Buscar:lap 1

I had known of Ontology for a few years now, for her releases on Meditator Music & some of the sublabels of Amenology, but I got to know her a bit better last year, when she helped me & Dwarde get a booking in Nashville, Tennessee, where she is based & we got to meet her, work on some music with her and also see her DJ.

Since then, she's been sending me some wicked tunes of hers that she's been making and "This Music Belongs To All Of Us" was a track she sent me, which I absolutely could not refuse. I had to have it for release on Future Retro London and that led to FR038, which also has remixes from DJ Sofa, me & a VIP mix that Ontology had made shortly after finishing the original.

Big up to Ontology for the wicked beats, for DJ Sofa for her quality work on the remix & a special shout to all the people me & Dwarde hung out with in Nashville (Nicholas Latiff, Sterbo, Digimon, Lapilli & everyone else I've forgotten to mention!)

Sailing beyond the boundaries of electronic music, Purelink embrace liquidity on their second album, washing live instrumentation and exposed vocals over their patented cascade of dubbed ambience and ebbing rhythmic experimentation. Since 2020, Tommy Paslaski (aka Concave Reflection), Ben Paulson (aka kindtree) and Akeem Asani (aka Millia) have channeled their most euphoric musical whims into the Purelink project. Drifting between brittle '90s drum 'n bass and dub techno on their cult debut 12" 'Bliss / Swivel' and vaporizing Windy City jazz and post-rock motifs with muggy soundscapes on 2023's critically revered first full-length 'Signs', the trio have managed to define a painterly signature sound that's reflective but not reverent. Sure, Purelink's music can be graceful and bucolic, but it's powered by their innate devotion to the dancefloor's soundsystem.

'Faith' illustrates a period of upheaval for the three friends; relocating from Chicago to New York City, they found themselves surrounded by new scenery and fresh inspirations that permeated their compositions as they adapted to the change. On their previous records, the production process was relatively simple, just three laptops jacked into an interface in Paslaski's living room. Here, they augment the intermixed electronics with acoustic and electric timbres, opening up space for vocal contributions from Hyperdub luminary Loraine James and poet Angelina Nonaj. "Always time for rest," James ponders candidly on 'Rookie', "we settle." Her voice floats like smoke over the trio's familiar pattering rhythms and light-headed synths, now enhanced by capsized guitar motifs and subtle bass plucks.

On 'First Iota' meanwhile, Nonaj's deadpan narration grounds Purelink's dissociated echoes, sub swells and delicate improvisations. "Not everything beautiful has to be real," Nonaj repeats as organic and digital sounds sublime into a lysergic haze. And the softly propulsive 4/4 thuds that steered 'Signs' haven't disappeared entirely, either. On 'Kite Scene' a heartbeat-like pulse underpins Purelink's balmy pads and acidic synths, tactfully disrupted by hollow live percussion, and 'Yoke' muffles its chugging, broken beat sequences with swaddled trance hallucinations, gesturing cautiously towards euphoria. Each element falls into place on the album's final track, 'Circle of Dust', when Paslaski, Paulson and Asani find a fertile middle ground, ornamenting the kinetic, reverberating beats with evaporating whispers, evocative instrumental scrapes and hopeful, ecstatic harmonies.

