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Murmer is the long-standing project for Estonian field recordist and composer Patrick McGinley, and in Tether, The Helen Scarsdale Agency welcomes Murmer back to our roster, over a decade since he graced us with his last production for the Agency. His field recordings often center upon the amplification and activation of resonance from a particular space, landscape, or object. Such sounds emerge from a condition as begin fleeting, inconsequential, or ephemeral and explode into that which alien, sublime, and profound. Here lies the tremendous prowess of the contact microphone, as wielded by an accomplished musician! The source material cited by McGinley includes cables, fences, wires, and vents.

There is a heft to many of these sounds as heard throughout all of "Taevast" with deep throbbing pulsations from arctic wind generating subharmonic patterns upon thick high-tension wires. Elsewhere the subtle dissonance from a rasping cooling fan blooms into a brooding ambience that is sublimely rich in its metallic timbres and complex reverberations. McGingley has long been an exemplary artist in the field of phonography even as he is less prolific than others. On Tether, he has produced a majestic if occasionally foreboding work on par with the mythic wire recordings of Alan Lamb, Jacob Kirkegaard's haunted resonance from Chernobyl, and much of the Touch catalogue for that matter!

Patrick McGingley on Tether:

In 2006, I made a collection of recordings at a mobile phone mast in Mooste, southeast Estonia. It is a guyed tower, 80 meters tall, affixed to 3 support points with heavy cables. I attached my self-made contact microphones to these cables with poster tack, and spent many hours over several weeks recording the various wind and weather variances (it was summer), and the birds that passed or settled on the tower or cables. This was one of my first visits to estonia, where i now live, and one of the things that marked me about that experience was the access: the tower had no fences or protections around it (I have not been back there recently to answer my own question of whether or not this is still the case); it stands in the middle of a field of tall grass along a dirt road in the countryside, just out of view of the few nearby houses, and during all the hours I spent there I was never disturbed or shooed away.

For more than 16 years, I have been thinking about this location and these recordings, and have made several attempts to work with them. I have used the sounds in installations a handful of times, and uploaded one short edit to the Aporee soundmaps, but have never managed to use them in any composed work. They always seemed too big for any structure I could provide them, whether I left them on their own, or partnered them with other sounds. Finally, in 2019, after putting them down and picking them up again repeatedly over so many years, they seemed to allow me in, although it took me another few years before they were happy with what I could offer. They stand now not quite alone - the majority of the layered sounds in the piece come from various edits of those cable recordings, but I added two other contrasting sounds, related to one another: one is snowflakes landing delicately on a plastic cakebox with microphones inside it, and the other is a frosted field of grass thawing on a lightly warming autumn morning (both these recordings can also be heard on their own on the Aporee maps).

Coming back to those cables brought to mind so many other wind-driven sounds that I had spent time with and recorded, but never returned to, that I began digging through my archives looking for them. I ended up with a pool of sounds from resonant wires, cables, fences, poles, fans, and vents, which became the basis for the 2nd work on this release. One of these sounds is among the first sounds I ever recorded, possibly within a month or so of buying my first microphone and minidisc recorder: the rhythmic fan of a beer cooler in a pub where I worked in North London in 1999. Other sounds in the piece include another phone tower, recorded on the northern coast of France in 2008, a telephone pole recorded in the Beaujolais region in 2010, the drone of ventilator fans at a factory in Tezno, Slovenia in 2012, an electric sheep fence in the Scottish borders in 2013, a hanging wire in a storage space in Rovaniemi, Finland in 2016, and, with no relation to cables or wind at all, calcium deposits being cleaned from the inside of an electric kettle here in Estonia in 2019.

I offer these two new pieces as my first solo publication since 2018, the first release on a physical medium since 2016. No one has ever accused me of working too fast, or being too prolific. I have a need, it seems, to leave a physical space of time around my work, before I can consider it 'finished'. Perhaps it is a simple need to forget how I did something, or that I did something; perhaps I have a need to be able to hear a work as a first-time listener would, before I can consider it ready for such an encounter. In some part of my mind I have to forget it before I can let it go. Well, I've just about forgotten that London beer cooler now, and that walk in the Beaujolais (with my father, who has since passed away), and that sheep fence next to our campsite in the borders, and that kettle that is now leaky. So I guess it's time.

Was Fettes Brot zwischen 2007 und 2011 mit ihrer Band called 'Das Nervenkostüm' in die Welt jaulten, kann nur in Emoji-Lingo beschrieben werden: fire fire fire. Zu 11t spielten sie sich den Rücken krumm. Festivals, Hallen, Clubs - alles brannten sie ab. Jeden Abend: Monster! Mutationen! Atomkraft, ja bitte! Seinerzeit brachten sie die Beweisbänder direkt auf zwei Live-Alben gleichzeitig heraus. 'Fettes' und 'Brot'. Ein blaues und ein oranges. Wer das hier liest, hält (bald) die auf ein einzelnes Album heruntergekochte Essenz des F/B Twin-Albums in Händen. Alle Hits bis 2010 sind drauf. Neben 'Nordisch by Nature', 'Schwule Mädchen' und 'Bettina' hagelt es Coverversionen von Rio Reiser, The Clash, Steve Miller und Superpunk (der Bonustrack!). Es ist ein Monolith unter allen FB Platten. Eine perfekte Pizza nach Art des Hauses. Abzulegen zwischen Beastie Boys, Dexys, The Specials. Alles Favoriten aus ihrer ewigen, allnächtlichen Tourbus-Disco. Nicht schlecht für ein Live-Album. Dem besten aus der Erde.

Zum ersten Mal auf Vinyl! Fast 20 Jahre nach der ursprünglichen Veröffentlichung von "Never Ending"; das mächtige dritte Album von Mystic Prophecy ist endlich auf limitiertem Vinyl erhältlich. Das Album wurde ursprünglich 2004 von Nuclear Blast veröffentlicht und war das dritte und letzte Album mit dem zukünftigen Ozzy Osbourne-Gitarrenheld Gus G! Ltd. Transparent Orange & Gold LP.

Zum ersten Mal auf Vinyl! Fast 20 Jahre nach der ursprünglichen Veröffentlichung von "Never Ending"; das mächtige dritte Album von Mystic Prophecy ist endlich auf limitiertem Vinyl erhältlich. Das Album wurde ursprünglich 2004 von Nuclear Blast veröffentlicht und war das dritte und letzte Album mit dem zukünftigen Ozzy Osbourne-Gitarrenheld Gus G! Ltd. Transparent Orange & Gold LP.

