Suche:mach 2

The Equations Collective is an experimental sound project formed by a multi-disciplinary group of artists, active in the fields of music, photography, sound design & software development.

In 2018, the collective set up a temporary outdoor recording studio, 1130 meters above sea level, on the slopes of Mount Helicon in Greece, with the ambition of recording their work in a natural environment. A 'mobile and modular' construction, fully powered by solar panels, the design of the studio showcases the possibilities of a progressive, environmentally sustainable future through renewable energy.

Embodying ecological incentives, and representing an immersive engagement with the landscape, the 'Helicon Sessions' document this extraordinary residency, capturing a profound dialogue with the eponymous mountain region.

Situated in Boeotia, Central Greece, Mount Helicon has a prominent archaic significance. A historic location where stories of sacred springs and the epic origins of the Muses and Narcissus converge. Steeped in the heritage of ancient narratives, Helicon is seen as a principal symbol of poetic inspiration.

On the 'Helicon Sessions' the collective draw upon the inspiring topography and fabled mythological resonances of the area, unfurling an expansive, hypnotic suite of abstract electronics. Liberated by an open-ended, improvisational dynamic, the collective move through a mysterious, elemental cycle that mirrors the imposing scale and dramatic atmospheres of the setting.

Across an entrancing, fluid sequence of five designated 'cuts', the collective traverse the borderlands of drone, techno, dub, and acid, amplifying the acoustic traces of Helicon by integrating field recordings collected at the site into this arresting body of work. With these recordings, the collective delineate an odyssey of subverted 303s, sputtering drum machines and formidable, oscillating low end that drifts and coalesces like an amorphous mirage; a spellbinding sound world of clarity and shadow.

The 'Helicon Sessions' signify a symbiosis (between the terrestrial and the engineered, between wildlife and futurism, between the intrinsic and the synthetic, between the innate and the manmade) And with their conception of a portable, eco-friendly studio The Equations Collective focalize valuable ideas centred on ingenuity and evolution. The outcome of this project illustrates a unique collaborative exchange which acknowledges the deep nuances of environment and the enduring echoes of history.

The Equations Collective is a collaboration between Artefakt, Aroma Pitch, Aphelion and Sphera De Noumenon across Berlin, Amsterdam, Cologne and Hamburg. Together they have established an all night long live event in Berlin, starting at Sameheads and Acud Macht Neu, which eventually lead to their residency at OHM (Tresor).

For this format they have collaborated with the following artists: Alex The Fairy, Anna Z, D-IX, Eliad Wagner, Jón Friđgeir Sigurđsson, Orson Wells, Phillip Jondo, Philipp Matalla, PRSMC, Rabih Beaini, Sabrina Gricourt, Sébastien Robert, and Vida Vojić.

The respective members of The Equations Collective have released a range of output on the likes of Field Records, Delsin, Semantica Records, De Stijl, & Soul People Music.

Since 2018 their visual identity has been shaped by Elias Hanzer.

The 'Helicon Sessions' is their debut release.

For the first time ever, here is the soundtrack from the 1983 post-apocalyptic flick directed by Joe D'Amato, Endgame - Bronx Lotta Finale. A compelling Carlo Maria Cordio's mighty Vangelis-meets-John Carpenter score. With hangovers from previous Giallo-based outings, Endgame's themes are more gentle and introspective than, say, Claudio Simonetti's muscular work for The New Barbarians and Hands of Steel but also, arguably, musically more diverse. In particular, the opening title track 'Atomic Contamination" is genuinely chilling when set against the stock footage of a nuclear bomb going off.

While liberally pinching the vibe of Blade Runner's more symphonic textures, Cordio's synthesizers also do bombast, melancholy and menace when required, whilst the pretty pieces for Lilith are like semi precious jewels shining out of the murk and machismo.

THE 10TH ANNIVERSARY EXPANDED EDITION OF TIM BOWNESS &
GIANCARLO ERRA'S 2011 ALBUM 'WARM WINTER' - NOW ISSUED AS
MEMORIES OF MACHINES
An expanded & remixed 10th Anniversary version of Tim Bowness & Giancarlo
Erra's 2011 album 'Warm Winter' (now issued as 'Memories Of Machines', the
original project name).
Featuring contributions from Robert Fripp, Peter Hammill, Julianne Regan, Jim
Matheos, Colin Edwin, Huxflux Nettermalm, Peter Chilvers, Aleksei Saks &
members of Nosound & Tim Bowness's live bands, the album contains 10
sweeping & majestic songs (culminating in the epic "At The Centre Of It All").
The 2 disc - CD/DVD-A/V version includes hi-res stereo & 5.1 Surround mixes in
addition to two 2020 recordings - an album outtake & a new version of the
Nosound piece "Someone Starts To Fade Away" - created especially for this
release.
Featuring a 2021 remix from the original tapes by Giancarlo Erra, this new edition
emphasises the textural nature of the music & restores the pieces to their original
arrangements & track lengths (resulting in a different listening experience).
The artwork has also been overhauled for this release by Giancarlo Erra &
Caroline Traitler.

