four tracks of their trademark sound. Four flanged out hard hitting anthems, mixing the sharpest possible post punk with the roughest street rock’n’roll vocals. They keep their boots firmly pressed between two styles which seem polar opposites, resulting in new sounds made up of old formulas. Originally released by the band’s label on a 100 run cassettes at the end of 2023 this recording was simply too good not to exist on vinyl

Die unverbesserlichen Headbanger von LEATHER LUNG lassen die Party steigen! Der Fünfer aus Boston, Massachusetts hat das Flehen seiner enthusiastischen Fangemeinde nach einer vollen Dröhnung Boogie Metal erhört und legt mit "Graveyard Grin" endlich das Debütalbum vor. Die Neuengländer halten mit diesem Kracher aus Stoner Metal, Doom, einer Prise Sludge und einem eingängigen Kick die großen Versprechen, die ihre bisherigen EPs abgegeben haben: Angefangen mit "Reap What You Sow" (2014) und gefolgt von "Lost in Temptation" (2016), "Lonesome, On'ry and Evil" (2019) und "Dive Bar Devil" (2022) haben sich LEATHER LUNG bereits in die Herzen ihrer wachsenden Anhängerschar gespielt. Der wilde Haufen von langjährigen Freunden formierte sich in der Bostoner Punk- und Hardcore-Szene aus reinem Spaß an Doom und Stoner Metal. Anfangs als Vierer unterwegs erspielten sich LEATHER LUNG schnell einen exzellenten Ruf in der lokalen Szene und bald darauf quer durch die USA, zum Beispiel beim DesertFest New York und dem Psycho Las Vegas, sowie über ihre Veröffentlichungen sukzessive auch in Europa. Aufgebrezelt mit einem zweiten Gitarristen sind LEATHER LUNG inzwischen zu fünft und bereit, die Welt mit "Graveside Grin" zu erobern. Die Freaks von der Ostküste können es kaum erwarten, endlich wieder auf die Straße zu kommen, um erstmals eine globale Party zu feiern.

Venerated heavyweights Surgeon and Speedy J cement their Multiples collaborative project with a long-form album of tweaked experiments past the outer reaches of the techno realm. Recorded over the course of two days at Speedy J's STOOR lab in Rotterdam, Two Hours Or Something is what happens when decades-deep experts in the field plug their hardware in and jam without time constraints or crowd expectations. In these raw, one-take, no-edit sessions there are propulsive moments of techno and electro balanced out by extended beatless passages and a constant experimental instinct which drives the music forward into parts unknown. Following a string of knockout club and festival appearances, this is a fitting document of just how far out Multiples can go when you combine two such experienced and inquisitive minds (and their respective gear). The album comes in a special gatefold designed by Atact, and with a download-code including 5 bonus tracks.

Hailing from South Korea, the mind & body trained on the raves of Seoul, and across the country we have Jesse You. The gifted producer has embodied 3 original cuts which are showcasing a hefty range of electronic sound. Describing it using standard words would be too banal, so would prefer to say it is interstellar, from dark to funk and served at absolutely correct temperature. Because it is important not to melt the vinyl but to melt the gooey part inside the head. Jesse is no stranger to sound production and have proved this with “Tone Select” a disc that requires shoes which can stand the test of time on the dancefloor.

On the remix duties its Z@P, resident of many prestigious electronic music communities all over the world and one of the hardest working producers of our time. He has applied a deep burner vision on the original track which allows to dissolve in space time continuum given a correct, as well as an incorrect setting. This 12” Vinyl performs many tasks, some of those you know and some of those you have yet to discover, just select the tone.

Featuring live versions of songs from that album, shining a light on female composers and vocalists from the classic age of jazz, this album captures the racuous and occasionally hilarious energy of a Judith Owen live show.

This new opus marks a major comeback for Samuel Sanders, who made a name for himself in the 2000s with his first productions alongside Max Walder on Ghoststyle, whose track "Cyclone" was covered by big names such as Ken Iishi, Marco Bailey, Frank Biazzi, Technasia, Marco Carola ... but also on the Invasion label with "Dependance" (N.E.W.S label) and among others on the Kevlar "Illusion" label, where this EP received great support from Dave Clarke, Carl Cox, Chris Liebing ... He also produced alongside Manu Kenton on the Kentek, Frenchtek and Fanatix labels. With N.O.B.A, he returned to production, choosing Vibes Addikt for his comeback.

The A-side "Do You Like ... 2024" is a remake of a track he and N.O.B.A created in 2008 on Reaktion, in a much more Hard Techno version with a spirit all its own.
Side B is dedicated to Samuel Sanders himself and presents his new productions:
B1 "Desolation" a hypnotic spirit with a touch of Acid on the cover for lovers of this spirit
The B2 "Don't Be Afraid" is close to Hard Techno with a more clubby style for fans of this style.

Digital Base, producer and DJ from Seville, has been producing Breakbeat music tracks for more than 30 years, being one of the oldest producers on the scene who is still active. He was one of the people responsible for the legendary iBreaks label and co-founder of the promoter and label Ibreaks Spain, being a reference for the hardcore breaks sound at the end of the 90s and a pioneer of the Techfunks & Electro House Breaks sound at the beginning of the century. His creations have evolved over time, currently leading to a substyle that some call "Liquid Breaks" without forgetting the Old Skool of yesteryear. Labels aside, from his label Old Skool Records he has us accustomed to the release of extraordinary compositions with a high emotional charge, musicality and impeccable rhythms, which give a timeless character to everything that comes out of his studio. In this new vinyl titled "He Didn't Do It On Purpose", you can find all these ingredients, which define the genuine sound that Digital Base has forged over low heat, made to last in times of immediacy.

Dive into the revolutionary Latin rock vibes of Traffic Sound with their 1970 masterpiece, "Virgin."

Originating in Lima, Peru, this iconic album marked a turning point for the band, fusing psychedelia, hard rock, and a touch of progressive rock with a distinct Latin flavor. The self-written tracks, notably the anthem 'Meshkalina' with nods to local culture, showcased the band's unique blend of influences.

Includes extensive liner notes and the original artwork on tip-on gatefold sleeve.

Some albums are game-changers in a genre. Take OutKast's Speakerboxxx / The Love Below or Primal Scream's Screamadelica, they observe, study, and then flip what an album can mean to a genre or moment in time.

From the very first listen of Rubel’s Latin Grammy-nominated third album As Palavras, Vol. 1 & 2, you can feel its transformative force for the MPB genre. Here we see one of Rio’s brightest stars, fusing the contemporary with the classic, soaking up the richness of Brazil’s musical heritage. The result is a marauding 20-track epic, incorporating traditional styles such as forró, MPB, pagode and samba with modern baile funk, rasteirinha and hip-hop.

