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For the thirteenth instalment of the Swinging Flavors catalog, Beat Machine Records presents a gem of pure energy by the talented Kyoto-based producer Naco. Set to ignite dance floors worldwide, this release delivers an electrifying fusion of acid, techno, and breaks, with a rave-inspired twist.

Naco, known for his innovative approach to electronic music, defies convention with his genre-defying sound. Drawing inspiration from Bass, Breaks, and Electro, Naco creates a distinctive sonic landscape that captivates audiences worldwide. Since 2017, he has been at the forefront of the music scene, spearheading 85acid, a label dedicated to showcasing emerging talent from Japan and beyond.

"Wavefunk," the lead track on Swinging Flavors #13, is a testament to Naco's unparalleled creativity and sonic mastery. With its infectious rhythm and hypnotic melodies, the fast-paced percussion and minimal character of the release "Wavefunk" transport listeners to a dimension where the boundaries between genres blur and the energy is palpable.

But the journey doesn't end there. Swinging Flavors #13 also features a remix of "Wavefunk" by We Rob Rave. The Polish duo injects his fresh signature style into the track, taking it to new heights and delivering an unforgettable dance floor experience. Transforming it into a full club experience, increasing the beats, and immersing the listener in a rave-like atmosphere fueled by danceable rhythms and an acid edge that cuts through the dance floor.

Another surprise that comes with the latest Swinging Flavors is 'Pure Water,' exclusively on Bandcamp. Let yourself be carried away by the bouncing sounds that make up this Break-style track, closing an energetic and vibrant release.

Naco's music is really pushing the boundaries of electronic music, inspiring both listeners and fellow artists. With a solid track record and a strong commitment to musical innovation, Naco is definitely going to leave a mark on the global music scene.

"To change your mood or mental state - change your Vibration" A fragment from the Kyballion has deeply resonated with the band in recent years. Everything is mental, as Above so Below. BALTHVS deeply believes in these tenets, and their manifestation is through music. Melodies that try to resonate deep within and generate a different type of Vibration.

From the psychedelic experience arises a more balanced lifestyle, and from arduous and uncertain times arises the desire to have inner peace of mind. Music is medicine for the soul and the trio plays this music to wind down, relax, and be more present. It's music from the 21st century, a time when the world has deeply connected to one another via the digital realm, cultures are now free from geographic boundaries, they influence, mesh, and collide with one another. Turkish melodies meet Latin rhythms, from instrumental tunes to Spanish and English lyrics.

The band freely takes from all corners of the world, and it reflects on the global audience they have slowly amassed in the past 4 years. Third Vibration is a celebration of life; a deep respect for the power of music.

"To change your mood or mental state - change your Vibration" A fragment from the Kyballion has deeply resonated with the band in recent years. Everything is mental, as Above so Below. BALTHVS deeply believes in these tenets, and their manifestation is through music. Melodies that try to resonate deep within and generate a different type of Vibration.

From the psychedelic experience arises a more balanced lifestyle, and from arduous and uncertain times arises the desire to have inner peace of mind. Music is medicine for the soul and the trio plays this music to wind down, relax, and be more present. It's music from the 21st century, a time when the world has deeply connected to one another via the digital realm, cultures are now free from geographic boundaries, they influence, mesh, and collide with one another. Turkish melodies meet Latin rhythms, from instrumental tunes to Spanish and English lyrics.

The band freely takes from all corners of the world, and it reflects on the global audience they have slowly amassed in the past 4 years. Third Vibration is a celebration of life; a deep respect for the power of music.

Der ehemalige Type O Negative/Danzig-Schlagzeuger Johnny Kelly und der Gitarrist und Riffschreiber Dan Lorenzo (Hades/Non-Fiction) gründeten Patriarchs In Black Ende des Jahres 2021. Die Songs auf dem neuen Album "Visioning" vereinen Elemente des klassischen Doom Metals mit modernen Sounds sowie Ausflüge in den Hardcore/Crossover.
Gemischt und gemastert wurde das Album bei JROD Productions von Jon Cioicari.

Ihre Debütsingle "Demon of Regret" erschien im Januar 2022 und das komplette Album "Reach For The Scars" wurde am 1. Juli 2022 veröffentlicht. Ihr zweites Album "My Veneration" erschien am 6. Oktober 2023 mit mehreren Gastsängern und Bassisten.
Für das kommende 3. Studioalbum "Visioning" hat Dan Lorenzo zwölf neue Songs geschrieben. Neben Schlagzeuger Johnny Kelly sind wieder eine Reihe großartiger Sänger und Bassisten dabei, wie Dave Neabore (Dog Eat Dog), Karl Agell (Corrosion Of Confirmity), Eric Morgan (A Pale Horse Named Death), Mark Sunshine (Riotgod), Jason McMaster (Watchtower), Kyle Thomas (Exhorder) und viele mehr.

Die Songs auf "Visioning" vereinen Elemente des klassischen Doom Metals mit modernen Sounds sowie Ausflüge in den Hardcore/Crossover.
Gemischt und gemastert wurde das Album bei JROD Productions von Jon Cioicari.

"Es macht so viel Spaß und setzt die Sänger nicht zu sehr unter Druck, mit ein oder zwei tollen Texten und Melodien pro Jahr aufzuwarten. Ich schreibe eine Menge Riffs/Musik. Unser drittes Album kam sehr einfach zusammen. FUN FUN FUN" sagt Dan.

