Search:horizon

After releasing 2020's critically acclaimed debut album 'Who Are the
Girls?', collaborating and touring with Bring Me The Horizon, cited by Tom Morello as one of his favourite bands and being named as "the most vital rock band in Britain right now" by Rolling Stone UK, Amy Love and Georgia South return with sophomore record 'Supernova'
From being "shunned" when they arrived on the scene, Nova Twins are leading a game all of their own. Now, there are no rules.

We are celebrating our 4 years anniversary with Houseum Records, so what better way than to gather together 12 artists we particularly like around a compilation rich in diversity? This double vinyl invites you to explore different horizons thanks to the multiple facets proposed. We let you discover this unexpected project full of surprises.

Wax Tailor announces the release of his new album "Fishing For Accidents" on February 10th, 2023, accompanied by a new international tour.

"The starting point of this record is a quote from the film director Orson Welles, which evokes the notion of accident in the creative process. I always thought that accidents were an integral part of creation and the job of a film or music director is also to know how to capture them in order to make the accident an artistic intention. I decided not to follow a well established concept but this more instinctive guideline and to go fishing for accidents".

In this new opus, Wax Tailor explores with his sampler a world of vinyls and cinematographic references, brandishing as a flag a stamped musical culture and multiplying references to the 7th art in a music written in 33 rpm and 24 images seconds. After the dark "The Shadow Of Their Suns" released in 2021, Wax Tailor takes us with "Fishing For Accidents", on a brighter and more colorful side without ever betraying his universe and his convictions.

A multi-recidivist talent scout, he gathers around him a prestigious cast ranging from hip hop (Mick Jenkins, Mr. Lif, Kuf Knotz, Lojii, Napoleon Da Legend, Ill Conscious, Voice Monet, David Bars, Mattic) to the indie rock scene (Jennifer Charles, singer of the legendary band Elysian Fields and Victoria Bigelow).

With one eye on the past and the other on the horizon, Wax Tailor instills the incandescence of an organic sound and distills his art of sound anachronism in a wide gap between nostalgia and modernity that has made him one of the leaders of the international electro hip hop scene for over 20 years.

Der Startschuss für das vierte Album von PIGS x7 war im November 2022 die erste, süchtigmachende Single, das knallharte und auf den Punkt gerockte "Mr. Medicine". Die Intensität des pulverisierenden Album Opener "Ultimate Hammer" und seinem Schlachtruf "I keep spinning out, what a time to be alive" ist nicht geringer. Während "Terror's Pillow" und "Big Rig" mit der für die Band typischen SABBATH'schen Kraft ausgestattet sind, übertrifft die Bandbreite dieses Mal alles, was die Band bisher versucht hat. Matts Duett mit dem traditionellen Folk-Gesang von Cath Tyler auf dem abschließenden Lamento "Ball Lightning" ist zum Beispiel eine besonders starke Illustration ihres erweiterten Horizonts. Was die emotionale Wirkung angeht, so ist "The Weatherman" ein weiterer Höhepunkt auf "Land Of Sleeper". Voller hingebungsvoller Entrückung und strahlender Intensität wird die Attacke der Band auf ein mantrisches und hypnotisches Kriechen verlangsamt und markiert eine Zusammenarbeit mit den heulenden Tönen der BONNACONS OF DOOM-Sängerin Kate Smith und einem Chor, dem Richard Dawson und Sally Pilikington angehören. Das Ergebnis ist ein Sound, der dem "We Will Fall" von THE STOOGES nicht unähnlich ist, neu erfunden und adrenalisiert als eine belebende Predigt für den Zeitgeist. PIGS x7 sind mit einem grandiosen Heavy-Stoner-Psychrock-Album zurück! Limitierte orangefarbende Vinyl-LP!

REXORIA veröffentlichen ihr drittes Studioalbum, das ihren Sound auf ein neues Niveau hebt! Starke Melodien, schwere Riffs und aufregende Keyboards sind auf 'Imperial Dawn' Programm! Empfehlung für Fans von Bands wie Battle Beast, Amaranthe, Dynazty, Unleash the Archers oder Beast in Black!

Making Circles of Our Own is the new upcoming sophomore record from Northern Ireland's New Pagans. From the very beginning the Belfast’s indie rock outfit intent was clear: to fuse their collective creative experiences and emit a confidence in both their sound and aesthetic. New Pagans in essence is a movement, challenging issues surrounding relationships, equality and history all wrapped in massive riffs and soaring dynamics shaped into their own brand of alternative, post punk and indie rock — all encompassing on the bands incoming second album ‘Making Circles of Our Own’. With the dawning of 2023 on the horizon, New Pagans have been building off the success of 2020’s debut album ‘The Seed, The Vessel, The Roots and All’ - which helped secure them as winners of ‘Best Live Act’ at the NI Music Prize in 2020 - and emerge invigorated anew. Latest single ‘Better People’ is a stunning blast of positivity that celebrates their ability to pull together, create communities and look after one another. Often outspoken and not shy of protesting the dark themes that infiltrate modern Irish life, singer & lyricist Lyndsey Mcdougall implores us to endeavour to be just as the title suggests. And with this new era comes their staggering second album ‘Making Circles Of Our Own’, which sees the five-piece abandon the chaos of 2020 for a moment in search of hope in the future. Recorded and self-produced at Badlands Studios in the Glens of Antrim in Ireland (the band's HQ) by band members Cahir O'Doherty and Allan McGreevy, New Pagans continue to expand their DIY position. This time around they also invited Sam Petts Davis (Radiohead, Warpaint, Frank Ocean) to mix the songs and the result is an energetic and infectious collection of anthems.

Marram is the second album from Scottish saxophonist and composer Matt Carmichael, perfectly blending his favourite aspects from both jazz and folk. The record follows on from his extraordinary self-released debut ‘Where Will The River Flow’, which was picked up throughout the UK and Europe, gaining over 2 million streams and building him a reputation as a rising star and ‘distinctive new voice,’ as described by BBC Music Magazine. Marram is a vital and emotive album that encapsulates the openness and emotiveness of the Scottish coastal landscape. Based in Glasgow, Matt Carmichael is a part of the flourishing Scottish jazz scene, and has already won over a fanbase across Europe with the success of 'Where Will The River Flow.' In 2021 it prompted an invitation from GRAMMY Award-winning WDR Big Band to be a guest soloist performing Bob Mintzer’s arrangements of Matt's music. With Marram, released on Edition Records, Matt has crafted an identity and compositional voice that will launch him onto the international scene.

Jackson Lee's Mystical Disco label unveils a new singing here in the form of Paranoid Pyramid. The mysterious outfit enchants us from the off here with the sleazy, meandering acid lines of the opener drawn out over dusty, dubby and deep house drums. 'Water Temple' is another proudly analogue cut with wispy pads way off in the distance and slow but lumpy drums get you into a groove. There is more hazy and horizontal depth to 'Analog Joint' and 'Memphis Prophet' pairs vaporous synths with mystic drum sounds before 'Birdspeak' making for another perfectly lo-fi world of cosmic melodic wonder.