The album exudes a sense of freedom and creativity, playfully and provocatively juggling the familiar with the forward-thinking. The tracks are divided across two records, navigating feelings of love, heartbreak and discovery, whilst balancing themes of violence, passion, irony and affection. Collaborating with some of the country’s most esteemed artists such as Gabriel do Borel, Liniker, Luedji Luna, Tim Bernardes and Ana Caetano, Rubel takes this fusion of styles, subjects and flavours to the global stage.

The grand, forró-blending, choral opener, ‘Forró Violento (Instrumental)’ sets the tone for the album, with references and links between tradition and modernity everywhere to be seen. From the Ana Frango Elétrico produced, funk flexing, samba-soul brilliance of ‘Não Vou Reclamar de Deus’, to the album’s title cut ‘As Palavras’, in collaboration with Tim Bernardes, that melds MPB influences with electronic elements and hip-hop touches.

Across both sides of the album, Rubel’s story-telling gift is given space to shine. ‘Torto Arado’ featuring Liniker and Luedji Luna, beautifully references the racial injustice, tragedy, hope and ambition found in one the most celebrated Brazilian novels of recent times by Itamar Vieira Júnior. Elsewhere, ‘Na Mão do Palhaço’ manifests a satirical march about a suicidal conservative middle-aged man, who is rescued by the miracle of the carnival.

At times the album is gentle and intimate with tracks like ‘Toda Beleza’ featuring Bala Desejo, or the ode to friendship ‘Lua de Garrafa’, composed with the legendary Milton Nascimento. At others, the grooves hit harder, with sounds from the favelas laced within. ‘Put@ria!’, explores the universe of baile funk, with BK’ and MC Carol trading off on the mic, as ‘Rubelía’ moves between reggaeton, funk, and hip hop. The latter is a tribute to a key influence of the album, Spanish star Rosalía and her parallel mix of current with classic.

Ultimately though the beauty of this album lies in its concept. In the midst of a country divided, ‘As Palavras Vol. 1 & 2’ sets out to bring together genres and generations, grounded in rhythms and words that have helped define Brazil through the ages.

'Scrambled Anthems', das dritte Album von HHNOI, vereint rohe Energie mit technischem Geschick und schafft das, was als "elektronischer Grunge" bezeichnet wird. Es bietet synthetisierte Hymnen für diejenigen, die Drama in der elektronischen Musik suchen, indem es Pop, Lärm, Glitch-Hop und Grunge der 90er Jahre verschmilzt. Inspiriert von Pan Sonic, The KLF und mehr, formt HHNOI eine einzigartige klangliche Identität. Begleitet von Kunstwerken von Salva Baixlaigua ist es auf Vinyl und digital erhältlich und markiert ein entscheidendes Kapitel in HHNOIs musikalischem Werdegang.

Jonah Matranga has been making music for over 30 years. A prolific artist, he has become an enduring institution in the scene with a devoted fan base, rich lineage, and varied music career. Jonah has often straddled the line between the underground and mainstream. He’s worked with indie labels like Jade Tree and majors such as Atlantic, having fronted the bands FAR, NEW END ORIGINAL, and GRATITUDE. His music has influenced bands from Deftones to Blink-182, and he was there for emo and post-hardcore giants in their earliest beginnings–taking bands such as Thursday and Dashboard Confessional on tour. Simply put, the scene cannot be separated from Jonah’s art. Jonah has always written from the heart and performed in an intimate way that few others have accomplished. From basements to massive festivals, he brings the same energy to them all: raw honesty and an ability to make every show unique and personal. This is most apparent in Jonah’s solo and collaborative project ONELINEDRAWING. Jonah’s solo performance has always been about connecting with fans in an intimate setting, where they often perform with only a guitar and R2D2 sidekick. Sketchbook is the latest release from ONELINEDRAWING, featuring a collection of songs from Jonah’s early solo years, 1999 - 2001, completely remastered for vinyl. The album features originals and renditions of the likes of 7 Seconds and Jawbox, as well as the Sensefield split honoring the late Jon Bunch (Sense Field / Further Seems Forever). The LP also includes liner notes and zine by Norman Brannon (Texas is the Reason / New End Original). Sketchbook exists as both a time capsule and thank you letter to fans and music itself–a combination of the period in which Jonah first embarked on his solo journey and a celebration of the vitality that music and community not only affords him but all of us. Available in the EU/UK from Thirty Something Records and in the US from Iodine Recordings. Genre: Alternative / Emo

Though their album was cut in two days over the course of 2 eight hour sessions their arrangements shine through what was a scattered recording session. "We really worked hard in the studio even though we didn't have enough time to do all the things we wanted to do with music," bassist Robb Murphy remembers. "We were pretty excited. We just had no experience with that sort of thing. We had heard things but never had any experience.

We were really babes in the woods. It was a terrific experience looking back on it. It was really a hell of a lot of fun, we loved the idea of being able to overdub even though we didn't get to do too much of that, it was still fun. That was pretty high tech in those days, being able to lay down a couple of tracks with your voice." guitarist Mike Barnes recalls.

Similar to the Bosstown sound (Orpheus, Ultimate Spinach), Tiffany Shade lean towards harmony-driven vocals that combine their clever pop sensibilities with a versatile showcase of keys, organ, and scintillescent guitars. After their album's release in '68, they had the opportunity to open for Big Brother & Holding Co., but because of poor sales (and like many Mainstream artists) the band didn't last and went their separate ways in '69.

Maximilian Skiba, an Eminent Figure in the World of Electronic Music, Makes a Triumphant Return to Skylax After an Absence Spanning Over a Decade. His Resurgence Is Nothing Short of Exceptional, as He Joins Forces With the Legendary Snax to Deliver a Musical Offering That Rekindles the Very Essence of House Music's Illustrious origins.
Skiba's Two New Tracks, "Pushing My Buttons" and "In Motion," Serve as a Compelling Testament to His Impeccable Craftsmanship as a Producer. the Influence of the Pioneering triumvirate—Larry Levan, Ron Hardy, and Frankie Knuckles—is Palpable Within These Compositions. Both Tracks Are a Masterful Blend of Nostalgia and Innovation, Perfectly Aligning With the Playlists That Once Defined the Heyday of House Music's Most Celebrated luminaries.
"Pushing My Buttons" and "In Motion" Evoke an Air of Sophistication, Exuding a Smooth, Velvety Quality That Transports Listeners to the Cherished Era of Original Disco. Drawing Parallels to the Timeless Classics Like Dinosaur’s "Kiss Me Again" or Loose Joints "Is It All Over My Face", Skiba's Creations Pay Homage to the Bygone Era While Injecting a Modern Edge. This Phenomenal Ep Goes Beyond Skiba's Original Works, Offering Two Exceptional Remixes That Elevate the Experience. the First Remix, a Balearic Interpretation by the Emerging Talent Maltitz, Adds a Refreshing Dimension to the Tracks. the Second Remix, Helmed by the Skilled Apollon Telefax, Ingeniously Transforms the Already-Classic Tunes Into an Explosive Italo-Disco Sensation. These Remixes Seamlessly Weave Together the Past and the Present, Creating a Bridge Between Different Eras While Keeping the Music timeless.
In Essence, This Ep Is Not Just a Musical Offering; It's a Journey—a Seamless Fusion of History and Innovation That Transports the Listener to an Era of Musical Brilliance, All the While Redefining the Boundaries of Contemporary Sound. Skiba and Snax's Collaboration Is Not Merely a Comeback; It's a Testament to the Enduring Legacy of Electronic Music, Encapsulating the Spirit of House Music's Golden Age While Breathing New Life Into Its Timeless Allure....