Das ist schon ein historischer Moment: Exile On Mainstream bringt erstmalig eine Wiederveröffentlichung einer Platte, die seit Jahren restlos ausverkauft ist und am 25. April 2008 nur auf CD erschien. Erstmalig auf Vinyl, remastered: Heavy Zooo von BEEHOOVER. Die Band schreibt dazu: "Endlich! Oft gewünscht, drüber nachgedacht und wieder verworfen. Aber jetzt, endlich, kann mit Hilfe unseres Lieblingslabels Heavy Zooo so kommen, wie wir uns das die letzten 15 Jahre gewünscht haben: auf Vinyl!" Ist es Metal? Ist es Stoner Rock? Ist es Jazz oder gar Avantgarde? Weißt du was? Vergiss doch einfach mal die ganzen Schubladen in deinem Kopf und beantworte folgende Frage: Wann hat das letzte Mal jemand versucht, die Melvins zu klassifizieren? Oder Primus? Siehst du! Ladies & Gentlemen - der Heavy Zooo öffnet seine Tore! Treten sie ein und bestaunen sie eine Sammlung der unglaublichsten Geschöpfe dieses Planeten. Schimären aus Groove und Intelligenz. Sounds, so vertraut und doch so neu. Nichts hier ist eindimensional. Nur mit Bass und Drums schaffen Beehoover die Quadratur des Kreises - verrückte Arrangements mit Arsch, die dir das Tanzbein zucken lassen, dich aber trotzdem große Augen machen lassen. Damit sind die Eckpfeiler gemauert, zwischen denen sich die Sounds einer der wohl außergewöhnlichsten deutschen Bands dieser Tage spannen. Eine Kategorisierung erscheint unmöglich, wenn auch Beehoover Einflüsse aus traditionellen Stilen miteinander verweben. Im wahrsten Sinne des Wortes - das Ergebnis ist ein Teppich aus Bass und Drums, aus emotionalen Ausbrüchen und psychotischer Melancholie. Claus-Peter Hamisch (Drums) und Ingmar Peterson (Bass) versuchen dabei konsequent herkömmliche Strukturen zu vermeiden und neue Wege zu gehen, ohne jedoch den Song aus dem Auge zu verlieren. Ihre Herangehensweise ist avantgardistisch, das Ergebnis aber trotzdem melodisch. Ihre Auseinandersetzung mit Sounds ist intelligent und Kopf-betont. Das Resultat hingegen geht direkt in den Bauch - eine Wirkung, die heute nicht viele Bands erzielen können. Die Presse schrieb im April 2008: Dieses Duo ist ein echter Geheimtipp! ... ein echtes Original! ... Einfach nur großartig! (Eclipsed) Ein erneut bärenstarkes Album! (Rock Hard) Amtlicher Irrendoom, nur mit Ballerbass und Drums fabriziert. Ein herrlicher, fachmännisch fröhlicher Krach. Funktioniert eins a, absolut nicht zu klassifizieren.(Intro) ... die schwäbische Antwort auf die Melvins ... brachial-tighte Riffmaschine unter Dampf ... fette Prog-Schwarte, nie affektiert oder klugscheißend, sondern immer mitreißend komplex. (VISIONS) _ eine Mischung aus der Verrücktheit und technischen Brillianz von Primus, dem feinsinnigen Humor und der Vielseitigkeit der Melvins, der Heaviness und Brachialität von Neurosis und der Rhythmik von Kyuss (METAL HAMMER) Beehoover sind sie der lebende Beweis dafür, dass ein Bass, ein Schlagzeug und ein gepflegter Testosteronüberhang ausreichen, um die Musikgeschichte auf Lightning Bolt, Led Zeppelin, Melvins und Unsane einzudampfen und dein Trommelfell inklusive allem was dahinter liegt in die ewigen Jagdgründe zu schicken. (VICE) _ Es grenzt an ein Wunder ... Heavy Zooo steht als untrüglicher Beweis dafür, dass musikalischer Minimalismus tatsächlich maximale Brachialität und Wirkung erzielen kann (Legacy)

Das erste Album des legendären amerikanischen Rockduos, "Tenacious D", erscheint im Doppel-LP-Format. Die unzertrennlichen Kumpels Jack Black und Kyles Gass haben sich bei der Aufnahme dieses Albums mit bekannten Musikern umgeben (Dave Grohl, Page McConnell oder Steven Shane McDonald). Dieses neue Vinyl ist die perfekte Gelegenheit, um in die Anfangszeit des Duos einzutauchen, zwischen Liedern.

SIDE A/B BLACK / WHITE / NEON MAGENTA VINYL, limited to 100 copies. REPRESS of the legendary album. Prior to the formation of Queens of the Stone Age, bassist/singer Nick Oliveri recorded some originals with ex-Kyuss bandmates Josh Homme (guitar) and Brant Bjork (drums), plus Karma to Burn's Rob (drums) and others. But once recording was completed, Oliveri decided to shelve the tapes; it wasn't until several years later (well after Queens of the Stone Age began to establish themselves) that the bassist decided to release the songs on a friend's indie label, Southern Lord Records. Going by the name Mondo Generator, 11 tracks were compiled for the 2000 release Cocaine Rodeo. The majority of the songs are much more raw and hardcore/punk-based than Oliveri's output with QOTSA, as evidenced by such tracks as "Shawnette," "Uncle Tommy," "Unless I Can Kill," and "I Want You to Die."

Finland has long had a uniquely progressive underground, with thriving punk, avant, jazz, and rock scenes with oversized output and impact. Jussi Lehtisalo’s (Circle, Pharaoh Overlord, Mahti, etc) label Ektro has been at the center of this activity for the last three decades, with a stream of excellent and conceptually bonkers releases covering music of all types. Here Lehtisalo joins up with Jan Anderzén (of Kemialliset Ystävät among others) for an album of absolutely fun and unusual miniature duets that sound like alien Library music beamed in from the outerlands. Tracks like “Luukku Yksi” and “Puistossa” use a charmingly retro synth-y sound palate and Cluster-like melodic sensibility to make accessible some deceptively “out” music. Some cuts (like “Kylpy”) have a vague hint of early ’80s post-punk / new wave vibes, bouncing along in a friendly way with odd interjections of sample debris and electronics jumping out of the mix to keep it weird. The surging “Hymy yössä” could be music for the credits of the world’s hippest newscast. Beautiful jacket by renown Helsinki-based artist Dylan Ray Arnold, bringing the die-cut techniques of their gallery pieces like “Growth of the Night Plants” to LP form.