Re-release for the first time on vinyl for this album originally from 2004 on Daft Records. “Behind The Sun” marked the return of Dirk Ivens after five years focused on other projects (The Klinik and Sonar). This time in collaboration with the Spanish musician Rafael M. Espinosa (Geistform) and with production skills of Eric van Wonterghem (Monolith, Insekt). All gained experience by Dirk shapes this album in a perfect way and the Dive-typical sobriety is not long in coming on every track with a sense of electronic menace, shown through a blaze of squeaks, hisses and subliminal aggressiveness. “Behind The Sun” is a first class work and Mr. Ivens once again confirms his exceptional position in the EBM-industrial scene.

Limited edition of 500 numbered copies on double orange vinyl record, gatefold and printed inner sleeves. Includes all original album tracks plus a bunch of extras taken from the “Frozen” EP recorded together with Diskonnekted, the complete “Lies In Your Eyes” EP and the rare song “Lost Horizon”.

This land runs through Katherine Paul’s blood. And it called to her. In dreams she saw the river, her ancestors, and her home. When the land calls, you listen. And KP found herself far from her ancestral lands during a time of collective trauma, when the world was wounded and in need of healing. In 2020 she made the journey from Portland back to the Skagit River, back to the cedar
trees that stand tall and shrouded in fog, back to the tide flats and the mountains, back to Swinomish.

It is a powerful thing to return to our ancestral lands and often times the journey is not easy. Like the salmon through the currents, like the tide as it crawls to shore this is a story of return. It is the call and response. It is the outstretched arms of the people who came before, welcoming her home. The Land, The Water, The Sky is a celebration of lineage and strength. Even in its deepest moments of loneliness and grief, of frustration over a world wrought with colonial violence and pain, the songs remind us that if we slow down, if we listen to the waves and the wind through the trees, we will remember to breathe.

There is a throughline of story in every song, a remembrance of knowledge and teachings, a gratitude of wisdom passed down and carried. There is a reimagining of Sedna who was offered to the sea, and a beautiful rumination on sacrifice and humanity, and what it means to hold the stories that work to teach us something.

Chord progressions born out of moments of sadness and solitude transform into the islands that sit blue along the horizon. The Salish Sea curves along her homelands, and when the singer is close to this water she is reminded of her grandmother, how she looked out at these same islands, and she’s held by spirit and memory.

The Land, The Water, The Sky rises and falls, in darkness and in light, but even in its most melancholy moments it is never despairing. That is the beauty of returning home. When you stand on ancestral lands it is impossible to be alone. You feel the arms and hands that hold you up, unwilling to let you fall into sorrow or abandonment. In her songs Katherine Paul has channeled that feeling of being held. In every note she has written a love letter to indigenous strength and healing.

There is a joy present here, a fierce blissfulness that comes with walking the trails along the river, feeling the sand and th stones beneath her feet. It is the pride and the certainty that comes with knowing her ancestors walked along the same land, dipped their hands into the water, and ran their fingertips along the same bark of cedar trees.

This is a story of hope, as it details the joy of returning. Katherine Paul’s journey home wasn’t made alone, and the songs are crowded with loved ones and relatives, like a really good party. And as the songs walk us through the land it is important we hover over the images and the beauty, the moments that mark this album as site specific. The power of this land is woven throughout, telling the story of narrow waterways, brush strokes, salmon stinta, and above all healing.

Let it take you. Move through the story and see the land through her eyes, because it is a gift, a welcomed sʔabadəb.*

*The word “gift” in Lushootseed, the language of the Coast Salish people“

A travelogue that unites physical and inner space, a series of trance states rendered in vivid colour, a delirious portal into the ether.
Marlene Ribeiro’s first albumunder her own name is all of this and much more. Toquei No Sol is a fresh new chapter for this unique artist, by far the most melodic and transcendent outing yet for her hypnotic dreampop.

This is only the latest release in a long history of sonic experimentation for Marlene, which includes her previous work as Negra Branca across a series of releases on labels such as Tesla Tapes and Zamzam and a long period as a member of audial iconoclasts and Rocket mainstays GNOD, not to mention collaborations with the like of Valentina Magaletti and Thurston Moore.

Toquei No Sol is also a record with a very distinctive and potent sense of place, paradoxically despite having been woven together from recordings made in Ireland, Wales, Portugal, Madeira and Salford.
It’s genesis came via a visit to Marlene’s maternal grandmother Emilia, whose influence as well as the sounds of her kitchen in Portugal.
can be heard on the album’s first track ‘Quatro Palavras’.

“Emilia ended up getting excited about me being able to record things there and then and - total news to me - told me she used to sing a lot when she was younger to the point of getting offered studio time but refusing it as she was fearful of what that could imply in those times” relates Marlene “From that point I planned to include her in this record as sort of the chance she never had of getting her voice out there.”

Elsewhere, a disarmingly catchy and irresistible grace is married to
a utilitarian approach to sound and texture. The ritualistic “Sangue De Lua de Lobo” (first released on a Sofia records compilation Songs Of The Lunar Eclipse) contains random objects from Marlene’s then-garden in Ireland, whereas on the drifting, beatific ‘Forever’ the percussion tracks are constructed from the sounds of pots and pans in her own Salford kitchen.

Yet at all times her fleet-footed approach to melody rings through even as the tracks conjure visions of heat-hazes, meditative spaces and late-night epiphanies. Although listeners may hear echoes of the
loop-driven psychedelia of Panda Bear’s Person Pitch or the incantatory ululations of Pocahaunted in these beguiling soundscapes and magick-strewn mantras, the truth is that the aesthetic here is
very much Marlene’s alone.

“It’s all a big misty haze of nostalgia, playfulness, self-reflection and hopefulness” is what Marlene reckons herself. Yet Toquei No Sol
is also a transporting vision from an artist both returning to her roots
and looking out to new celestial horizons.

Guiding weary travelers through an enchanting interdimensional odyssey, Work The Peripheral’s debut long player ‘Like Lava’ finds a treasured home on Companion. Building on the foundation of four exceptional self-released EPs, WTP continues his exploration into the world of ambient trance. ‘Like Lava’ unfolds across nine tracks that expand and contract through imagined astral landscapes, showcasing WTP’s deft ability to create deep and absorbing techno trips. Hypnotic in manifold ways, ‘Like Lava’ is a release made for getting lost in. Each track referencing the next, this hour-long journey glides through blissful realms of trance, ambient techno and house - deep basslines, muted breaks and spacious subdued percussion are unified by WTP’s characteristic ubiquitous and sparkling atmospheres.

This is an expert expression of the Companion ethos. By drawing inspiration from the likes of Robert Leiner, Speedy J and Index ID, WTP wields the language of tripped out 90s electronica to allow spellbound listeners the time to contemplate, space to travel and a place to dream.

Imagine a designer, who, after having traveled around the world, cuts her hair in a crew cut, sings « Voyage, Voyage » and will thus become number 1 in more than fifty countries including France, Germany, Spain, Russia, Israel, and many Asian
countries ! A real media phenomenon, Desireless hits a second hit with « John » before bowing out and heading off to other horizons.
We were no longer going to be deprived of the desire to listen to these now cult titles which met with dazzling success in the firmament of the Top 50 and European hit parades. This album, which includes 10 fully remastered tracks, is the ultimate testimony to the dazzling career of the New Wave diva and her collaboration with talented producers, such as her friend DJ Esteban, who delivers a super International Club Remix. The pop icon also offers an amazing acoustic version of her favorite hit, for the first time
on vinyl !
Limited Series, Colored Vinyl, including 2 versions of Voyage, Voyage.