Dana Schechter: Lap Steel Guitar, Bass, Electronics. - Paul Wallfisch: Piano, Organ, SOMA Pipe, Guitaret. Music from the Vienna Volkstheater production of Wolfram Lotz's play "Die Politiker" directed by Kay Voges; performed live in the theatre, spring 2022. These 2 beautiful exiles travel limbic landscapes and underwater dreams with a map that disintegrates instantly when viewed. Their fractured sounds dissolve and reconfigure endlessly in our cochlea and infest our imaginations with spiked armies of ultra-vivid, sentient and carnivorous coral predators, atavistically intent on devouring the sweet meat hiding deep in the center of the amygdala. Michael Gira (SWANS). Wallfisch has played in bands like Firewater and Little Annie, while Schechter has logged time with American Music Club, Angels of Light and her own Insect Ark, among others; both spent time touring and recording with SWANS. They've been friends since meeting in New York in the 1990s. Years later they forged a stronger connection as bandmates in Botanica. They renewed their artistic partnership in 2021, when Paul invited Dana to Vienna to develop the music for a theatrical spectacle called Die Politiker written by Kleist prize winner Wolfram Lotz. The music from the production provides the foundation for the duo's first album, The Heart of A Whale. Across its six intense tracks one can detect a subtle homage to storied Berlin musical traditions, as the pair puts a raw, often brutal veneer on songs steeped in Weimar cabaret (a la Tom Waits) but updated with a visceral mixture of noise, post-punk, and industrial elements. Performed on a panoply of instruments from bass, organ and lap steel to SOMA Synths, Guitaret, a variety of electronics and a grand piano hammered with a shoe, the music reflects the New York- Berlin nexus they've both been part of for decades. Echoes of Swans, Einstürzende Neubauten and The Birthday Party, but also hints of Throbbing Gristle, Eno and even William Basinski and Michael Gordon. The music can't be contained by any single tradition, with a decidedly experimental bent that ruptures the fixed rhythm of rock for something more theatrical and emotionally harrowing.

Subsoil loops and excerpts taken from a series of live improvisations in different groupings.

First appearance of this mysterious desert nomad.

Aspects 1 and 2 recorded at “Essen & Trinken im Museum” on August 30, 2024 (Gerry Franke, Jelena Lapitskaja, Max Graef).

Aspects 3 and 4 recorded at “Watt - Musikkneipe & Bar” on February 8, 2025 (Charlotte Kehl, Gerry Franke, Jelena Lapitskaja, Joschka Seibt, Juri Bader, Max Graef, Thomas Thieben).

Das 2014 erschienene Debüt-Studioalbum White Noise von PVRIS hat sich in den USA über 100.000 Mal
verkauft (und bis heute über 300.000 Exemplare) und hat Fans auf der ganzen Welt in seinen Bann gezogen. Mit fast 250 Millionen Streams in den USA markierte das Album den Einstieg der Band in die Welt.
Jetzt, nach über 200.000 verkauften Tonträgern (über 600.000 Äquivalente bis heute) kehren PVRIS nun
zu ihren Wurzeln zurück.
Die Jubiläumsausgabe von White Noise wurde im März 2025 in digitaler Form veröffentlicht und enthält
Spiritbox’s Courtney LaPlante auf der äußerst beliebten Single „My House“. Die Neuauflage des Albums
enthält außerdem
Die Neuauflage des Albums enthält außerdem zwei neu bearbeitete Versionen von Songs aus der Originalversion, „Fire“ und „Mirrors“, sowie eine Live Version des Hits „You and I“. Die Jubiläumsausgabe von
White Noise ist ein Muss für Szene-Veteranen und Sammler

Though Scratch may have at times seemed crazy, it is worth noting that creative
genius appears so because geniuses see things others do not see and inhabit
realities unseen. As the music on this album reveals, Lee Perry's Black Ark creations
re-arrange the familiar into something new and magical.
Lee spent his early days working with legendary producers Coxsone Dodd, Duke Reid,
Joe Gibbs, Clancy Eccles and Prince Buster, and by 1968 he was an independent
producer, naming his studio musicians The Upsetters and scoring instrumental hits
with innovative rhythms that helped forge the new reggae style. In 1970-1971 he
produced what many consider the greatest works by the Wailers; in 1968 one of his
Upsetters productions hit #5 on the UK pop chart and more hits followed. That gave
him the funds to build his own studio and in 1973 the legendary Black Ark was born.
Among the many landmark classics cut at Black Ark are such incisive political
commentaries as Max Romeo's "War Ina Babylon," and Junior Murvin's "Police and
Thieves" (covered by the Clash). The Congos' "Heart of the Congos" album is a roots
classic and there are many wonderful obscure singles such as Carlton and the Shoes'
"Better Days." Many dub creations made innovative use of Scratch's sonic wizardry via
echo, phasing, reverb, fanging, wah-wah and various sound effects.
It all came to an end in 1978 as Lee, besieged by extortionists, freeloaders, religious
fanatics and assorted pilgrims, let the studio lapse. And then he set it on fre, some
say due to frustration, others say from mental collapse. He left Jamaica, collaborated
with musicians around the world, toured as a sort of mystic trickster/ shaman and
prospered. But his work at Black Ark will always stand as his ultimate creative
achievement.

