Поиск:mac

Vinyl is available in two versions - classic black or various color limited "Indie Shop Edition".

Both versions have 180g record and printed inner sleeve.

The idea for "PORTRETY" was simple - to invite esteemed drummers to record a song that will be signed with their name. There was no musical framework - they could invite guests or record everything themselves - no need to necessarily use drums. This is how the first PORTRAITS in 2019 were created, and now we present their next installment.


" 'Part two' seems to suggest a series, so just as with the bad joke from four years ago, I'll lead with the short, age old adage: "10 musicians and a drummer". Admittedly, it is rudimentary and unfunny, however, it is significant: It's easy to forget an instrumentalist's other specialities, but here, the drummers don't let themselves to be forgotten.

This series - the brainchild of Marcin "Groh" Grośkiewicz - is composed of up-close portraits. A task which not only shifts accents, but also changes the lives of those normally considered the unsung heroes of the background. One of the tracks from "Portraits" was picked for an advertising campaign for a well known smartphone producer, others topped industry charts and inspired new bands where drums were in the spotlight.

Part two brings us eight drummers who are among the most multifaceted musicians on the Polish music scene. What are they doing here? Teo Olter tells a complex story, asking in the very title, where he is going? Wiktoria Jakubowska, known for backing big stars, shines through with her own composition. Miłosz Pękala - an interpreter of avant-garde composers and an academic lecturer - thoroughly entertains. Famous from Immortal Onion, Wojtek Warmijak energetically explores high tempos, while Wojtek Sobura - those slower, patiently sculpting a club beat with sonoristic* abstraction. Macio Moretti surprises, as expected, stylistically moving towards his hero: Zappa. Tymoteusz Papior impresses, effortlessly juggling accents and chopping time signatures. And Inferno, despite being associated with the group Behemoth, shows he can do it… drum-less. Some invite other musicians, but they always remain - as their studies or professional experience taught them to be - the musician with the widest set (be it drums or skills) on the team.

So, how does the second part of the series compliment the first? It further completes the gallery of collector's cards with Polish Percussion's superheroes and heroines. Each a different personality and an individual set of features. But does it satisfy? Strikingly.

Enough, I won't drum it into you."

Vinyl is available in two versions - classic black or various color limited "Indie Shop Edition".

Both versions have 180g record and printed inner sleeve.

The idea for "PORTRETY" was simple - to invite esteemed drummers to record a song that will be signed with their name. There was no musical framework - they could invite guests or record everything themselves - no need to necessarily use drums. This is how the first PORTRAITS in 2019 were created, and now we present their next installment.


" 'Part two' seems to suggest a series, so just as with the bad joke from four years ago, I'll lead with the short, age old adage: "10 musicians and a drummer". Admittedly, it is rudimentary and unfunny, however, it is significant: It's easy to forget an instrumentalist's other specialities, but here, the drummers don't let themselves to be forgotten.

This series - the brainchild of Marcin "Groh" Grośkiewicz - is composed of up-close portraits. A task which not only shifts accents, but also changes the lives of those normally considered the unsung heroes of the background. One of the tracks from "Portraits" was picked for an advertising campaign for a well known smartphone producer, others topped industry charts and inspired new bands where drums were in the spotlight.

Part two brings us eight drummers who are among the most multifaceted musicians on the Polish music scene. What are they doing here? Teo Olter tells a complex story, asking in the very title, where he is going? Wiktoria Jakubowska, known for backing big stars, shines through with her own composition. Miłosz Pękala - an interpreter of avant-garde composers and an academic lecturer - thoroughly entertains. Famous from Immortal Onion, Wojtek Warmijak energetically explores high tempos, while Wojtek Sobura - those slower, patiently sculpting a club beat with sonoristic* abstraction. Macio Moretti surprises, as expected, stylistically moving towards his hero: Zappa. Tymoteusz Papior impresses, effortlessly juggling accents and chopping time signatures. And Inferno, despite being associated with the group Behemoth, shows he can do it… drum-less. Some invite other musicians, but they always remain - as their studies or professional experience taught them to be - the musician with the widest set (be it drums or skills) on the team.

So, how does the second part of the series compliment the first? It further completes the gallery of collector's cards with Polish Percussion's superheroes and heroines. Each a different personality and an individual set of features. But does it satisfy? Strikingly.

Enough, I won't drum it into you."

