Search:kind

Lange vergriffene Vinyl-Wiederveröffentlichung von Laibachs 'The Sound of Music', ein Album, das entstand, als die Slowenen 2015 zu einem Auftritt in Nordkorea eingeladen wurden. Bei dem Konzert in Pjöngjang spielte die Band mehrere Songs aus dem Soundtrack des Films von 1965, der nordkoreanischen Kindern gezeigt wurde, um Englisch zu lernen.

Suzie True's second album with Get Better Records, Sentimental Scum is as McCoy describes, “kinda all over the place, inspired by artists like Babes In Toyland, The Muffs, Jeff Rosenstock, Josie & The Pussycats, and anime theme music” with lyrical content on “sobriety, addiction, mental health, exploring queer identity, growing up, heartbreak, and LOOOoOoOoOvee.” With a mix handled by Em Foster (of the U.K. band Nervus).

[j] Don’t Talk [To Me]


[m] Molotov

Boris Divider presents a new original release with this 3 tracker ep. New refreshing stu­ for the Drivecom’s catalogue after the more experimental electro works from the “Generative Operations” series, and after the limited 20th anniversary reissues of “Ultralink” and “Take My Beat”.



Now it’s time to hear and feel “Your Light”. A special work that brings back the puristic electro vibe from the early works on Drivecom but with a new sonic spectrum and powerful sound production. Repetitive and syncopated synthlines as Divider’s ID signature, powerful rhythm patterns and an exclusive and unique vocoder treatment that build-up the original track to open the A side. Meanwhile A2 track “Your Light” (The Variant Version) is a slowed and darker deep version that will remind us some kind of an aseptic and much more minimalistic sound design with some similar soundscapes and echoes of the earlier Arpanet’s stu­. In the other side, “Your Light” (The Infrared Version) is a ready-for-the-‑oor soundtrack with more aggressive FM synth modulations and characteristic pitch-shifted voice, a track that keep the essence of the original title but balances the release into a more solid club-oriented tool.



About the message behind this track. The lyrics represent a desire from an entity who wants to know the deal about the deepest wishes and ever growing curiosity of mankind and their di­erent proles, and with such statement the entity wants to feel what are we made of and shows to the audience if they really understand what scientic evolution means for their own, the human race, with all the pros and cons, an always double-sided sword taking the light as a pure and indomable source of energy. This message is also re‑ected in a special Video clip you’ll nd soon on Drivecom’s YouTube channel as a bonus promotional material.

A great balanced 12” Ep which serves as an introduction for what we’ll have in the near future: “Memories from the Dust”.

A long awaited new B. Divider’s album on Drivecom records.

House of Harm are proud to announce the forthcoming release of their new album Playground, out December 1st, 2023. The new record builds and expands upon the three-piece’s enthralling shadow-pop sound, a mix of midnight atmospherics, 90s era jangle pop, and contagious synth drenched hooks that further elevate the transcendent vocals of lead singer Michael Rocheford. Rounded out by Cooper Leardi (guitar / synths) and Tyler Kershaw (guitar / synth), House of Harm have amassed an impressive following as something of a best kept secret among their growing fanbase, leading to sold out shows on both coasts by the power of word of mouth alone. The band members have been drawn to music for as long as any of them can remember, and the drive to be around like-minded artists and make their own noise drew them all to Boston after high school. There they all quickly enmeshed themselves, playing in other bands before meeting each other. Ever since, House of Harm have been quietly making a name for themselves among music fans with darker pop persuasions via a steady stream of releases in single, ep and album form. That attention to detail and workmanlike approach at the expense of chasing instant gratification seems to be paying dividends after years of steady effort. The journey of their new album Playground saw House of Harm stay true to that ethos. The band painstakingly narrowed the record down to an efficient 10 tracks that they felt made the most sense, both standing on their own as well as fitting into an LP that built a cohesive world for the listener to get lost in. The album’s name also reflects the experimentation and happy accidents that came about during the writing and recording process. On “The Face of Grace” they set out to explore different dynamics by writing a song entirely without drums, but couldn't help themselves from putting emphasis on the song’s 6/8 waltz time signature. “Two Kinds” is another first for House Of Harm in that it’s predominantly driven by acoustic guitar. That aforementioned vulnerability shows up in other areas of the songwriting process as well with “Two Kinds”, one of their most revealing songs to date from a lyrical standpoint, written from a place of reflection and weakness and tackling feelings uneasy to be put on display for public consumption. Taken as a whole, the end result is an album representing a collection of the band’s most raw and expressive songs yet.