Dieser Tage erscheint das Ted Kessler Buch "To Ease My Troubled Mind: Die autorisierte unautorisierte Geschichte von Billy Childish". Als die Idee für das Buch die Idee für das Buch aufkam, wollte Billy ein prägnantes Doppelalbum zusammenstellen, das die 47 Jahre seines musikalischen Schaffens zusammenfasst. Dies ist das Ergebnis. Mein Name ist William Ivy Loveday, alias Steve Hamper, alias Guy Hamper, alias Jack Ketch, alias Billy Childish. Ich wurde in Medway, Kent, geboren, wo ich immer noch lebe. Ich verließ die Schule 1976, als ich 16 war. Da ich keinen Schulabschluss hatte, wurde ich von der Kunstschule abgelehnt und ging in der Werft von Chatham als Steinmetzlehrling arbeiten. Später schaffte ich es, aufgrund meiner Bilder in einen Malkurs an der St. Martin's School of Art aufgenommen zu werden. Ich, Bruce, Big Russ und Little Russ gründeten 1977 The Pop Rivets und machten unsere ersten Aufnahmen. Unsere Inspiration war Punkrock, TV21 und The Swinging Blue Jeans. Ich lernte Gitarre zu spielen und arbeitete 1979 vier Wochen lang im Oakwood Mental Hospital als Pförtner, dann gründeten ich, Mick und Bertie The Milkshakes. Unsere Inspirationen waren Link Wray, die Beatles-Live-at-the-Star-Club-LP, der Song "Gotta Get the First Plane Home" von den Kinks und unser Hass auf die New Romantics-Szene. Dann wurde ich von der St. Martin's School of Art verwiesen, weil ich etwas geschrieben hatte, das als "die schlimmste Art von Toilettenwand-Humor" bezeichnet wurde. Ich verprügelte meinen Vater, als er aus dem Gefängnis kam, wo er wegen Drogenschmuggels gesessen hatte. Wir haben uns bei The Milkshakes nie selbst bezahlt und das ganze Geld in die Herstellung unserer eigenen Platten gesteckt. Ich bewahrte das Geld auf einem Bankkonto unter dem Namen Kurt Schwitters auf. Ich lebte 12 Jahre lang von der Sozialhilfe. Im Jahr 1985 gründeten wir Thee Mighty Caesars. Unsere Inspiration waren Bo Diddley und The Troggs. Ich wurde Mitglied von Greenpeace. 1989 gründeten Bruce und ich Thee Headcoats. Unsere Inspiration waren Son House und Downliners Sect. 1999 gründeten ich, Wolf und Johnny Barker The Buff Medways. Unsere Inspiration war Jimi Hendrix in Beatle-Stiefeln und The Who, bevor Roger Daltry anfing, die Vorhänge seiner Oma zu tragen. Etwa 2008 gründeten Julie und ich The Musicians of the British Empire. Daraus wurde dann CTMF. Daraus wurden dann die Chatham Singers. Unsere Inspiration basierte auf uns selbst. Als Nächstes war es an der Zeit, dass Neil und ich die Spartan Dreggs gründeten, inspiriert von Homer und A. E. Housman. Andere Gruppen entstanden und zerfielen - damit niemand wusste, wer wir waren oder warum. Im Jahr 2019 entstand The William Loveday Intention - inspiriert von Hollis Brown und den Mississippi Sheiks. Das Guy Hamper Trio tauchte noch einmal auf, zusammen mit Jamie an der Hammond. Einige dieser Gruppen sind geblieben, viele haben sich zu fernen Ufern mit scharfen, versteckten Felsen aufgemacht. Hauptsächlich male ich und schreibe Gedichte und Romane. Zusammen mit der Musik, die ich spiele, ist nichts, was ich tue, jemals besonders modisch gewesen, aber genau darum geht es auch. Schon 1977 haben wir gerne Nein gesagt. Dann, als der Punk sich in New Romantic verwandelte, fielen wir in den frühen Rock 'n' Roll und den Blues zurück. Bei The Milkshakes sagte man uns, dass wir zu viele LPs veröffentlichten und damit kommerziellen Selbstmord begingen, also brachten wir an einem Tag vier verschiedene LPs heraus. Ab und zu kommt jemand Berühmtes vorbei und ein kleiner Krümel rollt über den Tisch und spritzt in unsere lauwarme Suppe. Ein anderes Mal eifern uns Unbekannte nach und erweisen sich nur als besser. Ich liebe Pop, aber keine Popstars. Ich interessiere mich nur für Klang und Farbe und das in einem kleinen Maßstab zu sein. Ich verstecke mich nicht hinter Lautstärke und Off-Stage-Mixing. Ich brauche keine Show zu spielen, weil ich lieber daheimsitze und eine Tasse Tee trinke. Meine Arbeit gehört nach unten, zum Instinkt und zum Elementaren, und ist nahe am Boden. Ich glaube an selbstgemachte Musik, selbstgemachte Kunst und selbstgemachtes Kochen. Die Musik war über die Jahre hinweg ein lohnendes Hobby. Ich habe viele gute Freunde getroffen und mit ihnen gearbeitet, und Gott hat mich vor dem Ruhm bewahrt. Ich möchte die Straßenbahn und das Pferd zurückbringen.