The project’s title track is the perfect blend of gossamer shoegaze and Graveface’s signature eerie nocturnal feel, with the lyrics similarly balancing the purity of love against mankind’s darker instincts in the face of romantic obsession.

“‘For Keeps’ is a story written from the perspective of someone who is so desperately in love, they’d do anything to hold onto that love,” the band shares. “We just wanted to explore a really dark part of the human psyche.”

To further elucidate on these themes, Night School has shared a music video that pairs performance footage with a narrative of amour fou that gets a little bit too fou—I won’t spoil anything, but there is manslaughter involved.

You're strolling down an alley in New Orleans or Brooklyn late at night and this sound jumps out at you -- rock & roll, classic rhythm & blues, sung and played with verve, personality, and joy. The dance floor is full. You stroll in and hear sounds that wouldn't have sounded out of place on the legendary Specialty Records of the 1950s and '60s.

Indeed one of the eight cuts onWrite It Down, the new album fromJackson& The Janks, comes from the repertoire of rhythm & blues singer Mamie Perry, first recorded in 1959. The rest areJacksonLynch originals, inspired by his time living and playing music in the Crescent City. Theuniquearrangementsof the band itself have deep roots in NOLA, too, with Matt Bell (Esther Rose) on lap steel, Craig Flory (Tuba Skinny) on bass saxophone and Sam Doores (The Deslondes) sharing backing vocals while trading-off on drums and keys.

Jacksonand the Janks have performed at the Brooklyn Folk Fest, Blackpot Festival (Louisiana), and Oldtone Festival (New York) and did a video session for tastemaker series GemsOnVHS and Jackson a solo session for Paste. Its residency on Fridays in Brooklyn (when they're not on tour) packs the house week after week with fans and folks drawn in by the word-of-mouth buzz and the sound.

Far Out Recordings continues its reissue campaign of the late Argentinian guitarist Agustin Pereyra Lucena's work with the first-ever vinyl reissue of his singular 1988 private press album, Puertos De Alternativa, now his most sought-after LP. The album features some of Agustin’s most uniquely beautiful compositions, including “Luces de Valeria” and “Preparativos Maritimos,” alongside Baden Powell's “Pequeño Vals” and “O Cego Aderaldo (Nordeste...),” and “Tema Barroco” by his longtime collaborator, Guilhermo Reuter.

By 1988, Agustín had established himself as one of Argentina’s foremost interpreters of Brazilian music. The seventies saw success with his group Candeias, and he gained recognition in Brazil, forming friendships and collaborations with luminaries such as Vinicius de Moraes, Baden Powell, Dorival Caymmi, Toquinho, and Maria Bethania. Following the era of dictatorship in South America, Agustín spent the late seventies and early eighties, living and touring in Norway as part of his European travels with his group Agustín Pereyra Lucena quartet.

Recorded after returning to his native Buenos Aires, Agustin Peyera Lucena’s Puertos de Alternativa emerged from this confluence of diverse experiences and influences, revealing an artist deeply connected to his environment. The album's title, meaning "Alternative Harbours," reflects Agustín's particular affinity for water. He observed that much of his favourite music originated from places with rivers and seas nearby, noting, "There is a flow near water that influences guitar playing for sure."

With a profound connection to both instrument and environment, Agustín’s music is often difficult to place. The album begins rooted deeply in South American soil, drawing clear inspiration from Brazilian guitar masters like Heitor Villa Lobos, Garoto and Baden Powell. But, as it progresses, a sense of journey unfolds, evoking new landscapes and horizons – from the crystalline beauty of glacial Norway to the gentle currents of the Rio de la Plata.

The ensemble on Puertos de Alternativa features notable Argentinian musicians, including drummer Osvaldo Avena, flautist Rubén Izarrualde, and saxophonist Bernardo Baraj.