UK jazz ensemble The Jazz Defenders release their third album "Memory In Motion" in April on Haggis Records (home of The Haggis Horns and Malcolm Strachan). The Bristol jazz boppers deliver another quality release of original material that takes in their usual diverse mix of influences and genres, from timeless acoustic jazz referencing the classic sounds of Blue Note Records, to a more contemporary fusion where jazz meets soul, funk and hip-hop.

Although they love to mix things up, their roots are in the classic acoustic jazz quintet sound of the late 1950s/early 1960s, back when hard bop and modal jazz ruled. They have already explored this musical path well on their previous albums but they still deliver a couple of classic inspired jazz cuts here. "Chasing Fantasies" and "Fuffle Kerfuffle" both give the band some space to cut loose on solos over swing jazz beats that will keep their original jazz audience happy. The latter bubbles away with a jazz shuffle beat that would make drum legend Art Blakey smile.

"Meanderthal" and "Snakebite Playfight" bring soul to this jazz party. Exactly like jazz legends Lee Morgan/Herbie Hancock/Freddie Hubbard etc did back in the early-mid 1960s. The first is a feel-good, toe-tapping gem that's heavy on the backbeat and short and snappy on the solos, the exact reasons that made it the perfect opening single from the album. "Snakebite Playfight" comes with a jaunty New Orleans shuffle before transforming into a heavy psychedelic soul jazz burner, flipping back with ease to the NOLA shuffle for the Mardi Gras meets bebop piano solo by band leader George Cooper.

"Rolling On A High" is a hip-hop/jazz banger that sees the band continue their collaborations with UK rapper Doc Brown, a perfect combination that began on their second album "King Phoenix''. This time, the Doc spits some old-school block party-style bars over a bouncy uptempo funky beat with the band cooking up some soul stew behind him. Definitely dancefloor material.

Another uptempo jam is the heavy jazz fusion jam "Net Zero". It kicks off with some live broken beat kit playing and piano/bass staccato vamping before taking off into Headhunters territory on the solos, sounding both contemporary and classic at the same time. This is The Jazz Defenders at their fiercest and toughest and delivering a track that will have jazz dancers worldwide in an utter frenzy.

It's not all uptempo numbers or dancefloor-oriented compositions on this album. Two tracks take the musical dynamics right down to give a temporary break from the high-energy numbers. "Take A Minute" has a rolling double bass line locked into the groove while the horns play a lazy and laid-back theme with vibes embellishment, sounding like some trippy independent film soundtrack. Another recurring musical reference point for this band over the years.

The album finishes on a poignant and introspective note with a beautiful piano and double bass feature for George Cooper and bassist Will Harris. It's called "Enigma", it was recorded live in Paris and it closes the album on a peaceful note evoking the music and playing of Bill Evans. The perfect way to close this brilliant third album from The Jazz Defenders.

With Memory In Motion, pianist George Cooper and his band undoubtedly pay great homage to a golden era of jazz music that they love, but also elaborate on this influence with a wealth of modern musical experience, to create their own raw and vibrant compositions. The result is an enthrallingly unique sound that is as danceable as it is listenable.

Warehouse Find!

As we hurtle towards our 200th Freerange release the quality output you've come to expect from Freerange shows no sign of faltering with Bas Amro bringing you an absolutely stellar EP entitled You And Me. Dutch wunderkind Bas has built himself a solid reputation through only a handful of releases on labels such as Wolfskuil, Kutchuli and most notably his 2011 EP Ten on Freerange which has gone onto become a stone-cold classic in the deep house mecca of Johannesburg. This long awaited follow up delivers on every level and if early feedback and crowd
response is anything to go by looks set to push Bas further into the spotlight where he deserves to be.
You And Me starts in a deceptively understated manner wrapping you in a shroud of warm, dubby stabs underpinned by a rolling groove that can't fail to draw you onto the dancefloor. Things stay deep with hints of Chandler and echoes of Basic Channel until the breakdown arrives, the filters roll up and the whitenoise
shines through bringing a new energy and dynamic to the track. A classic, timeless vibe which we're proud to be bringing you on Freerange. As with his previous release Ten, Bas works hard to deliver not one but two faultless originals so flip over for Across The Street featuring the vocals of Jennifer and you won't be disappointed. A simple, repeating six-measure synth hook drives the track and brings with it a lovely looseness and lack of obvious
structure. Kennifer's sparse, almost improvised sounding vocal drops heighten the sense of space and freefall effect making such a refreshing change to most of todays formulated and conventional house music. Last up is an amazing remix of You and Me from rising start Matt Karmil who brings his own unique and refreshing sound to the EP. Karmil's recent LP on PNN
won rave reviews from all corners and with just two other releases on Beats In Space and International Records Recordings he seems to have burst from out of nowhere but has certainly become hot property in the last 12 months. His forthcoming remix for John Talabot and Axel Boman under their Talaboman is immense and here he treads a similar path focusing on a raw percussion-heavy sound with very minimal tweaks and effects adding subtle colour and interest. These days it's very hard to breakthrough with an original, new approach to house
but Matt Karmil seems to have done it with ease.