It’s not often that an artist creates something so unique
and unpredictable that an entire genre is created
because of it, but here we are, Scene Queen and
‘BIMBOCORE’ have arrived.

 Fed up with a genre of music filled with gatekeepers
and judgmental hard rock purists, Scene Queen has
unleashed the most daring, provocative, indefinable
music the world has ever seen.

 Songs like ‘Pink Rover’ and ‘Pink Panther’ are as
daring and raunchy as they are inclusive and
community building.

 In Scene Queen’s world, one can wear pink and like
‘girly things’ while gutturally screaming relatable lyrics
over a metal riff.

 Blending metal, hard rock, and explosive pop, Scene
Queen is making music for a genreless TikTok
generation - the alt kids, the misfits, and the ones that
don't fit in.

 With a heavy following on TikTok and a wildly
entertaining live show that is an experience of a
lifetime, ‘BIMBOCORE’ is the debut of a young scene
kid emerging into the leader of a movement.

 For fans of Ashnikko, Bring Me The Horizon, Poppy.
 Recently performed at Reading & Leeds Festival and
The Great Escape. Upcoming touring with Palaye
Royale (US) and Wargasm (UK).

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape_at times calm, at times turbulent, and ever changing? H.C. McEntire's new album Every Acre grapples with those themes_themes that encompass grief, loss, and links to land and loved ones. And naming_claiming land, claiming self, being claimed by ancestry and heritage_permeates the hauntingly beautiful landscape that is this poignant collection of songs. The songs straddle the line between music and poetry. In "New View," McEntire cites poets "Day, Ada, and Laux, Berry, and Olds"_fixtures in the world of writing, whose works are beacons of light over bleak horizons. The beginning of the song is backed by soft guitar plucks that fall on the downbeat and spangle like stars, and, throughout, guitar, bass, and drums swell together gently, mimicking ebbing and flowing tides under the moon. McEntire's voice (at once tender and fierce) intones the truth of both giving and taking, releasing and claiming: "Bend me, break me, split me right in two. Mend me, make me_I'll take more of you." Permeated by heartbeat-like drums, "Shadows" develops quiet ruminations on surrender and loss_reminiscing, moving on. This ponderous, dreamlike song asks the question of how "to make room." How does one make room, for self and for renewal and surrender, when it is so difficult to leave what you know behind? Playing with slivers of descending chromatics, along with the occasional downward-stepping bass, here McEntire yearns for home, and for nesting. Perhaps one of the more grief-stricken songs, "Rows of Clover" is a lamentation, one that touches on the loss of a "steadfast hound." The lone piano in the beginning of the song is rhythmically hymn-like. The stark verse arrangement gradually leads to a chorus that reads like a moody exhale, swollen with lush guitar strums and a Bill Withers-esque understated soul groove. But what stands out the most is an image of being "down on your knees, clawing at the garden"_the only explicit mention of a person in the song. "It ain't the easy kind of healing," sings McEntire, seemingly from further and further away as her voice echoes; and healing ta;kes time, time takes time_truths that linger painfully. "Dovetail" is a song that tells of various women. The song moves back and forth between solo piano and the addition of bass and drums under vocals. McEntire's gentle, trembling vibrato_harmonized in thirds in a celebratory manner_calls to mind a rejoicing psalm and shines through these images, leaving the listener cuttingly fraught with emotions_such as wonder, sadness, nostalgia_that can only arise with these juxtapositions. Gracious (and graceful) with its lilting melodies and lush harmonies, Every Acre ex - plores the acres of our physical and emotional homes. These songs are reaching for the kind of home that we all seek: one where we can rest and lay down (or tuck away) our burdens of loss. And maybe, moving through every acre of a world that often tries to tear our sense of identity and heritage down, McEntire sheds light on what it is to be human in this life_both stingy and gracious, both hurtful and kind.

Orange Viny

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape_at times calm, at times turbulent, and ever changing? H.C. McEntire's new album Every Acre grapples with those themes_themes that encompass grief, loss, and links to land and loved ones. And naming_claiming land, claiming self, being claimed by ancestry and heritage_permeates the hauntingly beautiful landscape that is this poignant collection of songs. The songs straddle the line between music and poetry. In "New View," McEntire cites poets "Day, Ada, and Laux, Berry, and Olds"_fixtures in the world of writing, whose works are beacons of light over bleak horizons. The beginning of the song is backed by soft guitar plucks that fall on the downbeat and spangle like stars, and, throughout, guitar, bass, and drums swell together gently, mimicking ebbing and flowing tides under the moon. McEntire's voice (at once tender and fierce) intones the truth of both giving and taking, releasing and claiming: "Bend me, break me, split me right in two. Mend me, make me_I'll take more of you." Permeated by heartbeat-like drums, "Shadows" develops quiet ruminations on surrender and loss_reminiscing, moving on. This ponderous, dreamlike song asks the question of how "to make room." How does one make room, for self and for renewal and surrender, when it is so difficult to leave what you know behind? Playing with slivers of descending chromatics, along with the occasional downward-stepping bass, here McEntire yearns for home, and for nesting. Perhaps one of the more grief-stricken songs, "Rows of Clover" is a lamentation, one that touches on the loss of a "steadfast hound." The lone piano in the beginning of the song is rhythmically hymn-like. The stark verse arrangement gradually leads to a chorus that reads like a moody exhale, swollen with lush guitar strums and a Bill Withers-esque understated soul groove. But what stands out the most is an image of being "down on your knees, clawing at the garden"_the only explicit mention of a person in the song. "It ain't the easy kind of healing," sings McEntire, seemingly from further and further away as her voice echoes; and healing ta;kes time, time takes time_truths that linger painfully. "Dovetail" is a song that tells of various women. The song moves back and forth between solo piano and the addition of bass and drums under vocals. McEntire's gentle, trembling vibrato_harmonized in thirds in a celebratory manner_calls to mind a rejoicing psalm and shines through these images, leaving the listener cuttingly fraught with emotions_such as wonder, sadness, nostalgia_that can only arise with these juxtapositions. Gracious (and graceful) with its lilting melodies and lush harmonies, Every Acre ex - plores the acres of our physical and emotional homes. These songs are reaching for the kind of home that we all seek: one where we can rest and lay down (or tuck away) our burdens of loss. And maybe, moving through every acre of a world that often tries to tear our sense of identity and heritage down, McEntire sheds light on what it is to be human in this life_both stingy and gracious, both hurtful and kind.