Fase Luna ist das vom Ozean inspirierte, pulsierende Pop-Album von LA Priest, alias Sam Eastgate, das am 5. Mai über Domino veröffentlicht wird. Nach GENE aus dem Jahr 2020, das nach einer modularen Drum-Maschine benannt ist, die Sam mit 150 selbst gebauten Schaltkreisen entwickelt hat, reduziert sich Fase Luna auf Sam und seine Gitarre: neun sonnendurchflutete Tracks voller Glückseligkeit. Bei den Aufnahmen in Mexiko und in den Regenwäldern Costa Ricas ließ sich Fase Luna von der mythischen Geschichte der jeweiligen Region und den uralten Verbindungen zum Meer inspirieren. Roh und ungefiltert bietet Fase Luna ein One-Way-Ticket in eine andere Welt."

Das aktuelle Album der US-Alternative Metal Band nun als Deluxe-Vinyl-Pressung erhältlich.

"Hotel Kalifornia" ist das achte Studioalbum des mit Platin ausgezeichneten Quintetts Hollywood Undead . Es stellt eine Gegenüberstellung zwischen Reichen und Armen dar, thematisiert die anhaltende Obdachlosenkrise und die hohen Lebenserhaltungskosten im Heimatstaat der Band, Kalifornien. Im Jahr 2021 nahmen die Jungs in Nashville und Los Angeles mit den Produzenten Erik Ron Panic! At The Disco, Motionless In White, Andrew Migliore [Sueco, Papa Roach] und Drew Fulk [Lil Wayne, Lil Peep] auf. Bei der Arbeit von Angesicht zu Angesicht ließ Hollywood Undead die ungezügelte
Intensität ihrer früheren Werke wieder aufleben, jedoch mit einer Verfeinerung, die nur durch jahrelange harte Arbeit möglich ist.

Die Koffer packen und die Welt mit neuen Augen entdecken – genau davon erzählen IGNEA auf ihrem Konzeptalbum Dreams of Lands Unseen, das am 28. April 2023 über Napalm Records erscheint. Dabei
präsentiert die fünfköpfige Band um Sängerin Helle Bohdanova Geschichten aus weitentfernten Ländern, die von schweren Riffs und epischen Gesängen untermalt und mit elektronischen und Folk-Elementen ergänzt werden. Als die Band 2018 mit Butcher Babies & Kobra and The Lotus auf Tournee waren, konnten sie ihre Hits einem breiten Publikum präsentieren und erzielten damit nicht nur Millionen Streams, sondern wurden auch mit dem Best Ukrainian Metal Act Awards ausgezeichnet.

Dreams of Lands Unseen erzählt auf 10 Tracks die Geschichte der ukrainischen Fotografin und Dokumentarfilmerin Sofia Yablonska, die dafür berühmt wurde an die abgelegensten Orte der Welt zu reisen,
um das Leben der indigenen Bevölkerung zu dokumentieren, was in ihrer Zeit besonders für eine Frau eine ungewöhnliche und gefährliche Unternehmung war. Die Vielfältigkeit ihrer Abenteuer vermitteln die
ukrainischen Musiker durch einen Mix verschiedener Genres, die in ihrer Kombination eine Klanglandschaft erzeugen, die einem Soundtrack gleicht.

Wegen des andauernden Krieges in der Ukraine wurde die Produktion des Albums erheblich erschwert, aber IGNEA ließen sich zu keinem Zeitpunkt entmutigen. Stolz präsentieren sie ihr facettenreiches Konzeptalbum Dreams of Lands Unseen, das Fans auf eine abenteuerliche Reise zu einlädt.

New York painter and musician exploratory industrialist Tor Lundvall initially envisioned his 14th album, Beautiful Illusions, as an entirely instrumental affair, "inspired by memories of sitting in a church or cathedral watching the shifting sunlight through stained glass." Although he ultimately chose to wreath the majority of the tracks with hushed, poetic vocals, his original muse still resonates. These are certainly songs of shadowplay and vaulted skies, the quiet grandeur of dusk deepening on the horizon. Lundvall characterizes the lyrical subject matter, too, in ways both specific and surreal, exploring "the doubts, the anxieties and even the bleak fantasies the mind spirals into during moments of isolation, separation and distance." Tricks of the eye, mind, and ear, magnified by silence and the looming long winter. Shivering pulses and muted bass lines tread the twilight while icicle synths and wiry guitar map the melody until the voice enters, narrating oblique moods of essence and absence, tenderness and truth. Glimpses of dark humor flicker in the wordplay but the greater sonic landscape is one of falling leaves and failing light, small gestures rendered as revelation, cloaked in reverb and spatial fog. Lundvall's mastery of nuance and negative space continues to heighten, whispered brushstrokes of the invisible and the unsaid, what lies beneath and what lies beyond: "Behind the shields and false fronts is usually a sadness. The heartbreaking reflections of what might have been."

With Cruisin', their second album for Telephone Explosion, Toronto's Bernice distils their playful sense of composition resulting in the most affecting collection of their young career. Across fifteen tracks, a special kind of contemporary, jazz-inflected pop unfolds, miraculous for being both fun and musically adventurous, all in the name of emotional resonance. Each groove in the bassbin is matched by a little scratch at the listener's heartstrings. The album was recorded at home with Phil Melanson (Sam Gendel, Andy Shauf) and Thom Gill (Beverly Glenn-Copeland, Joseph Shabason), led by songwriter and vocalist Robin Dann (Martha Wainwright) and producer Matthew Pencer, with additional contributions from longtime members Dan Fortin and Felicity Williams (Bahamas) being captured remotely.

Throughout their eleven years as a group, working at the intersections of several scenes and spotlights (many of which begin and end at Toronto's beloved Tranzac Club), Bernice have developed an idiosyncratic musical language that feels immediately inviting and wonderfully refreshing. The group's two previous releases, Eau De Bonjourno (2021) and Puff: In The Air Without A Shape (2018) received generous nods from both Stereogum and Pitchfork, who described the music as "unusually mesmerizing". With the songcraft a little more crystalline and the vulnerability notched up, Cruisin' feels like the right record to open Bernice up to a much wider audience.

Development of the album began in Spring, 2021 during a writing retreat at the family farm in Bond Head, Ontario. Members of the band luxuriated in slow time, tinkering with lyrics and melodies, sharing meals, knitting. From this communal gathering, the concept of 'dedication' emerged as a guiding theme. Specifically, developing songs in an almost epistolary form; as love letters or check-ins for friends, community members, pets and other more elusive acquaintances (a longtime working title for the project was 'Songs For People').