Night shifting patiently, slowly drifting in constant flux. Where Ancient Plastix’ debut used rhythm to create geometrical sound architectures and craft elaborate mazes, his new offering ‘II’ glides effortlessly, combining incredibly rich textures with soft swan-like strokes, oscillating gently, an unhurried pace that combines the depth of Japanese ambient maestros and the choppy British mist.

Liverpool producer Paul Rafferty aka Ancient Plastix, recorded ‘II’ straight to cassette with a number of different synths (Yamaha Reface, Korg MS20) and keyboards (90s casio and 70s Gem organ) via a collection of guitar pedals, outboard (Roland Space Echo, Melos delay, spring reverb). His tape machine this time was a Japanese Sansui from the 90s, a strange 6 track machine with a pleasing fidelity bought off from an old rave dad who was finally giving up the ghost.

“Musically, this album is more patient in its approach to the predecessor. Recorded towards the end of lockdown in my highstreet basement below a used record shop, the arrangements reflect the personal era. No responsibility, no reasons to adhere to the previous patterns in my music making. As a result the album is a patient trawl through new discoveries and possibilities presented by improvising with old technology.”

There is a widescreen grandeur that permeates Ancient Plastix’ production, a cinematic instinct that steers clear of crescendos by creating paths that revel in warmth and emotion. Flotsam & jetsam, instinct, burnout, heartbreak.

"Release of 4 LP Set LIVE – London Roundhouse 11th June INDOCHINE has been part of the History of France for the past 40 years: from 1981 and the election iconic French president François Mitterrand, to this exceptional stadium tour. 6 shows 417,799 spectators ""Central Tour"" the first concert in the world filmed live for IMAX: No. 1 at the box office in 477 theaters (the biggest musical event ever broadcast in France). Concert recorded at the Groupama Stadium in Lyon on June 25, 2022 GUESTS: Christine and the Queens, Philippe Jaroussky,Lou Sirkis,Dimitri Bodiansky,La Musique de la Garde Républicaine Promo: Features London Macadam, Le Petit Journal
Live Reviews:, R2 , London Macadam, London Standard,Record Collector, Frontview, Rock n Load. Format; 4LP"

Morgan Wallen veröffentlicht sein mit Spannung erwartetes zweites Album „Dangerous“. Der Künstler schrieb die Songs zum größten Teil selbst und wurde in dieser Zeit zum ”am schnellsten aufsteigenden jungen Star des Landes” (Variety). Morgan sagt über sein Album „Ich wollte auch, dass die Lieder mehrere Lebensphasen ansprechen und mehrere verschiedene Klänge haben, je nach meinen Einflüssen und je nachdem, was mir Spaß macht.“ Das Doppelalbum spiegelt somit den unverkennbaren Sound, den Wallen und Produzent Joey Moi auf seinem Platinum Debüt-Album „If I Know Me“ geschaffen haben, wider. Als Vorgeschmack auf „Dangerous“ sind bereits 8 Songs erschienen, darunter die Single „Somebody‘s Problem“ sowie die beiden aktuellen Country-Radio-Singles von Wallen - Top 3 ”More Than My Hometown” und Top 30 ”7 Summers”. Außerdem ist die Country-Album-Version der 3X Platinum Diplo-Kollaboration ”Heartless” enthalten. Künstler wie Ashley Gorley, Shane McAnally, Eric Church und Jason Isbell wirkten bei „Dangerous“ mit. Außerdem sind selbstverständlich Morgan’s engste musikalische Vertraute Hardy, Ernest und Ryan Vojtesak dabei. Wallen ist der Künstler des Country Genres mit den meisten Streams auf allen Plattformen, welche sich auf weit über 3 Billionen belaufen. Außerdem wurde er im November 2020 mit dem CMA Award als „New Artist of the Year“ ausgezeichnet.

German neo-classical techno trio Brandt Brauer Frick is back with “Multi Faith Prayer Room” their fifth album and probably their mots ambitious to date . Recorded over the past two years, it includes collaborations with Mykki Blanco, Azekel, Marina Herlop, Kom_I, Sophie Hunger and Duane Harden. Their new album is a great example of their modern and hybrid approach to electronic music. The band still combines acoustic drumming and drums machines, syncopated layered bass and hectic Steve Reich-inspired piano to create simultaneously analogic and synthetic techno tracks.
The album comes hand-in-hand with an audio visual art installation by the same name which will be debuted at Art Basel Miami on December 1st . The band will be presenting the album live starting February 2023 with an extensive European tour, and more dates to follow.