Meg Baird’s songs are rarely made up of tidy stories. In fact, for Meg, mystery itself is often the
medium. With ‘Furling’, Meg’s fourth album under her own name, she explores the breadth of
her musical fascinations and the environments around them - the edges of memory,
daydreams spanning years, loose ends, loss, divergent paths, and secret conversations under
stars. ‘Furling’ moves through these varied spaces with the slippery, misty cohesiveness of a
dream - guided by an ageless, stirring voice that remains singular and unmistakable.
Since co-founding the beguiling and beautiful Espers in the mid-aughts amid Philadelphia’s
fertile underground music community, Meg’s solo recordings have constituted just a fraction of
her work.
Her first solo LP, the disarmingly out-of-time ‘Dear Companion’ (2007), saw her carve a quiet,
sunlit space away from the flickering swirl of Espers. Since her last solo releases, ‘Seasons on
Earth’ (2011) and ‘Don’t Weigh Down the Light’ (2015), Meg has lent thunderous drumming,
lead vocal, and poetry to Heron Oblivion (Sub Pop) on an album that garnered praise from the
New York Times and made Mojo’s Top Ten Albums Of 2016 list. She collaborated with harpist
Mary Lattimore on the mesmerizingly hazy ‘Ghost Forests’ (2018). She’s played drums with
Philadelphia scuzz-punks Watery Love (In The Red, Richie Records) and explored her deep
familial folk roots in the Baird Sisters (Grapefruit Records). She also contributed her vocal
arrangements to albums from Sharon Van Etten, Kurt Vile, Will Oldham and Steve Gunn, and
toured with Angel Olson, Dinosaur Jr., Bill Callahan, Thurston Moore and Bert Jansch, among
others.
Yet ‘Furling’ is the album that most irreverently explores the span of her work and musical
touchstones. It showcases her natural tether to 1960s English folk traditions. But it also reveals
her deep love for soul balladry, the solitary musings of Flying Saucer Attack and Neil Young
shackled to his piano deep in the foggy pre-dawn, dubby Bristol atmospherics, the melancholy
memory collage of DJ Shadow’s ‘Endtroducing’, and the delicious, Saturday night promise of
St. Etienne.
‘Furling’ was primarily recorded at Louder Studios by Tim Green (Bikini Kill, Nation of Ulysses,
Melvins, Wooden Shjips). Additional piano and vocal recording were captured at Panoramic
Studios in Stinson Beach, CA with Jason Quever (Papercuts). It was mastered in Brooklyn by
Heba Kadry, who mixed Bjork’s ‘Utopia’ and mastered albums for Slowdive, Cass McCombs
and Beach House.
For all its adornments, ‘Furling’ remains deeply intimate. The entire album was performed by
Meg and her long-time collaborator, partner, and Heron Oblivion bandmate Charlie Saufley.
While her prior solo work hinted at more expansive horizons, ‘Furling’ explores the idea of Meg
Baird as a band much more freely. Venturing beyond the musical confines of fingerstyle guitar,
she plays drums, mellotron, organs, synths, and vibraphone over her piano and guitar
foundations. Her distinctive, simultaneously elegiac and uplifting vocals, meanwhile, connect
surreal dream montages, graft sunshine sonics to swooning mediations on romantic solidarity
in trying times, and weave odes to the simple gestures of friendship - and the loss of family and
friends.
This rich sound world makes the songs a varied bunch: ‘Twelve Saints’ mates Pacific sunset
ambience and Pink Floyd pastoral to a meditation on mortality and escape. The infectious and
kinetic ‘Will You Follow Me Home’ contemplates hope and longing through the looking glass of
a Jimmy Miller-era-Stones strut. And in the closing piece, ‘Wreathing Days’, language
disintegrates over tone clusters that feel somewhere between falling and flying.
‘Wreathing Days’ also reveals much about Meg’s mastery of contrast - situating the dear and
delicate adjacent to chaos. And while it’s true that some songs on ‘Furling’ grapple with
humanity’s existential unknowns in stark terms, they primarily revel in the mysteries that hide in
nature and humanity at their most ordinary. ‘Furling’ lives in the notion that whole universes of
experience, enlightenment, elation and ecstasy can bloom in these corners.

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape at times calm, at times turbulent, and ever changing? H.C. McEntire’s new album Every Acre grapples with those themes that encompass grief, loss, and links to land and loved ones. And naming claiming land, claiming self, being claimed by ancestry and heritage permeates the hauntingly beautiful landscape that is this poignant collection of songs. The songs straddle the line between music and poetry. In “New View,” McEntire cites poets “Day, Ada, and Laux, Berry, and Olds” fixtures in the world of writing, whose works are beacons of light over bleak horizons. The beginning of the song is backed by soft guitar plucks that fall on the downbeat and spangle like stars, and, throughout, guitar, bass, and drums swell together gently, mimicking ebbing and flowing tides under the moon. McEntire’s voice (at once tender and fierce) intones the truth of both giving and taking, releasing and claiming: “Bend me, break me, split me right in two. Mend me, make me I’ll take more of you.” Permeated by heartbeat-like drums, “Shadows” develops quiet ruminations on surrender and loss reminiscing, moving on. This ponderous, dreamlike song asks the question of how “to make room.” How does one make room, for self and for renewal and surrender, when it is so difficult to leave what you know behind? Playing with slivers of descending chromatics, along with the occasional downward-stepping bass, here McEntire yearns for home, and for nesting. Perhaps one of the more grief-stricken songs, “Rows of Clover” is a lamentation, one that touches on the loss of a “steadfast hound.” The lone piano in the beginning of the song is rhythmically hymn-like. The stark verse arrangement gradually leads to a chorus that reads like a moody exhale, swollen with lush guitar strums and a Bill Withers–esque understated soul groove. But what stands out the most is an image of being “down on your knees, clawing at the garden” the only explicit mention of a person in the song. “It ain’t the easy kind of healing,” sings McEntire, seemingly from further and further away as her voice echoes; and healing takes time, time takes time truths that linger painfully. “Dovetail” is a song that tells of various women. The song moves back and forth between solo piano and the addition of bass and drums under vocals. McEntire’s gentle, trembling vibrato harmonized in thirds in a celebratory manner calls to mind a rejoicing psalm and shines through these images, leaving the listener cuttingly fraught with emotions such as wonder, sadness, nostalgia that can only arise with these juxtapositions. Gracious (and graceful) with its lilting melodies and lush harmonies, Every Acre explores the acres of our physical and emotional homes. These songs are reaching for the kind of home that we all seek: one where we can rest and lay down (or tuck away) our burdens of loss. And maybe, moving through every acre of a world that often tries to tear our sense of identity and heritage down, McEntire sheds light on what it is to be human in this life both stingy and gracious, both hurtful and kind.

Formed in 2014 in Chicago by partners Joshua Condon
and Eliza Weber, Glyders have kept busy, lighting up
shows around town and country ever since then with their
mystery sound, on the road when and where they could
from here to Europe, taking time also to self-release a
couple of EPs (‘DIM’ and ‘Lend a Hand’).
 Fuelled by Josh’s spectral vocals and the liquidity created
by his guitar and Eliza’s bass, Glyders’ mazy spacecraft
takes to the air from the empty parking lot out back of the
roadhouse and finds in its arc an anodyne of the trippy and
the wiggy / ghostly places lost and found. Glyders have it
both ways, rocking the white line with fervour but also
stopping to soak up the fragrance of the purple sage and
the queen of the night by the side of the road.
 They’ve cut their records at home, with Josh delving deep
in the pleasures of analogue recording, finding the
embodiment of their subterranean fascinations with twists
and turns of the dial in a space they’ve dubbed the Juicy
Lagoon. Steeped in the pop and psychedelic enigmas of
rock and roll yore, the buzzing of tubes and transients and
uncontainable rumble, Glyders make it shake and live in
front of the tape machine and real audiences alike with a
flexible, expansive palette of sounds and a tight bunch of
songs.
 For their first vinyl full-length, the watchword, as ever, is
‘maximal minimal’. These kids are up around the bend and
in it for the long haul. After a few line-up shifts over the
years, they’re settled down with drummer Joe Seger and
are fixing their sights on the far horizons. If you see
Glyders choogling down the track, pull up and get set for
‘Maria’s Hunt’.

