Search:light

Produziert von Jorge Elbrecht (SKY FERREIRA, JAPANESE BREAKFAST, WILD NOTHING) ist "Giving The World Away" HATCHIEs bisher ausuferndstes Werk. Mit umfangreichem Input von ihrem langjährigen Kollaborateur Joe Agius, nimmt es die himmlischen, schimmernden Shoegaze- und Pop-Sensibilitäten ihrer früheren Veröffentlichungen auf, dreht aber den Lautstärke-Regler um das Zehnfache auf. Ursprünglich wollte Harriette Pilbeam mit diesen Songs eine energischere Richtung einschlagen - sie hatte die klare Vision einer HATCHIE-Show, die sich in eine Tanzparty verwandelt und mehr Bewegung und Lebendigkeit in ihre Live-Shows bringt. Aber dann, zwischen Covid und den Lockdowns in Australien, zog sich Pilbeam mehr in sich selbst zurück, und diese Selbstbeobachtung und Selbstfindung diente als wahre Inspiration für die Platte. In "Giving The World Away" kehrt sie immer wieder zu demselben Thema zurück - verinnerlichte Scham abzubauen und Dankbarkeit und Beständigkeit zu finden, und endlich in der Lage zu sein, sich selbst zu vertrauen. Harriette Pilbeam wuchs als Jüngste in ihrer Familie auf, ein selbst bezeichnetes "großes Baby", aber sie sagt, die letzten anderthalb Jahre hätten ihr den Raum gegeben, sich selbst besser zu verstehen. Nach Jahren der emotionalen Selbstverleugnung legt sie hier ihre Ängste offen. "Giving The World Away" ist ein Album über Selbstvertrauen, über Rückgewinnung, über die seltsame Zeit im jungen Erwachsenenalter, in der man endlich in der Lage ist, sich selbst klar zu sehen. "Giving The World Away" ist der bisher klarste Blick auf Pilbeam und ein Zeugnis der Kraft und des Mutes, die daraus entstehen, wenn man sich verletzlich zeigt und sein Herz aufs Spiel setzt.

On ‘Paint This Town’, Old Crow Medicine Show
offer a riveting glimpse into American mythology
and the wildly colourful characters who populate it.
 Co-produced by OCMS and Matt Ross-Spang, the
album pays homage to everyone from Elvis
Presley to Eudora Welty, while shedding a bright
light on the darker aspects of the country’s legacy.
 Fuelled by Old Crow Medicine Show’s
freewheeling collision of Americana, old-time
music, folk and rock & roll, ‘Paint This Town’ turns
razor-sharp commentary into rapturous singalongs.

Nach der Wiederveröffentlichung von „Back To The Light“ letztes Jahr erscheint nun auch endlich Brian May´s „Another World“ am 22. April!
Diese Neuauflage kommt genau zur richtigen Zeit, denn lange war das Album überhaupt nicht erhältlich. Brian May kümmerte sich zusammen mit dem Co-Produzenten Justin Shirley-Smith, dem Queen- und BM Pro Tools-Experten Kris Fredriksson und dem langjährigen Queen-Artdesigner Richard Gray um die neue
Reissue-Version.

Nach der Wiederveröffentlichung von „Back To The Light“ letztes Jahr erscheint nun auch endlich Brian May´s „Another World“ am 22. April!
Diese Neuauflage kommt genau zur richtigen Zeit, denn lange war das Album überhaupt nicht erhältlich. Brian May kümmerte sich zusammen mit dem Co-Produzenten Justin Shirley-Smith, dem Queen- und BM Pro Tools-Experten Kris Fredriksson und dem langjährigen Queen-Artdesigner Richard Gray um die neue
Reissue-Version.

Der Eurovision Song Contest geht in die 66. Runde. Dieses Jahr ist die Ukraine der klare Favorit, was aufgrund der aktuellen Situation nicht verwunderlich ist. Deutschland wird in Turin von Malik Harris mit seinem Song ”Rockstars” vertreten.

All you need is Lava. Lava is all you need…

Disco’s most erotic walking, talking light show Sexy Lazer makes his debut on Riotvan with three delightfully cosmic oddities and odysseys. At points sleazy, at other points sparkling, forever loaded and coded with space, each of the three originals promises full immersion and escapism.
Zone out to the woodwind wonderment of ‘Fluting In Space’, freak out to the synth-powered bliss of ‘Future’ and totally trip out to the much darker and pensive Black Strobe-like ‘Jing Jang’. Meanwhile on the remix front label co-boss Panthera Krause gets his prowl on with the swampy, sweaty tropical twist on ‘Future’ while Axel Boman gets his dub on with his take on ‘Fluting In Space’.