Mastered by Stuart Hawkes at Metropolis Studios from the original master tapes which had been lovingly kept by Agustin’s nephew José Lucena Perreyra


Tracklist & Credits:

A1. Luces De Valeria (Agustin Pereyra Lucena)
Guitar, Vocals – Agustin Pereyra Lucena
Piano, Bass, Drums, Vocals – Guillermo Reuter
Tamboril – Julio Said

A2. Pequeña Valsa (Baden Powell)
Arranged By Flute – Lucho González
Drums – Osvaldo Avena
Flute – Alejandro Santos
Guitar – Agustin Pereyra Lucena
Tambora – Eduardo Avena

A3. Planicie (El Llano) (Agustin Pereyra Lucena)
Arranged By Flute – Lucho González
Flute – Rubén Izarrualde
Keyboards, Acoustic Bass, Percussion, Arranged By Keyboards – Guillermo Reuter
Guitar – Agustin Pereyra Lucena

A4. Tema Barroco (Guillermo Reuter)
Guitar – Agustin Pereyra Lucena
Percussion – Guillermo Reuter

A5. O Cego Aderaldo (Nordeste...) (Baden Powell)
Guitar – Agustin Pereyra Lucena

B1. Tres Que Quedaron (Agustin Pereyra Lucena, Andrés Laprida)
Drums – Osvaldo López
Flute – Rubén Izarrualde
Piano, Keyboards, Bass, Directed By – Guillermo Reuter
Soprano Saxophone – Bernardo Baraj
Electric Piano, Arranged By – Andrés Laprida
Guitar, Electric Guitar, Vocals – Agustin Pereyra Lucena

B2. Preparativos Maritimos (Andrés Laprida, Agustin Pereyra Lucena, Guillermo Reuter)
Guitar, Vocals – Agustin Pereyra Lucena
Keyboards, Acoustic Bass, Percussion, Arranged By – Guillermo Reuter

B3. Puertos De Alternativa (Agustin Pereyra Lucena)
Guitar, Effects – Agustin Pereyra Lucena

B4. Casi-Numbe (Luis González Cárpena, Agustin Pereyra Lucena)
Bass – Lucho González
Bass Flute – Rubén Izarrrualde
Berimbau – Horacio Veros
Keyboards, Piano, Vocals, Drums, Arranged By – Guillermo Reuter
Guitar, Vocals, Arranged By – Agustin Pereyra Lucena

First Word Records are proud to present the debut single from Above The Clouds (aka kidkanevil & Magic Manfred) with their instrumental take on an MF DOOM classic, 'Arrow Root'

One of the original First Word roster, UK Producer/DJ and all-round laptop music geek kidkanevil has developed a distinctive and progressive sound over the years, gleefully exploring the beats and bleeps of the electronic music universe to international recognition. Leeds born, sound system bred and raised on a (un)healthy diet of video games and anime, his solo work inhabits the curious space between bass frequencies and otaku culture. But as a devoted teenage backpack rap nerd, somewhere in the back of kid's mind was a lingering desire to reconnect with his first love, hip hop.

Not long after moving to Berlin he joined a studio space in graffiti plastered Kreuzberg, where he met multi instrumentalist wizard Magic Manfred; a disciple of all things boogie, disco, funk and soul. Born and raised in Berlin, and currently a touring musician for many an act, Manfred's musical map joins the dots from piano lessons at four, to starting a band with his teenage friends, leading him to his true calling - the bass - via the club vibrations of his hometown, which introduced him to the world of DJing and production, and a stint studying in the explosive London jazz scene to finalise his Jedi training.

Bonding over their mutual love of '90s hip hop, a friendship and musical kinship developed, coupled with a desire to honour past eras but push things forward, Above The Clouds was born; named after their joint favourite DJ Premier beat, with a touch of irony regarding their basement based studio of a windowless variety.

kidkanevil explains "We did a number of covers to sort of get warmed up and in the pocket, of which 'Arrow Root' was one. I actually interviewed DOOM once, mask and all, and I always regretted I forgot to ask him about the original sample. It's been one of my favourite DOOM beats forever and it came up in conversation one day, then manifested pretty quickly into a session. It came together with relative ease and quickness, which is usually a good sign. Manfred worked out the chords and I remade the drums in about the same time frame. Mario is an exceptional saxophone player based in Berlin, so a few text messages later she came by the studio and nailed the entire thing on her first take. And that was that, our humble tribute to the supervillain!"