Formed in 2014 in Chicago by partners Joshua Condon
and Eliza Weber, Glyders have kept busy, lighting up
shows around town and country ever since then with their
mystery sound, on the road when and where they could
from here to Europe, taking time also to self-release a
couple of EPs (‘DIM’ and ‘Lend a Hand’).
 Fuelled by Josh’s spectral vocals and the liquidity created
by his guitar and Eliza’s bass, Glyders’ mazy spacecraft
takes to the air from the empty parking lot out back of the
roadhouse and finds in its arc an anodyne of the trippy and
the wiggy / ghostly places lost and found. Glyders have it
both ways, rocking the white line with fervour but also
stopping to soak up the fragrance of the purple sage and
the queen of the night by the side of the road.
 They’ve cut their records at home, with Josh delving deep
in the pleasures of analogue recording, finding the
embodiment of their subterranean fascinations with twists
and turns of the dial in a space they’ve dubbed the Juicy
Lagoon. Steeped in the pop and psychedelic enigmas of
rock and roll yore, the buzzing of tubes and transients and
uncontainable rumble, Glyders make it shake and live in
front of the tape machine and real audiences alike with a
flexible, expansive palette of sounds and a tight bunch of
songs.
 For their first vinyl full-length, the watchword, as ever, is
‘maximal minimal’. These kids are up around the bend and
in it for the long haul. After a few line-up shifts over the
years, they’re settled down with drummer Joe Seger and
are fixing their sights on the far horizons. If you see
Glyders choogling down the track, pull up and get set for
‘Maria’s Hunt’.

Clear Vinyl

Erased Tapes are immensely proud to announce the reissue of the debut album Recording a Tape the Colour of the Light by Bell Orchestre. To honour the album"s original recordings the album is also seeing its first vinyl repress since it was released in 2005. Originally formed in 1999 whilst studying at university, the first music Bell Orchestre made was live scores for contemporary dance performances. A few years later, the studio sessions for Recording A Tape.. took place simultaneously in the same studio as when Arcade Fire were recording their eponymous debut album Funeral. The two Montreal-based bands took turns to record their albums but due to the growing interest in Arcade Fire, Bell Orchestre was put on hold as band members Parry and Sarah Neufeld quickly became occupied with Arcade Fire"s busy touring schedule. "The Bell Orchestre album was almost done, but it kind of sat there. We were just sitting on this album that we were really proud of, but we didn"t have anyone to pay attention to it" Parry told Pitchfork in 2005. The album was released to critical acclaim and has since received cult status among fans. Bell Orchestre is a collaborative instrumental group based in Montreal. Its six members come from wildly divergent musical backgrounds, and the unlikely chemistry that results from their collaboration is the very thing that sustains their connection. It"s as if the group as a whole has tapped into a very particular, very distinct energy: like that of an approaching storm. In many ways, Bell Orchestre is the sum of not only its parts, but the sum of its influences and inspirations. Among those influences can be listed such diverse artists as Lee "Scratch" Perry, Arvo Pärt, Charles Mingus, and Talk Talk. But ultimately they work together to create something that none of them has quite heard before. Bell Orchestre has been known to retreat into the woods to make and write music: from a residency at the Banff Centre for the Arts, to the forests of Quebec and Vermont, and back to their hometown of Montreal. The specifics of time and place, the elemental forces at work outside, and those forces that exist inside, all come into play within Bell Orchestre"s musical process. This particular music could be made by no one else at no other time in history. The experience of listening to Bell Orchestre, whether live or recorded, is almost that of experiencing a form of synaesthesia: the result is a collage-like construction of not just sound, but visual elements as well. From a herd of elephants to that approaching storm on the horizon, from a quiet forest in the country to ice forming on a city street, from watching vapour trails disappear in the sky to watching the changing light of dusk through a window. The result then is not so much cinematic as it is evocative: Bell Orchestre have not just written the music to the film - they have created an invisible film that only comes to life in the listening

Black Vinyl

Erased Tapes are immensely proud to announce the reissue of the debut album Recording a Tape the Colour of the Light by Bell Orchestre. To honour the album"s original recordings the album is also seeing its first vinyl repress since it was released in 2005. Originally formed in 1999 whilst studying at university, the first music Bell Orchestre made was live scores for contemporary dance performances. A few years later, the studio sessions for Recording A Tape.. took place simultaneously in the same studio as when Arcade Fire were recording their eponymous debut album Funeral. The two Montreal-based bands took turns to record their albums but due to the growing interest in Arcade Fire, Bell Orchestre was put on hold as band members Parry and Sarah Neufeld quickly became occupied with Arcade Fire"s busy touring schedule. "The Bell Orchestre album was almost done, but it kind of sat there. We were just sitting on this album that we were really proud of, but we didn"t have anyone to pay attention to it" Parry told Pitchfork in 2005. The album was released to critical acclaim and has since received cult status among fans. Bell Orchestre is a collaborative instrumental group based in Montreal. Its six members come from wildly divergent musical backgrounds, and the unlikely chemistry that results from their collaboration is the very thing that sustains their connection. It"s as if the group as a whole has tapped into a very particular, very distinct energy: like that of an approaching storm. In many ways, Bell Orchestre is the sum of not only its parts, but the sum of its influences and inspirations. Among those influences can be listed such diverse artists as Lee "Scratch" Perry, Arvo Pärt, Charles Mingus, and Talk Talk. But ultimately they work together to create something that none of them has quite heard before. Bell Orchestre has been known to retreat into the woods to make and write music: from a residency at the Banff Centre for the Arts, to the forests of Quebec and Vermont, and back to their hometown of Montreal. The specifics of time and place, the elemental forces at work outside, and those forces that exist inside, all come into play within Bell Orchestre"s musical process. This particular music could be made by no one else at no other time in history. The experience of listening to Bell Orchestre, whether live or recorded, is almost that of experiencing a form of synaesthesia: the result is a collage-like construction of not just sound, but visual elements as well. From a herd of elephants to that approaching storm on the horizon, from a quiet forest in the country to ice forming on a city street, from watching vapour trails disappear in the sky to watching the changing light of dusk through a window. The result then is not so much cinematic as it is evocative: Bell Orchestre have not just written the music to the film - they have created an invisible film that only comes to life in the listening

When Dead Horses burst on the scene with ‘Ballad For Losers’ in 2017 directly from the acid-induced foggy lands of weird Ferrara they fooled everyone from the get-go and now they are back with the aptly titled ‘Sunny Days’. These characters were here to stay, unique, oblique and oblivious. Watching them live reminds you of the highs and lows of life, a train ready to derail at any curve, literally duct taped together, that suddenly arrives on the plateau, shining in the horizon. This is when it’s important to not blink, because mark my words, you might miss the rapture, even just a minute of pure forceful magic, where everything comes together, the peak and the ecstasy hand in hand.
Their new record is once again an incredible mix of primitive-punk, Gun Club marshlands, country sadness and acid-folk that sways from the rays of light of the Vaselines to the dawn comedown of the Meat Puppets.