Heiko Voss has earned near mythical status as a torchbearer for the emotional, deeply felt and quietly radical style of electronic music. The blissed-out radiance of his Kompakt Pop single, “I Think About You” remains one of the label catalog highlights and a stellar run of collaborative singles as Schaeben & Voss; others might know him for his stewardship of the excellent, much-underrated Firm imprint. But with his new album, 3:30 Minutes To Live, released by Michael Mayer’s label Imara, Voss returns after a long silence with a beautiful collection of songs that hymn heartbreak with a lusciously melodic touch.

There is something definitive and newly confident in 3:30 Minutes To Live that has it feeling like a real statement of intent if compared to his earlier releases. “Although it’s not, 3:30 Minutes To Live feels like my debut album,” Voss reflects. “All releases before were more song sketches or electronic dance tracks.” Bunkering down in Teary Eyes Studio, Voss worked up somewhere between thirty and forty sketches of songs, which he whittled down to the twelve collected here, all of them situated in a unique space, but very much in accord with Voss’s defining aesthetic, which he describes as “indie pop music with a lot of guitar, electronic elements and a great love for melancholic ‘80s synth-lines.”

Voss is sensitive to both variety and consistency – 3:30 Minutes To Live sits together as an assured, vibrant collection of pop songs, but it’s marked by all kinds of surprising incident, like the guitar solo that erupts out of “This Is My Life”, or the acoustic guitar-led melancholy of the closing “This Summer”. It’s all borne of the alchemy of the studio process and the intimate romance of music-making. “If you constantly feel a little bit like you’re in love while writing and producing your music – simply because of the sound of the synth flowing warmly and gently through the room, or because the sequence of notes awakens something in you, or even a randomly arising groove in the loop of a guitar lick makes you shout, ‘Ha!!’ – then it usually becomes a beautiful song,” Voss nods. “Those moments make me happy.”

There’s also a delicious tension between the push of the music, its melodic lushness and gliding, ballerina-like movement, and the darker currents that pull through Voss’s lyrics, inspired by a “short, dramatic and toxic love affair.” This may read like familiar terrain for a pop album, but the way Voss weaves language through both the extra-linguistic joys of music and the inarticulate speech of the heart somehow allows for direct communication that is simultaneously plain-spoken and deeply profound. “Say It” is a simple, devastatingly effective plaint of alienation; “She Wasn’t Lonely” a simple portrait of everyday living set to chiming, clacking guitars, the music in the bridge taking astral flight as the titular character ‘lets herself go.’

A smart and sharp collection of songs that captures you with its gorgeous melodicism just as it blindsides you with its aching heart, 3:30 Minutes To Live is Heiko Voss at his most assured and open-hearted best.

Heiko Voss hat sich als Fackelträger einer emotionalen, von ganzem Herzen kommenden und nicht auf den ersten Blick radikalen Spielart von elektronischer Musik einen nahezu mythischen Status erarbeitet. Das schiere Glück, welches seine Kompakt Pop-Single "I Think About You" aus dem Jahr 2003 immer noch ausstrahlt, macht sie nach wie vor zu einem der Highlights des Label-Katalogs, wo sie neben einer ganzen Reihe hervorragender Singles als Schaeben & Voss steht; andere kennen Heiko vielleicht durch das tolle und vielfach unterschätzte Label Firm, für das er zusammen mit Thomas Schaeben verantwortlich war. Mit seinem neuen Album “3:30 Minutes To Live”, das am 4. März 2022 auf Michael Mayers Label Imara erscheint, kehrt Voss nun nach einer langen Pause mit einer wunderschönen Sammlung von Songs zurück, die den Herzschmerz – getragen auf den Schwingen unwiderstehlicher Melodien – ausgiebig besingen.

“3:30 Minutes To Live” kommt mit einer gehörigen Portion Überzeugung und Selbstbewusstsein daher, was im Vergleich zu seinen früheren Veröffentlichungen wie ein bewusstes Statement wirkt. "Obwohl es das nicht ist, fühlt sich ‘3:30 Minutes To Live’ wie mein Debütalbum an", meint Voss. "Alle meine vorherigen Veröffentlichungen waren eher Song-Skizzen oder elektronische Dance-Tracks."

Im Teary Eyes Studio arbeitete Voss zwischen dreißig und vierzig Songskizzen aus, die er auf die zwölf hier versammelten Songs reduzierte, die alle ihren eigenen Raum einnehmen, dabei aber sehr gut mit Voss' übergeordneter Ästhetik harmonieren, die er als "Indie-Pop-Musik mit viel Gitarre, elektronischen Elementen und einer großen Liebe für melancholische 80er-Jahre-Synthies" beschreibt.