Sie schrieb Rihannas Überhit "Diamonds" (in 14 Minuten!), sang und schrieb die David Guetta-Hits "Titanium" und "She Wolf" sowie Flo Ridas Millionseller "Wild One" und komponierte zahllose Songs für Katy Perry, Beyoncé, Britney Spears, Birdy, Christina Aguilera, Kylie Minogue und Eminem. Im vergangenen Jahr gab sie mit dem Song "Elastic Heart" (auf dem "The Hunger GamesSoundtrack" und auch auf ihrem kommenden Album) ihr internationales Chart-Comeback unter eigenem Namen. 2014 veröffentlicht die australische Sängerin und Songwriterin SIA nun endlich ein neues, eigenes Album "1000 Forms Of Fear". Die 1. Vorabsingle ist die in jedweder Hinsicht atemberaubende Pop-Hyme "Chandelier", die mit Jesse Shatkin entstanden war und von ihrem langjährigen Studiopartner Greg Kurstin (P!NK, Lily Allen etc.) produziert wurde. In ihrer Karriere veröffentlichte Sia bislang 5 Solo-Alben, zuletzt 2010 die LP "We Are Born", die Platz 2 der australischen Charts erreichte und ihr auch in Deutschland die erste Album-Chartplatzierung bescherte. Das Billboard Magazin widmete ihr eine Titelgeschichte mit der Headline: "This artist is responsible for 12 million track sales… and doesn't want to be famous".

Re/United Records is a new venture created by international DJ and Music Producer Paolo Driver, with the collaborator and executive producer Kyko, and elite pianist and composer Alberto Bof.

LIMBONIC ART kehren mit "Opus Daemoniacal" zurück! Das neunte Album der norwegischen Black Metal Pioniere ist schwarz wie ein Rabe, grimmig wie ein Wolf, majestätisch wie ein Adler und so mächtig wie die frühen Werke der legendären Band, die Sänger und Multi-Instrumentalist Vidar "Daemon" Jensen im Jahr 1993 gegründet hat. Auf "Opus Daemoniacal" bleibt der Norweger seinem geradlinigen schwarzen Kurs treu, den er zuletzt eingeschlagen hatte. Doch das Album lehnt sich gleichzeitig auch bewusst an die atmosphärische Dichte und das cineastische Gefühl von LIMBONIC ARTs bahnbrechenden Frühwerken an. Nach dem Anwachsen zu einem Duo erschien das Debütalbum "Moon in the Scorpio" im Jahr 1996 bezeichnenderweise über Nocturnal Art Productions - dem Label von EMPEROR-Gitarrist Samoth alias Tomas Thormodsæter Haugen. Die einzigartige Kombination aus hartem nordischen Black Metal mit erhabenen Kopfkino-Elementen, die ihre Inspiration aus romantischer und klassischer Orchestermusik bezogen, erwies sich in den folgenden Jahren als äußerst einflussreich. Mit dem Nachfolger "In Abhorrence Dementia" (1997) und dem dritten Album "Epitome of Illusions" (1998) reduzierten LIMBONIC ART allmählich die symphonischen Elemente in ihrem Sound. Im Februar 2003 löste sich das Duo auf, aber Daemon reformierte die Band im Jahr 2006. Es folgten die LIMBONIC ART Alben "Phantasmagoria" (2010) und "Spectre Abysm" (2017). "Opus Daemoniacal" verbindet die Gegenwart mit dem frühen Klanggefühl der norwegischen Kultband, was sowohl Freunde der ersten Werke als auch eine neue Generation von Liebhabern des klassischen nordischen Black Metal ansprechen wird.

Mit einer Mischung aus klassischem Südstaaten-Rock und modernem Country macht Kyle Daniel Blue-Collar-Musik für Rockclubs, Honky-Tonks und alles, was dazwischen liegt. Nach hunderten Live-Shows veröffentlicht Daniel via Snakefarm ein hymnisches Debütalbum, das bis zum Rand gefüllt ist mit Gibson-Grit, Telecaster-Twang und der hart erkämpften Unverwüstlichkeit eines Straßenkämpfers, der jahrelang sein Lehrgeld bezahlt hat.

An exercise in control of auditory limitations and possibilities, GAEL redefines techno production with their comprehension of cold atmospherics and meticulous world building. Exemplified in their first solo EP ‘Frozen White Horse’ released on BITE Records, fervent, hurtling drums are underpinned by hopeful euphorics and circulating, breathy cybernetics. A culmination of sophisticated sonic dialects reared from the intersections of soundscaping and electronic music, the berlin-based DJ/Producer from Dagestan (by-way-of Kyiv and Odesa) commits their practice to the inclusivity of borderless, capricious and emotive dance- floor synergy. This energy was previously captured on BITE last year with their appearances on the Shedding Skin VA and The Soft Moon’s Exister Remixed. GAEL’s harmonic and organic approach to techno production echoes the heartbeat of dancefloor resistance,captivating audiences across venues from Berlin’s Berghain to Kyiv’s ∄ as a resident at the queer event series XITb. Delivering thunderous feeling through experimental sounds and masterful pacing, the 4-track-EP blurs the margins of moody techno exploration with remarkable attitude and a foreboding sense of uphill struggle. For the opening title track, a procession of stacked chords,synths and snares are met with a cyclone of galloping percussion building to maximum intensity until dispersing into echoey chimes. As the listener is able to catch their breath, the second track ‘prpttcxsstnc’ reignites - this time with trepidatious yet ethereal vibration, as the track continues to inject GAEL’s post-punk style of galvanised energy, rich layered drums maintain the undercurrent of resolute chaos into the following track ‘there is nothing left’. Sombre track titles are off-set by triumphant vigour for the third instalment, pushing through gale force drums and the clanging zaps and bleeps of electronic debris. Concluding with the final cacophony of collaged beats and drums, bellowing siren-like cold wails meld with GAEL’s calamity crescendo of crashing cymbals, the procession of rapturous drums slipping into a distant echo of warped hollow gleams.