Italian cosmic couriers San Leo return with fifth album, ’Aves Raras’: a resounding statement of intent, arguably their most accomplished and well-rounded effort so far. Clocking in at around 38 minutes, “Aves Raras” has it all: analog slag of tribal ritual music, bold guitar riffs, shimmering layers of synths. Frantic grooves, ghostly vocals, dazzling walls of noise and pastoral tonal passages – the ultimate call to enlightenment through euphoria. Over again, San Leo prove to be inclined to explore new pathways in their sonic journey, without relying on formulas of any kind. It doesn’t get any tighter, crucial, and most alive than this. Recorded by Andrea Scardovi at Duna Studio. Drums recorded by Yuri Pierini at Blue Audio Studio. Additional recording by San Leo. Mixed by Francesco Donadello at Kalimba Studio and Synecdoche Music Research, Berlin. Mastered by Giovanni Versari at La Maestà

Helfró ist aus der Trostlosigkeit entstanden. Als seine vorherige Band Ophidian 2015 eine Pause einlegte, begann Schlagzeuger Ragnar Sverrisson bis spät in die brutale isländische Nacht an seiner eigenen grausamen Vision von Black Metal zu arbeiten.

Aus dieser intensiven Zeit der Einsamkeit heraus bahnten sich Helfró ihren eigenen Weg in die extreme Metal-Landschaft. Ihr selbstbetiteltes Debütalbum wurde mitten im Feuer der Pandemie veröffentlicht, aber die schaurigen Melodien und die rohe Aggression des Albums schafften es auf mehrere Jahresendlisten.

Jetzt meldet sich das Kapuzen-Duo mit seinem Nachfolger zurück. Tálgröf" enthält viele von Helfrós charakteristischen, wütenden Tremolo-Riffs. "Fláráð Fræði" schüttelt sich mit der Wut eines Hagelsturms. Doch während sich das neue Album tiefer mit Sucht und aufdringlichen Gedankenmustern beschäftigt, geht es auch über die starre Welt des Black Metal hinaus. Traðkandi Blómin í eigin Hjartagarði" schwelgt in der glorreichen Death Metal-Schredderei, die Rangar schon als Kind mit seinem Onkel gesehen hat.

Helfró sind immer noch so kalt und unbarmherzig wie die Winter in ihrem Heimatland. Aber 'Tálgröf' ist prädestiniert dafür, ein Feuer des isländischen Death Metal zu entfachen!

Helfró ist aus der Trostlosigkeit entstanden. Als seine vorherige Band Ophidian 2015 eine Pause einlegte, begann Schlagzeuger Ragnar Sverrisson bis spät in die brutale isländische Nacht an seiner eigenen grausamen Vision von Black Metal zu arbeiten.

Aus dieser intensiven Zeit der Einsamkeit heraus bahnten sich Helfró ihren eigenen Weg in die extreme Metal-Landschaft. Ihr selbstbetiteltes Debütalbum wurde mitten im Feuer der Pandemie veröffentlicht, aber die schaurigen Melodien und die rohe Aggression des Albums schafften es auf mehrere Jahresendlisten.

Jetzt meldet sich das Kapuzen-Duo mit seinem Nachfolger zurück. Tálgröf" enthält viele von Helfrós charakteristischen, wütenden Tremolo-Riffs. "Fláráð Fræði" schüttelt sich mit der Wut eines Hagelsturms. Doch während sich das neue Album tiefer mit Sucht und aufdringlichen Gedankenmustern beschäftigt, geht es auch über die starre Welt des Black Metal hinaus. Traðkandi Blómin í eigin Hjartagarði" schwelgt in der glorreichen Death Metal-Schredderei, die Rangar schon als Kind mit seinem Onkel gesehen hat.

Helfró sind immer noch so kalt und unbarmherzig wie die Winter in ihrem Heimatland. Aber 'Tálgröf' ist prädestiniert dafür, ein Feuer des isländischen Death Metal zu entfachen!

Those familiar with the sound and style of the DIY scene in Chicago's Logan Square may be surprised to find out that it was the birthplace of psych pop quintet Lucille Furs. They are a little surprised themselves.