This one is backed up on the flip side with 'Tram Delay Beat'; a low slung neck-snapper teasing more of what's to come.

This is the first single from the duo, with a long player now in the works…

Above the crowds, above the clouds, where the sounds are original, infinite skills create miracles…

Steve Harley's iconic album The Best Years Of Our Lives celebrates its 50th anniversary in 2025 and to mark the event, Chrysalis Records is proud to present an expanded 3-Disc edition featuring a 2025 Stereo Mix by Alan Parsons.

Following the split of the original Cockney Rebel line up, Harley endeavored to form a new line up while renaming the group as Steve Harley & Cockney Rebel. The result of this newfound group was electric, with the band producing their biggest hit; the number one, million-selling anthem 'Make Me Smile (Come Up And See Me)'.

The lead track has gone on to have a life of its own, produced by Alan Parsons, just two years after he engineered Pink Floyd's Dark Side Of The Moon, this album stands tall as an assured collection of top tier prog-glam-pop.

Disc One features a new 2025 Alan Parsons Stereo Mix, Disc two has never-before-heard outtakes and rarities, offering fans a unique insight into the creative process. The DVD features the Between The Lines documentary and Star Rider live video, unaired since the time, giving a wonderful glimpse into Steve performing at his victory lap show at Hammersmith Odeon alongside some fantastic fan interviews, Make Me Smile promo video and TOTP performance and the full audio recording of the Hammersmith Odeon concert. At the centre of this DVD style hardback book, are liner notes by renowned author Peter Doggett with interviews from band members Jim Cregan, Stewart Elliott, Duncan Mackay and producer Alan Parsons plus previously unseen photographs from Mick Rock and Michael Putland

Introducing ''Sleek Vibra,'' the debut vinyl EP from Alessandro Gramaccioni (AFM), a compelling young Italian artist whose unique sonic vision has been forged through his involvement with the Amen Rave collective and a previous digital EP on Lapsus Records' CEE imprint. This powerful six-track offering for Adepta Editions sees AFM expertly fuse and reimagine a spectrum of genres, weaving together IDM, rave-oriented sounds, bass music, techno, and Afro-Arab rhythms. The result is an immersive sonic tapestry, where memory and tangible form converge into a cohesive audio-tactile experience. ''Sleek Vibra'' invites listeners on a futuristic journey through shadowy sonic landscapes, where the mechanical relentlessly intertwines with the organic. This intense sonic declaration holds nothing back, painting a vivid and uncompromising picture of sonic annihilation in its wake.

Thirteenth studio album by the British rock band. Released in September 1987, it is the first album featuring the later three piece line-up: David Gilmour, Nick Mason and Richard Wright.

Manchester-based producer Lily Mumby, the creative force behind Lapalace, has chosen Lavender as her botanical muse for this sixth instalment. Like the aromatic herb that grows from tiny seeds to fragrant purple stalks, her compositions unfold with a similar patience and elegance. Her synthesisers breathe with a natural rhythm, creating textures that emerge and recede like morning dew on lavender buds waiting to bloom.

The standout track ‘new age night’ – a stunning love child of William Basinski's decaying tape loops and Aphex Twin's intricate programming—carries subtle lavender-inspired tones, balancing the plant's calming essence with hypnotic rhythms. Just as lavender requires thoughtful tending before rewarding the gardener with its distinctive aroma, Lapalace's landscapes reveal deeper complexities with each listen.

Much like gardening itself, Mumby demonstrates an innate understanding of when to intervene and when to allow natural development. This approach echoes throughout her career, from her debut EP "Ephemera" which caught the attention of Insult to Injury Records' Timothy Clerkin, through to her contributions to Chez De Milo's "So It Goes" Remix EP and Manchester label Skiptrace's various artists compilation.