"80s Pop Stars Collected is the new electrifying compilation featuring the hits from legendary pop stars and bands who defined the 80s era. Unforgettable tracks included are by iconic bands, which produced a string of numerous hits, Tears For Fears ""Head Over Heels"", Culture Club ""Victim"", Duran Duran ""New Moon On Monday"", ABC ""The Look Of Love Pt.1"", The Human League ""Human"", and artists such as Paul Young ""Come Back And Stay"", Climie Fisher ""Love Changes Everything"", Rick Astley classic ""Never Gonna Give You Up"". 80s Pop Stars Collected is available as a limited edition of 2000 copies on red (LP1) and silver (LP2) coloured vinyl and includes an insert. "

Compiled by label founder Dom Ore Miles Away: One is a collection of tracks that spans continents, era and genres. Rooted in soul this compilation features recordings from legendary musical figures side-by-side with perhaps lesser-known soulful gems – all beautifully bought together in one cohesive long player. Setting the tone is Idris Muhammad's spiritual-jazz recording I'm A Believer before moving into the modern soul and funk selections Miles Away have built their reputation around. We have the crossover-soul rarity Yes It's You by Eugene Smiley, the remarkable foot-to-the-floor soulful dance cut She's So Good by Solid Gold Revue, enduring soul funk explosion No Communication by True Transfusion, the gospel-infused Fantasy Ride by Uneda Dennard & the full length extended version of Superstar by Ruth Waters. Many tracks appearing here for the first time since their original release. On the second disc the compilation begins to weave a slightly different direction compared to the...

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

"Irish singer, songwriter, multi-instrumentalist, and producer, James Vincent McMorrow, returns to the fore with his seventh full-length album Wide open, horses, out June 14th, 2024.

Wide open, horses is a candid snapshot of everything that has brought James to this point. The album signifies a retaking of his own narrative, a freeing self-acceptance, and a rebuilding of both his sense of self and his connection to music. Singles “Stay Cool”, “Never Gone” and “Give up” offer a first taste of what fans can expect, leaning further into the introspective and sincere indie-folk sound of his earlier material, whilst incorporating elements of his more explorative later releases.

A unique and particularly special artist project, Wide open, horses was initially performed live having booked two nights at The National Concert Hall in Dublin, where he recorded a handful of lo-fi demos, practiced the material for a week, and then hit the stage prior to ever recording a single song. Phones weren’t allowed, but James recorded it to “see what worked and what didn’t work.”

James has beckoned listeners to open their minds and hearts since his emergence in 2010. Along the way, he gathered over 1 billion streams across an expansive catalog. Among many standouts, “Higher Love” went BPI Gold in the UK and ARIA platinum in Australia. His cover of Chris Isaak’s “Wicked Game” soundtracked the trailer for Season Six of HBO’s Game of Thrones and generated over 130 million Spotify streams on its Live At Killkenny Arts Festival version. Toppling charts, 2016’s “We Move” notably debuted at #1 in Ireland. At the same time, he lent his voice to “Hype” from Drake’s multiplatinum blockbuster Views, “I’m In Love” from Kygo’s Cloud Nine, and “Run Away” from dvsn’s Morning After, among others. Meanwhile, he’s sold-out tours on multiple continents, even packing the world-famous Sydney Opera House twice."

Third studio album by the Munich-based band Dune Pilot. Fuzzy stoner/desert rock at its finest! Founding members Andris Friedrich on vocals and Christian Schmidt on guitar are focusing again on earthy stoner roots rock with a ‘fat fuzz’. Munich scene veterans Veit Schlembach on drums (ex-Password Monkey) and Konst Fischer on bass (ex-Smoke The Sky) brought freshness into the team, enriching the sound and songwriting of the band in a multi-layered and positive way. The gods of desert rock - read Kyuss - are duly honoured here. The new album "Magnetic" has been completely recorded live in the studio by the well-rehearsed musicians. The four-piece ensemble has already done many live-shows, mainly in Germany, and has shared stages with scene greats such as Karma To Burn, Orange Goblin, Greenleaf, Colour Haze and Rotor.

The Italian trio Desert Wave was formed in 2016, when Drugo (drums) and Logan (bass) were already playing in a doom metal band and then decided to break away and form their own with a more psychedelic/stoner-style. Guitarist Burton joined them a month later, and their musical influences were quite similar: Black Sabbath, Pink Floyd, Led Zeppelin, 70's hard rock, Seattle grunge, up to the granite desert sound of Kyuss.

With "Deafening Silence" they created a more psychedelic and epic, mostly instrumental, sound than their 2017 debut “Lost In Dunes”, much more like the long jam sessions they play in the rehearsal room. The songs were born during the pandemic that deeply marked the band. Like everyone else, they spent several weeks at home, while the empty streets generated a ghostly and disturbing silence. The lyrics are a bit dark and gloomy and on "Endless Night", Logan's voice carries that ghostly presence that loomed over us all. Drugo designed the artwork, as a tribute to the Blade Runner movies. In both films, as in the songs on the album, there was the same feeling of foreboding that hovered in a dystopian future, in which not all the answers are clear and many questions are still unanswered. Burton's powerful guitar riffs echo in this unreal silence, sometimes increasing the sense of restlessness, other times instead, in the more psychedelic parts, they create a crescendo of impotence and inevitability that totally invades you and from which you cannot escape. Purple edition.

