Suche:isis

2023er LP Nachpressung auf schwarzem Vinyl! Nach eigenen Angaben verbrachten Gitarrist Mike Sullivan und Drummer Daniel Turncrantz eine gewisse Zeit in amerikanischen Nationalparks und fuhren durch Berglandschaften, als sie "Station" aufnahmen. Ihr Album klingt auch entsprechend episch, monumental und besitzt eine unglaubliche Tiefe. Sullivan und Turncrantz bekamen prominente Unterstützung vom THESE ARMS ARE SNAKES/BOTCH Bassisten Brian Cook, während sich Morgan Henderson von den BLOOD BROTHERS (R.I.P.) auf "Xavii" dem Kontrabass annimmt. Aufgenommen in Seattle von Mastermind Matt Bayles (ISIS, MASTODON, MINUS THE BEAR), verpasste er der Band diesen intensiven und beeindruckenden Klang und achtete gleichzeitig darauf, dass "Station" den Namen Album auch wirklich verdiente: ein kohärentes Werk, vom ersten Lied Campaign bis zum letzten Lied mit Double Bass Xavii. Insgesamt sechs Stücke befinden sich auf "Station" und es ist ohne Untertreibung instrumentaler Postrock at its best! Ein echtes Kunstwerk. Gegründet 2004 haben RUSSIAN CIRCLES von Anfang an mit Versatzstücken des Metal, Elementen des Minimal Jazz und kryptischen Riffs, die so klangen, als sei ein Komet in einer Großstadt eingeschlagen, verwirrt, polarisiert und unendlich verzückt. Ihre Musik verwebt einen Teppich aus intensivsten cinematischen Eindrücken, der einem auf der einen Seite mit seiner Härte den Boden unter den Füßen wegzieht, es auf der anderen Seite aber auch versteht, den Aufprall zu bremsen und für Kopfkino ohne Gleichen sorgt. "Enter", ihr Debüt von 2006, bescherte RUSSIAN CIRCLES Shows mit Größen wie TOOL, DALEK, DAUGHTERS und PELICAN. RUSSIAN CIRCLES setzen mit "Station" genau dort an, wo sie mit "Enter" aufhörten, erschließen sich aber gleichzeitig einen neuen Weg in die musikalische Tundra, um Kopf und Körper mitzuziehen und nicht nur dem Jahre 2008, sondern der ganzen Musikgeschichte ihren Stempel aufzudrücken.

2023er LP Nachpressung auf schwarzem Vinyl! Nach eigenen Angaben verbrachten Gitarrist Mike Sullivan und Drummer Daniel Turncrantz eine gewisse Zeit in amerikanischen Nationalparks und fuhren durch Berglandschaften, als sie "Station" aufnahmen. Ihr Album klingt auch entsprechend episch, monumental und besitzt eine unglaubliche Tiefe. Sullivan und Turncrantz bekamen prominente Unterstützung vom THESE ARMS ARE SNAKES/BOTCH Bassisten Brian Cook, während sich Morgan Henderson von den BLOOD BROTHERS (R.I.P.) auf "Xavii" dem Kontrabass annimmt. Aufgenommen in Seattle von Mastermind Matt Bayles (ISIS, MASTODON, MINUS THE BEAR), verpasste er der Band diesen intensiven und beeindruckenden Klang und achtete gleichzeitig darauf, dass "Station" den Namen Album auch wirklich verdiente: ein kohärentes Werk, vom ersten Lied Campaign bis zum letzten Lied mit Double Bass Xavii. Insgesamt sechs Stücke befinden sich auf "Station" und es ist ohne Untertreibung instrumentaler Postrock at its best! Ein echtes Kunstwerk. Gegründet 2004 haben RUSSIAN CIRCLES von Anfang an mit Versatzstücken des Metal, Elementen des Minimal Jazz und kryptischen Riffs, die so klangen, als sei ein Komet in einer Großstadt eingeschlagen, verwirrt, polarisiert und unendlich verzückt. Ihre Musik verwebt einen Teppich aus intensivsten cinematischen Eindrücken, der einem auf der einen Seite mit seiner Härte den Boden unter den Füßen wegzieht, es auf der anderen Seite aber auch versteht, den Aufprall zu bremsen und für Kopfkino ohne Gleichen sorgt. "Enter", ihr Debüt von 2006, bescherte RUSSIAN CIRCLES Shows mit Größen wie TOOL, DALEK, DAUGHTERS und PELICAN. RUSSIAN CIRCLES setzen mit "Station" genau dort an, wo sie mit "Enter" aufhörten, erschließen sich aber gleichzeitig einen neuen Weg in die musikalische Tundra, um Kopf und Körper mitzuziehen und nicht nur dem Jahre 2008, sondern der ganzen Musikgeschichte ihren Stempel aufzudrücken.