Three stellar originals, two star-gazing versions, one beautiful trip into the deep unknown. Show some lava!

3x12"

Extraordinary musical talent returns with a deeply textured third outing on Blu Mar Ten Music.

Having made serious waves with the release of his debut album "Coeur Calme" in 2014 and the incredible 2016 follow up album "Zawadi", Kimyan Law steers his sound in a darker, more introspective direction with the twelve heavily themed set-pieces of his new album, "Yonda".

The album title, "Yonda", homophonically flits between a location in Kimyan Law's native Congo and definitions of something situated at a distance but still visible, foreshadowing the artist's move away from his typical uplifting palette into less playful territory.

While previous work seemed to be a personal exploration of joy-tinged melancholy, "Yonda", feels much more sober and pensive, infected with external events. In conversation with Kimyan Law the artist described one piece ("Krieg") as his "portrait of war", with the music moving through phases of violence, silence, panic, redemption and peace. Ever the allegorist, Kimyan Law relates themes of conflict and war not just to obvious geopolitics but also to his own physical struggles, and even an obsessive battle with the music itself, ("Yonda" has been more than three years in the making). In 2017 the artist wrote, "I've reached a point where I couldn't sleep because it bothered me so much... I have found myself unable to make any music except for Krieg".

An accomplished drummer in his own right, Kimyan Law's intricate rhythmic sensibility is the lifeblood that runs throughout the album, incorporating ever more outlandish sources of percussion recorded from his natural surroundings and filtered through technology.

"Yonda's opener, "Jaardin", is deceptively gentle, with off-kilter rhythms and pianos providing fertile ground for Elyn's delicate singing before the whole piece careens off into what can only be described as orchestral proto-jungle territory. It soon becomes apparent that this placid introduction is misleading, with subsequent tracks fluctuating between pounding tribal beats ("Arboreal Epitone" / "Kin"), chilling orchestration ("Byo" / "Krieg") and rehabilitated jungle forms ("Seven Ant Foley"). A constant mix of light and dark, futuristic yet primitive atmosphere hangs over the album, with waves of luscious synths and deeply musical string arrangements lovingly cloaked over the razor-sharp drum work.

Unusual conceptual themes litter "Yonda"; "Dor Rhythm" is about a Dung Beetle's journey, "Lampion" is about paper lanterns, "Nova" is about plant growth while "Kilele" is a song about peace, featuring Kimyan Law's own vocals in a new language he created himself, conjuring memories of Cocteau Twin's Liz Fraser.

While "Yonda" contains moments of incontestable beauty it can often be a difficult listen, an illustration of an anxious mind yearning for peace. An obsessive and intricate musician, Kimyan Law's use of African percussion, finely honed polyrhythmic patterns and celestial sprinklings of keys melded with slabs of sub-bass power and sheer energy makes for an intoxicating listen. As ever, Kimyan Law has delivered a profoundly serious piece of work that expands the vocabulary of his genre. Despite the darkness saturating the work, a soft light still breaks through the window. It is the east, and Kimyan Law is the sun.

‘Dragon New Warm Mountain I Believe In You’ is a sprawling album exploring the deepest elements and possibilities of Big Thief. To truly dig into all that the music of Adrianne Lenker, Max Oleartchik, Buck Meek and James Krivchenia desired in 2020, the band decided to write and record a rambling account of growth as individuals, musicians and chosen family over four distinct recording sessions.

 In Upstate New York, Topanga Canyon, The Rocky Mountains, and Tucson, Arizona, Big Thief spent five months in creation and came out with 45 completed songs. The most resonant of this material was edited down into the 20 tracks that make up ‘Dragon New Warm Mountain I Believe In You’, a fluid and adventurous listen.

 The album was produced by drummer James Krivchenia, who initially pitched the recording concept for ‘Dragon New Warm Mountain I Believe In You’ back in late 2019 with the goal of encapsulating the many different aspects of Adrianne’s songwriting and the band onto a single record.