The name NxxxxxS (pronounced "N-Five X-S”) sounds like it could be an equation, or a mystery. But to begin to unravel the identity of the French producer who just signed to Because Music and Mad Decent (the label founded by Diplo), you first have to look for clues on YouTube and Soundcloud, where so many underground artists have found a place to hone their craft. In the ten years preceding the release of his second album Short Term Agreement in 2023, NxxxxxS built up a solid reputation for himself in the international vaporwave, vaportrap & phonk scenes. This is no small feat considering he didn’t have any real knowledge of production or composition before deciding to take on these classic genres of “Internet music”.
The Paris native first gained exposure when he started making beats on YouTube, taking his inspiration from American rappers of the blog era - when artists, especially in hip hop, used digital technology to break away from traditional distribution models - like Mac Miller or Odd Future. Building on this initial success, NxxxxxS turned to Soundcloud, an essential platform for music enthusiasts, tastemakers or anyone on the lookout for the sounds of tomorrow.
Following in the footsteps of The Alchemist and other producers of the same ilk, NxxxxxS soon became one of the pioneers of vaporwave and vaportrap music. Featured prominently in modern productions, these styles originated on social media platforms such as Reddit or Tumbler in the 2010’s and are recognisable by their frequent use of commercial samples ranging from the 70’s to the 2000’s (taken from jingles, lounge, jazz or elevator music). Altered, chopped up and slowed down to around 60 to 70 BPM to match hip-hop standards, the music offered a critique or satire of capitalism, consumer society and any culture that grew out of it, most notably yuppies from the 80’s.
NxxxxxS put his own spin on the recipe by creating a new world filled with soaring melodies and countless references to movies and horror scenes, and eventually released his debut album Fujita Scale (a scale used to measure the damage inflicted by tornadoes) in 2014. The album reached a worldwide audience because of its composer’s story and of the secrecy around his French nationality, and even won over unexpected fanbases such as the highly closed off Chinese market. Fujita Scale landed on one of China's streaming platforms, making NxxxxxS an identifiable artist in Asia who went on to tour his album three times across the continent.

NxxxxxS kept the ball rolling, collaborating on a new series of more accessible projects, which aimed to be less niche in terms of the references or sub-genres they tapped into, so he could find a new audience. This led to his first hits, “Synthetic Corporation” - which would also become the name of his label - “Remember Last Summer” and “Formatted Excess”, as well as his most popular track to date, “Playa Shit”, with over 11M streams on Spotify. The upcoming album’s title, Short Term Agreement, is a playful reference to his unyielding desire for independence and productivity, and his eagerness to preserve the personal freedom he turned into strength.
Yet NxxxxxS is never one to refuse support, and he has now joined forces with Because Music & Mad Decent to further establish himself as a producer at the international level - alongside Diplo especially, who is a case in point - so that this understated and ever prolific artist can meet his ambitions of widening his audience and have his name known by all.
And so the tracks on Short Term Agreement serve as the foundation for NxxxxxS' new identity, featuring a rich and diverse array of sounds thanks to the numerous guests involved: London rapper Jeshi - a new British rap phenomenon also freshly signed to Because Music, French rappers 8ruki & Bitsu, Canadian Freddie Dredd and American underground talents Pollari . Avoiding the pitfalls of a compilation-like producer album, NxxxxxS has once again carved out his own style from the modern hip hop rule book.

In other words, NxxxxxS’ constant evolution has brought us this much closer to solving the mystery that is his name.

Teenage melancholy from the original Miami Sound Machine. Backed by the infamous FAMU Marching 100 Band and Frank Williams' crack shot players The Rocketeers, I Am Controlled By Your Love compiles sides from Helene Smith's '60s tenure with the Deep City, Lloyd, Reid, and Blue Star labels. A sweltering album of 12 deeply soulful, alternate universe hits from the First Lady of Miami Soul!

Thrills and Chills Transparent Vinyl! Teenage melancholy from the original Miami Sound Machine. Backed by the infamous FAMU Marching 100 Band and Frank Williams' crack shot players The Rocketeers, I Am Controlled By Your Love compiles sides from Helene Smith's '60s tenure with the Deep City, Lloyd, Reid, and Blue Star labels. A sweltering album of 12 deeply soulful, alternate universe hits from the First Lady of Miami Soul!