Lead single 'Underneath My Toe', one of the first pieces developed under this theme, finds the group at their most graceful and direct. Beginning with songwriter/vocalist Robin Dann singing simply 'Hi / I miss you all the time', the composition proceeds to shift subtly between soft jazz balladry and low-bit funk, revelling in the intimate beauty of a long-time-no-see letter to a dear old friend.

Though being a band that so deeply values the art of fartin' around, Bernice couldn't settle on such a straightforward approach. During the creative process, a clarifying question arose: 'Can you cruise to it?'. This somewhat ambiguous aesthetic criteria became a guiding light for the album. 'Sure, it's a beautiful song about building trust with a new nonagenarian friend... but can you cruise to it?'.

Case in point, both follow up singles, 'No Effort To Exist' and 'Second Judy', fall into a more nebulous, bewildering category of song. Undoubtedly affecting, emotionally charged, existentially searching, yet also undeniably juicy. Drum patterns skitter into place while synth tones shift on a dime to meet thematic twists. There's errant whistling and curious overdubs. Then in come elegant backing vocals, elevating the narrative while an unlikely, left-field groove is established. Miraculously, the listener is not just moved, but Cruisin'.

Therein lies the marvel of Bernice: they remind us that the rec room funk of Mario Kart 64 need not exist in mutual exclusivity to a rich tapestry of human emotions. Even as we live through this most cursed timeline, we can look into the heart of things, dwell on the challenges we're called to witness, and find a little levity to carry us through; grab a lil' mushroom and cruise the existential soup.

It’s been 43 years since the release of The Selecter’s seminal debut album Too Much Pressure and while it still inspires and resonates today, their new studio album Human Algebra keeps the fire burning with a stellar collection of hard-hitting tracks in the band’s own inimitable style. Human Algebra, released April 21st, is a word from the wise – from questioning ‘fake news’ (“Big Little Lies”), to pointing the finger at keyboard warriors (“Armchair Guevara”), and the scourge of knife crime (“Human Algebra”). Human relationships are also touched upon (“Boxing Clever”), along with a touching tribute to the late great Ranking Roger from The Beat (“Parade The Crown”).
As ever, The Selecter are led by their iconic frontwoman Pauline Black OBE and co-fronted by original member Arthur ‘Gaps’ Hendrickson with original drummer Charley ‘Aitch’ Bembridge. Human Algebra is produced by Neil Pyzer, who also contributes Sax, Guitar and keyboards. The rest of the band feature John Robertson on Guitar, Lee Horsley on organ and Andy Pearson on bass duties.

2 Lp in red-black smoke farbigem Vinyl

In seinem neuen Buch "The First 21" blickt Mötley Crüe-Legende und Sixx:A.M.-Mastermind Nikki Sixx in den Rückspiegel. "HITS" fasst die musikalische Karriere von Sixx:A.M. auf bemerkenswerte Weise zusammen. Sie enthält alle Hits der Band sowie drei unveröffentlichte Titel, darunter die neue Single "The First 21".

smokey vinyl

French label and promoter Much More recordings is proud to present the first vinyl our collection.

This vinyl features 6 tracks ranging from breaks to techno and passing by acid and electronica, designed for soundsystem and anchored in their proper original and analogic techno sound.

We believe that redefining the essence of the genre is now critical. After years of promoting parties in Paris and Europe, Much More has gathered artists considered to be the essence of techno. Artists who know how to turn knobs without screens.

They continue to make the mob sweat on the dance-floor, with a simple at first yet efficient recipe that holds a myriad of subtleties.

On our table lies a lemon slowly withering away, a fruit that once was as much suave than sour. Our artists are as ripe as this yellow sphere lying in the open. They possess the experience and knowledge needed to forcefully broadcast this emergency rebirth that techno desperately needs. Our creations are neither nostalgic nor futuristic, they aim to be atemporal. They are naked to artifices, raw to over-tuning, built and cut upon the very ageless tools that defined and will name what is Techno.

Far from us the desire of claiming to be the only definition of the genre, nor forgetting about its primal cravings. Whereas Amarou, Skudge and Sawlin showcast the narrative scope of our passion, Wrong Assessment, Arnaud le Texier and Falling Echoes will remind us what is raving under the strobe's fire.

It's music from urban centers and countrysides, for big room and inner space.
It's music without tag or time, where every loop stops and unfolds on its own.

We are back to the essence, and yet, much more.

Mit ihrem unverwechselbaren Sound ignorieren As Everything Unfolds traditionelle Grenzen und schaffen durch die Kombination zahlreicher Genres alternativer Musik ein einzigartiges Hörerlebnis. Mit über 20 Millionen Streams für ihr Debütalbum, "Within Each Lies The Other", bleibt ihre Kunst nicht unbemerkt. Die Band wurde für einen Heavy Music Award nominiert, trat auf großen europäischen Festivals wie dem Download, Graspop, Rock For People oder Full Force auf und tourte mit Bands wie Enter Shikari, Wargasm, Holding Absence, Being As An Ocean und vielen anderen. Mit der
Veröffentlichung ihres neuen Albums und vielen weiteren Touren und Festivals in der Pipeline, verspricht 2023 ein großes Jahr für As Everything Unfolds zu werden.

"The new album 'Ultraviolet' is an open work on the thoughts and feelings surrounding us at the time," erzählt Sängerin Charlie Rolfe. "The anger, the frustration, the progress, everything on show, nothing to hide. Darkroom practice is something that has been a large part of my creative path, finding links between the emotion in music, putting everything on display for all to listen and exposing a colour photograph, putting it on display for all to see. Only when you are exposed to Ultraviolet light can you see life in full colour."

DAFNE VICENTE-SANDOVAL - MINOS CIRCUIT (2021)

Minos Circuit is the resonance of a double exploration, that of an instrument, the bassoon - an instrument dear to Dafne Vicente-Sandoval - and that of a listening, of a gaze, almost. The first exploration deconstructs the instrument, tearing it apart, reducing it to an archipelago of sound bodies stimulated by an electro-acoustic device that generates feedback and infiltrates each part of the bassoon, in order to carry out a methodical, systematic examination. The second exploration is the inner one of attention and listening, the one that measures, at each moment, the necessity or not of an intervention in the very act of the musical work, of this subtle balance that is established between composition and observation, between action and contemplation.