 The attempt to capture something deeper, wider and full of mystery points to the inherent spirit of Big Thief. Traces of this open-hearted, non-dogmatic faith can be felt through previous albums but here on ‘Dragon New Warm Mountain I Believe In You’ lives the strongest testament to its existence.

Constructed in the initial chaos of the pandemic, Baby Blue’s dystopian debut LP “End Of Sleep” finds solace in the unearthly home of Planet Euphorique. 7 offerings from the Canadian artiste dive deep into a heightened reflective state; an amalgamation of memories stitched together via looped dissonance and destruction. A contrast of lightness and dark constantly working against each other and at times in harmony; a familiar connection that can be found in complex electronic music and mental states alike. Strap in and be guided through a wormhole of cyber analog journeys, thematic explorations and catastrophic calls to celestial beings.

Ethereal echoes of LSG break in the opening of the record, fleeting cries nodding to ancestry; yet A Rainy Trip To Netherworld Sequence embraces the storm. Knee jerk kick distortions disrupt the angelic hypnosis; reality rolling through the clouds. The sequential energy continues through A2 and A3, driving and rolling viciously with heavy contorted noise infiltrating the low end whilst flickers of melodious song sail unbothered, thriving amongst the destruction. The Spring Is Coming feels like a seasonal change, a melting and defrosting; thawed harmony shining through; textural and flowing with movement, a perfect bridge.
An arguably more delicate chaos emerges on the B side, elongated pads stream endlessly whilst drums cultivate and expand into sudden frisson. Fragile voices begin to gate and sweep in Equal Parts Damaged, lingering and ringing through ear drums whilst glued in rhythmic unison to induce a state of floating, a game of elevated push and pull. Syncopated howls of distortion leads the closing track, Violet summarizing the brilliantly confronting conversations pulsating through the record.

PE016 urges you to join the otherworldly personal journey and sufferings of Baby Blue, a moment to connect with her meditative dreams and struggles; sonic synergy expanding to anyone with the invitation to surrender.

The debut LP from duo Sunflower Aquarium offers a full spectrum bloom into the electronic ecosystem. Dylan Batelic (Paper-Cuts) and Thomas Martin (Furious Frank) fuse together for a 7 track collection of low-slung immersive deepness, embodying a cycle of life via the ebbs and flows of sonic seasonal evolution. A collaboration of cyber synthesis; written simultaneously Melbourne through Adelaide during late 2021, the result a refined yet spontaneous take on dubbed downtempo through to driving dance deviance.

Beginning with a birth, the stand alone Intro’s saturated glow cultivates a vivid timbre and sun kissed sub-stratosphere. Sprouting melodic constructions continue to blossom throughout the record and growing pains are welcomed with open arms, a mature moodiness brooding delicately through assured drums and fleeting Janet vocal fragments. Broken beat patterns group together and tessellate, the woven sunken bass leaves space for flickering hi hat fissure in SA-124, this groove based atmospheric momentum evolving cohesively track after track. Bright, refined concepts that linger and dissolve in your subconscious for weeks. The B Side preserves the introspective tip but dives deeper, faster; Birds Of Paradise melting organic field recordings into blissful synth voices and ricochet breaks. Bubble (Contagious Mix) feels like a midnight highway dub drive, shooting and gliding fluently; coloured lights iridescently blurred as if it was all a dream... then the closing track, which induces a sharp sense of hypnosis. Traditional techno expressions flirt with your ears, layers of repetition locked and loaded, dwindling into the abyss; conclusion of the cycle.

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."

The classic second Big Thief LP originally released in 2017, limited repress at a decent price! Gatefold LP & download code, don’t miss out.

The trails that Brooklyn's Big Thief -- Adrianne Lenker (guitar, vocals), Buck Meek (guitar), Max Oleartchik (bass), and James Krivchenia (drums) -- take us down on Capacity, the band's highly anticipated second record out 6/9 on Saddle Creek, are overgrown with the wilderness of pumping souls. After last year's stunning Masterpiece, Capacity was recorded in a snowy winter nest in upstate New York at Outlier Studio with producer Andrew Sarlo. The album jumps right into lives marked up and nipped in surprisingly swift fashion. They are peopled and unpeopled, spooked and soothed, regenerating back into a state where they can once again be vulnerable. Lenker's songs introduce us to a gallery of multifacted women and deal with the complicated matters of identity — at once dangerous and curious, though never unbelievable. Lenker shows us the gentle side of being ripped open. Tricked into love, done in and then witnessing the second act of pulling oneself back together to prepare for it to all happen again, but this time to a sturdier soul, one who is going to take the punches better than ever before and deal some jabs and roundhouses of their own. The album is thick with raw, un-doctored beauty: most of the songs on Capacity were played for the first time in the studio and were recorded the same day. There is a darker darkness and a lighter light on this album,' Lenker explains. The songs search for a deeper level of self-acceptance, to embrace the world within and without. I think Masterpiece began that process, as a reaction from inside the pain, whereas I feel Capacity examines the pain from the outside.'