Brian Jonestown Massacre, Velvet Underground, TOY. “Upon the highways of Freedom, where Evil is like a Ferrari… “ Unbeknownst to its members, Index For Working Musik was born on an evening in late 2019 amidst the discovery of a collection of faded b&w photocopies that had been marinating on the floor of a urine-alley in the Gothic Quarter of Barcelona. An assortment of sacred and profane imagery were crumpled amongst an essay on early Christian hermits, entitled Men Possessed by God, the meaning of which was enticingly vague. Received together, they planted the seeds for a new endeavour. Though Max Oscarnold and Nathalia Bruno were already engaged in a creative ping-pong of sorts, the results to this point had only totaled a 30 min long ½ inch tape containing one track and four interludes. They needed a page and they needed ink, and they needed a place and it needed energy. Suddenly by chance or divine intervention, their experimental venture had been given form and direction. Back home in London’s cursed smog, they moved themselves and their 8-track studio into a basement in E8, where the project’s gravitational pull gained strength, quickly developing into an unexpected collective with the incorporation of drummer Bobby Voltaire, double bass player E. Smith and guitarist J. Loftus. As the world shifted around them and the Plague Years followed, it became increasingly clear that they were not going to leave that small basement room. The scarcity of light or outer world presence was less a limitation, instead the main tool at hand, allowing the recording to stretch for boundaryless days in architectural isolation, and forcing them to make straight forward free guitar music, adopting a ‘first thought, best thought’ approach. 35 minutes of repeat phrased guitars, slow-clipped drums and dulcet vocals where the recurring landscape is the desert. Reel-to reel-loops of Afghan music compete with the found sound overlays of voices recorded at the queue of the pharmacy and drum machines borrowed from Spanish heroes, channelling both far-off climes and snippets from a closer reality. It’s a strange psychic brew, built of imagined mysticism and domestic realities, of fever dreams and days that stretched into weeks of months. What was sparked by that discovery in the Gothic Quarter was actually a realisation that what they were looking for was with them all the while, buried as it was in piles of voice memos and recorded guitar feedback. Men Possessed By God they may be not: it was self-possession that was to guide their way in the end. “Life, despite all its destructive changes, remains indestructibly powerful and joyful

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023, wie üblich gibt es auch eine rein instrumentale Version des Werkes. Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Tracks fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023! Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Songs fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, 20seitiges Booklet, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023, wie üblich gibt es auch eine rein instrumentale Version des Werkes. Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Tracks fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023! Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Songs fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, 20seitiges Booklet, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023, wie üblich gibt es auch eine rein instrumentale Version des Werkes. Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Tracks fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, printed inner sleeve

Die deutsche Post-Metalformation THE OCEAN veröffentlicht ihre neuen Albums "Holocene" im Mai 2023! Mit Holocene fügen The Ocean das neue und abschließende Kapitel in ihrer paläontologisch inspirierten Albumserie hinzu. Erweitert wird die Härte des Kollektivs diesmal um einige elektronische Dimensionen. Gegründet zu Beginn des Jahrtausends, hat die Gruppe von Musikern um den Gitarristen Robin Stapps auch nach über 20 Jahren nicht an Intensität eingebüßt. The Ocean kommen jedesmal zusammen mit der gemeinsamen Vision von grenzenloser Klangforschung, niemals stillstehend, genießt die Band einen hervorragenden Ruf in den Genres des Postrock, Progressive Metal und sogar Hardcore. Robin Staps kommentierte das abschließende Werk der paleontologischen Albumserie: "Holocene is an appendix to the 2 Phanerozoic albums and Precambrian, or the final and concluding chapter, making it a quadrilogy if you want so. It's tackling the Holocene epoch, which is the current and shortest chapter in earth's history, but it is essentially an album about the angst, alienation, loss of reason and critical thinking, rise of conspiracy theories and deconstruction of values in the modern age." Zum Entstehungsprozess und der elektronischen Basis der neuen Songs fügt er hinzu: "The writing process of every album we've ever made started with me coming up with a guitar riff, a drumbeat or a vocal idea. This album is different since every single song is based on a musical idea that was originally written by Peter (Voigtmann, synths). He came up with these amazing synth parts that were already sounding huge in pre-production, and he sent me some of those raw, unfinished ideas during mid lockdown 2020... and while it was all electronic, it had that definite Ocean vibe to it. It made me want to pick up my guitar instantly_ and so I did, and it didn't take long until we had an inspiring creative exchange that was heading towards totally unforeseen but very exciting places." Für Fans von Massive Attack, Lorn, Archive, Trentemöller, early Moderat, Portishead, Isis, Mastodon, Katatonia, The Pineapple Thief Gatefold aus schwarzem Spezialpapier mit Stanzungen, metallic inks und UV Spot Lack, Insert mit Kupferfolienprägung, 20seitiges Booklet, printed inner sleeve