New Zealand's Marlon Williams has quite simply got one of the most extraordinary, effortlessly distinctive voices of his generation-a fact well known to fans of his first, self-titled solo album, and his captivating live shows. An otherworldly instrument with an affecting vibrato, it's a voice that's earned repeated comparisons to the great Roy Orbison, and even briefly had Williams, in his youth, consider a career in classical singing, before realizing his temperament was more Stratocaster than Stradivarius. But it's the art of songwriting that has bedeviled the artist, and into which he has grown exponentially on his second album, Make Way For Love, out in February of 2018. It's Marlon Williams like you've never heard him before-exploring new musical terrain and revealing himself in an unprecedented way, in the wake of a fractured relationship. In early December, Williams and his longtime girlfriend, musician Aldous (Hannah) Harding, broke up. While personally wrenching, the split seemed to open the floodgates for Williams as a writer. "_I wrote about fifteen songs in a month," he recalls. Sure enough, while Make Way For Love draws on Williams' own story, in remarkably universal terms it captures the vagaries of relationships that we've all been through: he bliss (opener "Come To Me"); ache ("Love Is a Terrible Thing"); nagging questions ("Can I Call You"); and bitterness ("The Fire Of Love", whose lyrics Williams says he "agonized over" more than any). And there's "Nobody Gets What They Want Anymore", a duet with Harding, recorded after the two broke up, with Williams directing Harding's recording via a late-night long distance phone call. "We finally got to talk it out," he adds. "We still love each other very much."If "breakup record" is a trope-and certainly it is-then Marlon Williams has done it proud. Like the best of the lot, Make Way For Love doesn't shy away from heartbreak, but rather stares it in the face, and mines beauty from it.

Embarquez pour une odyssée cybernétique avec "Cyberpunk 2077 : Phantom Liberty (Original Score)", où les rythmes résonnent dans le paysage sonore de Night City. Alors que V se plonge dans les affaires des Voodoo Boys à Pacifica, le LP se transforme en une relique sonore reflétant le quartier sans foi ni loi de Dogtown. Le vinyle noir de 180g prépare le terrain pour un voyage auditif de haut niveau, plongeant les auditeurs dans l'essence des Boostergangs, des Corpos et de l'insaisissable Blackwall. L'insert 12" de l'album, présenté dans une pochette simple, dévoile les crédits musicaux, transportant les fans au coeur de l'intrigue cybernétique. Le titre principal "Phantom Liberty" de Dawid Podsiadło, ainsi que des hits comme "Force Projection" et "Hardest to Be", occupent le devant de la scène, élevant cette édition collector au rang de complément indispensable pour les passionnés de l'univers de Cyberpunk 2077. Plongez dans cette révolution sonore, où chaque morceau devient un portail vers le royaume cybernétique, faisant de cet album une expérience captivante pour ceux qui recherchent l'essence de Night City.

UNLEASH THE ARCHERS, Kanadas aufregendste Modern Power Metal Band, führen ihren Erfolg mit dem neuen, sechsten Studioalbum fort: Phantoma. Thematisch zeigt sich das neue Werk erstmals inspiriert von künstlicher Intelligenz und präsentiert eine zukunftsorientierten High-Science-Fiction Geschichte, deren Konzept Sängerin Brittney Slayes bereits während der Corona-Pandemie entworfen hatten.

Mit ihrem Album Abyss (2020) gewann das Quartett einen JUNO Award für das Metal/Hard Music Album des Jahres, debütierte auf Platz 1 der US Current Hard Music und Top New Artist Charts und brillierte in der Fachpresse. Bandcamp bezeichnete die Band als "Pflichtlektüre", Loudwire krönte die Kanadier zum "Gamechanger des Genres" und zeichnete Abyss als eines der besten Rock- und Metal-Alben des Jahres aus. Jetzt liefern UNLEASH THE ARCHERS mit Phantoma einen Einblick in die Wunder der Zukunftsmusik!

Repress
Dry mix only single LP edition, reverb mix of 2LP edition excluded.

Issued in 1975, this is the articulation of Zambia’s Zamrock ethos. Its' musicians were anti-colonial freedom fighters, it envelops Zambian folk music traditions, and it rocks - hard. Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, “because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen... all the atrocities slave drivers committed. “ Thus, their “Kale,” a blues sung in Nyanja, that traced the continent’s arc from slavery to Zambia’s independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and bandleader/lead guitarist Isaac Mpofu. Africa’s vibe ranges from anxious (“Amanaz”) to escapist (“Easy Street”) to straight-up pissed-off. On the “History of Man,” his voice whiskey-burned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species. There’s a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu’s more restrained “Khala My Friend,” which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there’s the clear Velvet Underground-influence on the nostalgic “Sunday Morning,” which, as Kabwe recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release - and the underground funk of “Making The Scene.” The album also tackles traditional Zambian music and early-‘60s rock – punctuated, of course by Kanyepa’s wah-wah and Mpofu’s fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. “Green Apple” is a civil song, featuring Kanyepa’s sighing guitar.

The title of the Lau Nau's 10th album, Aphrilis, derives from the Latin word aperire, meaning "to open." A fitting verb for the month of the year it is closely associated with — April. And while the images of plants and blossoms coming back to colorful life after a long, cold winter feels appropriate when listening to the rich and lustrous bloom of music on Aphrilis, another definition of open feels even more apt. For under the abundance lies the memory of times of austerity, the friction of hard choices, the acceptance that nothing is fixed and the future is unknown. This literal and metaphorical exploration of complexity and contradiction makes Aphrilis a multi-dimensional antidote for our troubled times, one that emphasizes the quiet and communal over noise and spectacle. Laura Naukkarinen, the Finnish artist behind this project, has long kept her mind and spirit open to whatever sounds and creative ideas felt appropriate for the moment. For the past six years that has meant primarily working with modular synthesis — learning how to build modules and releasing acclaimed work centered on its sounds like 5x4 (2023) or Puutarhassa (2022). Running parallel to this work, however, has been a continued exploration of acoustic instruments and group performances with her trio Lau Nau ja Seitsemäs Taivas. Aphrilis arrives then like fresh growth in a creative season cycle. A companion to her brilliant 2017 release Poseidon, the album, says Naukkarinen, "felt like a needed moment to embrace songs with lyrics again." And through the creation of this work, she remained open not only to her own creative muse, but also the input of her chosen collaborators. Each player on Aphrilis — Matti Bye on celesta and synths, Pekko Käppi on jouhikko, Hermanni Yli-Tepsa on violin and contrabass, Topias Tiheäsalo on electric guitar, Samuli Kosminen (Múm) on various instruments — was given free reign to arrange their own parts to accompany Naukkarinen's compositions. Kosminen’s lush fingerprint can also be heard in the mixing and production of the album, as with Poseidon six years ago. The moniker of this project may be taken from Naukkarinen’s own name, but Lau Nau feels more like a band than ever before. The delicacy and softness of the music is reflected in Naukkarinen’s lyrics. Each song is rife with imagery and creatures from the natural world. The spiders in the forest. The animals that keep a young woman company in her refuge in the woods. Wet grass. The feeling of the music is almost tactile, as if listening to the album will leave a bit of dew or sap on your fingers. The theme of this material, says Naukkarinen, runs even deeper. “The songs tell about cracks and changes of direction in different histories: personal, societal, planetary,” she says. “About moments when a yes can become a no and vice versa. The album wants to propose that at the moment of a crisis there is a possibility to influence the histories by our choices.” That may feel like a lot for such a fragile sounding collection of songs to bear. But Aphrilis is an album of surprising strength and resilience

Nach zwei herausragenden Alben, "Flower of Devotion" (2020) und "Blue Skies" (2022), die beide den Ruf von Dehd als eine der besten Rockbands der Gegenwart untermauerten, kehren Dehd mit ihrem bisher größten Statement zurück: Das neue Album "Poetry".
Die Singles "Mood Ring", "Dog Days", "Alien" und "Light On" sind, jeder für sich, die aufregendsten Dehd-Songs bis heute.