Her work across BBC Introducing and fossil.radio reflects this same philosophy – creating environments where sound, space, and organic movement find their natural harmony. But this composition really feels that Mumby has come of age. "Music To Watch Seeds Grow By Vol. 6" represents the continued cultivation of Lapalace's distinctive sound and demonstrates the maturity of an artist way beyond her years. This music stands as a lighthouse through a thick fog of nostalgia, much like lavender standing tall amidst an English cottage garden.

Early DJ support including - Auntie Flo, Ruf Dug, Courtesy, Vladimir Ivkovic.

Der britische Synth-Zauberer James Holden und der polnische Klarinetten-Guru Waclaw Zimpel (Saagara, Shackleton) setzen ihre fruchtbare Zusammenarbeit mit dem glückseligen Eskapismus ihres grossartigen Albumdebüts fort: "The Universe Will Take Care Of You" ist ein zutiefst emotionales, warmes und flauschiges Vergnügen. Reiche Texturen und eine betörende Klangpalette bewegen sich frei zwischen idyllischen Pastoralen, eindringlichen Arpeggios und schimmernder Euphorie. Die spielerisch-experimentelle Herangehensweise von Krautrock-Vorfahren wie Harmonia, Cluster oder Eno & Fripp wird aufgegriffen, um ihren tiefsten Improvisationsdrang zu erforschen. Das Ergebnis ist die freudige Konvergenz zweier gleichgesinnter Meister ihres Fachs, die Violine, Schlagzeug, Lap-Steel-Gitarre und die indische Doppelrohr-Algoza-Flöte mit gewohnt-modularem Synthesizer und Klarinette verbinden.
180g White Vinyl LP.

Neo Gibson, born in Virginia and based in New York City, records, performs, and produces as 7038634357. This numerical alias, under which Gibson has been releasing work since 2016, offers a window into the careful ambivalences of the musical project. It conjures the impersonal_the opacity and randomness of data, a number that is hard to remember or even say out loud_while also suggesting a direct line of communication with the artist, down to an area code indexing their biography. 7038634357 uses a restricted palette to achieve music that is formally precise and emotionally direct. Their digital-native approach to production, in which frank melodies cross paths with heavy distortion, contains traces of both trance's maximalist arcs and a songwriterly intimacy. Expressive details may appear submerged or abraded, subjected to a canny sense of dynamics and textural specificity. Waterfall Horizon, Gibson's second vinyl record with Blank Forms Editions under the moniker 7038634357, was written for live performance and workshopped over successive shows during their 2022 European tour. Here, hallmarks of their earlier, studio-crafted recordings_digital distortion that obfuscates their lyrics and a slow-burning ambience_are noticeably pared back. Instead, Waterfall Horizon takes on a pop inflection, adopting more traditional lyric scaffolds so that the interstices from verse to chorus or track to track can flourish within their limited tonal range.Across recordings and performances, Gibson activates wide-ranging mechanisms of audience connection: from the relative anonymity of internet platforms to live experiments with the spatial effects of amplification. They have a particular interest in site-specific performances in non-musical spaces, and have performed in a variety of contexts, including the mezzanine of the West 4th Street subway station in New York City and INA GRM/Radio France's Présences électronique festival. Under their own name, Gibson has maintained a longstanding collaboration with the artist Charles Stobbs, working primarily with FM transmission and techniques derived from the early-seventeenth-century English tradition of change-ringing bells. The first 7038634357 vinyl record, Neo Seven, was released on Blank Forms Editions in 2023; previous releases include self-released cassettes and CD-Rs, as well as a pair of EPs on Genome 6.66 Mbp (2018, 2019).

Behind the pseudonym INVIGO lies Venceslas Catz. In 2016, he caught the attention of Les Inrocks with his electro-pop single "Gravity," then in 2018, he conquered the Parisian public with his track "LAtely." He then performed in several Parisian venues for a few concerts (Silencio, Glazart, etc.).



Since 2019, he has composed for film, television, and advertising. In September 2020, he launched his neo-classical project, under his name Venceslas Catz, blending classical and electro influences. A new signing to Partyfine, INVIGO returns with a debut album with Latin sounds on May 16, 2025. INVIGO works in his Paris studio, where he composes and records his projects.