For over 28 years envy have been crafting soaring compositions with captivating melodies that owe as much to Explosions in the Sky and Mogwai as they do to Bad Brains and Cro-Mags. Their new EP continues to display a masterful control of tension and release in chords and melodies behind the steady spoken-word Japanese of singer Tetsuya. Throughout their storied career, Japanese ENVY have paved the way for iconic bands like Isis, Converge and Deafheaven with their unique sound blending elements of hardcore / punk with reverb-drenched tremolo-picked guitar lines owing to the world of post-rock. Envy sit right in between these 2 worlds, and prove that they are not as disparate as it seems at a first glance. Opening track ,Seimei` marries tear-inducing melodies with gut-wrenching grooves to create a soul journey, while ,Zanshin` (meaning ,uninterrupted heart` in Japanese) dashes forward with an upbeat groove and soaring post rock leads. On ,Tamayura', the energy is dialed back as reverb-drenched tremolo-picked guitar lines wash over you from behind alongside Japanese spoken word-parts and a throbbing heartbeat. This is ENVY at their very best. FFO Mono, Mogwai, Explosions In The Sky, Isis, Swans, Pelican, Caspian, Thursday, From Autumn To Ashes, Thursday, Birds In Row, Deafheaven Limited (400 copies ww) Single Coloured Tamayura (Dark Red Vinyl) Edition!

15 years after the album’s release, ‘City Of Echoes’ is now
available in a deluxe 2LP edition, newly remastered by
Josh Bonati and featuring a full LP’s-worth of bonus
material, including original album demos, alternate takes,
and pieces originally only available on the rare ‘Pink
Mammoth’ EP.
‘City Of Echoes’, originally released in 2007 by Hydra
Head Records, marked a paradigm shift for Pelican.
Coming off the heels of the glacial ‘Australasia’ and their
even more expansive and acclaimed follow-up, ‘The Fire
In Our Throats Will Beckon The Thaw’, their third album is
a study in precision.
Inspired by their non-stop tour schedule following ‘The Fire
In Our Throats Will Beckon The Thaw’’s release, the
quartet composed ‘City Of Echoes’ to be a lean
powerhouse of non-stop melodic hooks and lurching
rhythms that reflected the energy of live performance.
Guitarists Trevor Shelley de Brauw and Laurent
Schroeder-Lebec trade crisp riffs that twirl in opposition
before thundering together in monoliths. The sheer
amount of potent interplay between the two, often
borrowing from disparate edges of rock and metal at a
whim before completely transforming, is mind-boggling.
Bassist Bryan Herweg and rhythm section compatriot /
drummer / brother Larry Herweg lock into a wider array of
grooves than ever before. Their considered bedrock
guides the band’s dynamics into some of the ensemble’s
most tender moments as well as their most ferocious.
Recorded by Andrew Schneider at Electrical Audio Cover.
Art designed by ISIS and SUMAC founder Aaron Turner,
with photography by Robin Laananen.
Also available to independent retailers on Translucent Blue
vinyl.

15 years after the album’s release, ‘City Of Echoes’ is now
available in a deluxe 2LP edition, newly remastered by
Josh Bonati and featuring a full LP’s-worth of bonus
material, including original album demos, alternate takes,
and pieces originally only available on the rare ‘Pink
Mammoth’ EP.
‘City Of Echoes’, originally released in 2007 by Hydra
Head Records, marked a paradigm shift for Pelican.
Coming off the heels of the glacial ‘Australasia’ and their
even more expansive and acclaimed follow-up, ‘The Fire
In Our Throats Will Beckon The Thaw’, their third album is
a study in precision.
Inspired by their non-stop tour schedule following ‘The Fire
In Our Throats Will Beckon The Thaw’’s release, the
quartet composed ‘City Of Echoes’ to be a lean
powerhouse of non-stop melodic hooks and lurching
rhythms that reflected the energy of live performance.
Guitarists Trevor Shelley de Brauw and Laurent
Schroeder-Lebec trade crisp riffs that twirl in opposition
before thundering together in monoliths. The sheer
amount of potent interplay between the two, often
borrowing from disparate edges of rock and metal at a
whim before completely transforming, is mind-boggling.
Bassist Bryan Herweg and rhythm section compatriot /
drummer / brother Larry Herweg lock into a wider array of
grooves than ever before. Their considered bedrock
guides the band’s dynamics into some of the ensemble’s
most tender moments as well as their most ferocious.
Recorded by Andrew Schneider at Electrical Audio Cover.
Art designed by ISIS and SUMAC founder Aaron Turner,
with photography by Robin Laananen.
Also available to independent retailers on Translucent Blue
vinyl.