Der Dancefloor ist vereint, wenn I. JORDAN an den Decks stehen. Auf ihrem lang erwarteten Debütalbum, „I AM JORDAN“ zelebrieren die britischen Elektronikproduzenten fröhlich die kollektive Ekstase als eine Form der Selbstfindung. „Auf diesem Album geht es um Freude.“, sagen I. JORDAN. „Es geht um meine Freude als Trans-Person und um die Freude von Trans-Personen im Allgemeinen, mit Trans-Personen zu arbeiten und gemeinsam diese lustige Musik zu machen.“ Mit diesem Ziel fängt die Platte die Glückseligkeit und Dynamik eines wilden I. JORDAN-Sets ein. Mit ihrer langen Erfahrung als DJs und Produzierende, gibt es schwindelerregende Hommagen an nordische Dance-Sounds wie Donk und Hardstyle, euphorischen Trance und House und viel Raum für Entdeckungen. Entscheidend ist, dass die Platte als persönliches Tanzmusiktagebuch fungiert und eine Zeit des Umbruchs markiert. Nach gemeinsamen Tracks mit Fred Again..., Planningtorock und SHERELLE, Remix-Arbeiten mit Fever Ray, Romy und Eliza Roze und einer Handvoll viel beachteter EPs bleibt das Album dank des persönlichen Gewichts und der musikalischen Breite I. JORDANs größtes Unterfangen. Es folgt auch auf hohe Anerkennung für ihre Arbeit als DJ im Jahr 2023, einschließlich einer Nominierung für den Best DJ Award bei den „DJ Mags Best of British“-Awards 2023, einer Nominierung für den AIM Breakthrough Artist 2023 und einer Platzierung auf Platz 8 bei Mixmags „Top 25 DJs who Defined the Year 2023“.
Trotz ihres eigenen Titels ist „I AM JORDAN“ ein Produkt ihrer Gemeinschaft, wie I. JORDAN erklären. „Jeder ist miteinander verbunden, und die Vorstellung, ein Individuum zu sein, ist ein Mythos... Ich wäre nicht der, der ich bin, ohne alle anderen um mich herum. Meine Freunde, vor allem die, die mich während der ganzen Transition unterstützt haben, meine Trans-Freunde, auf die ich mich verlassen habe, Reddit-Gruppenchats - das ist alles so wichtig. In der Trans-Community schafft das keiner von uns allein.“

Cherry Red Vinyl, limitiert auf 1000 Exemplare. Die Punk-Veteranen von Hot Water Music freuen sich, die Veröffentlichung ihren brandneuen Albums Vows anzukündigen, welches am 10.05.2024 via End Hits Records erscheint. Unter der Leitung des erfahrenen Produzenten Brian McTernan gibt es auf Vows hochkarätige Gastauftritte von Thrice, Dallas Green (City and Colour // Alexisonfire), The Interrupters, Daniel Fang und Brendan Yates (Turnstile) und Popeye Vogelsang (Calling Hours // ex-Farside). Drei Jahrzehnte, 10 Alben und immer noch ein fester Pfeiler des amerikanischen Punks - Hot Water Music sind nach wie vor eine Quelle des Einflusses und der Inspiration für Bands auf der ganzen Welt. Auf dem kommenden Album Vows bleibt das Ziel der Band dasselbe wie immer: kontinuierliche Weiterentwicklung mit einem scharfen Blick in die Zukunft. "Das Thema, das während der Arbeit an diesem Album immer wieder auftauchte, war das Wachstum - wie das Schreiben eines Songs, die Aufnahme eines Albums oder das Dasein in einer Band so ist, als würde man einen Samen pflanzen und ihm beim Wachsen helfen", so die Band. "Wir denken, dass das viel damit zu tun hat, dass wir zurückblicken und erkennen, dass wir es in 30 Jahren geschafft haben, etwas Besonderes zu schaffen, das wir alle wirklich lieben" Darüber hinaus markiert "Vows" ein weiteres brillantes Kapitel in der fortgesetzten Zusammenarbeit mit dem gefeierten Produzenten und Hardcore-Legende Brian McTernan, der mit der Band an "A Flight And A Crash" (2001), "Caution" (2002) und "The New What Next" (2004) gearbeitet hat, die oft als Hot Water Music-Klassiker bezeichnet werden. Ohne zu wissen, wie es weitergeht, begann die Band mit dem Schreiben der neuen Songs mit der einfachen Absicht, Musik zu veröffentlichen, um diesen hart erarbeiteten Meilenstein zu feiern, sei es eine Single, eine EP oder ein ganzes Album. Sie waren sich jedoch absolut sicher, dass sie keine neue Platte nur um der Sache willen machen wollten; diese Platte musste aufregend, unerbittlich und vor allem notwendig sein. "Jeder hat viel Zeit damit verbracht, über die Reise nachzudenken, die uns hierher gebracht hat, und darüber nachzudenken, was wir von nun an tun wollen, während wir dieses Album machen", fasst die Band zusammen. "Wir hoffen, dass sich dieses Album für jeden, der es hört, wie eine Feier unserer Geschichte und Zukunft anfühlt. Das ist es definitiv und so fühlt es sich für uns an."

