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Modern metallers DAGOBA are back! After putting their stamp on the metal scene with a unique blend of metal and neckbreaking grooves, relentlessly touring and sharing the stage with legendary acts like Metallica, Machine Head and In Flames, DAGOBA have signed with leading Austrian metal label Napalm Records and are prepared to hit the next level. The French four-piece returns with the band’s most ambitious material yet: punishing vocals, groove and modern metal infused guitars and hard-hitting production shows DAGOBA on top of their game, pushing boundaries and incorporating electronic elements seamlessly into a unique modern metal formula. Vocalist Shawter impresses with a high variety in his singing by covering a wide span from intense and deep growls, strong shouts and precise clean vocals. The album starts off with an electronic intro that bursts into the massive attack „The Hunt“, that has already been released in July 2021 as a standalone single and includes all the significant trademarks: melodic passages with clean vocals alter with intense breakdowns and all of this underlined with electronic elements. This mixture leads to a catchy sound as showcased on the dramatic „Bellflower Drive“ or the melodic „City Lights“. Furthermore the sound of DAGOBA stands out for dominant drumming that oscillates between double bass, blast beats and forward going up tempo drumming as it occurs on „The Last Crossing“ or „Sunfall“. Between all the action, there is also space for calmer parts such as the interlude „Break“ or the track „On the Run“ that begins with female vocals that gradually build up into another hymn lining up brilliantly with the other songs of the album. DAGOBA manages the balancing act between harsh breakdowns, dense soundwalls and grooving passages with ease. Even on its hardest passages, the album never gets too enigmatic - quite the opposite: One smashing track is followed by the next, the record just flies by and leaves no time to breathe. By Night is a beast of an album showcasing how far DAGOBA can take electronic influences on the upcoming material – a must-have for true fans of modern metal! alone!

Tape

Foam and Sand is the ambient soundscape and visual project of award-winning composer and conceptual artist, Robot Koch. Inspired by the composer’s daily habit of meditation, ideas for the project started to take shape during the lockdown of 2020, growing organically under the radar until Foam and Sand was officially announced in 2021. Using tape recordings of slowed-down pianos, modular synths, and other sonic sources, »Full Circle« is a collection of 16 warm and organic ambient tracks. The signature sound is created with loops that magnify the irregularities and imperfections of cassette recordings and that are then shaped by the artist into hazy meditative journeys. Through the process, the grainy subtleties of sound give way to vast and lush atmospheric soundscapes, making audible the complex interplay of micro and macro and highlighting the interconnectedness of these two spheres in life.

“I started meditating 7 years ago. It’s interesting that meditation and medicine have the same root syllable. Meditating before working on my music resets my brain and helps me access ideas that are layers deeper than my conscious mind. Foam and Sand started as a self-soothing project which I now share with the intention of providing healing and inspiration to others.” - Robot Koch

THE ALBUM EXHALES A NEW TAKE ON THIS GENERATION OF MODERN / CONTEMPORARY JAZZ MUSIC CONTRIBUTED BY THE QUARTET. STARRING TRACISGREY, PROFESSOR CREEPSHOW, DOMSTA AND MACKJUNT.

Adriano Caglioni and Power Records is the combination from the past that always delivered quality productions. Strong beat, heavy synth brass, gloomy atmosphere together with plaintive melodies and masculine male voice. This is the recipe also this time. The new Time Machine release “I’m A Warrior” will lead you back to the Power Records ambience, guided by the vocals of an Italian New Generation artist, Luke White.

The A-side of the vinyl includes an Extended Mix and from the B-side you can find an alternative vocal mix. The vinyl has been pressed on marbled gray vinyl.

They are here, all over: sudden, random molecular movements. Invisible and yet extremely effective. Perceptible only to those who turn on things from a peculiar outlook. Now Rio unfolds the second edition of “Risks Issues Opportunities”, bringing interstellar musical developments full of little, yet profound molecule advances. Eight mystical fate spinners, with the muscle to shed some light on unanswered questions, that will stay unanswered after all. Monolithic, yet deeply fragile compositions, made by terrestrials like Leipzig based producer Syncboy, Pannotia from Sydney, Italy based dusty drum machines lovers Twoonky, Charlotte Simon, known as one half of the art duo Le Trucs from Frankfurt, Berlin mystic’s like Airaboi or Nadia D'Alò of the duo INIT, Brooklyn based “The Thing” housekeeper Willie Burns and Vienna’s symbolist sound poet Bocksrucker. They all created electric signs for the above. Murky analogue prophesiers without prophecy, bringing headway music against the greedy frontier spirit. Hypnotic tones out of a hazy musical outer space. Like a dream that forgot to dream, they wave around with veiled frequencies full of ray, processed through analogue machine power. Music, that is able to in sight humans to an Atget photography. Able to transmit flashes to the firmament, to stars that wander darkling in eternal space. And yes: to some who listen a sudden physical movement might transpire, despite the fact that all was made without a particular practical value. Art for art's sake‍. In favor of an alternative to reality. Compellingly haunted by itself. Like stone, that awaits a random molecular movement.