At the time it wasn't exactly the place to hear harmonies and harpsichords so much as songs about sniffing glue. This isn't to say they didn't like the raucous power of Magik Milk, on the contrary. But, as the people who would come to make up the band began to talk, it became clear that they wanted to make something different entirely. They wanted to make something with the heartbeat of sweaty city basement shows but with the unrestrained imagination of places and times where they had never been.

Bassist Patrick Tsotsos will tell you about the music of post-war Greece where his grandparents grew up. Guitarist Nick Dehmlow will tell you about the garage bands of LA. Drummer Brendan Peleo-Lazar can fill you in on a late 60s London studio session as though he was running the tape machine. Mellotron/organ player Constantine Hastalis can show you a record by some long-forgotten folk singer who writes so earnestly you won't forgive the world for forgetting it. Singer Trevor Newton Pritchett is unapologetic about what they borrow. "You might hear the Zombies for their kind of haunting and contemplative quality, the Kinks kind-of casual criticism, the West Coast Pop Art Experimental Band for their distant romantic quality, Temples, Love, Diane Coffee, Charles Bradley or our Chicago people Post Animal, Jude Shuma and Whitney." Now that half of the band is located in Los Angeles you'll be likely to hear those influences, too.

And that's what becomes crystal clear when listening to the upcoming album Another Land. It's an immersive listen, the kind of record you can get lost in on a cross-country drive from the midwest to the west coast. A record with warm blood running through its veins. Music where thought can be abandoned.

The whole record is dressed up in surreal and esoteric terms, in exchange for being topical. Think Dylan lyrics from the late 60s. "Paint Euphrosyne Blue" is kind of a meta-level example of that. The song is a reference to the goddess of mirth, about the human need to adapt to the point of becoming unoriginal. It's about chasing Van Gogh's depression because it makes you feel like a better painter.

The album was written through September 2017 and was recorded following the release of the self-titled Lucille Furs album later that year. It was recorded direct to tape before being completed at Treehouse Records in Chicago.

For fans of: The Kinks, The Zombies, Love, West Coast Pop Art Experimental Band, The Byrds, The Beatles, Foxygen, Triptides, Temples, Mystic Braves, Levitation Room

Those familiar with the sound and style of the DIY scene in Chicago's Logan Square may be surprised to find out that it was the birthplace of psych pop quintet Lucille Furs. They are a little surprised themselves.

At the time it wasn't exactly the place to hear harmonies and harpsichords so much as songs about sniffing glue. This isn't to say they didn't like the raucous power of Magik Milk, on the contrary. But, as the people who would come to make up the band began to talk, it became clear that they wanted to make something different entirely. They wanted to make something with the heartbeat of sweaty city basement shows but with the unrestrained imagination of places and times where they had never been.

Bassist Patrick Tsotsos will tell you about the music of post-war Greece where his grandparents grew up. Guitarist Nick Dehmlow will tell you about the garage bands of LA. Drummer Brendan Peleo-Lazar can fill you in on a late 60s London studio session as though he was running the tape machine. Mellotron/organ player Constantine Hastalis can show you a record by some long-forgotten folk singer who writes so earnestly you won't forgive the world for forgetting it. Singer Trevor Newton Pritchett is unapologetic about what they borrow. "You might hear the Zombies for their kind of haunting and contemplative quality, the Kinks kind-of casual criticism, the West Coast Pop Art Experimental Band for their distant romantic quality, Temples, Love, Diane Coffee, Charles Bradley or our Chicago people Post Animal, Jude Shuma and Whitney." Now that half of the band is located in Los Angeles you'll be likely to hear those influences, too.

And that's what becomes crystal clear when listening to the upcoming album Another Land. It's an immersive listen, the kind of record you can get lost in on a cross-country drive from the midwest to the west coast. A record with warm blood running through its veins. Music where thought can be abandoned.

The whole record is dressed up in surreal and esoteric terms, in exchange for being topical. Think Dylan lyrics from the late 60s. "Paint Euphrosyne Blue" is kind of a meta-level example of that. The song is a reference to the goddess of mirth, about the human need to adapt to the point of becoming unoriginal. It's about chasing Van Gogh's depression because it makes you feel like a better painter.

The album was written through September 2017 and was recorded following the release of the self-titled Lucille Furs album later that year. It was recorded direct to tape before being completed at Treehouse Records in Chicago.