Remixed and remastered reissue of the legendary ORQUESTA DEL DESIERTO self-titled debut album. Recorded at the Green Room Studio in Palm Springs in 2001 and released on the seminal desert rock label Meteorcity Records in 2002, the band's debut album immediately gathered critical acclaim for its ability to forge a new dynamic in a genre that was rapidly filling with groups cloning the heavier sounds of Kyuss. "There are, quite simply, no faults here - this is a beautiful, potent album that gives just as much attention to pop hooks as it does to atmosphere. As you can imagine, the results are astounding,"

Transparent Orange vinyl, limited to 350 copies. Remixed and remastered reissue of the legendary ORQUESTA DEL DESIERTO self-titled debut album. Recorded at the Green Room Studio in Palm Springs in 2001 and released on the seminal desert rock label Meteorcity Records in 2002, the band's debut album immediately gathered critical acclaim for its ability to forge a new dynamic in a genre that was rapidly filling with groups cloning the heavier sounds of Kyuss. "There are, quite simply, no faults here - this is a beautiful, potent album that gives just as much attention to pop hooks as it does to atmosphere. As you can imagine, the results are astounding,"

Legendary band SOFT, the driving force behind Kyoto's party scene and underground music culture, releases their new album "Passing Tone" from their home base "softribe" to commemorate their 30th anniversary!

This release marks the first time since the 2018 album "Tokinami" that Soft has released new music. It also comes on the heels of the 2021 vinyl reissue of their 2010 album "Tam (Message To The Sun)" on the labels 17853 Records (headed by CHEE CHIMIZU), TUFF VINYL, and Crosspoint (headed by J.A.K.A.M.).

Guest appearance by former member PRITTI. The album was created by the three founding members: guitarist SIMIZ, drummer PON2, double bassist UCON plus engineer and electronic musician KND, a mainstay of the Kyoto music scene.

Evoking the energy of a live performance, the music pulses with psychedelic soundscapes and dub influences. The 30th anniversary live shows in Osaka and Kyoto were met with resounding success, and the Asian tour followed suit.

Experience the enchanting sounds of music born from Japan.

text by Saito (Newtone Records)

Bullet Train is the 2022 American action-comedy film by the Deadpool 2-director David Leitch and is based on the 2010 novel Maria Beetle, written by Kōtarō Isaka. In Bullet Train, Brad Pitt stars as Ladybug, an unlucky assassin determined to do his job peacefully after one too many gigs gone off the rails. Fate, however, may have other plans, as Ladybug's latest mission puts him on a collision course with lethal adversaries from around the globe - all with connected, yet conflicting, objectives - on the world's fastest train...and he's got to figure out how to get off.

The film features a number of original tracks. Most notably, the film contains Japanese language covers of "Stayin' Alive" by Bee Gees and "Holding Out for a Hero" by Bonnie Tyler. Composer Dominic Lewis noted that the film's soundtrack represents "all vibe and no technique".

For the first time, the soundtrack for Bullet Train is available on vinyl and comes in different editions, all based on the characters in the movie. All editions include a 4-page booklet, but each edition contains an exclusive Bullet Train boarding pass with corresponding picture of the character. This is the limited edition on Lemon coloured vinyl.

a A1. アヴちゃん (AVU-CHAN QUEEN BEE) - STAYIN' ALIVE

Nach ihrem angstgetriebenen, selbstbetitelten Debüt von 2018 und der geradezu eskapistischen Welt des zweiten Albums "On All Fours" (2021) tritt das Trio aus dem Süden Londons, bestehend aus Rosy Jones, Lottie Pendlebury und Holly Mullineaux, im Jahr 2024 in eine neue Ära ein. Gemeinsam mit Co-Produzent John "Spud" Murphy (black midi "Cavalcade", Lankum "False Lankum") ist Goat Girls Ansatz auf "Below the Waste" selbstbewusst und reif, während sie ihren Sinn für spielerische Neugier bewahren. Spuds Wissen, sein Enthusiasmus und seine Geduld haben Goat Girls ambitionierte Ziele im Studio zum Leben erweckt und einen unverwechselbaren Sound erzeugt. Die einzigartige Kombination von Stilen und unorthodoxen Aufnahmemethoden, die mühelos zwischen ausladendem Noise-Rock, delikaten Folk-Experimenten und befriedigendem Synth-Pop hin- und herpendelt, sind der Beweis. Wie eine Collage wurde die Instrumentierung größtenteils während eines 10-tägigen Aufenthalts in Irland in den Hellfire Studios aufgenommen, die im Schatten des berüchtigten Hellfire Clubs liegen. Zusätzliche Streicher (Reuben Kyriakides und Nic Pendlebury), Holzblasinstrumente (Alex McKenzie) und Gesang (einschließlich eines Chors aus Familie und Freunden) wurden den Tracks an verschiedenen Orten hinzugefügt, von einer Scheune in Essex bis zu Goat Girls eigenem Studio in Südlondon. Dieser Luxus an Zeit gab der Band die Freiheit zu produzieren, zu schreiben und zu arrangieren, so dass die Songs ihr volles Potenzial entfalten konnten. Thematisch wird die Absurdität unserer zunehmend dystopischeren Umwelt durch den entwaffnenden Realismus von Lotties Texten entlarvt, die oft das Surreale und das schmerzlich Erfahrbare nebeneinanderstellen. Wenn man einen tieferen Blick in die Lyrics wirft, kommen die Dinge zum Vorschein, die man im Leben schätzen sollte - die Schönheit und Freude, nach der diese Platte strebt. Es besteht kein Zweifel daran, dass "Below the Waste" das bisher größte Album von Goat Girl ist und gleichzeitig ihr kraftvollstes und authentischstes Statement geworden ist.