F.S.Blumm and Nils Frahm have confirmed details of their fourth collaborative album, 2X1=4, which will be released on September 3, 2021, by LEITER, the new label formed by Frahm and his
manager, Felix Grimm. The seven-track album finds the duo unexpectedly exploring a dub influenced universe, though in truth it’s one already familiar to both. F.S.Blumm, for instance, is
co-founder of Quasi Dub Development, whose 2014 album, Little-Twister vs Stiff-Neck, featured Lady Ann and Lee Scratch Perry, while Frahm’s music – not least 2018’s All Melody – has
occasionally betrayed a fondness for the form’s associated studio techniques, though he concedes wryly that his approach has always been “a little bit more German” than his influences.

F.S.Blumm, a revered mainstay of the German underground for over two decades, and Nils Frahm, who’s enjoyed significant success in recent years with his ground-breaking compositions
for piano and synths, first met in the early 2000s. Frahm was a big fan of Blumm’s 2001 album, Mondkuchen – he refers to his fellow Berlin resident admiringly these days as “a vital brick in the
Berlin Wall” – while Blumm was soon dazzled by Frahm’s studio set up. “Compared to mine,” he says, “it was like a space ship!” Soon they were working together on a variety of projects –
including theatre pieces and animated films – and by 2010 they’d released their first collaborative album, Music For Lovers Music Versus Time. A second, Music For Wobbling Music Versus
Gravity, followed in 2013, and a third, Tag Eins Tag Zwei, in 2016.

2X1=4 is very different to its predecessors, but its final track, ‘Neckrub’, first took shape as they wound up work on Tag Eins Tag Zwei. “We had a certain sound in the back of our heads,”
Blumm recalls, “which was influenced by these 80s rhythm machines, and we suddenly discovered a common love for dub.” Most of the new album, therefore, was initially developed in 2016 during improvisation sessions recorded by Frahm to two-track cassette. “It was like we were running a combine harvester,” Blumm laughs, “so we could write our names on a single grain!”

Afterwards, they worked on editing and overdubs in Frahm’s new studio at Berlin’s legendary Funkhaus. “We kept on making new songs out of these sessions and starting over and over again,” Frahm smiles. “It was a process that was time consuming but really fun.” Not that either of them is eager to claim a purist approach. “I love ending up somewhere where I’m surprised by myself or the machine or the person with whom I’m making music,” Blumm concludes, while
Frahm emphasises that, “None of this is too serious. The record is only as much of a dub record as the ones before are jazz records…”

Formed in 2014, Once Human have steadily established themselves as one of the most distinctive and destructive metal bands of the modern era. 'With their new album SCAR WEAVER, ONCE HUMAN delivers their very own and unique style of modern American Metal in combination with a groovy Technical-, Melodic-Death-Metal attitude – all in the veins of bands such as Lamb Of God, Arch Enemy, Machine Head or Jinjer. On the album Lauren provides a strong mix and range of hellish extreme vocals alongside with more “melodic“ vocals.

Formed in 2014, Once Human have steadily established themselves as one of the most distinctive and destructive metal bands of the modern era. 'With their new album SCAR WEAVER, ONCE HUMAN delivers their very own and unique style of modern American Metal in combination with a groovy Technical-, Melodic-Death-Metal attitude – all in the veins of bands such as Lamb Of God, Arch Enemy, Machine Head or Jinjer. On the album Lauren provides a strong mix and range of hellish extreme vocals alongside with more “melodic“ vocals.

Formed in 2014, Once Human have steadily established themselves as one of the most distinctive and destructive metal bands of the modern era. 'With their new album SCAR WEAVER, ONCE HUMAN delivers their very own and unique style of modern American Metal in combination with a groovy Technical-, Melodic-Death-Metal attitude – all in the veins of bands such as Lamb Of God, Arch Enemy, Machine Head or Jinjer. On the album Lauren provides a strong mix and range of hellish extreme vocals alongside with more “melodic“ vocals.

Midlake are a relatively small indie band, so the
level of ambition they display on ‘The Trials of Van
Occupanther’ is to be commended. From the
opening track, ‘Roscoe’, with its laconic lyrics and
slowly building chorus, they manage to recreate
perfectly the sound of 1980s Fleetwood Mac, a band
not known for thinking small.
 And though the rest of the album doesn’t quite reach
the heady heights of this opener, it’s not for a lack of
trying (particularly on ‘Head Home’). The remainder
of ‘The Trials of Van Occupanther’ is considerably
more downbeat, with distant flutes complementing
the vocal harmonies of songs like ‘Bandits’ and
‘Branches’.
 Where Midlake particularly excel, though, is when,
like Grandaddy before them, they draw their
inspiration from the classic rock that they seem to
love so much, adapting and modernising it. So in
addition to the anthemic ‘Roscoe’, they evoke the
Gram Parsons-era Byrds or even The Band on ‘Van
Occupanther’ and the road-ready ‘It Covers the
Hillsides’.
 ‘The Trials of Van Occupanther’ is an album that's
steeped in musical history yet possessing an identity
all its own.
 Released on 180g gold vinyl to celebrate a new
Midlake album for 2022 and also the 15th
anniversary of ‘The Trials of Van Occupanther’ last
year.
 Digital download code included.

purple marbled vinyl

Swiss firebrand alchemists Zeal & Ardor are excited to announce their forthcoming, self-titled new album, set for release February 11th, 2022, via MVKA.

Hissing and seeping justifiable rage from every pore - yet not an unrelenting musical battering - the 14-track opus was recorded by Marc Obrist and Manuel Gagneux at Hutch Sounds and mixed/mastered by Will Putney at Graphic Nature Audio. All songs were written by the softly spoken, multi-lingual frontman Gagneux, with some German lyrics intermixed with the English.