In ’s words:
A music journalist on the new Dead Horses record would write: a concentrate of early swampy grunge, mixed with the Californian folk psychedelia of the 60s and the folk-blues of the Appalachians, with a tune that even Piero Ciampi may have written.
I am not a music journalist so these are my words: sweet and sad songs and soundscapes that embrace you and transmit human warmth to you. This is what music should be for, to warm you up, to excite you.

The first new album from Florida based audio composer Wave Temples in almost 6 years. A synthesized soundscape of distant waves and deep ocean trenches. Sounds that evoke tropical nights and distant sunrises, quietly portraying a horizon between the turquoise tones of the sea and the shimmering coral-red burning streaks of the sky.

Available world wide on cassette and digital December 16.

Beyond The Black können auf eine imposante Erfolgsgeschichte zurückblicken: Schon mit ihrem Debüt im Jahr 2015 schlug die Band um Sängerin Jennifer Haben ein wie eine Bombe. „Songs Of Love And Death“ hielt sich wochenlang in den Top 15 der Charts und brachte den renommierten „Metal Hammer“-Award in der Kategorie „Bestes Debüt“ ein. Auch der Nachfolger „Lost In Forever“ konnte 2016 direkt daran anknüpfen, ging auf Chart-Platz 4 und führte Beyond The Black auf eine Mammut-Tour durch Deutschland, Groß-britannien über Russland bis nach Japan. Seit 2014 begeisterte die Band ihre Fans bei immer größer werdenden Auftritten auf dem Wacken Open Air und war gefeierter Support-Act für Bands wie Aerosmith, Korn, Scorpions, Saxon und Within Temptation.
Im Herbst 2019 folgte die erste eigene Europatour als Headliner–zum Großteil ausverkauft. Ihre musikalische Klasse über Genregrenzen hinweg hat Sängerin und Frontfrau Jennifer Haben zudem in Deutschlands erfolgreichstem Musikformat „Sing meinen Song“ bewiesen. Eine Erfolgsgeschichte, die mit Chart-Platz #3fürdas vierte Studioalbum „Horizons“ gekrönt wurde. Heute, zwei Jahre später, sind Beyond the Black zurück mit einem Knall und starten ein neues Kapitel. Nach den gefeierten Singles „Reincarnation“ und „Is There Anybody Out There“ kündigt die Band ihr neues, fünftes Studioalbum an, das selbstbetitelt „Beyond the Black“ heißen und am 13. Januar 2023erscheinen wird! DiePre-Order beginnt ab sofort und wird von der neuen, düster-kraftvollen Single „Winter Is Coming“ eingeläutet, die den richtigen Ton für die bis dato größte Headline-Europatournee der Band setzt.

Beyond The Black (Ltd. Box /LP+12"+2CD):
- colored 180g LP in gatefold with 2p lyric sheet (Clear with red/black splatter)

- colored 12” vinyl including 3 bonus tracks with etching on Side B (Gold)

- 2CD digi book (incl. 3 bonus tracks & instrumental CD)

- 4 signed cards (each band member)

- 4 art prints (each symbol)
Beyond The Black können auf eine imposante Erfolgsgeschichte zurückblicken: Schon mit ihrem Debüt im Jahr 2015 schlug die Band um Sängerin Jennifer Haben ein wie eine Bombe. „Songs Of Love And Death“ hielt sich wochenlang in den Top 15 der Charts und brachte den renommierten „Metal Hammer“-Award in der Kategorie „Bestes Debüt“ ein. Auch der Nachfolger „Lost In Forever“ konnte 2016 direkt daran anknüpfen, ging auf Chart-Platz 4 und führte Beyond The Black auf eine Mammut-Tour durch Deutschland, Groß-britannien über Russland bis nach Japan. Seit 2014 begeisterte die Band ihre Fans bei immer größer werdenden Auftritten auf dem Wacken Open Air und war gefeierter Support-Act für Bands wie Aerosmith, Korn, Scorpions, Saxon und Within Temptation.
Im Herbst 2019 folgte die erste eigene Europatour als Headliner–zum Großteil ausverkauft. Ihre musikalische Klasse über Genregrenzen hinweg hat Sängerin und Frontfrau Jennifer Haben zudem in Deutschlands erfolgreichstem Musikformat „Sing meinen Song“ bewiesen. Eine Erfolgsgeschichte, die mit Chart-Platz #3fürdas vierte Studioalbum „Horizons“ gekrönt wurde. Heute, zwei Jahre später, sind Beyond the Black zurück mit einem Knall und starten ein neues Kapitel. Nach den gefeierten Singles „Reincarnation“ und „Is There Anybody Out There“ kündigt die Band ihr neues, fünftes Studioalbum an, das selbstbetitelt „Beyond the Black“ heißen und am 13. Januar 2023erscheinen wird! DiePre-Order beginnt ab sofort und wird von der neuen, düster-kraftvollen Single „Winter Is Coming“ eingeläutet, die den richtigen Ton für die bis dato größte Headline-Europatournee der Band setzt.

Black White Marbled Vinyl
Beyond The Black können auf eine imposante Erfolgsgeschichte zurückblicken: Schon mit ihrem Debüt im Jahr 2015 schlug die Band um Sängerin Jennifer Haben ein wie eine Bombe. „Songs Of Love And Death“ hielt sich wochenlang in den Top 15 der Charts und brachte den renommierten „Metal Hammer“-Award in der Kategorie „Bestes Debüt“ ein. Auch der Nachfolger „Lost In Forever“ konnte 2016 direkt daran anknüpfen, ging auf Chart-Platz 4 und führte Beyond The Black auf eine Mammut-Tour durch Deutschland, Groß-britannien über Russland bis nach Japan. Seit 2014 begeisterte die Band ihre Fans bei immer größer werdenden Auftritten auf dem Wacken Open Air und war gefeierter Support-Act für Bands wie Aerosmith, Korn, Scorpions, Saxon und Within Temptation.
Im Herbst 2019 folgte die erste eigene Europatour als Headliner–zum Großteil ausverkauft. Ihre musikalische Klasse über Genregrenzen hinweg hat Sängerin und Frontfrau Jennifer Haben zudem in Deutschlands erfolgreichstem Musikformat „Sing meinen Song“ bewiesen. Eine Erfolgsgeschichte, die mit Chart-Platz #3fürdas vierte Studioalbum „Horizons“ gekrönt wurde. Heute, zwei Jahre später, sind Beyond the Black zurück mit einem Knall und starten ein neues Kapitel. Nach den gefeierten Singles „Reincarnation“ und „Is There Anybody Out There“ kündigt die Band ihr neues, fünftes Studioalbum an, das selbstbetitelt „Beyond the Black“ heißen und am 13. Januar 2023erscheinen wird! DiePre-Order beginnt ab sofort und wird von der neuen, düster-kraftvollen Single „Winter Is Coming“ eingeläutet, die den richtigen Ton für die bis dato größte Headline-Europatournee der Band setzt.