For fans of: The Kinks, The Zombies, Love, West Coast Pop Art Experimental Band, The Byrds, The Beatles, Foxygen, Triptides, Temples, Mystic Braves, Levitation Room

Die Wiederveröffentlichung eines Klassikers: Deer Ticks Debüt-Meisterwerk War Elephant jetzt erhältlich auf "heavy metal grey" Zweifach-Vinyl mit einer Ätzung auf Seite D und dem Original-Cover-Artwork. Ein bedruckter Einleger liegt bei.

John McCauley III hat das Album im zarten Alter von 21 Jahren geschrieben, arrangiert, eingespielt und aufgenommen. Es ist voll von Liedern, die weiser und nuancierter sind, als man für einen jungen Mann in seinem Alter vermuten könnte. Die Texte sind nachdenklich und warmherzig, ganz im Stil von Johns Singer/Songwriter-Helden wie Townes van Zandt, Neil Young und Richie Valens. Das Album endet mit einer Coverversion des 1962 mit dem GRAMMY? ausgezeichneten Songs des Jahres "What Kind of Fool Am I" von Sammy Davis, Jr.

Ein Debütalbum das sich der Genrekategorisierung entzieht und schon jetzt als Klassiker gilt. Ein Barroom-Rock-Album voller Hooks, das mit der eingängigen Düsternis der 90er Jahre in Seattle ebenso verbunden ist wie mit dem Honky Tonk der späten 80er Jahre in Minneapolis und den 70er Jahren in Austin.

Somebody somewhere once said that music doesn't mean anything; it is meaningful.

The Czecho-slovakian instrumental trio, Inheritance, invite you to rediscover their sonic journey with the reissue of their previous EPs, "Frames" (2014) and "Saturate" (2016), now elegantly entwined into a single captivating package released for the first time on vinyl, on Weltschmerzen. Comprising of the trio Jakub Volovár (guitar), Alex Strapková (piano), and Peter Kušnírik (drums), Inheritance was active in the mid 2010s in Brno, later unfortunately disbanding due to own personal pursuits.

Frames // Saturate embodies the melancholic and melodic tension characteristic of contemporary post-rock, complemented by the whimsy of piano-led instrumentals with a tint of indie-playfulness and a very slight yet powerful grain of sludge heaviness that can be traced back to Volovár's and Kušnirik's earlier post-metal project, Dawn to Come.

"Frames // Saturate" is first and foremost a compact sonic voyage. Volovár's evocative yet precise guitar work builds complex yet airy scaffolding, while Strapková's piano melodies create a tapestry of moods around it. Both EPs showcase Strapková's piano prowess, transforming each composition into a living organism. Kušnírik's drumming then acts as the steady pulse, guiding you through. These songs encapsulate the kind of mutualism and appreciation for (musical) interdependence that you can only develop throughout the years of practice and playing live.

You can hear how much fun it was for the band to play these songs, and that sense of joy translates directly into your own listening experience. It's the kind of music that makes you pick up an air guitar, (piano, or drums) - and sometimes everything all at once. It is music serious and poetic, yet fun and moving and complex at the same time.

2023 Repress

It's the quiet ones we should watch, they always say. Which is particularly astute advice right now, when loud, constant self-declaration and saturated 'brand' visibility have become the norm. But above the babble and brightness, some voices will always speak quiet volumes ­- with calm eloquence and the kind of certitude that comes from valuing the playing out, not just the prize.

Sweden's José González is just such a voice. He first charmed his way into the UK's earshot via the murmurous and elegant, classically finger-picked folk pop of his 2005 album, Veneer, which has since sold over a staggering 430, 000 copies in UK alone. Two years later came In Our Nature, a further exploration of José's influences (Argentinian Folklore, the '60s US folk tradition and the British pastoral folk-pop style of the same era), on which he resisted the temptation to beef up his alluringly introvert aesthetic. The albums made the UK Top 10 and Top 20 respectively.

Conceived as the natural third part in an acoustic trilogy, Vestiges & Claws is a(nother) hushed and delicate solo set that forefronts the artist and guitarist's compellingly intimate vocal style and intricate playing technique, but it's often strikingly rhythmic in nature and cohere's perfectly, with hand claps and taps on the body of his instrument underlining the songs' mantric rise-and-fall pattern, while elsewhere, over-dubbed guitar parts and multi-tracked vocal harmonies entwine to sweetly immersive effect.

The title refers to both cultural practices and biological features that survive despite having lost their original function, and to currently useful tools, ie the 'claws' of modern life.