Gagneux declares, "With the self-titled record, we have arrived at where I imagined this project should sound like. It’s the longest we’ve worked on a single record and I believe it shows. The most important thing for an album of ours to do, is transport you instantly into our mood, our world. Even though this might not be the one you might expect from us, this record certainly delivers on that front. We had time to hone in to what we think makes us interesting and what sounds we would like to explore through this we have found our home. Home is burning. Welcome home.

Swiss firebrand alchemists Zeal & Ardor are excited to announce their forthcoming, self-titled new album, set for release February 11th, 2022, via MVKA.

Hissing and seeping justifiable rage from every pore - yet not an unrelenting musical battering - the 14-track opus was recorded by Marc Obrist and Manuel Gagneux at Hutch Sounds and mixed/mastered by Will Putney at Graphic Nature Audio. All songs were written by the softly spoken, multi-lingual frontman Gagneux, with some German lyrics intermixed with the English.

Gagneux declares, "With the self-titled record, we have arrived at where I imagined this project should sound like. It’s the longest we’ve worked on a single record and I believe it shows. The most important thing for an album of ours to do, is transport you instantly into our mood, our world. Even though this might not be the one you might expect from us, this record certainly delivers on that front. We had time to hone in to what we think makes us interesting and what sounds we would like to explore through this we have found our home. Home is burning. Welcome home.

Swiss firebrand alchemists Zeal & Ardor are excited to announce their forthcoming, self-titled new album, set for release February 11th, 2022, via MVKA.

Hissing and seeping justifiable rage from every pore - yet not an unrelenting musical battering - the 14-track opus was recorded by Marc Obrist and Manuel Gagneux at Hutch Sounds and mixed/mastered by Will Putney at Graphic Nature Audio. All songs were written by the softly spoken, multi-lingual frontman Gagneux, with some German lyrics intermixed with the English.

Gagneux declares, "With the self-titled record, we have arrived at where I imagined this project should sound like. It’s the longest we’ve worked on a single record and I believe it shows. The most important thing for an album of ours to do, is transport you instantly into our mood, our world. Even though this might not be the one you might expect from us, this record certainly delivers on that front. We had time to hone in to what we think makes us interesting and what sounds we would like to explore through this we have found our home. Home is burning. Welcome home.

Auslandsländer neigen dazu, südamerikanische Länder als „exotisch“ zu betrachten. Aber wir können Ihnen versichern, dass es nichts Exotisches
ist, wenn 95 % der Bevölkerung um ihre Grundbedürfnisse kämpfen, hohe Kriminalitätsraten und Regierungen nacheinander nichts tun, um die
Situation zu ändern – tatsächlich folgen sie ihrer eigenen Agenda, um den Ball am Laufen zu halten.
Aus diesem Grund haben Bands wie die brasilianischen NERVOCHAOS eine solche Atmosphäre echter Brutalität und Authentizität. Sie machen
keinen „südamerikanischen Death Metal“. Sie nahmen einfach ihre harte Realität, nahmen den Einfluss von frühen Death Metal-Bands wie Morbid Angel, Vader und Sinister auf und spuckten sie so aggressiv wie möglich aus. Nervochaos, 25 Jahre alt und Teil der ältesten Generation der
brasilianischen Extremszene – zusammen mit Sepultura, Krisiun, Rebaelliun oder Abhorrence, um nur einige zu nennen – haben natürlich die
Erfahrung, die Abstammung und das technische Know-how, um tun Sie es in Pik.
Genau das ist „All Colours Of Darkness“, das zehnte (!) Studioalbum des São Paulo-Fünflings: Pechschwarzer Death Metal, so rauh gemacht, wie
es eine Band nur kann, mit der brutalen Atmosphäre, die wir von brasilianischen Extrem-Metal-Bands zu erwarten. Mit lyrischen Themen, die
sich um die dunkelsten Gefilde des Satanismus und der dunklen Magie drehen, beschwört Nervochaos den Metal über den Tod, wie es heute nur
noch wenige Bands können – mit einem brutalen Ansatz, einem technischen Rückgrat und einer effektiven Tiefe der Themen.
Nervochaos haben durch ihre harte Arbeit in den letzten 25 Jahren Kultstatus in der Musikszene erlangt und bieten auf ihre einzigartige Weise
eine klangliche Extravaganz. Die Gruppe hat neun Studioalben in voller Länge herausgebracht und tourt ständig weltweit, um ihre Veröffentlichungen zu unterstützen, und gibt rund 100 Konzerte pro Jahr – von Clubs bis hin zu Festivals.