(fr) Minos Circuit est la mise en résonance d’une exploration double, celle d’un instrument, le basson — instrument cher à Dafne Vicente-Sandoval — et celle d’une écoute, d’un regard, presque. La première exploration déconstruit l’instrument, le met en pièce, le réduisant en un archipel de corps sonores stimulés par un dispositif électroacoustique générateurs de larsens qui vont s’infiltrer dans chacune des parties du basson, pour en faire l’examen méthodique, systématique. La seconde exploration, c’est celle, intérieure, de l’attention et de l’écoute, celle qui mesure, à chaque instant, la nécessité ou non d’une intervention dans l’agir même de l’œuvre, de cette bascule subtile qui s’établit entre composition et observation, entre action et contemplation.

LARS PETTER HAGEN - TRANSFIGURATION 4 (2018)

Both a “meditation on musical ruins” and “a study of the material of Richard Strauss’s Metamorphoses”, Transfiguration 4 works on the musical fragment as an expressive and poetic possibility that can be deployed below or beyond simple musical syntax, a syntax that is still too often equated with music itself. What Lars Petter Hagen highlights in this remarkable work is that the power of music lies at its fringes, that is, at the edge of its own disappearance. Transfiguration 4 floats in a particularly moving way in these troubled lands, where nothing is ever resolved, and where everything, however, is suspended, like a stream of blurred memories that memory would summon to form an intuition. A musical intuition.

(fr) A la fois « méditation sur les ruines musicales » et « étude du matériau de Metamorfosen de Richard Strauss », Transfiguration 4 travaille le fragment musical comme possibilité expressive, poétique, pouvant se déployer en-deçà ou au-delà de la simple syntaxe musicale, syntaxe encore trop souvent assimilée à la musique même. Ce que met en lumière Lars Petter Hagen dans cette œuvre remarquable, c’est que la puissance de la musique se situe à ses franges, c’est-à-dire aux lisières de sa propre disparition. Transfiguration 4 flotte de manière particulièrement émouvante dans ces contrées troubles, où rien jamais ne se résout, et où tout, pourtant, se suspend, comme un flux de souvenirs flous que la mémoire convoquerait pour former une intuition. Une intuition musicale.

Five brilliant cuts rescued from long analog jams recorded by DJ Aquatraxx during the last two years in his bunker located somewhere deep in the Cantabrian sea.
Acid waves, FM chords and a lot of groovy lysergic funk for Distrito 91’s second release.

Toronto-based retro-soul artist Claire Davis shares her journey of self-worth and love on her debut album "Get it Right", out April 21st 2023, via LRK Records. This lively 10-track analog soul LP was recorded to an 8-track tape machine by engineer Braden Sauder in a converted garage- studio in Toronto, owned by the renowned instrumental jazz/hip-hop group, BADBADNOTGOOD. Featuring some of the city's top-flight musicians in the R&B/Soul scene, the album was laid down live-off-the-floor in one week during the winter of 2022. Davis shares, "My heart really lies in live performance so I wanted to recreate that experience as much as possible for this record by having the musicians all record together to tape. I feel like I personally thrive under the limitations that tape gives you; it offers the opportunity to
capture a vibe of a performance more so than chasing perfection. Knowing that my favourite soul records were recorded this way gives me an even deeper appreciation for the skill and talent involved in this process." "Get it Right" is a record born out of the faith that there's better things on the other side of fear.
Whether that's breaking toxic cycles or being truly honest about what is and isn't working in life. The first song written for the record was the title-track of the album which began as a jam between Davis on guitar, producer Scott McCannell on bass, and drummer Chino deVilla. "The lyrics were inspired by my relationship with my partner and the intention that we both have to work on healing ourselves in order to make our partnership work. I'd like to think that it's a love
song with a strong sense of maturity and understanding to it. And the whole record was really shaped around that idea of my relationships and experiences stemming from my own sense ofself-love add my desire to live and create from an authentic place."

The songs on the album feature co-writes from Scott McCannell, Kyla Charter, and Toronto production house Safe Spaceship Music, in addition to horn and background vocal arrangements by composer La-Nai Gabriel. Musicians include Heather Crawford on guitar,
Scott McCannell on bass, Adrian Hogan on keys, Chino de Villa on drums, Juan Carlos Medrano on percussion, Aphrose, Tegan Michelle Gordon and Chynna Lewis on background vocals, and horn section The Northern Soul Horns.

"Get it Right" follows up Davis' most recent 7" vinyl release of "Long Gone"/ "Times Have Changed" and most recent single release "Intuition" on LRK Records Huey Morgan played "Times Have Changed" on " The Huey Show " on BBC Radio Six
Tune of the week on David Bishops Street Sounds radio.
Karen Gabay played "Intuition" taken from the album on "The People" BBC Manchester

The New York-based heavy metal band Riot released their third studio album Fire Down Under in 1981, which instantly became their most popular effort and is considered by many to be an early ‘80’s classic. It was the last album to feature the vocalist Guy Speranza.
The album features Riot’s most recognizable and popular tune “Swords
& Tequila” as opening track. Other standouts include the fast-paced title
track “Fire Down Under”, “Outlaw,” and “Don’t Bring Me Down.”
Fire Down Under is available as a limited edition of 750 individually
numbered copies on translucent red coloured vinyl.

Bevor Kelly mit der Arbeit an seinem dritten Album begann, zog er aus seinem Haus in Nashville aus und in einen alten viktorianischen Bungalow in der Kleinstadt Portland in Tennessee. Dort verbrachte
er monatelang in bewusster Einsamkeit, um eine Reihe von lebensverändernden Veränderungen zu verarbeiten, die er im vergangenen Jahr durchgemacht hatte, darunter eine sehr öffentliche Scheidung sowie große Umwälzungen in seiner unmittelbaren Familie.

”Ich hatte das Bedürfnis, mich selbst besser zu verstehen und das wahre Fundament meiner Person wiederzuentdecken”, sagt Kelly, der auf seinem 2018 erschienenen Debütalbum Dying Star offen über
seinen Kampf mit der Drogensucht berichtet hat. Indem er die selbstbewusste Wahrheitsfindung, die er schon immer in seine Musik einfließen ließ, weiter vorantreibt, vertiefte sich Kelly schon bald in die Arbeit an The Weakness, und das Ergebnis ist ein unglaublich ehrliches, aber zutiefst hoffnungsvolles Album, das letztlich unser enormes Potenzial offenbart, aus den schmerzhaftesten Erfahrungen Kraft und Schönheit zu schöpfen.