Kiyoshi Yamaya's "Japanese melody by PCM recording" series second work. A crossover sound picture scroll created by the genius Kiyoshi Yamaya on the theme of Kyoto, featuring Toshiko Yonekawa (1st), who later became a Living National Treasure."

A1. Koto / B1. Kyo gion warabeuta

2024 repress.

Everyone has their own imagination about outer space, and each one us gets to daydream about what exactly floats or exists there. ‘Fortune Goodies’ is Minami Deutsch’s long-awaited 3rd studio album and an encyclopaedia of Krautrock, as band leader Kyotaro Miula describes it. While not all the songs on the record function as straightforward Krautrock this time around, they still manage to capture the spirit and heart of the genre. After relocating from Tokyo to Berlin, Miula’s musical vocabulary has greatly expanded, thus resulting in this ultimate Japanese take on cosmic music in 2022.

2024 Reissue

‘Assassin’s Creed Valhalla’ takes place toward the
end of the Ninth Century, a time when Norse tribes
were leaving their homes in Scandinavia and
sailing to the collection of fractured kingdoms
known as Anglo-Saxon England. It’s here, during
this age of transition, that you’ll take on the role of
Eivor and lead your people to a new land in the
search for a new home. As you embark on
Valhalla’s epic Viking journey you’ll lead deadly
raiding parties, fight in massive battles and build
up a prosperous settlement, all within the historical
backdrop of Ninth Century England.
‘Assassin’s Creed Valhalla’ went Gold weeks
before the launch.
Score by Danish composer Jesper Kid (‘Assassin’s
Creed 2’, ‘Borderlands 3’, ‘State of Decay 2’,
‘Warhammer: Vermintide 2’) and American
composer Sarah Schachner (‘Assassin’s Creed:
Origins’, ‘Call of Duty: Modern Warfare’, ‘Anthem’).
“‘Valhalla’ marks the first time the two of them
Sarah & Jesper have worked together, and the
sheer size and scale of the Viking-themed
soundtrack is all the better for it.” - spin
Double LP with Red with Yellow Splatter (LP1) and
Teal with Black Smoke (LP2) coloured vinyl in a
gatefold sleeve with printed inners.

To address the weight of the world without speaking of weariness. To march the song to breathlessness but loosen your grip when the band wanders. To tell all your secrets but shield your loved ones from vulnerability. To dress up in the charm and temptation of the pop song but maintain a core of peculiarity, of a single voice trying to navigate this world. This is the project of the Spatulas. Think of the few songwriters who know they're the only ones in the world who could write their songs. The ones who sing in the confidence that the song couldn't exist without them: Peter Jefferies, Jenny Mae, Ron House, Heather Lewis. Jonathan Richman? Put Miranda Soileau-Pratt and the Spatulas on this list. All eleven songs on `Beehive Mind' share a percussive, unshadowed presence, a steady, clear-voiced clop. Every note on the record is a little bit sad on its own but then they're organized in a way that you don't actually notice. Credit this to the band's skill_Jon Grothman, Lila Jarzombek, Kyle Raquipiso and Miranda Soileau-Pratt all play with no limits and they all play with profound ease. The songs breathe in warmth and patience, they are immediate and sweet. And then they start to meander. The guitar skitters with the deliberate unpredictability of a wild animal. Parts repeat and reset with the obsessiveness of an anxious mind. The lyrics open doors to unexpected scenes of lovers, family, and violence. This is all intentional: "I need to play music and listen to music as a form of therapy," explains Soileau. This means safety, this means encouragement, this means trauma, this means hard questions. Only a band so comfortable at the margins, only a band so capable, only a band so trusting can achieve all this. Miranda Solileau-Pratt wrote the first Spatulas song in 2020, while living in Oregon. Since that time, the band has released two cassettes and toured the United States. Members of the Spatulas have also played in The Blimp, Honey Bucket, Hot Gum, and Meerkaz. The band has shared stages with Helen, Lavender Flu, Debt Rag, Pink Reason, Blues Ambush, and Kath Bloom. `Beehive Mind' is their debut LP.

Dubbed out new version of a Japanese reggae classic from 1982 by UK-based Tokyo Riddim Band. Recorded and mixed by the legendary Prince Fatty in South London, it's a fusion of past and present, East and West.
Three generations of female musicians from Japan come together, blending reggae drums, funky bass, and the smooth City Pop guitar, all magically dubbed-out live on stage. Tokyo Riddim Band is a culture clash phenomenon unlike anything else.

Championed by Gilles Peterson, and featured on NTS, Pitchfork and Bandcamp Daily, the group was born out of Time Capsule’s wildly popular compilation “Tokyo Riddim 1976-1985”. In just a matter of months they have sold out headline shows across London and supported Kyoto Jazz Massive at Jazz Cafe, conjuring a raucous, dubby dancefloor that brings the classic Japanese reggae sound of the ‘70s and ‘80s to life for a new generation.

Led by the inimitable pianist and composer Izumi ‘Mimi’ Kobayashi who featured on the original compilation, Tokyo Riddim Band are set to release a series of 7” singles in the coming months with more live shows planned throughout the summer 2024.

The first single, 'Denshi Lenzi', reinvents the Natural Mystic riddim of the original Japanese production, infusing it with dubbed-out vocals, sirens, and electrifying e-tom sounds, delivering an authentic reggae/dub experience with a distinct UK flair.

The next release on Nastia's imprint NECHTO introduces Stanislav Tolkachev's latest offering, 'NECH024.' A pioneer of the Ukrainian techno scene, Tolkachev's journey into techno began in the early 2000s in Dnipro, Ukraine. Renowned for his atonal modular sound, he continues to showcase his mastery of synths in this upcoming release with dozens of timeless tunes under his belt.