Auslandsländer neigen dazu, südamerikanische Länder als „exotisch“ zu betrachten. Aber wir können Ihnen versichern, dass es nichts Exotisches
ist, wenn 95 % der Bevölkerung um ihre Grundbedürfnisse kämpfen, hohe Kriminalitätsraten und Regierungen nacheinander nichts tun, um die
Situation zu ändern – tatsächlich folgen sie ihrer eigenen Agenda, um den Ball am Laufen zu halten.
Aus diesem Grund haben Bands wie die brasilianischen NERVOCHAOS eine solche Atmosphäre echter Brutalität und Authentizität. Sie machen
keinen „südamerikanischen Death Metal“. Sie nahmen einfach ihre harte Realität, nahmen den Einfluss von frühen Death Metal-Bands wie Morbid Angel, Vader und Sinister auf und spuckten sie so aggressiv wie möglich aus. Nervochaos, 25 Jahre alt und Teil der ältesten Generation der
brasilianischen Extremszene – zusammen mit Sepultura, Krisiun, Rebaelliun oder Abhorrence, um nur einige zu nennen – haben natürlich die
Erfahrung, die Abstammung und das technische Know-how, um tun Sie es in Pik.
Genau das ist „All Colours Of Darkness“, das zehnte (!) Studioalbum des São Paulo-Fünflings: Pechschwarzer Death Metal, so rauh gemacht, wie
es eine Band nur kann, mit der brutalen Atmosphäre, die wir von brasilianischen Extrem-Metal-Bands zu erwarten. Mit lyrischen Themen, die
sich um die dunkelsten Gefilde des Satanismus und der dunklen Magie drehen, beschwört Nervochaos den Metal über den Tod, wie es heute nur
noch wenige Bands können – mit einem brutalen Ansatz, einem technischen Rückgrat und einer effektiven Tiefe der Themen.
Nervochaos haben durch ihre harte Arbeit in den letzten 25 Jahren Kultstatus in der Musikszene erlangt und bieten auf ihre einzigartige Weise
eine klangliche Extravaganz. Die Gruppe hat neun Studioalben in voller Länge herausgebracht und tourt ständig weltweit, um ihre Veröffentlichungen zu unterstützen, und gibt rund 100 Konzerte pro Jahr – von Clubs bis hin zu Festivals.

The Decades Collected compilations are part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favorite tunes while uncovering new musical grounds at the same time.

Various Artists - Zeroes Collected features Nelly Furtado “I’m Like A Bird”, The Script “Breakeven”, The Black Eyed Peas “I Gotta Feeling”, Alphabeat “Fascination”, T.A.T.U. “All The Things She Said” and Mika “Grace Kelly” amongst others.

Milky Clear w/ Black Heavy Splatter

Not much is known about the German session musician ensemble Studiogruppe 1 from the ‘70s and ‘80s. It’s believed that the grandfather of one member, known only as V.S., originally soundtracked silent films in theatres - although that hasn’t been proved. Studiogruppe1 never rose to prominence in the heyday of studio groups and library records, but it certainly wasn’t due to lack of trying.

Although it’s unknown who the individual members of Studiogruppe1 were, it’s clear they could find a groove within the machines. It appears the sessions were also engineered by V.S., and there’s plenty of space between the notes, which lends a heady atmosphere of anticipation to the music. Just close your eyes and you will find that the music triggers many scenes from the movies in your mind.

Take the opener Dunkler Sonnenaufgang, for example. Waves lap on the shore line of an alternate Coney Island, while the sound system of an abandoned amusement park plays arpeggios in the distance. Errinungen could complement expansive panoramic time-lapses of natural cycles and rolling clouds. The track Wenn Der Tiefe Schlaf Kommt, might accompany a documentary on REM dream cycles and flotation tanks. Sonnentanz raises the temperature, as act III in every movie narrative should, as protagonists rush to overcome their challenges. Ein Neuer Anfang would perfectly soundtrack the plot twist of any number of thrillers, film noirs, or sci-fi mysteries. Album closer War Alles Nur Ein Traum could supplement slow-motion shots of dawning realization, foreshadowing a betrayal or a cliffhanger.

V.S. and Studiogruppe1 have condensed the evocative sounds of the ’80s into something of an art form. Bringing to mind the lilting melodies and melancholy chord movements of Tangerine Dream, Vangelis or Manuel Göttsching, Studiogruppe1 manage to capture widescreen emotional flash points without the need for celluloid, or barely any visual aid, for that matter. These tracks work just as well in the furnace of your imagination or a dark room filled with dry ice and lasers.

Words have a force of their own: a life generated by their meaning and by the imaginary world they refer to; a power increased by the dynamic interplay with other words. Just put 'Moon' and 'Apollo' together, and you'll be almost inevitably transported to mankind's greatest adventure: the Moon landing and, before that, the space race between the US and USSR, the early missions, and the incredible technological challenges faced at the time by astronauts and engineers.

It is against this imaginative background that beat-maker and bass player Moonbrew and organist and keyboardist Paolo Apollo Negri conceived The LEM Tales project. Their collaboration, too, is the coming together of 'Moon' and 'Apollo', and of their two worlds: a sonic universe where hip hop meets funk, pop merges with jazz, old school interacts with new possibilities, and urban and space blend into something new.

The LEM Tales - Chapter One narrates the space race from the American point of view. This vinyl edition, which includes two exclusive tracks (*) not on the digital release, takes us on a journey from "Project Gemini" - NASA's second human spaceflight program - to "Tranquillity Base" (*) (the site on the Moon where Armstrong and Aldrin landed and walked in July 1969) , through tracks titled "Capsule Communicator" (the individual in the mission control center who maintained communication with the astronauts in space), "EMU" (Extravehicular Mobility Unit, better known as the spacesuit), "Saturn V" (a threestage, liquid-fuelled rocket used between 1967 and 1973), and "Mercury Seven" (*) (the group of seven astronauts chosen for the Mercury Program in 1959).

Inspired by iconic images that are part of our collective visual memory, Moonbrew and Apollo's first collaborative effort tries to provide a contemporary sonic representation of what the past means to us today – and, perhaps, will mean to future generations. It does so through a feast of vintage synthesizers, transistor and tonewheel organs, string machines, electric pianos, tube amplifiers, obscure analogue devices, electric bass, and modern samplers.