Die Rede ist natürlich von RAGE, die zunächst als AVENGER gestartet sind, bevor es dann zur Umbenennung kam. Nun werden die Alben der Jahre 2001 bis 2003 der Herner Metal-Legende mit Bonus-CDs mit etlichen Demoversionen (inkl. bisher unveröffentlichten Titeln) auf Doppel-CDs neu veröffentlicht. Besonders interessant dürfte hier für die Fans das Album „Welcome To The Other Side“ sein, das endlich als neu gemasterte Version (auch als Doppel-Vinyl) vorliegt.
Ein absolutes Muss für alle RAGE-Heads!

Afflicted hatten auf ihrem Debütalbum "Prodigal Sun" gekonnt signalisiert, dass sie sich nicht so leicht in eine Schublade stecken lassen. Vehement gegen den Strom schwimmend, ließen die Stockholmer 1995 alles stehen und liegen und wandelten sich auf ihrem zweiten Album "Dawn of Glory" komplett. Afflicted hatten sich offiziell als "Defenders of True Heavy Metal" neuformiert. "Dawn of Glory" entsprach mehr der kraftvollen Stimmung von Silver Mountain, Heavy Load und Axe Witch und katapultierte die First Wave of Swedish Heavy Metal (FWOSHM) mit Tracks wie "Raging into Battle", "Son of Earth" und dem mitreißenden Titeltrack in die moderne Ära. "Dawn of Glory" war jahrelang nicht erhältlich und erstrahlt nun in neuem Licht dank eines spektakulären Remasters im Originalzustand von Patrick W. Engel (Corrosion of Conformity, Destruction) in den Temple of Disharmony Studios. Vor Hammerfall gab es Afflicted. Die 2023 neu aufgelegte Version von "Dawn Of Glory" wird über Century Media Records erscheinen und als 180g LP inklusive LP-Booklet, Ltd.

Nach dem Erfolg des offiziellen Anno 1800-Vinylsoundtracks feiern Black Screen Records und Ubisoft Mainz die populäre Aufbausimulation mit "The Four Season": Der opulente zweite Soundtrack entführt in die lebendigen musikalischen Welten der vier Erweiterungssets des Spiels und erscheint pünktlich zum 25jährigen Jubiläum der Traditionsmarke am 31.03.2023, natürlich auf audiophilem 180g Doppelvinyl. Alle neuen Musikstücke werden zur gleichen Zeit auf Spotify verfügbar sein. Das Album wird erneut in wunderschönem Klappcover mit Artworks von Ubisoft Mainz ausgeliefert und kommt mit kostenlosem Download-Code für den digitalen Soundtrack, inklusive 8 Bonustracks. Musikalisch dokumentiert die Doppel-LP nicht nur die enorme inhaltliche Abwechslung der vier Anno 1800-"Seasons", sondern auch die stilistische Bandbreite der Komponisten Steffen Brinkmann, Jochen Flach, Armin Haas, Alexander Röder, Tilman Sillescu und Matthias Wolf (Dynamedion). Die Stücke erzählen von versunkenen Schätzen und reichen Ernten, von Expeditionen in die Arktis und ins gefährliche Land der Löwen, von der Eroberung des Reichs der Lüfte oder dem überwältigenden Ausblick von den majestätischen Dächern der Stadt. Kurzum: Die Welt von Anno 1800 und der facettenreichen Spielerweiterungen wird als akustische Reise erlebbar gemacht. Anno 1800 ist eine von Ubisoft Mainz entwickelte und von Ubisoft veröffentlichte Aufbausimulation, in der Spieler die industrielle Revolution anführen, Metropolen errichten und mit Diplomatie, Handel oder Krieg um die Vorherrschaft wetteifern. Das erfolgreiche PC-Strategiespiel begeistert mehr als 2,5 Millionen Spieler auf der ganzen Welt mit einer Kombination aus bewährten Spielelementen, innovativen Neuerungen und dynamischem Spielverlauf in einer der spannendsten Epochen der Menschheitsgeschichte.

Star Funeral is the full-band solo project of Nikki Es- posito. Stepping into the spot light from behind the bass in Secret Tapes, Esposito adds guitar and lead vocals to her list of duties while drums are handled by Ethan Kreidemaker. Sonically, Star Funeral walks a fine line between pleasant and somber tones- dreamy guitars splash through plodding bass and drums with Esposi- to’s vocals driving them forward through a flurry of aching longing and regret. This is indie rock at its finest and Star Funeral feel set to be a standard bearer for a long time. “In the Dark” came together in 2020 after urging from close friends and producer Billy Mannino (Bigger Better Sun, Oso Oso). Singer/multi-instrumentalist Nikki Es- posito built this solo project from the ground up, per- forming all instruments alongside Ethan Kreidemaker’s studio percussion. It’s a lightning bolt of intensity and harrowing growth set to honor and expand upon her primary influences, a flash of self-understanding while re-entering a lightless era. Star Funeral’s debut is a potent discovery of new ways to shoulder old wounds, such as the murmurs of body dysmorphia trailing be- hind double-jaw surgery (“Mouth Bleeder”), the lack of closure in lost friendships (“Outgrow”), and the anxiety of letting others in after these hurdles (“Breather”).

To celebrate the 50th release of Visions Recordings, Alex and Stephane Attias present here a 3 track EP featuringSohan Wilson on keyboards.

Starting on the A side with a long deep slow disco vibe and a shifting bass line, “In My Mind” will take you on a journey, a repetitive groove, a long jam that simply celebrates the essence of Visions Recordings with a soulful vibe.

On the B side we have “Overtones” a crazy dancefloor jam with a simple beat based on a kik drum and some percussions. The key to the track lies in the sick bass line and haunting piano riff that builds to a peak reaching a higher state of moody funkyness.

Rounding out the B-side, “Skylite” is a funky disco house track with a healthy dose of sunshine, pads, and keyboards by the wizard Sohan Wilson.

Existing somewhere between the post-psychedelic period of Soft Machine and the electric funk of Herbie Hancock's Headhunters, Black And White, the 1976 album from Norway's Vanessa is without question a formidable beast of a jazz-rock record. A potent brew of sonic experimentation and pulsating off-kilter groove. Taking their name from the genus of Nymphalidae butterfly, Vanessa was founded in 1971 by saxophonist Svend Undseth and pianist Frode Holm, the founder of the Oslo record store turned imprint, Compendium Records. Unsurprisingly analogous to the music championed across the Compendium catalogue Black And White is clearly influenced by the UK Canterbury scene, highlighted by Compendium's focus on the recordings of Soft Machine alumni Hugh Hopper and Elton Dean. Vanessa's spirit also lies synonymous with the collective pedigree on the label's roster including British progressive jazz stalwart Keith Tippett and Mirage (a UK group consisting of ex-members of Centipede and The Mike Westbrook Orchestra), together with the avant-rock collective Henry Cow and the experimental synthesiser-jazz of US ex-pat Joe Gallivan (together with Charles Austin).