Wait, what? A new Quince? Call the newspapers! It has been YEARS since the Dutch techno producer from Utrecht found the peace of mind to actually release something.

In fact, the Anthology of Interest EP on the illustrious NOWHERE series is his first proper record in eight years. His daytime job as a medic kept him rather occupied. You might remember those times when there was a pandemic around? We missed Quince, even though his sound is rather timeless.

Fluid Detroit infused techno with pulsating rhythms, alluring keyboard stabs and sultry basslines, like on Ghost In The Machine and the extremely funky The Butterjunk Effect.

Opening track Meanwhile has that hazy peak time feel you love so much while dancing with your eyes closed. But the winner of this very versatile EP may just be Space Pilot 3000. A futuristic and jumpy electro-track where the worlds of Drexciya and Juan Atkins collide in a blinding orange supernova. Can someone call a doctor!

"Sunrise On Slaughter Beach" ist Clutch’s 13. Studioalbum, das im September 2022 veröffentlicht wurde. Es ist eine knallharte Zusammenfassung all dessen, was die Band großartig macht, und ein weiterer großer Sprung nach vorne in Richtung Langlebigkeit der Karriere.

Die hier vorliegende, limitierte Veröffentlichung besteht aus sechs hand gepressten 7" Vinyl jeweils in eigens hergestellten Jacken und hat drei zusätzliche Bonustracks: “Boogeyman Blues”, “Arts & Crafts”, und “Railroad Daisies”. Alle drei Songs wurden während der Aufnahmen von "Sunrise on Slaughter Beach" eingespielt. Ein 8-seitiges Booklet und eine 7" Plattenspieler Matte runden das Paket aus. Das Album wurde im The Magpie Cage Recording Studio, Baltimore, MD, von dem Grammy-nominierten Tom Dalgety (Ghost, Royal Blood, Pixies) produziert und gemischt, mit zusätzlicher Technik von J Robbins (Jawbreaker, Against Me!, The Sword).

Abracadaboum is the third studio album for Bérurier Noir.

While the group went on a concert strike in the summer of 1987, they remained active and took advantage of the opportunity to record a new album with a sharp eye on world events.

Les Bérus, always in the vanguard of an alternative youth that challenges taboos and norms, release 10 new hymns to insurrection and try to explode the borders set up by intolerance.

The future is not violence but solidarity!

-

The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.
From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.
The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

What’s Mu about? Mu is about everything: Songs about heartbreak and parting share the album with songs marvelling at the scale of the universe. Mu is a concept from Zen and Chan Buddhism that means: “nothingness” and also, “pure awareness.” The awareness at the source of all things. In Hannah’s words: “There is so much life in every moment. Endless patterns, algorithms and instances repeating and changing and adapting. Spiralling outwards from the source. What source? The source.” In search of the source, Hannah has composed and arranged an undefinable, cinematic album that leads the listener on a winding path through her imagination. Sonically as well as thematically, Mu is an album of extremes and lofty ambitions. Fragile and delicate vocal and violin textures contrast with crunchy noisescapes and brooding synthesizers. Hannah’s commanding voice shares the spotlight with a string section and is backed by spacious production featuring many acoustic instruments. Sonically, producer Nick Herrera has brought a reassuring chunkiness to this unplugged palette, in particular the head nodding drums that anchor Hannah’s celestial musings. Like a film soundtrack or a symphony Mu is best listened to and understood as a whole - it circles back to themes and refrains and re-examines them. Sometimes a song is a song, sometimes it’s a soundscape dreaming of a song. “When making this album, I had a specific concept for how I wanted the music to sound. I don’t mean in terms of genre… it was more of a visceral, sensory concept which I knew I could only realise by allowing myself to experiment and create simultaneously, believing in my rough ideas enough to grow them, to weave them into stories. I began allowing myself to enter and remain in a very heightened state of awareness, which is a state I have continued to pursue and learnt to enjoy ever since. I let my mind dissolve into blackness each day. From there the most wonderful colours can appear. I have decided to call the album “Mu” to signify the empty chasm I allowed to hold within me whilst these songs were born.”