An old-school hip hop approach was used in the first stages of writing the album: individual drums hits from old, dusty records were first sampled and then physically played on real instruments to create patterns and build up the rhythm section. Moonbrew then laid down the electric bass grooves and Apollo layered his dreamy, evocative vintage keyboards on top. The result is a combination of different styles, sounds and genres that is fresh, original and contemporary while being clearly influenced by many musical legends of the past.

The LEM Tales - Chapter One is released by Four Flies in partnership with Record Kicks.

Um den Funk-Pionier James Brown zu feiern, hat sich UMe mit Sto Elliot für die Veröffentlichung von „Black & Loud: James Brown Reimagined by Stro Elliot“ zusammengetan. Stro Elliot, der als Produzent mit mehreren GRAMMY-Preisträgern zusammengearbeitet hat, verbrachte seine Kindheit damit, Jazz-, Funk- und Soul-Legenden zu spielen, zu studieren und zu hören, wobei er schon früh eine Beziehung zu der Musik von James Brown aufbaute.

Für „Black & Loud: James Brown Reimagined by Stro Elliot“ hatte Elliot die Möglichkeit, zehn klassische James-Brown-Hits auszuwählen und sie neu zu mischen, wobei er sich von verschiedenen Genres inspirieren ließ. Bei dem Song „She Made Me Popcorn” (Remix von „Mother Popcorn”) wird Browns Gesang im Hip-
Hop-Stil gesampelt, „Machine No Make Sex” (Remix von „Get Up (I Feel Like Being a) Sex Machine”) verwandelt das Original mit Afrobeat-Rhythmen und Bläsern.

Das Album ist ab dem 4. Februar als 1LP erhältlich.

Originally released in 1986, the debut album by My Dad
Is Dead is remarkable not only for its strong and varied
material, but also how the aesthetic of MDID’s music was
fully formed and instantly recognizable from the git-go.
Here are the open modal guitar tunings, the primitive
drum machine paired with live drums, the complete
rejection of the pentatonic scale and related 1970s guitar
techniques, and the dry, journalistic language that brings a
distanced, subdued pathos to the harrowing characters and
their situations.
Few artists who traffic in the darker realms of the human
condition do so without some degree of melodrama; Mark
Edwards’s penchant for understatement and distance
brings even more gravity and impact to these songs of lost
souls in a dying city. All these qualities would become
hallmarks of the My Dad Is Dead sound for years to come.
Like Edwards’s next few albums, ...And He’s Not Gonna
Take It Anymore was performed and written entirely by
himself, which only deepens the feeling of isolation that
permeates the album.
This 2021 reissue was remastered by John Golden Sr.
and is a huge sonic improvement over the original pressing
and early ’90s European editions. Best of all, it includes
an entire bonus LP of rare 1985 recordings that were only
issued on cassette at the time. These are raw, primitive
4-track recordings that ooze with post-industrial Cleveland
malaise. They include nine previously unnreleased songs,
and early versions of four songs that were re-recorded for
the album. Fans are certain to find some new favorites here.

"In the beginning of the 2000's being a producer or a DJ wasn't cool, it was something for nerds. And no one was so crazy to spend all their money in machines. I was going to the clubs in the weekend and when everyone was going to the afterparty i was going to work for a little money to be able to make music, music that I wanted to be play by all these big DJ's I had the chance to see, and I made it."
- Tells Hector Sandoval AKA Tensal Aka Syndromania to me and some other younger DJS (P.E.A.R.L, Jheal Bashta) while we drink a beer in Gijon north of Spain, city close to the town where Syndromania is based. -

After hundreds of records released and the recognition of every single artist of the scene. Few has changed for Syndromania, he keeps getting immersed in his studio with the same love although now with another point of view plus the experience to twist it to the next level.

DJing since 1993 his musical knowledge may be in the top 5 more knowledgeable people I ever met. As you can hear along the 6 cuts of this Sacrilegio EP it's fully rooted on straight messages and codes that have been filling up years of rave culture with a new take on them in order to optimize them for a contemporary rave experience.

From UK infected electro, mechanical-industrial techno music, leaning Chicago house cut to a tremendous take on techno-trance. This record is one of my favorites ever released on OAKS/KAOS and one of the ones that I'm sure that sets the level to inspire many to reinvent and develop our culture.

To be honest Sacrilegio is one of the records I'm more proud about of all in our catalogs. Thanks to Syndromania for this extraordinary piece of art and DJ apex tool which won't ever leave my record bag, neither probably yours."
Respeto.
Hector.

#oftenplusneverminus8

New school techno pioneer Avision will release his debut album ‘In My Mind’ on Ellum Audio this winter.

Avision grew up around the rich club culture of New York City and is now part of a new wave of artists defining the contemporary techno landscape. In just a couple of years, the American has become an absolute mainstay on labels like Drumcode, Machine, and We Are The Brave. His hard-hitting productions have found their way into the record bags of tastemakers like Adam Beyer, Maceo Plex and Chris Liebing. At the same time, he has been featured everywhere, from The Brooklyn Mirage and Time Warp in New York to festivals like Elrow, The BPM Festival, Electric Daisy Carnival and Dockyards. Now he offers up ‘In My Mind’, a widescreen artistic statement across 13 immersive tracks.