Often dubbed the 'Compendium house band' owing to Holm's association with the label, the Vanessa sound is inherently familiar yet undeniably original. Each of the album's four long compositions are a meld of complex angular jazz laced with swirling electronic textures - furious rhythms that surge in intoxicating intensity before easing into fluid passages of soulful post-bop. The dichotomy of these styles plants the group firmly into radical new jazz territory alongside their Canterbury contemporaries. Despite their brief existence, the band, alongside the label left an indelible mark on Norwegian jazz-rock and the headier side of European progressive music at large.

Reissue of 1976 Norwegian Jazz-Rock album.
Post-psychedelic period Soft Machine meets the electric funk of Herbie Hancock's Headhunters
Transferred and restored from the original master tape.

After almost a decade, Ransom's Pain & Glory album is finally being released on vinyl. This 2014 project is considered by many to be Duffle's best LP of the 2010s. The LP includes features from Jadakiss, Raekwon, Freddie Gibbs, Joe Budden, Simone Pash, Mike Classic, MVP, Jade, and Chris Echols, and production from 8 Bars, Dark Night, MVP, and TheRealRaw. Album art & layout by Jordan Commandeur

The Mothership has come! It has arrived in the form of the strictly limited collection box “Music Is The Healing Force Of The Universe”, containing all singles released on the label between 2019 and 2021. The Höga Nord – galaxy resounds of all good between strict electro and loose jams, fluffy krautrock and moist world music to underwater techno and space funk. Although, what it is that defines the Höga Nord sound is not genres, instead it is, to cite Mathias Nilsson, founder of and boss for the label, music “strongly connected to fantasy, to the creative world.” Creativity over profit!

The collection is an overview on Gothenburg’s underground music and on an international scene that breathes similar air as the local Swedish acts that Höga Nord Rekords has chosen to highlight. The kinship between Jesse’s 80’s varnish sports car-electro and Purple Desert Rain God’s more traditional mountain sound can appear distant but the artists come together in their free spirited approach to their own productions – what all acts on this collection has in common is that they move toward something new, something beyond the genre they are in.

“Music Is The Healing Force Of The Universe ” mark the closer for Höga Nords first run. The 2010s are over and the 2020s lies open for further investigation of the cream of the Swedish and international of underground scenes!

Jeugdbrand is the voice (Dennis Tyfus) and the beat (Jeroen Stevens) of Antwerp. They perform a sparkling drama, a theatrical tragedy, marinated in our classic Antwerp anarchic sense of humor. Recorded at Joris Caluwaerts’ Finster Studios - a landmark in Belgian music.

Inside the multiverse that is Dennis Tyfus’ oeuvre there exists this body of detailed pencil drawings of various sizes. In these drawings the artist puts himself in many tragic situations. Like vomiting on his way home after a long night at the bar. Boiling right wing idiots. Telling sweet little lies on your Tinder profile. Or, you know, taking out the garbage on a Sunday evening. The horror. These seemingly hermetic pencil drawings show a deceivingly simple world. But you’re often stuck with a bitter aftertaste when you understand a bit more what is actually happening behind the colorful masque.

When it comes to his music - and in contrast to aforementioned drawings - Dennis pencils a more piecemeal picture. His recordings and performances often feel like spliced excerpts. Strange sentences and funny remarks waiver by and interconnect. Musical symbols are casually thrown on the table. Instead of a clear picture, we now have the feeling of looking at a bunch of different doodles. Like… sometimes I have the feeling compared to how focussed Dennis works on his drawings, how unfocussed and sketchy he treats his music. We are simply thrown from emotion to emotion. From laughter to tears. It’s a bumpy ride.

I’d like to imagine that Dennis constantly notates all the shards of conversation he picks up during his regular walks in the centre of Antwerp - a wormhole congested with characters, the one more tragic than the other. In a kind of R. Murray Schafer way, Dennis takes in every sentence very un-arbitrary… and that’s the soundscape. Dramatic, normal, boasted, silly, urgent…

Enter Jeroen Stevens. Antwerp’s number one percussionist. If I would have to list all the bands he performs in this text, well, we would be truly wasting data and printers. Jeroen is the grand gift of the wellschooled session musician. But thank the heavens of white improv, he is also sweet and creative. Jeugdbrand is his second entry in the Edições CN catalogue, after taking care of some of the percussive fragments on the “KAGIROI" LP with Sugai Ken (2021). Recently Jeroen has been performing very lengthy - thus correct - performances of Satie’s Vexations for midi instrumentation; Christmas music; and his famed De Stoeltjes project, where he covers Stooges songs on a camping chair. Apparently much to the confusion of Iggy himself. This might all feel like a big joke to you, but when you dare to listen, you will have to admit that Steven’s adventurous music is very rewarding. Special stuff.

The music of Jeugdbrand reminds me a bit of the music of the late Ghédalia Tazartès - especially when it comes to reinterpreting and combining musical idioms - but trying to put a direct reference on this album does it a bit short. Most important, this is music how it could be: incomprehensible, hilarious, serious, ludicrous, well crafted, sloppy, non-genre. With a strong sense of personality. You know, a fragmented beam for your own overstimulated temple. To shake things up a little … “They told us, they told her. I told everybody.”The albums comes with a drawing by German artist Albert Oehlen and with a text by Angela Sawyer of Weirdo Records, Boston.

"Under Jolly Roger" ist das dritte Studioalbum der
deutschen Heavy-Metal-Band Running Wild. Es markierte
einen stilistischen Wendepunkt, an dem die Gruppe die
satanische Symbolik, die sie zuvor verwendet hatte, fallen
ließ und das Piratenthema, für das sie bekannt wurde,
übernahm und damit das später so genannte
Pirate-Metal-Subgenre des Heavy Metal in den 2000er
Jahren schuf und beeinflusste. Der Titel des Albums
stammt von der berühmten Jolly Roger, der Flagge, mit
der Piraten ihre Schiffe kennzeichneten. Diese spezielle
graue Vinyl-Version ist eine limitierte Auflage.