A fantastic contribution to the early 60's "sweet soul" which Ben E. King had first
helped pioneer as the lead singer of the Drifters before breaking solo. The most
obvious highlight is the smooth but heart- felt title track and the mega- classic
'Stand By Me'. Includes four bonus tracks: 'Will You Love Me Tomorrow', 'Sway',
'Amore', and 'Spanish Harlem'.

German Symphonic Metal shooting stars Beyond the Black look back on a stratospheric success story. Already their 2015 debut album hit like a bomb in their home country. “Songs Of Love And Death” besieged the German Top 15 for weeks and lead up to the band being awarded the Metal Hammer Award 2015 for “Best Debut”.
Its successor “Lost In Forever” (2016) entered the German charts on #4 right away and paved ways for a huge tour from Germany over countries like UK, Russia or Japan. Since the band’s live debut in 2014 they have played the world’s biggest Metal festival Wacken Open Air several times and toured as a support act for heavyweights such as Aerosmith, Korn, Scorpions, Saxon or Within Temptation.
In the course of album release number three (“Heart Of the Hurricane”) Beyond the Black absolved their first own European headline tour in fall 2019 consisting of over 20 shows in 10 countries – most of them sold out. But even before finishing their touring cycle in Beyond the Black got back to the studio to write record number four.
The highly anticipated “Horizons” was finally released in June 2020, entered the German album charts on #3 (CH #6, AT #16, BE #53) and marks the band’s most successful album release to date.

Now, two years after that, Beyond the Black are back with a bang and start a new chapter with the release of their new single “Reincarnation”. Jennifer Haben proclaims:
“Reincarnation materialized from a growing recognition of our mortality as humans and the consequent responsibility to live our lives to the fullest. This responsibility means to stand up for yourself, relentlessly fight for your values and also confront your biggest fears. Reincarnation is about becoming your true self and starts a new, epic chapter. This is Beyond the Black! And Beyond the Black is back!"

Repress !

Selva Discos returns to the LP reissue game with a bang – by giving a new life to the stunning and very sought-after Memória das Águas album by Fernando Falcão. Originally recorded in 1979 in Paris but only released independently in Brazil in 1981, the album comes complete with genre-hopping explorations that swirl around ambient soundscapes, lively jazz, experimental-leanings, Afro-rhythms and a unique blend of Latin grooves and French pop with a Brazilian accent, but it also comes with a story as deeply unique as the music.

To make a long story short, after participating in the political movements against the military regime in 1968 in Brazil, Fernando Falcão left the country and moved to France, where he lived in exile for 15 years. There, after working in music, acting, and sculpting, he involved himself in Jérôme Savary's legendary Grand Magic Circus, where he met his first wife, Valérie Kling. It was from this relationship that a partnership began between the musician and his father-in-law, the artist François-Xavier Lalanne, who guided Falcão in the process of inventing sound sculptures such as the balauê – a horizontal version of the berimbau string instrument whose sound was influenced by a water stream (since there was a hose soaking parts of the balauê wet during the performances). Much of this exploration and experimentation resulted in the album Memória das Águas.

The album still sounds like little else from the time. As audacious and experimental as it is seamlessly listenable, it takes in immersive textures one moment before breaking out into Fela Kuti-esque brass-soaked grooves the next. It’s ultimately a record that captures the spirit and rhythm of Falcão’s homeland combined with the lush production and art-pop approach associated with his exiled home; It’s a polished, well executed and glistening record. Its fusion of African, Brazilian, jazz, pop, classical and avant-garde collides to create a record that spans as many continents as it does genres.

Remastered from the original master tapes, not only the sound but the artwork of Memória das Águas was completely and faithfully restored. Also, the reissue comes with unprecedented liner notes featuring rare photos of the musician and his sound sculptures plus articles that help to explain who Fernando Falcão was and where Memória das Águas sits among other staples of Brazilian music, including one from DJ and selector John Gómez – who helped to connect Selva Discos' Augusto Olivani with Diana Lion, Fernando Falcão's daughter (since the musician died in 2002), for this project. After Memória das Águas, Selva Discos will also reissue another long lost Fernando Falcão LP album – Barracas Barrocas.

Repress of Kaitlyn's solo debut Euclid (primarily written on a Buchla Music Easel synthesizer), it was inspired by her love of mbira music, early electronic music pioneers like Laurie Spiegel, Oskar Sala, and Terry Riley, and euclidian geometry. Each of the first six songs on Euclid were initially structured using euclidian geometry, an idea which Smith explored while attending a class at the San Francisco Conservatory. As Smith explains, "We each chose a 3D shape and assigned our own guidelines to the different components that make up the shape. For example each point of the shape represents a different time signature, each line between the points represents a pitch, each shape within the closed lines represents a scale, etc. And then you play the shape." Despite their heady geometric origins, the songs have a playfulness and warmth that makes them inviting and memorable. In addition to the buoyant grooves of Smith's synthesizers, some of the songs feature wordless vocals, which energize the otherworldly songs, while grounding them with Smith's earthly presence. She slows things down for the second half of the record, which features a collection of twelve short pieces, Labyrinths I-XII. Originally composed as new soundtracks to old silent films she found online, Smith says the tranquil Labyrinth pieces are "intended to feel like one is walking through a holographic labyrinth and encountering different experiences such as hang gliding, viewing microbes under a microscope, ice fishing in Alaska, and watching glaciers collapse." Despite their brevity, most of these songs feel like mini odysseys, effortlessly casting a cinematic hue on the the listener's world. Throughout Euclid Kaitlyn Aurelia Smith consistently delivers sonic puzzles draped in a warm Pacific mist. At times these songs feel so alive like the musical analog to roots growing deeper and stronger, leaves on branches bending towards the light, or the sun peeking over the horizon, briefly igniting the air with a primordial swirl of warm and cool colors.

Cut by Bernie Grundman AAA all-analog from the master tapes. Plated by Master Craft and pressed at Le Vinylist Quebec


To celebrate its 70th anniversary, Naga products is introducing its 70th Anniversary 45 RPM double LP with lacquers cut by famed mastering engineer Bernie Grundman from the original masters.

The set is pure analogue from analogue master tapes. The LPs feature tracks from Bill Evans, Louis Armstrong, Monty Alexander, and Buddy Tate, along with some amazing audiophile tracks recorded on the legendary Nagra IV-S tape machine.

Naga hifi products are designed and manufactured by Audio Technology Switzerland in the Lake Geneva region. Naga's products cover high-end hi-fi equipment and professional audio recorders.

Exklusive Wiederveröffentlichung von 'The Somberlain', dem klassischen Debütalbum der schwedischen Melodic Black/Death Metal Band Dissection, das ursprünglich in den Unisound Studios aufgenommen und 1993 veröffentlicht wurde. Die neu gemasterte Version von Dan Swanö, dem ursprünglichen Tontechniker, lässt diesen Black Metal Meilenstein besser als je zuvor klingen!