Nick Llobet (they/them) was ready to throw in the towel. Llobet, who grew up in South Florida, learned to play guitar at a very young age, dabbling in everything from classical, blues, classic rock, and flamenco. They'd spent much of their early 20s searching for their voice as an artist and as an individual, as well as for a musical community Llobet would eventually move to Brooklyn, but after three years of looking for a hopeful artistic breakthrough, they spent much of their time in seclusion, consumed by social anxiety and imposter syndrome-and they were considering abandoning songwriting completely. One day, while commuting through Penn Station en route to their partner's family home in Virginia (that would also lead to the crucial purchase of a secondhand Tascam cassette recorder), they noticed Patti Smith sitting alone, waiting for a train. The typically shy Llobet decided to approach the icon, who was, in turn, delighted to see that Llobet was carrying a guitar. At the end of their interaction, Smith offered some parting wisdom: "She wished me luck and said, 'Practice hard, Nick.'" Llobet took her advice to heart, and this chance encounter kicked off a personal and artistic rebirth. They started performing as youbet, a play on their last name, and began "changing their vision for what a song could be." youbet's debut, Compare & Despair, a delightful gem of a record that showcases Llobet's propensity for freewheeling whimsy and emotional intensity. In May 2019, inspired by a song-a-week writing group that produced Compare & Despair, Llobet started a second club in which contributors would upload that week's song to a private Bandcamp. Invigorated by this small musical collaboration, the feedback, and the accountability, Llobet wrote 18 songs throughout the duration of the club, twelve of which became Way To Be. After this songwriting marathon, Llobet spent 2020 focusing on instrumental guitar work and political engagement. By the summer of 2021, they were ready to revisit the Way To Be tracks. Over the next year-and-a-half, Llobet worked on the record relentlessly, refining the lyrics, recording, and arrangements from their apartment. Llobet self-produced Way To Be and describes the process as an enormous, labor-intensive undertaking that felt akin to "making a whole film." Along the way, Llobet was joined by collaborators, including Julian Fader (Ava Luna), Adam Brisbin (Buck Meek), and Daniel Siles. Across Way To Be's 12 delightfully off-kilter tunes, Llobet uses wordplay and tongue-in-cheek humor to obliquely explore dysfunctional relationships, regret, self-confidence or the lack thereof, queerness, and self-discovery. Fuzzy at the edges and filled with playful, kinetic arrangements, Way To Be is a bridge into the entrancing world of youbet. You won't want to leave.

Nach der Veröffentlichung der neuen Single Legendary Tippers im Januar melden sich Les Savy Fav mit ihrem ersten neuen Album seit 14 Jahren zurück! Oui, LSF erscheint am 10. Mai.

Der sechste Longplayer von Les Savy Fav entstand fast zwangsläufig in einem kleinen Raum: dem Dachboden von Sänger Tim Harrington in Brooklyn. Anders als überall, wo sie bisher aufgenommen hatten, ermöglichte dieser Raum der erfahrenen Post-Hardcore-Band eine dringend benötigte Wiedergeburt. In dieser Zwischenzeit setzten sie das zusammen, was ihre neueste Entwicklung, OUI, LSF, werden sollte, wobei der Titel und das Cover des Albums aus einem Stück Gras wuchsen. "Die Platte ist organisch gewachsen - buchstäblich und im übertragenen Sinne", bemerkt Harrington augenzwinkernd.

One of the shining beacons of the UK post-metal scene, Bossk have steadily built up an unrepentantly loyal following since 2005. Before they reach the big 20, the band are taking this opportunity to take pause and reflect on their past and all the hard graft that has led them to become one of the most lauded bands in the genre. .4, the latest in a series of numbered releases that presents material outside the remit of Bossk’s full-length album output, is a celebration of those 20 years and provides an enticing aperitif for their 3rd album proper, to be released sometime in 2025. As is tradition with these numbered releases, .4 is not a Bossk album in the conventional sense, instead forging a more experimental path by presenting re-worked versions of some old favourites, as well as a smattering of re-recorded songs that only the most obsessed Bossk fan will be familiar with. One deciding factor that emboldened Bossk to celebrate their past is the amicable departure of vocalist Sam Marsh due to his permanent relocation to the United States. The band wanted to give Sam an epic recorded send-off and the colossal 13-minute Events Occur in Real Time provides a fitting farewell for the vocalist, who’s guttural razor-wire screams have provided tectonic shifting textures to the band since their inception in 2005. Acting as the centrepiece of .4, this is the first studio take of the song ever recorded, conceived as it was in 2008, just months before the band went on temporary hiatus.

Nachdem er zig Millionen Alben verkauft, Milliarden von Streams generiert, die Charts gestürmt und Arenen und Amphitheater auf der ganzen Welt gefüllt hat, kehrt Sebastian Bach auf seinem lang erwarteten sechsten Album Child Within the Man mit neuer Musik zurück. Sebastians Rückkehr ist, gelinde gesagt, längst überfällig. Sein letztes Soloalbum, Give 'Em Hell, erschien 2014. "'Child Within the Man' klingt wie ein Album aus den 70ern in einem Video aus den 80ern im Internet im Jahr 2024", lässt er verlauten. "Es wurde von echten Musikern und einem echten Produzenten gemacht und mit echter Dynamik gemastert. Es soll groß klingen".

Mit seiner unnachahmlichen Präsenz, die so laut ist wie seine unverkennbare Stimme, hat Sebastian Bach in Musik, Theater, Film, Fernsehen und Kultur einen Abdruck in der Größenordnung der San-Andreas-Verwerfung hinterlassen. Er hat, unter anderem als Sänger von Skid Row, einige der kultigsten Hymnen der Rockgeschichte geschrieben und eingesungen mit Hits wie "18 and Life", "I Remember You", "Youth Gone Wild" und "Monkey Business". Mit seiner inzwischen legendären Rolle in Jekyll & Hyde: The Musical und seinen Hauptrollen in The Rocky Horror Picture Show und Jesus
Christ Superstar hat er Geschichte geschrieben als "der erste Heavy-Metal-Sänger am Broadway". Er hat in Dutzenden von Fernsehserien und Filmen mitgewirkt, von Trailer Park Boys und Robot Chicken bis hin zu Spongebob Schwammkopf, The Masked Singer und Hell's Kitchen. Was seine Vielseitigkeit betrifft, so ist er die seltene Naturgewalt, die mit Axl Rose im Duett singen kann und eine wiederkehrende Rolle in Gilmore Girls übernehmen kann.

Nachdem er zig Millionen Alben verkauft, Milliarden von Streams generiert, die Charts gestürmt und Arenen und Amphitheater auf der ganzen Welt gefüllt hat, kehrt Sebastian Bach auf seinem lang erwarteten sechsten Album Child Within the Man mit neuer Musik zurück. Sebastians Rückkehr ist, gelinde gesagt, längst überfällig. Sein letztes Soloalbum, Give 'Em Hell, erschien 2014. "'Child Within the Man' klingt wie ein Album aus den 70ern in einem Video aus den 80ern im Internet im Jahr 2024", lässt er verlauten. "Es wurde von echten Musikern und einem echten Produzenten gemacht und mit echter Dynamik gemastert. Es soll groß klingen".