Wie? Schon wieder Kärbholz? Kam nicht gerade erst Kapitel 11: Barrikaden; und jetzt schon wieder? Wer hat sich denn da vertan?
Eine wohl kalkulierte Promokampagne oder doch ein mathematischer Totalausfall? Im Hause Kärbholz scheint mit dem ersten Lockdown der kreative Funke einen Flächenbrand ausgelöst zu haben. Abwarten was die Zeit bringt, diese jedoch nicht verschwenden war das Kredo und so hat die Band im letzten Jahr nicht nur Material für einen Longplayer komponiert. Nein, Songs für ganze zwei volle Alben sind entstanden; alle relevant und keiner, von dem man sich hätte trennen können. Der einzige Weg für Kärbholz: Double In, Double Out.
Die Songs, die in einer Episode geschrieben worden sind, wurden vor Produktionsbeginn auf die zwei Alben aufgeteilt: Kapitel 10 und Kapitel 11. Und genau in dieser Reihenfolge erfolgten die finalen Aufnahmen gemeinsam mit den Produzenten Alexander Dietz und Eike Freese. Woche um Woche wohnte, lebte und arbeitete man zusammen. Kapitel 10: WILDE AUGEN wurde fertiggestellt - Halbzeit - und ab in die Herstellung.
Weiter ging es mit Kapitel 11: Barrikaden und genau dem Moment, in dem sich alles ändern sollte...
Während der finalen Studiophase zum eigentlich zweiten Album "Kapitel 11: BARRIKADEN" machte sich dieses Gefühl breit… dieses Gefühl, das jeder hatte, aber niemand wagte:
Dieses zweite Album ist eigentlich das perfekte ERSTE Album. Dies sind eigentlich die Songs, mit denen man aus der Stille heraustreten will und sollte, die sich dafür einfach aufdrängten.
Kapitel 10: WILDE AUGEN ist rudimentärer und ungestümer. Es ist der ungezogene Bruder mit den zerrissenen Hosen. Aber auch das musikalische Bindeglied zwischen heute und gestern, erinnert es doch vielleicht am ehesten an das Album RASTLOS von 2009.

Aber was tun? Kapitel 10: WILDE AUGEN war bereits produziert. Das Vinyl lag schon auf dem Tisch. Und darauf stand nun mal: KAPITEL ZEHN! Unumstößlich und unumkehrbar. Und mag hier auch niemand als mathematisches Wunderkind gelten, 10 kommt VOR 11.

Aber wie war das noch vor ein paar Jahren…"Immer mehr Herz als Verstand…"

Also was soll's! Ihr kennt Kapitel 11? Dann lernt nun Kapitel 10, die WILDEN AUGEN kennen. Diese Augen sind hungrig, wollen mehr und drehen sich im Kreise… da kümmert es doch am Ende nicht… dieses kleine bisschen Mathematik.