Says the artist, “I’m truly proud to share ‘In My Mind’ with the world, as I feel like this is another side of music that people haven’t heard from me. This album touches on a little bit of everything, and I wanted it to represent where I’m from. 90% of the album was written during the time we couldn’t be ourselves and do what we love, but I turned that frustration and disbelief into an album with emotion and meaning. I couldn’t be happier with the final outcome, and I hope everyone enjoys it.”

The LP kicks off with ‘Real Talk’, wasting no time getting going on a lush wave of Detroit-style techno full of hi-tek soul. 'Cut The Rope' features Robert Owens, the legendary house vocalist who lights up the deep, driving house drums with a typically impassioned vocal. The energy levels stay high on 'No Disco' with its oversized hi-hats, nimble bassline and chattery claps, while 'Baby' traps you in metallic techno loops with a playful vocal sample. After the bright lights of lead single 'Contrast,' and grinding peak time weapon 'In My Mind' is ‘Ground Rule’, an atmospheric spoken word interlude about NYC.

The album’s second half kicks off with the far-sighted cosmic pads of 'I'll Take You' with Xander and has you lost in another world. There is angst in the tense synth loops of interplanetary techno cut 'Your Soul' and hands-in-the-air trance energy on 'Where I Want To Be.' The monstrous 'All Night' is another wall of rich synth sound over big drums, and 'Lost Symmetry' then releases the pressure with a more dreamy melodic vibe built on tumbling breakbeats. 'In Your World' closes in an uplifting fashion across eight minutes of cantering techno and epic synth work.

‘In My Mind’ is an accomplished and adventurous album that takes melodic techno in bold new directions.

Originally released on CD in 2007, this is a long overdue first vinyl release of the Goo Goo Dolls compilation Greatest Hits Volume One: The Singles.

Spanning an incredibly productive and successful era for the band, this collection includes all their hit singles from 1995 to 2006, including Name, Slide, Black Balloon and Iris.

During this period, the band released the hugely popular albums A Boy Named Goo, Dizzy Up The Girl, Gutterflower and Let Love In that established them as a major player in alternative rock.

“Some Kind Of Paradise” is an organic record, a genuine piece of music with an actual heartbeat, recorded and produced by Emma Elisabeth herself together with some of her closest collaborators. “I just don't want to use my head too much,” she muses. “I try to be as heartfelt as possible. I love music that doesn't try to be too intelligent just for the sake of it.” Influenced by the pantheon of classic artists like Fleetwood Mac or Patti Smith, Emma Elisabeth flavors her very own take on archetypal songwriting craft with her love of vocal melodies the way The Mamas and the Papas or ABBA use. Or, as she puts it: “I try to balance out my pop melodies with darker sounds and jangling guitars.” Oh my does she.

"At the dawn of the 1970s, Johnny Hallyday's new album: VIE brought music, ranging from classical to progressive rock, including folk and pop. Alongside this album, we find the 45rpm of the year as well as alternative versions taken from the recording sessions. This version of the Hallyday 70 box set in a 3 LP set. Limited to 70 in the UK
And to finish a treasure exhumed from the archives: an unpublished song - LE SPÉCIALISTE. This song has been waiting for us for more than 50 years. Reviews and Ads in London Macadam, R2 "

At the dawn of the 1970s, Johnny Hallyday's new album: VIE brought music, ranging from classical to progressive rock, including folk and pop. Alongside this album, we find the 45rpm of the year as well as alternative versions taken from the recording sessions. This version of the Hallyday 70 box set in a 3LP Book, 4 CD box and Exclusive DVD set. Limited to 70 in the UK. And to finish a treasure exhumed from the archives: an unpublished song - LE SPÉCIALISTE. This song has been waiting for us for more than 50 years. Reviews and Ads in London Macadam, R2.

Alternately author, actor, outstanding performer - notably in his last piano voice concert “Dans La Peau", Marc Lavoine is a total artist who revels in his freedom in all areas of expression. Three and a half years after his last studio album, he returns to his first love. "Adult Jamais", the new album by Marc Lavoine, includes the duets with Grand Corps Malade and Virginie Ledoyen. Reviews and Ads – R2 and London Macadam

Central to the enveloping aural experience of Dooms Children is its live-off-the-floor recording and organic production style. The effort was co-produced with musical col-laborator Danial Romano, and Montreal guitarist Patrick Bennett. More information on the project will be available in the coming weeks. Since co-founding pioneering post-hardcore outfit Alexisonfire in the early 2000s, the Canadian singer, guitarist, songwriter, and composer Wade MacNeil has lent his talents to numerous influential and impactful projects. He founded gritty punk outfit Black Lungs, fronts U.K. hardcore heroes Gallows, put fingerprints on recordings by the linkes of Anti-Flag, Cancer Bats, and Bedouin Soundclash, and scored a handful of successful feature films and video games. In 2017, Wade composed music for Jay Baruchel’s comedy Goon: Last of the Enforcers, and also scored Baruchel’s 2020 horror film Random Acts of Violence.