Gondwana Records announces 'Goodbyes' the debut album from Estonian pianist and composer, Hanakiv, a deeply beautiful, meditative piano album featuring special guest Alabaster dePlume

"This is an album about healing. It is about saying your goodbyes to everything that doesn't serve you anymore. Each of these songs has a little goodbye in it. So, these are very beautiful and necessary goodbyes".

Hanakiv is a young composer and musician from Estonia (now based in London) who creates meditative piano-based ambient music with elements from classical and electronic music. 'Goodbyes' is her debut recording and draws on influences as diverse as Tim Hecker, Björk "Vespertine", Kara-Lis Coverdale, Arvo Pärt, Erkki-Sven Tüür and Aphex Twin as well as her own cultural heritage. Music has an important part in Estonian culture, especially choir music and its traditions, but Hanakiv also draws on her love of nature – the beautiful Estonian seaside and forests - and on her time in Iceland. However, it was moving to London that gave her the freedom to make her own music: "London gave me the freedom and courage to really be who I am (as a person and musically)" and her heritage and her new home both offer inspiration to Goodbyes, as Hanakiv moves between these two opposite places, a bustling metropolis and a small country full of nature, drawing inspiration from both as she sculpts her own voice.

Hanakiv had an unconventional music education – she started studying music at a school for handbells when she was nine and was part of a handbell ensemble for eight years. Starting on piano at the same time she went on to study composition at high school, and later at the Estonian Academy of Music. Eventually switching to electroacoustic composition, she studied in Reykjavik, and did internships in Malmö, and again Reykjavik before moving to London. She grew up in a musical family and her grandmother was a piano teacher and choir conductor.

"I would always ask her to take me to her choir rehearsals. I remember sitting under the grand piano, listening to the choir and just being mesmerised by the sounds. She also teaches in a local music school in the south of Estonia with about ten pianos, and I'd spend a lot of time there as well. I believe this was the starting point for me to get to where I am now. The last two pieces on the album (Home II and Home I) are composed in this same music school, so it feels like a full circle.

An early influence was Regina Spektor "the first artist who made me really want to play piano" alongside dream pop and Sigur Rós' as well as Estonian contemporary composers such as Erkki-Sven Tüür and Arvo Pärt. Later her studies took her to Reykjavík: "There is this amazing record shop called 12 Tónar in Reykjavik where you can drink espressos and listen to all their vinyls. I spent quite a lot of time there. There is something about Icelandic music that really excited me (the mixture of contemporary electronic sounds with melancholy, emotionality). This is when I started getting more into electronic music, and experimenting outside of classical music". Following a year long break from studying and inspired by making an electroacoustic soundtrack for a friend's abstract video, she was inspired to complete a masters in electroacoustic composition, diving fully into the worlds of sound recording and mixing and focusing on surround sound and how to position and move sounds in space, eventually doing an internship with composer Kent Olofson in Malmö, who works with multi-speaker systems for theatre productions. "I learnt a lot from him and he introduced me to some of my favourite plugins I've used a lot on this album as well."

Hanakiv moved to London just as the pandemic hit and found herself trapped, in a big new city, without any network or family and so just concentrated on making music. "I stayed in my room with my basic equipment - keyboard, Korg minilogue, SM 58 and Rode nt1-a microphones, laptop and speakers. I was reading about mixing, and trying out different things and listening to a lot of music to get the sense of the mixes and production and finishing a commission piece for 5.1 multi speaker system at that time so I set up four speakers for quadrophonic surround sound in my room!". She also found her way back to piano - my instrument – and started practicing again, playing the pieces she used to play, but also just improvising, and this was the beginning of what would become her debut album, 'Goodbyes'.

"I started appreciating everything about music again (even melody!), and everything just came together naturally, and I arrived to a point where I finally found my voice, and I had something that I wanted to say and share. I composed "Meditation I" first and started with "Goodbye", and all the other pieces are derived from that. Without "Meditation I" there wouldn't be this album. If you listen closely, "Meditation I" starts where "Goodbye" ends; "Meditation II" is born from "Meditation I".

But it was meeting Fi Roberts, a sound engineer based at the legendary Strongrom Studios in Shoreditch, London in December 2020 that really brought the album into focus. The pair bonded over an interest in prepared piano and a similar approach to production ideas (a balance of not overdoing it, and letting the songs speak for themselves, but being open to explore) and Fi became a friend but also a confidant and eventually co-producer

"Fi has a big impact on this record but I don't know how to really explain that properly. Of course, this album is sonically stunning thanks to her amazing mixes and recording skills, but she also believed in this music so much and it created something very special - that's difficult to measure with words. She just works with heart, and I really appreciate that"

This then is 'Goodbyes', the first offering from a major new voice, who offers us a meditative work full of space and tranquillity but also life and friendship and meaning. And we are very proud to welcome her to the Gondwana family.

Macht euch gefasst auf eine apokalyptische Reise!

"S.A.L.I.G.I.A" bietet komplexere Songs sowie düstere Texte über die Weltlage von heute und damals, und wie wir die Menschheit durch Krieg und Umweltzerstörung in die Apokalypse treiben.
Im Vergleich zum Debütalbum der Band bietet dieses Album ausgefeiltere Songs und Arrangements und ist eine musikalische Reise durch die Geschichte vom Mittelalter bis hin zur Gegenwart.

WRWTFWW Records is very excited to present a new full-length collaborative project by Japanese ambient/environmental legend Takashi Kokubo (Ion Series) and Italian/Swiss trombonist Andrea Esperti (Esperti Project): Music for a Cosmic Garden.

Recorded during the heights of the pandemic and completed in February 2021, the majestic 8-track ethereal/botanical soundscape created by Kokubo and Esperti is available as a limited edition double LP, a digipack CD, as well as in digital format.

Takashi KOKUBO, environmental music figure, celebrated sound designer, and founder of Studio Ion, has released over 20 albums, including the genre-defining and highly sought-after Ion Series. He's also played a major role in the sonic identity of Japan, creating the country’s mobile phone earthquake alert sound, credit card payment validation jingles, and much more. In 2020, Takashi Kokubo received a Grammy nomination for his track "A Dream Sails Out to Sea, Scene 3" off Light in the Attic’s Kankyo Ongaku compilation. He is known for recording “sound scenes from nature” around the world using a binaural CyberPhonic microphone of his own invention and for his very unique brand of healing music.