Ein zentrales Album für die heutige Zeit: hell, frei, unnachgiebig, optimistisch. Brain Worms ist das bisher vollste und makelloseste Album von RVG. Auf "Brain Worms" wird deutlich, dass die Band in bester Form ist. Der Album-Opener 'Common Ground' gibt den Ton an für das, was kommen wird; ein glänzendes, mitreißendes, schlagkräftiges Album mit allen geliebten RVG-Merkmalen. Vagers Stimme ist ungefiltert und souverän wie immer, wenn sie ihre cleveren, nicht ganz ironischen Texte vorträgt. Hier fühlen sich diese Texte jedoch viel weniger resigniert und sehnsüchtig an, sondern viel mehr trotzig und fröhlich. Tambourine" ist der einzige Covid-Song, den Vager schrieb, als sie "versuchte, keine Covid-Songs zu schreiben", und es ist ein schmerzhaft ehrliches Porträt der Trauer inmitten der Isolation. Brain Worms" erzählt die nur allzu bekannte Geschichte eines Menschen, der in den Kaninchenbau des Internets fällt und Trost in Verschwörungen findet. Nothing Really Changes" ist ein Keyboarder-lastiges New-Wave-Ding, während das abschließende "Tropic of Cancer" mit Vagers selbstbewusstem neuen Manifest glänzt: Ich weiß, wie ich bin, und ich weiß, wie ich werde. Wenn du denkst, ich bin seltsam, hast du noch nichts gesehen. Bloxham, Nolte und Wallace erwecken Vagers Songwriting mit Bravour zum Leben. Aufgenommen in den Londoner Snap Studios mit James Trevascus (Nick Cave & Warren Ellis, PJ Harvey), strotzen alle zehn Tracks vor üppigen Klängen, klaren Absichten und der Magie einer Akustikgitarre, die einst Kate Bush gehörte und die ihr von Tears for Fears geschenkt wurde (die, so die Legende, "Everybody Wants to Rule the World" darauf geschrieben hat). Die vier Bandmitglieder - Leadsänger und Gitarrist Vager, Gitarrist Reuben Bloxham, Schlagzeuger Marc Nolte und Bassist Isabele Wallace - sind so selbstbewusst wie noch nie bei RVG. Sie haben ihre Einflüsse hinter sich gelassen, sich selbst vorangetrieben und neue Dinge ausprobiert. Und sie haben ein Album gemacht, das sie nach allem, was sie sagen, als ihr bestes bezeichnen können. Brain Worms" fühlt sich an wie die Antithese zu dem, was eine Post-Pandemic-Platte leicht sein könnte. Für eine Band, die bereits Musik über das Zurückgezogensein schrieb, "wir waren deprimiert und gingen auf unseren ersten beiden Alben nicht nach draußen", gab die erzwungene Isolation und die Zeit zum Nachdenken Vager Raum, über alles zu schreiben, was sie wollte. Und es stellte sich heraus, dass sie bereit war, über Akzeptanz zu schreiben. "Wenn wir nur ein weiteres Album machen könnten, wäre es dieses", sagt Vager. Rolling Stone: "Eine Visitenkarte für Außenseiter... dynamischer und vitaler Post-Punk" The Guardian: "Eine der vitalsten Bands der australischen Szene von heute.

Originally released in 1996, Come's third album 'Near Life Experience' was the sound of a band heading into new territory, refining their dense mix of hypnotic noise-rock, blues and rock'n'roll song-writing. Lovingly remastered, this new version features three incredible bonus tracks 'Prize', 'Strike', 'Hurricane II' stemming from the same era, additional liner notes and photographs. After Come's seminal 1994 release 'Don't Ask Don't Tell', bassist Sean O'Brien and drummer Arthur Johnson left the band to pursue other careers. Remaining members Chris Brokaw and Thalia Zedek recorded Near Life Experience with two different rhythm sections: one half of the album was recorded with drummer Mac McNeilly of the Jesus Lizard and Bundy K. Brown of Tortoise and Gastr Del Sol, the other half recorded with Kevin Coultas and Tara Jane O'Neil of Rodan and The Sonora Pine. Other contributors to the album included Edward Yazijian from Kustomized and Jeff Goddard from Karate, both rock bands hailing from Boston, MA. The title of the album resulted from "a slip of the tongue, as Zedek states, she "was telling someone she had had a 'near life experience,' but meant to say near death experience. Chris [Brokaw] was cracking up at the imagery of that. Thus, the phrase was chosen as the album's title. "Near-Life Experience is heavier, and at the same time prettier, than Come has ever sounded." CMJ New Music Monthly. "Come is a re-energized, even more powerful band than they used to be, and Near Life Experience is their most concise and affecting release yet." All Music. Zedek and Brokaw might have compensated the loss of band members by recruiting new blood but the reward was huge, 'Near Life Experience' is Come's most cinematic, diverse and accessible album.

Wellen.Brecher is an inclusive band that emerged from the Killekill's Berlin-based project Ick Mach Welle. It consists of Werner Soyeaux aka Black Davil, Uwe Locati aka DJ Locati, Dave Senan aka Senator and Hanni Kusch, a member of the German punk band Pisse.

After a very busy year 2022 with touring, the band are ready to bring you their debut EP "Hitmaschine". Included on the release is "Lasst Uns Feiern", the band's "Anthem", a banging rave influenced mega-hit that manages to hit-hard and deep while keeping the overall vibe happy and fun. For his remix, The Hacker radically cuts things back while adding a hefty portion of 90s hardcore to deliver you another "hit".

On the B side, band member DJ Locati strikes sonorous notes with his vocals, spread over a base of hypnotic acid trance and progressively developing into a deep dive down into a rave tunnel. Rounding out the record is a guest appearance by the band 21Downbeat. Their reinterpretation of Wellen.Brecher's Tierisch Verboten (which was released as the opener of the "Superbrains" compilation on Killekill) brings a healthy dose of smashing newwave to the proceedings.