The Others (Lustmord Deconstructed) is a celebration of the fearless attitude of being different and the expression of unique ideas which have never existed before. Over 13 years after the release of O T H E R , Pelagic Records has gathered 16 bands and solo artists to record their own unique takes on tracks from the Other-sessions. The result is an album that is more than a compilation, and more than the sum of its parts; covering a wide range of musical niches and directions, but sharing the same underlying mood and vibe defined by Lustmord's timeless soundscapes: from the ambient solo performances provided by IHSAHN, ENSLAVED or JONAS RENKSE to the subdued voice of ZOLA JESUS woven into Lustmord's sombre fabric to the industrial carnage that is GODFLESH's version of `Ashen'. LUSTMORD is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with THROBBING GRISTLE members Chris & Cosey as well as appearing on early albums by CURRENT 93, NURSE WITH WOUND and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE MELVINS, CLOCK DVA, JARBOE, John Balance of COIL, Paul Haslinger (TANGERINE DREAM), PUSCIFER, Wes Borland and more, including Grammy Award-winners TOOL on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°RABROT, and he is considered to be the founding father of the dark ambient music genre. The original O T H E R was released by independent record label Hydra Head Records, founded by ISIS frontman Aaron Turner and former home of bands such as CONVERGE, PELICAN, JESU, SUN O))) or BORIS. As one journalist put it at the time, O T H E R is a "grim example of a consummate artist who is working frmly within the parameters that he has laid out for himself over the years." This album shows Lustmord at his most characteristic, and the icy, ominous guitar playing of Jones, Turner and Ozborne resonates perfectly within the deep soundscapes that make up this frightening yet inspiring journey. What demonstrates the profound influence of Lustmord on this contemporary music underground showcased here is that artists from disparate ends of the sonic spectrum all feel inspired to explore the essence of his idiosyncratic sounds within their own realm: experimental electronica icons ULVER excel on a stunning, hazy rendition of `Godeater', while Japanese post-rock act MONO deliver a crushing version of `Er Eb Os', and THE OCEAN take us on a cathartically heavy mindtrip back to our `Primal State of Being'. In the end, each of these 16 artists delivers an interpretation that pays the deepest respect to this pivotal artist, while also standing out as a new track of its own.

Thrill Jockey Records is proud to present Into This Juvenile Apocalypse Our Golden Blood to Pour Let Us Never, the third collaborative album by Japanese free music provocateur Keiji Haino and expressionist metal trio SUMAC. Into This Juvenile Apocalypse finds the quartet navigating the push-and-pull of creative interplay with bolder strides and stronger chemistry. Recorded on May 21, 2019 at the Astoria Hotel on Vancouver BC"s notorious East Hastings Street as a one-off performance during a short North American tour for Haino, the six compositions comprising Into This Juvenile Apocalypse showcase a musical unit bouncing unfiltered ideas off of one another, mining a trove of textures and timbres from their armory to buoy and bolster these living and breathing pieces. Like so many albums documenting free music, the thrill here is in the tight rope walk, the wavering moments of uncertainty and the ecstatic moments of shared brilliance. Japan"s fearless multi-instrumentalist and cultural provocateur Keiji Haino has made a career out of his free-form musical improvisations and diverse collaborations. Whether deconstructing American blues, to a few rogue notes hanging across chasms of empty space in his solo endeavors, sparring with the nebulous fringes of psychedelia in Fushitsusha, or teaming up with musicians like Faust, Boris, Jim O"Rourke, Stephen O"Malley, John Zorn, and Peter Brötzmann for fleeting aural experiments. Haino"s work is never pre-planned or structured, but rather a completely spontaneous exploration of chemistry, texture, and dynamics. SUMAC"s tenure is much younger than Haino"s, though guitarist-vocalist Aaron Turner has covered a similarly large swath of musical territory across numerous projects and collaborations. From the sedated drones of recent projects with Daniel Menche and William Fowler Collins, to the modern compositions of Mamiffer and all the way back to the restless evolutions of post-metal stalwarts ISIS. With his cohorts Nick Yacyshyn (Baptists, Erosion) on drums and Brian Cook (Russian Circles) on bass, Turner has dissolved the rigid forms of heavy music, searching for a balance between disciplined precision and unhinged musical barbarism, crafting music that vacillates between meticulously detailed instrumentation and uninhibited forays into oblique abstraction.