Lake Havasu is a community of winding hillside roads, launched in the 1960s alongside a brick-for-brick rebuild of the original London Bridge. “It’s this very synthetic, gimmicky place set in this soulful, desolate landscape,” laughs Pedro the Lion’s David Bazan, who moved to the Arizona city for one year in seventh grade. Bazan collected his earliest childhood experiences for 2019’s Phoenix, the prolific artist’s celebrated return to the Pedro moniker and the first in a planned series of five records chronicling his past homes. To write its sequel, Bazan traveled to Havasu four times over several years, driving past his junior high campus, a magical skating rink, and other nostalgic locations that evoked feelings long suppressed. “An intersection I hadn’t remembered for 30 years would trigger a flood of hidden memories,” he says. “I was there to soak in it as much as possible.” Driving the inscrutable loops of Havasu’s lakeside, Bazan listened through an audiobook of Tom Petty’s biography, eventually dialoguing with Petty’s voice in his mind. A revelation from the book—that Petty subconsciously wrote the song “Wildflowers” as an act of kindness toward himself—inspired Bazan to approach his own work with radical generosity toward his young self. “I wanted to be there for that kid,” he offers. “That twelve year old still needs parenting, and still needs to process.” To revisit his past with openness, Bazan modified harmful work habits he’d accepted as necessary. That meant doing away with deadlines, and accumulating moments of play as he felt moved to—“Rather than squeezing stones every single time. I’m on a slow journey away from that,” he clarifies. As he worked through the music that became Havasu, flexibility and curiosity informed the arrangements. Bazan began writing on a simple synthesizer and drum machine setup. He detoured to a more elaborate assortment of analog electronic equipment, then woodshed his original two-handed keyboard arrangements on fingerpicked acoustic guitar. Concurrently relearning his catalog for a weekly series of livestream concerts also renewed his gratitude toward songwriting. “I was trying to evaluate what I have to show for 20 years of kicking my own ass,” Bazan quips about the strenuousness of full-time touring. “But the garden of my songs is what I’ve been building. It doesn’t have to be an ego test.”

21 months have passed since Hannes and his collaborator, friend and producer Marcus White (Anna of the North, Seinabo Sey) released the debut EP “Summer 3000”. A debut that brought him straight to festival Way Out West’s main stage supporting Seinabo Sey, a virus-cancelled Europe tour and unanimous praise from critics like German COLORS. Trailing the likes of Kevin Abstract, King Krule, Dijon, Choker & Omar Apollo - Hannes truly creates something brand new combining his mesmerizing fragile voice, insane lyrics, nylon-string guitar, drum-machines & odd samples. The first single from forthcoming EP “When the city sleeps” is a song about waking up from a slumber was released May 21st and is called "Snooze".

printed spined outer sleeve, plain inner, 12-page booklet

Mit ihrem neuen Studioalbum zelebrieren Bastille das Lebensgefühl im digitalen Zeitalter – sie feiern das Menschsein in der Tech-Ära und fangen dieses seltsame Gefühl ein, in einer Welt zu leben, die sich manchmal wie Science-Fiction anfühlt.

„In dieser apokalyptischen Phase an diesen neuen Songs zu arbeiten, wo plötzlich jeder zu Hause festsaß, rund um die Uhr vor dem Bildschirm, machte das Gefühl, dass es zunehmend schwerer wird zu
unterscheiden, was nun wirklich ist und was nicht, nur noch stärker“, so der Singer Songwriter Dan Smith. Das Album ist durchzogen mit Anspielungen und Referenzen aus Sci-Fi-Filmen und -Romanen sowie aus den Bereichen Videogames und Virtual Reality. Alles dreht sich um grenzenlose Möglichkeiten und einen fiktiven (aber durchaus vertraut wirkenden) Tech-Giganten namens Future Inc., verantwortlich für eine Erfindung namens Futurescape: ein Gerät, mit dem User:innen die eigenen Träume virtuell ausleben können.

Mit „Give Me The Future“ entführen Bastille ihre Hörer:innnen also in ein Sci-Fi-Wunderland, in dem alles möglich ist. Ihr viertes Studioalbum erscheint als CD und 12“ Vinyl.

It’s all about timing! This release wasn’t on the schedule, but when we’ve received the demos of Igaxx (that we didn’t knew earlier), it made evidence that it should be release on Macadam Mambo as soon as possible. All ingredients were here to make a very special record. The fully analog music produced by the Tokyoite, Shota Ikawa aka Igaxx, immediatly rang a bell to our memory : Irdial Discs, the legendary UK label that we instantly connected with his music, the long housy loops, the deepness of the atmosphere, the tropical jungle sounds was not without remembering Aqua Regia or Pluto to name a few… the EP alternates infectious ambient tunes, hypnotic beats and dance music. It’s the kind of gem that could very quickly become a classic, TIP.

(Deluxe Gatefold Vinyl 2LP, 12-page booklet with liner notes, lyrics in Spanish / English, rare photographs from that era + DL code). This compilation brings together 24 iconic songs from that era, with a focus on the theme of love songs (A + B side) as well as social political songs (C + D side), highlighting the emotions that this music brought to the popular working classes of Lima, nationwide and the diaspora.

The Norwegian-born/Berlin-based electronic duo Soft as Snow returns with their most powerful statement yet. Their second full length 'Bit Rot' perfectly captures the friction of our contemporary existence in which smooth digital surfaces are locked in conflict with messy physical realities. The crumbling of fantastic European infrastructure is mirrored by luxurious synthwave and ecstatic trance crumbling into nightmarish, corroded cyberscapes.