Die Power Metal-Titanen GLORYHAMMER sind zurück im Kingdom of Fife!

In dem nicht soweit entfernten Kingdom of Fife, lebt eine ganz besondere Band – GLORYHAMMER.

Sie betten ihre abenteuerlichen Erzählungen von intergalaktischer Kriegsführung und kosmischer Zauberei in epischen Power Metal und seit ihrer Gründung 2010 führen GLORYHAMMER einen nicht enden wollenden Kampf gegen die Mächte von Zargothrax. Vier Jahre sind seit der letzten Veröffentlichung ihres letzten Albums vergangen, aber das Warten hat nun endlich ein Ende, denn ihr neustes Werk Return to the Kingdom of Fife wird am 2. Juni 2023 über Napalm Records veröffentlicht und und liefert die ultimative und spannungsgeladene Reise der furchtlosen Krieger!

Unheilvolle Fanfaren kündigen GLORYHAMMERs erste Schlacht an, bevor sie den mächtigen und majestätischen Holy Flaming Hammer an sich nehmen, um auf „Holy Flaming Hammer of the Unholy Cosmic
Frost” die Geschichte der Rückeroberung des verlorenen Königreichs zu erzählen. Jedoch hat der böse Magier Zargothrax nach dem verheerenden Krieg von Dundee das gesamte Königreich in Schutt und Asche gelegt und das atomare „Imperium Dundaxia” geformt.

GLORYHAMMER entfesseln mit ihrem packenden Power Metal-Sound ihre eigentliche Superkraft und treiben ihn mit dem ereignisreichen Return to the Kingdom of Fife in ganz neue Höhen!

Die neue Death Thrash Macht mit Metal-Größen David Ellefson (ex-Megadeth), Guilherme Miranda (exEntombed A.D.) und Michał Łysejko (ex-Decapitated).

Bereits 2022 versetzten DIETH die Metal-Szene in Aufruhr, als die neu formierte Band Mitte des Jahres ihre Debütsingle „In The Hall of the Hanging Serpents” veröffentlichte. Nachdem es einige Zeit ruhig um
die einzelnen Musiker war, bündelten der mit dem Grammy Award ausgezeichnete Bassist David Ellefson (ex-Megadeth), Schlagzeuger Michał Łysejko (ex-Decapitated) und der für den schwedischen Grammy nominierte Gitarrist und Sänger Guilherme Miranda (ex-Entombed A.D.) ihre Kräfte zu einer Death Thrash Allianz, die es in sich hat, und begeisterten mit dieser Überraschung Fans und Medien gleichermaßen.

Am 02.06.2023 erscheint mit To Hell And Back nun endlich das heiß ersehnte Debutalbum über Napalm Records. To Hell And Back steht für einen Neuanfang in sämtlichen Belangen – textlich, musikalisch
und natürlich nicht zuletzt persönlich, für die Musiker selbst. In Eigenregie produzeiert und gemischt und gemastert von Tomasz Zed Zalewski in den Zed Studios in Chechło, Polen, haben DIETH die früheren Genre-Stereotype hinter sich gelassen und setzen nun neue, ganz eigene Akzente. Unerbittlicher Death Metal mit Tech-Anteilen trifft auf rasante Thrash-Attacken und präsentiert ganz nebenbei Ellefsons Debut als Lead-Sänger auf einem der zehn Tracks.

Originally released as part of Perc's Greed Dance 12" in late 2021 Resistor has since taken on a life of it's own, receiving plays & support from I Hate Models, Randomer, Somniac One, Cera Khin, Umwelt, New Frames, Cassie Raptor, Ghost In The Machine and of course Perc himself. Now Resistor returns with three brand new remixes, each taking the original mix to entirely new places.

First up is UK underground hero and Skuxx Records main man Tassid delivering a festival slaying slice of sub heavy UK techno which has been Perc's closing track at his gigs, including at Awakenings in April, from the moment he heard it. Next Jensen Interceptor takes a completely differed approach dropping subtle elements of the original mix of 'Resistor' and a sprinkling of science fiction samples over a hard jackin' groove sitting perfectly between techno and electro.

Finally Berlin based Wallis, shows why she is leading the new school of French producers with a gritty industrial groove, with just the slightest hint of 'Resistor's infamous lead lines breaking through the dirt, to round off a diverse, yet satisfying remix collection.