Thrill Jockey Records is proud to present Into This Juvenile Apocalypse Our Golden Blood to Pour Let Us Never, the third collaborative album by Japanese free music provocateur Keiji Haino and expressionist metal trio SUMAC. Into This Juvenile Apocalypse finds the quartet navigating the push-and-pull of creative interplay with bolder strides and stronger chemistry. Recorded on May 21, 2019 at the Astoria Hotel on Vancouver BC"s notorious East Hastings Street as a one-off performance during a short North American tour for Haino, the six compositions comprising Into This Juvenile Apocalypse showcase a musical unit bouncing unfiltered ideas off of one another, mining a trove of textures and timbres from their armory to buoy and bolster these living and breathing pieces. Like so many albums documenting free music, the thrill here is in the tight rope walk, the wavering moments of uncertainty and the ecstatic moments of shared brilliance. Japan"s fearless multi-instrumentalist and cultural provocateur Keiji Haino has made a career out of his free-form musical improvisations and diverse collaborations. Whether deconstructing American blues, to a few rogue notes hanging across chasms of empty space in his solo endeavors, sparring with the nebulous fringes of psychedelia in Fushitsusha, or teaming up with musicians like Faust, Boris, Jim O"Rourke, Stephen O"Malley, John Zorn, and Peter Brötzmann for fleeting aural experiments. Haino"s work is never pre-planned or structured, but rather a completely spontaneous exploration of chemistry, texture, and dynamics. SUMAC"s tenure is much younger than Haino"s, though guitarist-vocalist Aaron Turner has covered a similarly large swath of musical territory across numerous projects and collaborations. From the sedated drones of recent projects with Daniel Menche and William Fowler Collins, to the modern compositions of Mamiffer and all the way back to the restless evolutions of post-metal stalwarts ISIS. With his cohorts Nick Yacyshyn (Baptists, Erosion) on drums and Brian Cook (Russian Circles) on bass, Turner has dissolved the rigid forms of heavy music, searching for a balance between disciplined precision and unhinged musical barbarism, crafting music that vacillates between meticulously detailed instrumentation and uninhibited forays into oblique abstraction.

Red Sparowes sweeping guitar orchestrations thrive unbound by narrative, reliant on the merits and strength of their power alone. "The Fear Is Excruciating, But Therein Lies The Answer" serves as a conduit where limitless amounts of imagery can reside within the grandiose scope of the quintet's lush symphonic vignettes. Though Red Sparowes’ music thrives unbound by narrative, the band provides a roadmap to their muse. Their 2005 debut album, At The Soundless Dawn, cast the scientific inevitability of the Sixth Extinction into a grand funeral oration, revealing the message within the individual track titles. Their second full-length, Every Red Heart Shines Toward the Red Sun (2006) provided a synopsis of the Great Sparrow campaign of the Great Leap Forward, laying bare its conceptual role. The Aphorisms EP (2008 digital, 2009 12" vinyl) served a thematic precursor to the next album. Red Sparowes' latest offering, The Fear is Excruciating, But Therein Lies the Answer, began with the larger existential pondering of truth, faith, order, causality, and the innate demand for an understanding of the larger world around us. While Red Sparowes’ majesty is hardly in need of story, the provision of the larger metaphor yields a heightened depth and gravity to their work. Red Sparowes consists of guitarist/keyboardist Bryant Clifford Meyer (also of Isis), bassist/pedal steel player Gregory Burns (ex-Halifax Pier), drummer David Clifford (ex-Pleasure Forever), guitarist/keyboardist Andy Arahood (ex-Angel Hair) and guitarist Emma Ruth Rundle (also of The Nocturnes). Tracks : 1 Truths Arise, 2 In Illusions of Order, 3 A Hail of Bombs, 4 Giving Birth to Imagined Saviors, 5 A Swarm, 6 In Every Mind, 7 A Mutiny, 8 As Each End Looms and Subsides

Pelican"s debut album Australasia, originally released in late 2003 by Hydra Head Records, is a landmark record in the shifting tides of heavy music that took place at the turn of the millennium. 20 years since its release and several sold out represses, Australasia is a proven essential for any listener exploring the bounds of rock music. Now issued as a deluxe double LP edition of the , newly remastered for vinyl and complete with 3 never-before-released bonus Songs , including a remix by James Plotkin and digital downloads of early Pelican live recordings. Artwork by ISIS and Sumac founder Aaron Turner. Following the release of the band"s auspicious self-titled EP, Australasia"s singular integration of melodic complexity and tremendous density redefined conceptions of what constituted "heavy." Pelican"s unique manipulation of atmosphere and dynamics seamlessly alchemized their disparate influences beyond metal into music grand, mercurial and utterly sublime, worthy of the album"s namesake. Billowing clouds of strange serenity give way to tectonic riffs. Hypnotic rhythms chug at the precipice between doom and euphoria. Guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec twirl soaring harmonies around the roaring thunder of bassist Bryan Herwig and drummer Larry Herwig. Throughout the album, the quartet move as one like a glacier, awesome and forever imbuing the landscape with their mark. Australasia stands as a pioneering work, unmatched in the level of unbridled beauty and devastation Pelican wields across the album.