Mit seiner unnachahmlichen Präsenz, die so laut ist wie seine unverkennbare Stimme, hat Sebastian Bach in Musik, Theater, Film, Fernsehen und Kultur einen Abdruck in der Größenordnung der San-Andreas-Verwerfung hinterlassen. Er hat, unter anderem als Sänger von Skid Row, einige der kultigsten Hymnen der Rockgeschichte geschrieben und eingesungen mit Hits wie "18 and Life", "I Remember You", "Youth Gone Wild" und "Monkey Business". Mit seiner inzwischen legendären Rolle in Jekyll & Hyde: The Musical und seinen Hauptrollen in The Rocky Horror Picture Show und Jesus
Christ Superstar hat er Geschichte geschrieben als "der erste Heavy-Metal-Sänger am Broadway". Er hat in Dutzenden von Fernsehserien und Filmen mitgewirkt, von Trailer Park Boys und Robot Chicken bis hin zu Spongebob Schwammkopf, The Masked Singer und Hell's Kitchen. Was seine Vielseitigkeit betrifft, so ist er die seltene Naturgewalt, die mit Axl Rose im Duett singen kann und eine wiederkehrende Rolle in Gilmore Girls übernehmen kann.

Nachdem er zig Millionen Alben verkauft, Milliarden von Streams generiert, die Charts gestürmt und Arenen und Amphitheater auf der ganzen Welt gefüllt hat, kehrt Sebastian Bach auf seinem lang erwarteten sechsten Album Child Within the Man mit neuer Musik zurück. Sebastians Rückkehr ist, gelinde gesagt, längst überfällig. Sein letztes Soloalbum, Give 'Em Hell, erschien 2014. "'Child Within the Man' klingt wie ein Album aus den 70ern in einem Video aus den 80ern im Internet im Jahr 2024", lässt er verlauten. "Es wurde von echten Musikern und einem echten Produzenten gemacht und mit echter Dynamik gemastert. Es soll groß klingen".

Mit seiner unnachahmlichen Präsenz, die so laut ist wie seine unverkennbare Stimme, hat Sebastian Bach in Musik, Theater, Film, Fernsehen und Kultur einen Abdruck in der Größenordnung der San-Andreas-Verwerfung hinterlassen. Er hat, unter anderem als Sänger von Skid Row, einige der kultigsten Hymnen der Rockgeschichte geschrieben und eingesungen mit Hits wie "18 and Life", "I Remember You", "Youth Gone Wild" und "Monkey Business". Mit seiner inzwischen legendären Rolle in Jekyll & Hyde: The Musical und seinen Hauptrollen in The Rocky Horror Picture Show und Jesus
Christ Superstar hat er Geschichte geschrieben als "der erste Heavy-Metal-Sänger am Broadway". Er hat in Dutzenden von Fernsehserien und Filmen mitgewirkt, von Trailer Park Boys und Robot Chicken bis hin zu Spongebob Schwammkopf, The Masked Singer und Hell's Kitchen. Was seine Vielseitigkeit betrifft, so ist er die seltene Naturgewalt, die mit Axl Rose im Duett singen kann und eine wiederkehrende Rolle in Gilmore Girls übernehmen kann.

Nick Llobet (they/them) was ready to throw in the towel. Llobet, who grew up in South Florida, learned to play guitar at a very young age, dabbling in everything from classical, blues, classic rock, and flamenco. They’d spent much of their early 20s searching for their voice as an artist and as an individual, as well as for a musical community. Llobet would eventually move to Brooklyn, but after three years of looking for a hopeful artistic breakthrough, they spent much of their time in seclusion, consumed by social anxiety and imposter syndrome—and they were considering abandoning songwriting completely. One day, while commuting through Penn Station en route to their partner’s family home in Virginia (that would also lead to the crucial purchase of a secondhand Tascam cassette recorder), they noticed Patti Smith sitting alone, waiting for a train. The typically shy Llobet decided to approach the icon, who was, in turn, delighted to see that Llobet was carrying a guitar. At the end of their interaction, Smith offered some parting wisdom: “She wished me luck and said, ‘Practice hard, Nick.’” Llobet took her advice to heart, and this chance encounter kicked off a personal and artistic rebirth. They started performing as youbet, a play on their last name, and began “changing their vision for what a song could be.” youbet’s debut, Compare & Despair, a delightful gem of a record that showcases Llobet’s propensity for freewheeling whimsy and emotional intensity. In May 2019, inspired by a song-a-week writing group that produced Compare & Despair, Llobet started a second club in which contributors would upload that week’s song to a private Bandcamp. Invigorated by this small musical collaboration, the feedback, and the accountability, Llobet wrote 18 songs throughout the duration of the club, twelve of which became Way To Be. After this songwriting marathon, Llobet spent 2020 focusing on instrumental guitar work and political engagement. By the summer of 2021, they were ready to revisit the Way To Be tracks. Over the next year-and-a-half, Llobet worked on the record relentlessly, refining the lyrics, recording, and arrangements from their apartment. Llobet self-produced Way To Be and describes the process as an enormous, labor-intensive undertaking that felt akin to “making a whole film.” Along the way, Llobet was joined by collaborators, including Julian Fader (Ava Luna), Adam Brisbin (Buck Meek), and Daniel Siles. Across Way To Be’s 12 delightfully off-kilter tunes, Llobet uses wordplay and tongue-in-cheek humor to obliquely explore dysfunctional relationships, regret, self-confidence or the lack thereof, queerness, and self-discovery. Fuzzy at the edges and filled with playful, kinetic arrangements, Way To Be is a bridge into the entrancing world of youbet. You won’t want to leave.

Cherry Red Vinyl, limitiert auf 1000 Exemplare. Die Punk-Veteranen von Hot Water Music freuen sich, die Veröffentlichung ihren brandneuen Albums Vows anzukündigen, welches am 10.05.2024 via End Hits Records erscheint. Unter der Leitung des erfahrenen Produzenten Brian McTernan gibt es auf Vows hochkarätige Gastauftritte von Thrice, Dallas Green (City and Colour // Alexisonfire), The Interrupters, Daniel Fang und Brendan Yates (Turnstile) und Popeye Vogelsang (Calling Hours // ex-Farside). Drei Jahrzehnte, 10 Alben und immer noch ein fester Pfeiler des amerikanischen Punks - Hot Water Music sind nach wie vor eine Quelle des Einflusses und der Inspiration für Bands auf der ganzen Welt. Auf dem kommenden Album Vows bleibt das Ziel der Band dasselbe wie immer: kontinuierliche Weiterentwicklung mit einem scharfen Blick in die Zukunft. "Das Thema, das während der Arbeit an diesem Album immer wieder auftauchte, war das Wachstum - wie das Schreiben eines Songs, die Aufnahme eines Albums oder das Dasein in einer Band so ist, als würde man einen Samen pflanzen und ihm beim Wachsen helfen", so die Band. "Wir denken, dass das viel damit zu tun hat, dass wir zurückblicken und erkennen, dass wir es in 30 Jahren geschafft haben, etwas Besonderes zu schaffen, das wir alle wirklich lieben" Darüber hinaus markiert "Vows" ein weiteres brillantes Kapitel in der fortgesetzten Zusammenarbeit mit dem gefeierten Produzenten und Hardcore-Legende Brian McTernan, der mit der Band an "A Flight And A Crash" (2001), "Caution" (2002) und "The New What Next" (2004) gearbeitet hat, die oft als Hot Water Music-Klassiker bezeichnet werden. Ohne zu wissen, wie es weitergeht, begann die Band mit dem Schreiben der neuen Songs mit der einfachen Absicht, Musik zu veröffentlichen, um diesen hart erarbeiteten Meilenstein zu feiern, sei es eine Single, eine EP oder ein ganzes Album. Sie waren sich jedoch absolut sicher, dass sie keine neue Platte nur um der Sache willen machen wollten; diese Platte musste aufregend, unerbittlich und vor allem notwendig sein. "Jeder hat viel Zeit damit verbracht, über die Reise nachzudenken, die uns hierher gebracht hat, und darüber nachzudenken, was wir von nun an tun wollen, während wir dieses Album machen", fasst die Band zusammen. "Wir hoffen, dass sich dieses Album für jeden, der es hört, wie eine Feier unserer Geschichte und Zukunft anfühlt. Das ist es definitiv und so fühlt es sich für uns an."