Hailing from downtown Los Angeles, Nuklear Prophet, aka Erik Villalpando, is heavily influenced by West Coast Hip Hop and Electro. Winning multiple DJ awards, including 3x World Records DJ Competition under his DJ Dope-E alias, Villalpando cites his inspiration as coming from some of the most influential Los Angeles DJs of his childhood, including Tony G, DJ Joe Cooley, Julio G, and DJ Aladdin.

With releases on Urban Connections, Abseits Recordings, Diffuse Reality and Bass Agenda Recordings as Nuklear Prophet, the LA-based DJ/producer readies his full-length album 'Prophecies 11:21' for Utrecht-based U-Trax. Formed of an eclectic and energetic collection of gems mined from his overwhelming archive, the album takes in genres such as Electro, Hip Hop, Footwork, Juke, and beyond.
Leading the release is the 808 luminary Egyptian Lover's remix of 'L.A. Rockz', featured on the recently released 'L.A. Rockz' EP, kicking off the LP with his trademark 808-infused sound. A nod to Detroit-flavoured Electro is presented via the dark and brooding tracks 'Nuklear Prophet' and 'Compton', with the lighter atmospherics of the genre covered on 'Solar Winds'. The pounding electro killer '808 Plague' sounds like it came straight from the sewers of The Hague.
'Everlastin' Bass', 'Back Up Off My Tip', and 'The Train Ride To Coconino' offer Footwork inspired bangers, with the latter previously featured on the Legowelt curated U-Trax compilation 'U R Here!' earlier this year.
Moving across a spectrum of tempos, styles, and moods across the album, exemplified on the sluggish trip-hop of 'The Mars Goblin', Nuklear Prophet expertly touches on a range of bass-driven genres, displaying his widespread influences and knack for hard-hitting production throughout.

a 01: L.A. Rockz (Egyptian Lover Remix) feat. Krazy Dee & Nasim

Pressed on Eco Vinyl - Jemima Thewes is a singer/songwriter who grew up in the highlands of Scotland; an atmospheric landscape which continues to help provide the bones of her music - She sings traditional songs and her own material

In February 2015 Jemima independently launched her debut EP 'Bright Shadows' with friends and collaborators Tim Lane (tongue drum), David Boyter (guitar/ mandolin) and Susan Appelbe (cello). It has been greatly received with radio plays on stations such as Travelling Folk on BBC Radio Scotland and Late Junction on BBC Radio 3.Cloud-hopping tales are told by warm, haunting vocals
and adorned with playful instrumentation. Jemima and her band charm you along a cathartic, spell- binding and life- affirming journey. The unique combination of strings and a rare wooden box in the form of a chromatic tongue drum creates an innovative sound which along with Jemima's compelling voice, magically stirs the emotions to the very heart of the soul.

Piquant three-part harmonies, cumbersome guitar woven tightly with
organ flourishes, all poured over hot rhythm grooves! Recorded
1970-1972 under the watchful eyes and ears of Ron and Howard Albert, aka Fat Albert Productions (Wishbone Ash, Procol Harum, CSN) at the legendary Criteria Studios in Miami, this powerhouse album finally sees the light of day, pressed on orange color vinyl!

After a 20 year wait, Detroit rock band The High Strung finally share their long lost album 'HannaH' on vinyl! Originally recorded in 2002, the album is finally seeing the light via Park The Van

In case you're not familiar with the group, they're fronted by Josh Malerman, author of New York Times best seller 'Bird Box'. The band is renowned for their rigorous touring, having played 250 shows a year for 7 years, touring with the likes of Guided By Voices, The Brian Jonestown Massacre, Son Volt, etc."These guys make instantly memorable music." - Pitchfork "Upbeat melodies, ever- shifting tempos, catchy choruses, and standout bass lines." - NPR
"Forget all that you know about the other hardest working bands in show business." - Paste