Crone's debut full length "Endless Midnight" represents Jeff Caxide's (of
Isis (the band) and Palms) foray into ambient soundscapes and partly
inspired by more than a decade performing around the world
Featuring contributions from a few old friends and drawing influence from fiction
and film as much as sonic luminaries Tangerine Dream and Vangelis, "Endless
Midnight" sees a re-release on vinyl for the first time!

"Every 4,044 years comet Calanhi enters the inner solar system, returning from its long and silent voyage through the Oort cloud. As it approaches perihelion, billions on Earth gaze into the night sky, transfixed by the celestial spectacle of their lifetime. While solar winds tear at the comet's surface, deep inside the glowing ball of ice, ancient machinery springs to life..." Over the past five years Daniel Lodig and Martin Sovinz aka /DL/MS/ have been continually commuting through the electro singularity, constructing their unique brand of fragile bass music from extradimensional sound salvage, and spreading their frequency patterns via the subspace channels of Frustrated Funk, Pomelo, and TRUST. 'Calanhi' is the Viennese duo's debut album - 12 tracks that combine the eternally fresh aesthetics of Detroit-style electro with a relentless curiosity for rhythmic and harmonic experimentation. Seismic club thumpers like 'Invisible Bits', 'Mountains', and 'Trusted Funk' alternate with moody ambient interludes, boldly constructed beat inventions, and blissfully melodic acid breaks. Two collaborations further switch up the flow: Nigerian artist G.Rizo (Hezekina Pollutina, Deejay Gigolo) drops her cryptic rhymes on 'Divide & Conquer', and Spanish singer Xx Isis xX provides vocals for 'Accelerated Frequency'. Mastered by Keith Tenniswood aka Radiocative Man. Sleeves designed by dextro_org. Vinyl version ships with postcard and Bandcamp download code.

HIGHLIGHTS: Objetos Musicais is a collection of 13 sound pieces created by artists from South America and Switzerland, who work in an intermediate zone among the craft of luthiers, visual arts and experimental music. Their works evoke the visionary ideas of Walter Smetak, a Swiss composer who lived in Salvador, Bahia (Brazil) Smetakian spirit tunes in with a new community of contemporary artists, who relate to the work of the so-called "experimental luthiers": artists who build their own instruments, lead them towards radical extended versions or take the exploration towards the building of resonant machines. DESCRIPTION: Objetos Musicais is a collection of 13 sound pieces created by artists from South America and Switzerland, who work in an intermediate zone among the craft of luthiers, visual arts and experimental music. Their works evoke the visionary ideas of Walter Smetak, a Swiss composer who lived in Salvador, Bahia (Brazil). Smetak was a pioneer of musical experimentation in that country and developed, in the 60s and 70s, a musical poetics that was captured in two seminal albums, Smetak (1974) and Interregno (1980), both of which, after being out of print for a long time, have been reissued today, hence the motivation for this tribute. On those two albums, Smetak combined Afro-Brazilian ritual traditions, theosophy, microtonality studies, collective improvisation and the use of unconventional musical instruments, which he called Plasticas Sonoras. Smetak came to build around 150 acoustic instruments, many of which are true sound sculptures of great visual impact. This latter aspect is the most directly evoked one on this album-and it so happens that the Smetakian spirit tunes in with a new community of contemporary artists, who relate to the work of the so-called "experimental luthiers", artists who build their own instruments (Marco Scarassatti, Phillipp Laeng, Maria Anália), lead them towards radical extended versions (Ruben Dhers, Claudio Merlet), develop hybrid projects involving instruments and sound sculpture (Javier Bustos, Alvaro Icaza and Verónica Luyo, Juan Pablo Egúsquiza, Edgardo Rudnitzky) or take the exploration towards the building of resonant machines (Nicole L'Huillier, O Grivo, Zimoun, Cod.Act), without these categories being mutually exclusive, but rather tending to mix, thereby opening up new sonic possibilities. This new community of artists has begun to create a whole new field of research and, in a way, a new discipline, understandable within the context of this new paradigm opened by the maker culture, which has pushed creators and developers from all over the world to conceive alternative-anti-hegemonic and DIY-forms of production. Therefore, this collection allows the artists to evoke Walter Smetak but also to connect his work to this new scene-to which it precedes-a link for this new art that makes its way at some point among the work of experimental luthiers, sound art, experimental music and the DIY ethics. Curated by Luis Alvarado and Chico Dub. Art by René Sánchez. Limited edition of 300 copies on vinyl. This project is part of the experimental music and sound art platform Incidencias Sonoras: COINCIDENCIA, by the Swiss Arts Council Pro Helvetia.