Having a longstanding connection with Nastia and the NECHTO label, Tolkachev's collaboration with the label has been in the making for years. Nastia's unwavering support during difficult times has fostered a genuine friendship between them, paving the way for a much anticipated release.
The tracks, recorded approximately five years ago in his studio in Kyiv, are live recordings made using analog modular synthesizers and FM groovebox, adding a touch of hooliganism and romance to the mix.

Having patiently awaited the perfect moment, Tolkachev now unveils the five tracks, characterised by his signature minimalistic, synth-led and atmospheric sound.

KYORYU by Last Dinosaurs, released 24 May 2024, includes the following tracks: "Self-Serving Human Being", "14 Occasions", "Elton", "Yin and Yang" and more.

This version of KYORYU comes as a 1xLP.

Warehouse Find - Test Pressing!

Kyodai have had a strong run of releases since their debut here on Freerange last year. Their Mi Rumba EP must have impressed a lot of people as they went on to
release a follow up EP for Mad Mats blossoming Local Talk label and also have an EP due on Pokerflat in the coming weeks. Kerri Chandler dug it enough to
include on his RA podcast and it was also picked up for the Cielo Compilation on Nervous.

Composed by Jim O’Rourke and pieced together by Jim together with longtime collaborator and trumpeter Eivind Lønning at Jim and Eiko Ishibashi’s home in the Japanese mountains, this engrossing new album blows brass wails and tense fanfares across O'Rourke's manipulated Kyma tapestries for a deep, captivating trip into the aether.

Eivind Lønning has been sharing ideas with O'Rourke for several years: the duo collaborated on music for the Whitney's 'Calder: Hypermobility' exhibition, and Lønning played trumpet on O'Rourke's brilliant 2020 album 'Shutting Down Here'. For this new work, Lønning headed to O'Rourke and EIko Ishibashi's home studio in the Japanese mountains, where he teased unfamiliar, alien textures from his trumpet to open the labyrinthine three-part composition. O'Rourke took the material and subsequently funnelled it through his Kyma system, transforming it into a swirl of sound that hums alongside Lønning's original takes. The album was composed, mixed and mastered by O'Rourke, with everything's based on Lønning's virtuosic performance.

The album begins by cautiously introducing us to its sonic palette: wavering, bird-like horn wails that O'Rourke contorts around quiet synth oscillations and computerised swarms. Lønning's spittle-drenched blasts are given the spotlight, but O'Rourke's manipulations - often gentle and illusory, and sometimes utterly lacerating - lift the sounds into completely new territory. When Lønning begins to turn rhythmic cycles using the trumpet keys, popping with his mouth to compliment its leathery timbre, O'Rourke replies with dense, hallucinatory drones, juxtaposing unstable electronics with Lønning's breathy, sustained notes. All these sounds coalesce into a dizzy vortex, but O'Rourke is careful not to overwhelm the senses, dropping to near silence as the first act transitions into the second. O'Rourke pelts Lønning's vertiginous wails, steadily mutating them into Xenakis-like stabs until they sound like cybernetic strings and icy tones that extract the tension from Lønning's brassy harmonics.

The third act is more screwed, with O'Rourke allowing Lønning's improvisations wail into cathedral-strength reverb, accompanying the sound with glassy penetrations and throbbing subs. Here, Lønning sounds as if he's heralding the arrival of a celestial being, piercing the atmosphere with bright, sustained tones and muted, jazzy flourishes. O'Rourke hangs back, carefully spinning the notes into naturalistic fibres and orchestral drapery, before he allows the electronics to subside completely and the trumpet to echo into the imposing negative space.

'Most, but Potentially All' is a dumbfounding piece that shifts the dial on contemporary experimental music; dizzyingly complex but never showy, it's the kind of record you can spin repeatedly and hear something different each time. As an exploration of the trumpet, it's a unique expression, and as a progression of electro-acoustic compositional techniques, it draws a deep trench in the sand, setting a new standard.

ZOMBEAST erheben sich von den Toten und präsentieren "Heart Of Darkness", ihr bisher härtestes, düsterstes und wildestes Album!
Beeinflusst von Danzig, AFI, Mercyful Fate und 80er Jahre Punk, Death Rock und Thrash Metal, haben ZOMBEAST eine perfekte Crossover-Mischung aus Dark Punk und Thrash erschaffen. Die von Mario Montechello geschriebenen Texte handeln von den echten Schrecken des Lebens, vom Okkulten und von Lykanthropie.
Mit Alex Young (Leadgitarre) und Kyle Smith (Schlagzeug) betritt die Band auch in technischer Hinsicht Neuland, das sie bisher noch nie betreten hat.
Donnernde Drums und sich duellierende Gitarren treffen auf diesem lang erwarteten neuen Album auf Gesang mit Kultcharakter - lasst euch das nicht entgehen!

ZOMBEAST erheben sich von den Toten und präsentieren "Heart Of Darkness", ihr bisher härtestes, düsterstes und wildestes Album!
Beeinflusst von Danzig, AFI, Mercyful Fate und 80er Jahre Punk, Death Rock und Thrash Metal, haben ZOMBEAST eine perfekte Crossover-Mischung aus Dark Punk und Thrash erschaffen. Die von Mario Montechello geschriebenen Texte handeln von den echten Schrecken des Lebens, vom Okkulten und von Lykanthropie.
Mit Alex Young (Leadgitarre) und Kyle Smith (Schlagzeug) betritt die Band auch in technischer Hinsicht Neuland, das sie bisher noch nie betreten hat.
Donnernde Drums und sich duellierende Gitarren treffen auf diesem lang erwarteten neuen Album auf Gesang mit Kultcharakter - lasst euch das nicht entgehen!