The songs on 'Bit Rot' create a wide variety of zones in which pleasure and discomfort come together organically and seamlessly. Even as these songs are eaten alive by oppressive atmospheres and destabilizing glitches they never lose sight of their strong melodic underpinnings. Tracks like 'Always On', 'Soft Body Hard Dreaming' and the terrifyingly intense title cut are like visits to a rave inside a paranoid microchipped brain, while 'Rubber Boy' presents electro-industrial funk sung by a caged mutant. On the more restrained tip, fluorescent ballads like 'Hollow' and 'Quiet Anger' evoke the feeling of slipping into a fugue state at an all-night convenience store. This is European nightlife imagined as biomechanical horror.

The album was mixed by Ville Haimala of fellow nordic club destroyers Amnesia Scanner, and the striking cover art features a sculpture by Norwegian artist Camilla Steinum. To further elaborate the album's themes in the visual realm the duo is creating a music video and live A/V show with 3D artist Guynoid, including a special latex suit made in collaboration with AGF Hydra. In this way, 'Bit Rot' grows beyond the album itself into a larger project exploring the fluidity of body and identity when the digital and the physical fuse as one.

Today New York based singer, songwriter and producer Amber Mark announces details of her long-awaited debut album ‘Three Dimensions Deep’, out January 28th via EMI/PMR Records. The announcement of the album is accompanied by a sultry R&B instant-grat track ‘What It Is’ as well as a huge UK, EU and US spring tour announcement including London’s O2 Shepherd’s Bush Empire in March

Amber’s debut album arrives almost 4 years after the release of her second EP ‘Conexão’, an extended process that has proved central to its thematic development. The 17 track album can be divided into three main acts that follow the arc of Amber’s personal and musical development; WITHOUT, WITHHELD and WITHIN. Beginning by acknowledging her insecurities and anxieties before reflecting on her time in denial and spent processing them in all the wrong ways, Amber eventually widens her focus by seeking answers to the world’s negativity and trauma on a cosmic scale. Finding peace and a form of inherent spirituality in the world of astrophysics while writing the album led to a fresh perspective on life and a renewed sense of self. Amber’s debut album is simultaneously a profound concept album and a love letter to herself, richly intertwining messages of self-worth and reflections on the universe beneath a veneer of shimmering pop. In true Amber Mark style, ‘Three Dimensions Deep’ is a kaleidoscopic melting pot of influences and genres, drawing from funk and R&B, soul and hip-hop with international accents influenced by a nomadic childhood spent travelling the world with her late mother.

“Three Dimensions Deep is a musical journey of what questions you begin to ask yourself when you start looking to the universe for answers.” says Amber; “I can only go as deep as the third dimension as that’s how we see the world, but what about when you start looking to the universe within for answers.”

“‘What It Is’ low key is the title track of the album without it actually being the title track” explains Amber; “It comes from going through negative experiences which end up being the gateway to a question I think I’ll be asking for the rest of my life. What is the meaning of life,the universe and everything?”

The three official singles already released from the album ‘Worth It’, ‘Competition’ and ‘Foreign Things’ marked Amber’s first official singles since 2020’s ‘Generous’, though 2020 was still a hugely productive year for Amber. With her hometown of NYC hit hard in the first wave of the pandemic and placed under strict lockdown, Amber turned to her simple home studio to create an acclaimed series of home-produced covers and originals titled ‘Covered-19’, each accompanied by a homemade video and artworks. The series was followed by a collaboration with longtime friend Empress Of on the protest song ‘You’ve Got To Feel’, earning Annie Mac’s Hottest Record, ‘Tune Of The Week’ and a spot on the Radio 1 playlist. Earlier this year Amber was featured on legendary DJ Paul Woolford’s new piano-house track ‘HEAT’, again snagging Annie Mac’s Hottest Record and a long run across the Radio 1 and 2 playlists. Having already amassed over 300 million streams since the release of her breakout debut EP 3:33AM in 2017, Amber has built a global fanbase eager to hear her debut full length -

Tagliabue’s cosmic music is a transcendental journey through introspection and imagination. The latter has no limits, when stimulated by sounds that slowly shade and snake deeply in the listener’s conscious.

With “Ambiente Sonoro” the Milan based DJ and producer now introduces his debut mini-album. The concept is inspired by the Italian library music of the 70s from Daniela Casa, Egisto Macchi and Piero Umiliani, characterized by the extensive use of electronic, experimental and psychedelic sounds. It is arranged and produced in a contemporary way, alternating dark ambient, tribalistic sounds mixed with abstract electronic and IDM influences from artists such as Biosphere, Higher Intelligence Agency, Global Communication or Coil.

His experience as a music selector and his previous works anticipate the character of this concept album. A record that cannot be placed in a specific genre.

Ancestral rhythms, post-industrial waves, apocalyptic chants and drones, suggest a mental projection into a new planetary system consisting of six bodies with different landscapes kept in orbit by a cosmic sound perturbation. A dreamy state of emotional, protracted and reflective abandonment.

Early support: Vladimir Ivkovic, Cosmo Vitelli, Alexis Le-Tan, Tolouse Lowtrax, Odopt, Ransom Note, Whypeopledance

Sleep Researchers is about a journey, which I haven't finished yet so I don't know what it sounds like. My father reads a few lines, betsy sings into a walkman and over the microphone of a toy casio. I bought a new Portastudio which has the buttons stuck, so when I get it running I record it in ableton. I like the way the sounds blend together on that old machine. I like to think of these tracks as sounds that will accompany moments. audio photos. a man held up in the body the words are worn out He came for me in the early morning but I was sleeping. a man tied to the ground with roots in the desert a man delayed in the body -- Francisco Sonur