CLEAR VINYL W. PINK STREAKS

2xLP pressed on virgin vinyl, packaged in a wide spine jacket printed on uncoated stock with custom high gloss slipcase and free download card. Love is what makes us human. It guides our decisions, shapes our worldview, and defines our experiences. Its absence equates to tragedy while its presence gives our lives meaning. "Love has been well worn theme throughout a lot of rock music, but most commonly in terms of love-lost, overly romanticized versions of new love, or as a veil for sexual conquest," says SUMAC guitarist and vocalist Aaron Turner (Old Man Gloom, Mamiffer, ISIS). "It is rarely addressed in its more spiritual and vulnerable aspects." Those less-traversed territories of humankind's connective bond became the central theme SUMAC's third full-length album, Love In Shadow, though their explorations of that motif are a far cry from traditional manifestations of love in the realm of art. Across four protracted songs, Turner and his cohorts-Nick Yacyshyn (Baptists, Erosion) on drums and Brian Cook (Russian Circles) on bass-interlace and mangle sounds from their instruments in a sonic homage to both the innate warmth of human magnetism and the cold realities of corrupted love-jealousy, obsession, perversion, addiction.

OPAQUE GARAY VINYL

SUMAC (Aaron Turner on guitar and vocals, Nick Yacyshyn on drums, and Brian Cook on bass) invests in the recursive exercises of chaos and control, which manifest on the band's second album What One Becomes. The trio's debut The Deal (2015) revealed a new side of Turner's combustible songwriting and guitar work, further expanding on his efforts in Isis and Old Man Gloom. On the new album (recorded by the prolific engineer Kurt Ballou of Converge, who has also recorded High on Fire and Torche), the trio has elevated the songs' complexities with a greater entanglement of velocity, density, form, and function. The results are a testament to the tour-honed collective intuition and technical skills of drummer Yacyshyn (Baptists), bassist Cook (Russian Circles, These Arms Are Snakes, Botch) and Turner. The music of What One Becomes requires that each player be attuned to the dynamics and the tension within the multilateral structures.

Carving out an enviable reputation across the globe for his distinctive and highly personal brand of House music, Kiko Navarro's voyage of sonic discovery has been going strong for almost three decades now. From London to the Far East, Kiko has travelled far and wide with his music, embracing sounds from each continent as he goes. Kiko's new album, Afroterraneo- also named after his music label- defines the sound of his home. The album incorporates sounds touched by the Mediterranean Sea, drawing influences from Europe, Africa and his roots in the Balearic Islands. Afroterraneo is all about fusion. It includes Afro-Cuban songs like "Okere", "Karabali" and "Ekobio Monina", Midwest-African flavour on "Ihabogi Rawaly" and "Beréde", Flamenco with "La Fatiga", Balearic emotions with maestro Joan Bibiloni on "El Salto Del Martin" and "Vida", South African vibes on "Olwakhuthando", Afro Mbira lines with European TB303 acid blips on "Cacao Ceremony" and it all ends with his own tribute to his mother on "Para Mama". Born on Mallorca, Kiko's sound reflects the sun-drenched, slow living atmosphere of the Balearic island he still calls home. Obsessed from an early age with the more soulful side of US House music, Navarro's DJ skills soon attracted the attention of nightlife behemoth Pacha who offered him club residencies both in Palma and in Ibiza. Next came a monthly gig at Space Ibiza and the rest, as they say, is history. A true Renaissance Man; now also a family man, today's Kiko Navarro is perhaps even more focused and dedicated to his life in music than ever before. An album tour this year will see him play DJ sets in Italy, Bulgaria, Macedonia, Greece, Japan, South Korea, China with many more to be confirmed. Whether in the studio crafting records or in the club controlling the dance-floor, Kiko's musical mission has become the habit of a lifetime.

Suzanne Doucet was born in Tuebingen, Germany where as a three year old, Doucet discovered her innate artistic gifts. Instinctively, she was always drawing, playing music, singing, and writing. By the age of 18, Suzanne was an established pop star in Germany with several #1 hits. She also made her mark as a composer, actress, TV moderator, director, engineer, and producer. At age 25. she took a sabbatical from the music business to go on a spiritual odyssey. In 1970 she released a triple album of field recordings and mind-expanding psychedelia under the name Zweistein. For the next ten years, she developed her own style of New Age music while exploring many areas of metaphysics and spiritual practices, including astrology, music therapy, tarot, yoga and the Kabbalah.