Runar Magnusson is an Icelandic/Danish sound artist and musician, currently based in Austria. With a masters degree in Electronic Music Composition from The Royal Academy of Music, Aarhus, Denmark, he is inspired by the sounds of nature, noise, and meditation. Magnusson specialises in atmospheric disturbances through minimalist compositions. A sly humour cuts through the dark hues of his works.

Magnusson writes: "The two works which make up "Inside Out of Chaos" are somewhat related. They were made at the same time and share the same source materials somewhat – a pool of sounds I had been experimenting with for a couple of years. Two separate projects created the opportunities for me to realise them in these finished forms.

At the beginning of 2020 I was invited to participate in an acousmatic concert series at the Traktorfabrikken in Vienna. Curated by Austrian composer Christian Tschinkel and performed on his Akusmonautikum sound system this particular event, titled Kill & Kaoss, was the last in the series. I named my piece after the event and dedicated it to Tschinkel´s Akusmonautikum system. Without my knowing, I had witnessed this system in action half a year earlier at a concert at the Hermann Nitsch Museum in Mistelbach, with Hermann Nitch playing the organ and Tschinkel operating the sound system – a profoundly enjoyable performance. I was very happy when I connected the dots soon after the invitation to participate. I intended my work for Kill & Kaoss to be a way to greet the new lunar year of the rat – a year which held many surprises… The event took place on 22nd of February 2020 at Traktorfabrikken, Vienna.

"Inside Out (for Trattner)" was composed for Austrian artist Josef Trattner. It was the soundtrack for a film that was a part of his exhibition "Inside Out" at the Kiesler Foundation in Vienna, 2020. I assisted with the installation of the exhibition, itself a filmed action that evolved into the movie of which this is the score. The installation was a very hard physical process that left me bloody and blistered. It was also a fascinating, trance-inducing experience. Mining with ones bare hands, digging out this huge structure and creating a womblike cave, a tunnel system, a playground, a hideaway while experiencing ever-increasing pain in the fingers and hands. The exhibition ran from 27 February 2020 until 23 December 2020.

I consider this release as the final part of a trilogy I refer to as "the three sisters of sorrow". These three releases are an insight into my state of mind at the time – a mental collapse, somewhat triggered by a move to a new country, the death of my friend Jóhann Jóhannsson and the loss of my father a year later. Between 2018 and 2021 I had the trilogy almost ready but had not been able to finish them. I sought professional help to lift me up from the deep and was diagnosed with ADHD, which explained many things in my life. Only after the darkness had lifted could I see that these three releases were connected. They depicted both the mental state I had been in – an incapacitating downward spiral, a crushing chaos – and also my search for the light, a way out of the maze and my path up to the surface."

Runar Magnusson, Vienna, 13 November 2023

Nach der Veröffentlichung der neuen Single Legendary Tippers im Januar melden sich Les Savy Fav mit ihrem ersten neuen Album seit 14 Jahren zurück! Oui, LSF erscheint am 10. Mai.

Der sechste Longplayer von Les Savy Fav entstand fast zwangsläufig in einem kleinen Raum: dem Dachboden von Sänger Tim Harrington in Brooklyn. Anders als überall, wo sie bisher aufgenommen hatten, ermöglichte dieser Raum der erfahrenen Post-Hardcore-Band eine dringend benötigte Wiedergeburt. In dieser Zwischenzeit setzten sie das zusammen, was ihre neueste Entwicklung, OUI, LSF, werden sollte, wobei der Titel und das Cover des Albums aus einem Stück Gras wuchsen. "Die Platte ist organisch gewachsen - buchstäblich und im übertragenen Sinne", bemerkt Harrington augenzwinkernd.

Nach zwei herausragenden Alben, "Flower of Devotion" (2020) und "Blue Skies" (2022), die beide den Ruf von Dehd als eine der besten Rockbands der Gegenwart untermauerten, kehren Dehd mit ihrem bisher größten Statement zurück: Das neue Album "Poetry".
Die Singles "Mood Ring", "Dog Days", "Alien" und "Light On" sind, jeder für sich, die aufregendsten Dehd-Songs bis heute.

Hailing from Copenhagen, Denmark, The Sonic Dawn is one of Europe's most prominent current acid rock bands. Formed in 2013 by childhood friends Emil Bureau, Jonas Waaben, and Niels 'Bird' Fuglede, the trio has delivered four albums, celebrated for their dynamic fusion of genres from sitar pop to heavy psych. Their highly anticipated fifth LP is slated for release this spring via Heavy Psych Sounds. The debut album, Perception (2015), marked their international breakthrough with Berlin-based Nasoni Records. The sophomore release, Into the Long Night (2017), launched on Heavy Psych Sounds, accompanied by an extensive European album tour-some 60 shows, including two weeks with Brant Bjork (US)-solidifying their presence. The subsequent album, Eclipse (2019), earned acclaim as "easily one of the best psychedelic pop albums of the decade," and once again the group hit the road hard, playing in 11 different countries. In 2020, The Sonic Dawn unveiled Enter the Mirage, recognized as "a modern psych classic" by Shindig Magazine. While the planned album tour was cut short, it was possible to play on WDR's legendary TV show Rockpalast, which has featured David Bowie, the Grateful Dead, and many more through the years. Now, their highly anticipated fifth album, Phantom (2024), is set for a worldwide release on May 10th, 2024. Formally welcoming long-time collaborator Erik 'Errka' Petersson as a new studio band member on organ/keys, The Sonic Dawn continues its sonic journey. Culminating from four years of creating music, the album showcases a raw and heavy musical style blended with the melodic psychedelia for which the band is renowned.