Andrea ESPERTI is a Swiss trombonist and composer originally from Puglia (Italy). He plays in multiple genres (classical, pop, world, electro, jazz) with a globe-trotting approach: encounters with peers, rhythmic exchanges, and unplanned music projects; this is where lies the foundation of his work.

Music for a Cosmic Garden is an ode to celestial botanics, a contemporary and hallucinogenic take on the soothing ambient genre immortalized by artists such as Midori Takada and Satoshi Ashikawa, a beautiful pairing of synthesizers and the mighty trombone, taking you to a meditative galaxy far, far away, where other-worldly is just another word for cozy.

Recommended track for maximum pleasure: "Gaia’s Love Theme".

In a blizzard of delirious sonics and twis’ up samples extracted from the annals of dancehall and ragga, Seekersinternational return to Sneaker Social Club to double down on the manifesto they laid out with the original RaggaPreservationSociety EP way back in 2016.

As ever, the SKRS magic lies in their ability to convey a deep affection and serious dedication for the source material while simultaneously getting shamelessly weird with it, taking the mutant tendencies of dancehall’s wildest instrumentals and injecting some added cosmic sauce into the mix. On this new record, they’re also embracing the volatile potential of junglist breaks - always intrinsically linked to Jamaican music at the point of inception, especially in the rough and ready daze of ragga jungle.

‘No Parasites (Lickshot)’ is a fierce mission statement, raining down mayhem without ever slipping into familiar modes - the emphasis is on the ragga, the jungle is there as a piquant flavour in the stew, but as ever the SKRS sound remains entirely out on its own. In contrast, ‘CaughtUp (HeartBreaks)’ almost edges closer to hardcore structures, but something keeps slipping in to run the interference, hovering just beyond perception for that all important woozy feeling.

‘2GoldChain (DriveUCrazy)’ is cut up enough to be another interstellar voyage, but here SKRS keep the music back in the mix and let a tapestry of chat lead out front as though capturing a casual street level chaos - bewildering and familiar in equal measure. ‘OriginaloftheOriginal’ completes the set with an earth-shattering script flip once more, coming on like square wave grime and half-speed breakbeat set to emotional stun. If it takes a minute to make sense, that’s because you’re hearing something entirely new.

Vinyl re issue of The Strokes critically acclaimed gold certified third album, ahead of the bands headline performance at All Points East later this year. The album (originally released in December 2005) debuted at number 1 on the UK Official Albums Chart and spawned the singles ‘Juicebox', ’Heart In A Cage’ and ‘You Only Live Once'. A track album pressed on single black vinyl. Marketing activity.

YUNGBLUD ist zurück und vielfältiger denn je, so ließ der Upcoming-Superstar sich zur Ankündigung seines neuen Albums „YUNGBLUD“ sein Manifesto auf die Rippen tätowieren. Selbst-betitelt, nahezu
schmerzhaft, voller Ehrlichkeit und heiß erwartet: „YUNGBLUD“ erscheint endlich am 2. September!

Mit seinen gerade ein mal 25 Jahren ist der talentierte Brite bereits unbestreitbar zum Rock’n’RollAushängeschild der Generation Z geworden ist. Auch seine gänzlich ausverkaufte LIFE ON MARS Tournee durch gesamt Europa und weltweit über 500 Millionen Streams auf seinen Songs sprechen wortlos für ihn und seinen Erfolg. YUNGBLUD hat inzwischen eine treue Fangemeinde auf der ganzen Welt, die zu seinen imposanten Shows strömen und jedes Wort seiner Songs mitschreien, als hinge ihr Leben davon ab.

Über sein neues Album sagt YUNGBLUD: “I have thought and felt this record so deeply. I went to a part of myself that I didn’t know was there.”. Er widmete seinem neusten Werk vollste Aufmerksamkeit und begab sich auf die Suche nach seinen tiefsten Emotionen: “ I studied it, I bathed in the emotion, tried to solve the equation and come up with an answer (at least for now) from love to pain, adoration to abandonment, laughter to betrayal.”

Das Album erschein als Standard CD und 12” Vinyl.

After 6 years and 7 volumes, the Tramp Records crew invites you to join them on yet another enlightening journey into soulful Jazz, Folk and Funk from the 1970s.

This 8th volume contains nineteen Jazz, Soul and Folk nuggets from between the late 1960s and the late 1970s. One of the many highlights is the opening track by Bobby Cole which is most likely one of the finest independently produced vocal jazz recordings ever put on wax. So true. Oscar Brown Jr. and Mark Murphy sends its regards. But that's just the beginning. Praise Poems Vol.8 covers a wide selection of genres, from big band jazz (Helmut Pistor's Big Rock Jazz Band and Germany's own Ladykiller) to psych-pop (Portraits in Sound, Harve and Charee and Allison & Shaffer), from folk-rock (Flash, Garndarf and the incredible Fang Buzbee) to AOR (The Menagerie and Penn Central), completing the set with a handful of melancholic folk beauties, most notably Hans Hass Jr.'s mind-blowing "Welche Farbe hat der Wind".

Very few compilation series' release as many as eight volumes and those that get that far often start to run out of quality music or meander too far from their original artistic direction. That certainly is not the case with the "Praise Poems" series which leaps from strength-to-strength as our team of compilers and researchers continue to unearth lost and often overlooked music from an era long gone. Many of these records were released in small quantities as private pressings or by small regional labels. Obviously, those labels neither had the budget, expertise, nor options to promote their releases in a sweeping way. Therefore the majority of these artists failed to find the wider audience their music so richly deserved.

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

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

Samuel Rohrer - drums, percussion, electronics, keys, modular synths Music produced, recorded and mixed by Samuel Rohrer
Samuel Rohrer’s newest solo album, Codes of Nature, shows the artist making yet more refinements and additions to an already rich catalog of musical ideas. Though he has excelled in collaborative projects with Ambiq, Ricardo Villalobos, Max Loderbauer, Tobias Freund, Dark Star Safari, Nils Petter Molvaer, Oren Ambarchi and
many others, it is fascinating to experience him also working in a field completely his own, yet managing to still give the impression of being fully integrated or connected with a larger musical universe.
A strange, intriguing ambiguity between the specific and the universal is indeed what makes Rohrer’s music worth playing on a loop – the cool, downtempo, yet energized constructions on Codes are powered by subtle atmospheric and tonal changes, and work like a camouflage adaptable to any environment. This is a record whose strength derives from its versatility. It’s clear that this versatility of sounds has been inspired by a commitment to positive differentiation that is not just a musical one, and that’s where this work will inspire others in turn.
— Total playing time: 50:04