In 1979, Doucet launched a record label in West Germany named Isis, after the Egyptian goddess of feminine divinity. She formed the duo New Age with her musical partner Christian Bühner, and released the 1982 cassette album ‘Transformation’ and the follow-up ‘Transmission’, released on cassette in 1983. After this release, Bühner and Doucet moved to Los Angeles, hoping to find more kindred spirits in the burgeoning New Age scene there. Doucet met Tajalli (William Wichman). William had a small home studio and they played music together almost every day. William had a Juno 60 and Suzanne had her SD-1 keyboard. Their album ‘Brilliance’ was released in 1984 on cassette with the critically acclaimed track "Crystal Flight," which was featured in several Visionary Videos. All songs have been remastered by George Horn at Fantasy Studios and each album is housed in jackets using the original cassette artwork.

Der unbestrittene König der japanischen Noise-Electronica Masami Akita aka MERZBOW kehrt zurück, denn sein bahnbrechendes Album "Venereology" feiert 25 Jahre Tinnitus-induzierende Jahre mit seiner ersten Vinylpressung! Das Meisterwerk wurde von James Plotkin (ISIS, ELECTRIC WIZARD, FULL OF HELL u.a.) remastered und es bietet auch ein überarbeitetes Artwork an. "Venereology" bleibt eines der härtesten und extremsten Aufnahmen in der elektronischen Industrial-Noise-Szene und die 2LP beinahaltet auch mehr als 20 Minuten von bisher unveröffentlichtem Bonusmaterial!

The new Release on Shaddock Records is more than just dance tracks, 2 songs that come with full-blown vocals, a Re-edition of classic Latin Freestyle by Jorge Ojeda ft. Hilda Mariee with an up-to-date cover version by Mr. & Mrs. Jonson

The original version is a freestyle slammer coming straight from Miami the capital of Freestyle Music.

Driven by hard electro beats and Ojeda's signature Miami Bass with Latin Hip Hop/ Freestyle Dance grooves, "Betrayal" when initially released on Ojeda's Destune records became a club and street phenomenon in Miami. It would be one of the first of many productions between Jorge Ojeda and Hilda Mariee' and their project Teaz II Pleaz.

Now "Betrayal" catches new life on Shaddock Records and continues to tell it's story.

On the 2nd A side Mr. & Mrs.Jonson aka Mathew Jonson and Isis Kuaygarond created an incredible cover version keeping the electro and freestyle spirit but taking arrangement and production to the next level and thus into 2018.

Mathew and Isis, after their recent marriage have spent endless hours in the studio and with Betrayal - the couple's very 1st release - they are giving us a first insight into their joint musical vision.

The totality of the many in one: Cologne Tape, an on and off gathering band from all over the world, did not call their second album "Welt" without reason. The collective incorporates the nucleus of the label Magazine and consists of the artists Ada, Barnt, Jens-Uwe Beyer, Jörg Burger, John Harten, Philipp Janzen, Mario Katz, John Stanier and Axel Willner. All members live scattered between Berlin, Cologne and Hamburg. They meet rarely and abruptly, but each of them always has the feeling that something relevant needs to be done. The ensemble's name represents a city and the musical recordings that are made in it.
Their "rst release, "Render", marked the start of the label Magazine in 2010 and found the way into DJ sets by famed artists like Dixon with music, which does not necessarily have the dance#oor in mind. Subsequently, little, absolutely sublime pieces of Cologne Tape appeared in the public.
Sometimes in the middle of a Magazine mix for London's online magazine Dummy, or on compilations like "My Heart's In My Hand, And My Hand Is Pierced And My Hand's In The Bag, And My Heart Is Caught" a double-vinyl sampler for an exhibition by British video artist Phil Collins.
And now, after six years of more or less overwhelming silence, "Welt" arrives and brings the world eight musical arrangements, all of which answer to the same name and only differ numerically in their title. They were performed and recorded at the Dumbo Studios in Cologne as part of a happening, during which the nine Cologne Tape members gathered in a room to play a solemn concert for themselves without a given frame.
Un"ltered emotions, which were later, re"ned with drums and synth sounds by John Stanier and Axel Willner and then arranged into a dramatic story arc under the direction of Jens-Uwe Beyer. Furthermore some of the recordings feature friends of the collective such as Mexican artist Rebolledo, the guitarist Burkhard Mönnich and the singer Isis Lace, who all happened to be close by and joined the band spontaneously during in their musical ritual. Now the recordings of their time without time will see the light of the day.
They all tell - together and alone - stories of deeply felt musical
experiences, which quickly become profound experiences too for those who listen to Cologne Tape, when they play the grand piano, synthesizer,vibraphone, organ, drums, guitar and more while celebrating afreewheeling ceremony. Panoramic music that enables the listener to enter a world of sounds and rhythms, which all re#ect in depth what Cologne Tape is as a band and a piece of art.