Vestiges & Claws was recorded almost entirely by José and self-produced, mostly in his Gothenburg home, using computer plug-ins to achieve a warm, analogue sound. He prefers working alone, mainly for artistic reasons. 'There were a couple of things that enabled me to complete this record: one was curiosity, to be able to play percussion and do a lot of harmonies and also to produce and mix the album; the other was aesthetics. I love to listen to Arthur Russell and Shuggie Otis, to music that has been done mostly by one person in their solitary state.'

As José sees it, the record is his personal, 'zoomed-out eye on humanity on a small, pale blue dot in a cold, sparse and unfriendly space. The amazing fact that we are all here, an attempt at encouraging us to understand ourselves and to make the best of the one life we know we have - after birth and before death.

Die schwedische Metal-Band CORRODED veröffentlicht mit PLAGUE ihr sechstes Studioalbum, aus dem bereits 3 Singles ausgekoppelt wurden: 'Monster', 'The More Things Change' und 'Rain'. Auf den 2019er Vorgänger BITTER folgte eine ausgedehnte Europatour. Wie die meisten Bands traf sie die Pandemie hart, aber CORRODED stürzten sich in ein schwarzes Loch und nahmen PLAGUE auf. Sie kommentieren: 'Wir haben 5 'Kinder' ... jedes einzelne ist genauso wichtig wie die anderen ... aber dieses hier ist unser Liebeskind, unser ganz besonderer 'Spätzünder' oder 'Nachläufer', geboren aus der Angst und Langeweile der Pest ... bis auf das Mastering alles von uns selbst erledigt ... willkommen in der dunklen Seele von CORRODED ... genießen Sie die Fahrt.'

After a 3 year rest, Priori and Patrick Holland are back with new additions to their joint catalog as Jump Source. While staying true to their palette of muted melodies and harmonic clusters, JS03 reveals a new level of brashness and intensity on the A side, while diving back into the deep end on the flip.

Chicago rock ensemble Red Red Meat hit hard with 1995’s Bunny Gets Paid. Arguably the band’s most complete album, the record pairs Stones-indebted blues-rock roots with beautiful songs, sounding miles removed from the era’s grunge and radio-friendly alternative rock tropes. Recorded at Idful Studios in Chicago’s Wicker Park by producer Brad Wood (Smashing Pumpkins, Liz Phair, Tortoise), Bunny Gets Paid finds Red Red Meat’s core members, Tim Rutilli, Brian Deck, Ben Massarella, and Tim Hurley, straddling the line between their most accessible set of songs and a desire to explore a kind of “alternate fidelity,” employing layers of distortion, natural reverb, and room ambience. “At the time, I felt like we’d made a classic rock record,” Rutilli says. “I was like, ‘This is our Astral Weeks.’” But listening back 20 years later, Rutilli recognizes the band’s ambition, a desire to break songs down to their barest, most primitive elements to “see what survives.”

This fifth studio effort from French heavy psychedelic stalwarts MARS RED SKY is a genuine conceptual piece of work skilfully designed to take the listener on a journey through a shifting, unpredictable and even utterly disconcerting sonic universe. Bordeaux-based trio explore progressive and post-metal territories with boundless inspiration. Their original signature of jagged vocals and thundering rhythm is spiced up by drones and various mid-kraut rock and mid-gothic effects. The atmospheres and settings are finely crafted, with Julien Pras's voice adding a delicious pop languor. The music is the master of the narrative here, absorbing all the components of the album and shaping them into a kind of reversible allegory, as appealing as disturbing. The tour de force of 'Dawn Of The Dusk' lies in its ability to carve out a unique creative sphere in which you can't help but marvel.

This fifth studio effort from French heavy psychedelic stalwarts MARS RED SKY is a genuine conceptual piece of work skilfully designed to take the listener on a journey through a shifting, unpredictable and even utterly disconcerting sonic universe. Bordeaux-based trio explore progressive and post-metal territories with boundless inspiration. Their original signature of jagged vocals and thundering rhythm is spiced up by drones and various mid-kraut rock and mid-gothic effects. The atmospheres and settings are finely crafted, with Julien Pras's voice adding a delicious pop languor. The music is the master of the narrative here, absorbing all the components of the album and shaping them into a kind of reversible allegory, as appealing as disturbing. The tour de force of 'Dawn Of The Dusk' lies in its ability to carve out a unique creative sphere in which you can't help but marvel.