- Ltd. 2LP (Limited double picture disc edition including 8 Page vinyl size booklet)

Exklusive Wiederveröffentlichung von 'The Somberlain', dem klassischen Debütalbum der schwedischen Melodic Black/Death Metal Band Dissection, das ursprünglich in den Unisound Studios aufgenommen und 1993 veröffentlicht wurde. Die neu gemasterte Version von Dan Swanö, dem ursprünglichen Tontechniker, lässt diesen Black Metal Meilenstein besser als je zuvor klingen!

- Ltd. 2LP (Limited double picture disc edition including 8 Page vinyl size booklet)

Needwant Records arrive with the latest in their ever-evolving roster showcasing the sounds of underground city life, proudly presenting label newcomer NATE08's kaleidoscopic debut LP, 'Furaha'.

London-based label Needwant Records have been tirelessly advancing dance music's esoteric fringes for well over a decade, with their immaculately curated catalogue routinely moving dancers and garnering respect and plays from the industry's most revered tastemakers. Here, the newest recruit to the label's glittering line-up, Mumbai-based musician, producer, and DJ, NATE08 brings forth his breathtaking inaugural album.

Equally adept as a producer, session bass player, and genre-spanning selector, Nathan Thomas has become an irrepressible force in India’s blossoming underground music scene. The Mumbai-based musician’s solo project, NATE08, treads the groove-oriented territories of funk, r&b, and house – with his elegantly spun productions firmly rooted in dance music's glorious heritage while imbued with a future-facing production gloss.

Title track 'Furaha' blissfully sets the tone for what's to follow, with dextrous Latin guitar gliding over intricate percussive waves as heavenly chords fill the sun-kissed panorama. Upping the energy just a touch, Azamaan Hoyvoy's honeyed vocal enlivens the summer haze of 'Trigger Fool', arriving over evocative chords and laser tight four/four rhythms to create a stunning slice of low-slung future house deepness.

The funk-flecked bump of 'Bunker' sees Nathan's bass mastery arrive in full force, with spirited slaps propelling misty chords and sublime guitar licks across a loose-limbed beat. Continuing the horizontal sensations, the captivating chord progressions of 'Hold Up' soar over thick, rolling bass notes and shimmering synth swells.

Lead single 'Sunrise Sundown' is a stunning example of NATE08's organically spun deep house prowess, with Jitwam's soul-drenched vocals cascading over succulent chords and dancing synth melodies as smokey beats and pulsating bass cement the heads-down groove. Next, hypnotic fusion guitar refrains soar over lively percussion and gentle pads for a life-affirming Balearic voyage, maintaining the carefree spirit while enlivening the senses as the arrangement heads for the horizon.

The 'Let's Go To Ibar' interlude makes way for the mesmerising deep house flex of 'Want You', where Megan Murray's yearning vocal provides the seductive hook as acidic bass notes bounce over glistening chords and propulsive beats. A prime example of NATE08's futurist intentions arrives in the form of r&b-meets-house hybrid 'Feel It', with Lojal's striking performance flitting between searing soul and street-ready swagger powers over an intoxicating, organ-infused bed.

The forward-thinking two-step rhythm of 'Cold Muse' sees broken drums drive emotion-heavy chords and bewitching guitar licks over sensual bass, before closing track 'Primrose' sees the album home with a fitting flourish. Here, Naisha's heartfelt vocals sail across an ocean of glassy chords and staccato synths, with kinetically charged congas enlivening the groove as the magnetic bass adds body to the celestial instrumentation.

Transparent Vinyl
A mixture of all-encompassing celestial fragments, A solar symphony vital to all life on our Earth as well as other planets. Our compositions reflect and explore the serene binary realms from a start point, an ancestral origin, not an Alpha, perhaps an accidental implosion in itself elevating and transcending into the infinite.
Slam Mode has again resurfaced on Sacred Rhythm to give rise to TAU CETI, an auditory and cerebral journey that examines the evolution of life and visceral transition into a melodic mind bending futuristic event horizon…Believe.

The Cosmic Duo Slam Mode once again takes flight into the abyss of galactic deepness.

10 year anniversary edition on orange & red marble vinyl. While his formative years were spent listening to everything from Yes to Photek, Scott Hansen didn't get his hands on an actual guitar or drum machine until he left his native Sacramento for San Francisco in 1995. "Encountering this whole new world at 20 years old was a profound experience," says Hansen, better known by his musical pseudonym Tycho and as the graphic artist ISO50. "At the time, I was just learning the processes of design and music; both felt very similar, and have flowed back and forth for me ever since."As seamless as his two creative outlets have been, nearly a decade passed before the release of Hansen's first proper Tycho LP, Sunrise Projector (later expanded and reissued under the title Past Is Prologue). And while three striking singles have emerged since then, the sum of all those sepia-toned parts is nowhere near the double-exposed soundscapes of Dive. The product of a prolonged break from IS050's design work and blog, it pays tribute to Tycho's prismatic past (the dense, guitar-guided turning points of "Daydream" and "Adrift") but spends most of its time pointing to the project's not-so-distant future.That can mean any number of things, really, from the halcyon hooks and hopeful horizons of "A Walk" to the expansive, wildly expressive tone poetry of the title track, an eight-minute epic that unfolds like a compressed concept album. Or at the very least, a restless vision of prog-rock - one that's been coated in neon colors and filtered through a thick piece of blotter paper. And then there's "Elegy," a spare curtain closer that pairs a vulnerable crescendo with a fitting bridge to future works.And with that, Dive establishes its position as the most diverse musical statement of Hansen's multi-medium career; the point where his skills as a performer finally catch up with his vaporized vision of a world that doesn't belong to any particular time or place."Nostalgia is a common thread in my work," says Hansen, "but this album wasn't driven by that idea. I see these songs as artifacts from a future which might have more in common with our past than our present."

First Lady of Song Ella Fitzgerald overcame the challenges of a tumultuous youth through music, her performances with the Chick Webb Orchestra at the Savoy Ballroom and distinctive scat singing leading to early recordings and the 1938 breakthrough, ‘A Tisket A Tasket.’ After recording bebop LPs for Decca, manager Norman Granz launched the Verve label to allow her to broaden her musical horizons, exploring the Great American Songbook. Released in 1960, Ella Wishes You A Swinging Christmas sees her tackle Christmas classics as only Ella can, the lavish orchestration overseen by noted conductor Frank de Vol.

Light Blue Vinyl 2022 Repress

Schwefelgelb is a Techno duo from Berlin, known for their raw but precise and cutting productions. Their reputation for a strikingly energetic live show brought them into clubs and festivals around the globe.

It seems almost ironic that in the midst of a pandemic their new 4 track EP "Der Rest Der Nacht" ("The Rest Of The Night") appears to be their clubbiest release ever. Massive kick drums, rave-like leads and hard-hitting impacts encapsulated in a detailed production - a sound that makes you long for dark concrete industrial clubs.

NPLX002 comes on 140 g colored vinyl and a download code and will be released 28th of May. The digital version contains a bonus remix by Randomer. (Presale starts 7th of May.) Previous releases on aufnahme+wiedergabe, Fleisch Records and Minimal Wave Records' imprint Cititrax have been frequently played by acclaimed DJs (Phase Fatale, Randomer, VTSS, Amelie Lens, Regis, Helena Hauff, Veronica Vasicka, Silent Servant to name a few).