Dez Dare launches into 2025 with his 5th album, ‘CHERYL! Your Love Shines Down Like A Supernova's Death'. Blending his unique mix of existential wordplay and experimental riffage to create an album that is at arms with itself while cohesive; cheeky and upbeat, simultaneously breaking our hearts. How often do we think about what we miss when we are distracted by shiny things? While fencing with social media, long winded stories, dreams of other lives, unnecessary toys, and irrelevant social experiments with happiness, we miss the things that make up our world. This album looks at those morsels of time and the bits that fill them, soaking existence… as well as manspreaders. Those people should be added to the 7th circle of hell… or suburbia. Either is probably a similar commute!
Dez Dare (AKA Darren Smallman of labels God Unknown, BATTLE WORLDWIDE, Low Transit Industries, and bands Thee Vinyl Creatures, The Sound Platform, Warped) grew up in Geelong, Australia, where he became involved in the local punk and rock scene in 1990. Sharing stages with the likes of 5678s, Cosmic Psychos, Fugazi, The Dirty Three and the Hard-ons, before shifting his focus to running record labels. In the 2020s we see Dez Dare take form in a spare room in Brighton, UK, where Dez starts building his own studio and producing music and videos that have been described as "sounds like MONSTER MAGNET and DEVO caught in a drug bust… highly unique and highly recommended" by MAXIMUM ROCKNROLL Nick Odorizzi to The Wire’s Edwin Pouncey "dynamically armed with a ten-pronged set of lyrical barbs and musical hooks that, once heard, sink deep and hold fast" to Crossfire Metal "minimalistic, electronic psychedelic hippie poop that is only bearable with a hell of a lot of acid, angel dust and LSD". On this album Dez was joined by Laura Loriga on backing vocals and Jonny Halifax on backing vocals and lap steel, expanding on the sound of previous records and adding a new dimension to his trademark weird-n-roll.


[a] 1.Cheryl! [Loading...

Mit ihrer einzigartigen und wegweisenden Kreativität überraschen die schwedischen Progressive-Metal-Pioniere Vildhjarta im-mer wieder aufs Neue. Seitdem sie sich 2005 in Hudiksvall gegründet haben, arbeiten sie beständig an einer fast mystischen Identität, die in ihrem düster-atmosphärischen und technischem Sound wurzelt. Mit den heruntergestimmten Riffs, komplexen Polyrhythmen und unheimliche Klanglandschaften schaffen Vildhjarta eine einmalige Mischung aus Chaos und Melodie, die so außergewöhnlich ist wie ihr rätselhafter Schlachtruf: "Thall".Mit ihrem Debütalbum "Måsstaden" haben Vildhjarta die Metalwelt nachhaltig beeinflusst. Das hochgeradig konzeptionelle Werk erzählt die Geschichte einer komplett isolierten, mythischen Stadt und legte den Grundstein für ihren Ruf als Wegbereiter eines Genres. Nach der Veröffentlichung der "Thousands of Evils"-EP im Jahr 2013 zog sich die Band jedoch aus dem Rampenlicht zurück bis 2021, d.h. nach fast einem Jahrzehnt "måsstaden under vatten" erschien. Das Album setzt die Geschichte von "Måsstaden" fort und liefert 80 Minuten komplexe und dennoch zutiefst atmosphärische Musik, die Vildhjarta endgültig als Inno-vatoren etablierte.Vildhjarta stellen Konventionen in Frage und verweben Momente von beunruhigender Schönheit mit aggressiven Klangattacken. Seit ihren viralen Demo-Ära-Ursprüngen haben sie sich eine treue Fangemeinde erspielt, die es nicht abwarten kann, jedes neue Kapitel ihrer Reise bis ins kleinste Detail zu erkunden.Vildhjarta sind zweifelsfrei der Beweis für Innovation, künstlerische Integrität und unnachgiebige Kreativität.Thall."+ där skogen sjunger under evighetens granar +" ist erhältlich als: Ltd. CD Digipak, Gatefold 2LP, Digitales Album