Voss ist sowohl für Abwechslung als auch für Konsistenz empfänglich - “3:30 Minutes To Live“ ist eine selbstsichere, lebendige Sammlung von Popsongs, die aber auch von allerlei Überraschungen geprägt ist, wie dem Gitarrensolo, das aus “This Is My Life” herausbricht, oder die von einer Akustikgitarre getragene Melancholie des abschließenden “This Summer”.

Das alles ist entstanden aus der besonderen Alchemie des Studioprozesses und der intimen Romantik des Musikmachens. "Wenn du beim Schreiben und Produzieren deiner Musik ständig das Gefühl hast, ein bisschen verliebt zu sein – einfach weil der Klang des Synthesizers warm und sanft durch den Raum fließt, oder weil die Notenfolge etwas in dir weckt, oder sogar ein zufällig auftauchender Groove im Loop eines Gitarren-Licks dich ein 'Ha!' ausrufen lässt – dann wird daraus meist ein schöner Song", nickt Voss. "Diese Momente machen mich glücklich."

Es entsteht eine besondere Spannung zwischen dem positiven Elan der Musik, ihrer melodischen Verschwendungssucht, den gleitenden, Ballerina-artigen Bewegungen und den dunkleren Strömungen, die durch Voss' Texte ziehen, die von einer "kurzen, dramatischen und giftigen Liebesaffäre" inspiriert sind. Das mag sich wie ein vertrautes Terrain für ein Pop-Album anhören, aber die Art und Weise, wie Voss die Sprache sowohl durch die nonverbalen Elemente der Musik als auch durch den nicht artikulierten Ausdruck des Herzens verwebt, ermöglicht eine Art direkte Kommunikation, die gleichzeitig ausgesprochen klar und trotzdem tiefgründig ist. “Say It" ist eine erschütternd einprägsame Anklage von Entfremdung; "She Wasn't Lonely" ist ein einfaches Porträt des alltäglichen Lebens, untermalt von klappernden Gitarren, in dem die Musik einen astralen Flug unternimmt, während die Titelfigur sich "gehen lässt".

“3:30 Minutes To Live“ ist eine kluge und scharfsinnige Sammlung von Songs, die den Zuhörenden mit ihren wunderschönen Melodien fesseln, aber auch mit einer Menge schmerzenden Gefühlen konfrontiert. Ein Album, auf dem Heiko Voss ganz bei sich ist und Euch dabei mehr als nur sein Herz öffnet.

Dutch symphonic metal band Delain released their third studio album We Are the Others in 2012 to positive reviews from music critics. The album title was inspired by the murder of 20-year-old Sophie Lancaster, whose murder was likely a hate crime due to her being part of the goth subculture. The album spawned two single releases: “Get The Devil Out of Me” and the title track, for which the band shot a music video that included many well-known people from the metal scene, including George Oosthoek, Sharon den Adel, Robert Westerholt and Rob van der Loo. The album features guest contributions by the likes of Burton C. Bell (Fear Factory) and Marko Hietala (Nightwish) and was produced by Jacob Hellner (aka Tripod), who is best known for producing most of Rammstein’s albums.

"Whether it's the last hour you were allowed to play outside as a child before you had to go home, a reference to the fight against time in regard to the climate crisis or the last minutes of a person's life - ""An Hour Before It's Dark"" certainly doesn't lack interpretations. Be it ""Seasons End"" on the 1989 album of the same name or the much discussed track ""Gaza"" on the 2012 album ""Sounds That Can't Be Made"" - Marillion have never minced their words and don't do so on this album either. ""An Hour Before It's Dark"" is not only the title of the album, but also the overarching theme that creates a connection between all the songs on the album.
Recorded in Peter Gabriel’s Real World Studios, Marillion remain musically true to themselves and continue swimming against the path of adjusting to norms and limitations.
DVD and Blu-ray come with a Hi-Res stereo mix and HD video content including a documentary on the making of the album and a performance of Murder Machines from Real World Studios."

"Whether it's the last hour you were allowed to play outside as a child before you had to go home, a reference to the fight against time in regard to the climate crisis or the last minutes of a person's life - ""An Hour Before It's Dark"" certainly doesn't lack interpretations. Be it ""Seasons End"" on the 1989 album of the same name or the much discussed track ""Gaza"" on the 2012 album ""Sounds That Can't Be Made"" - Marillion have never minced their words and don't do so on this album either. ""An Hour Before It's Dark"" is not only the title of the album, but also the overarching theme that creates a connection between all the songs on the album.
Recorded in Peter Gabriel’s Real World Studios, Marillion remain musically true to themselves and continue swimming against the path of adjusting to norms and limitations.
DVD and Blu-ray come with a Hi-Res stereo mix and HD video content including a documentary on the making of the album and a performance of Murder Machines from Real World Studios."

Much is made of Detroit techno progenitors proximity to the auto plants. Similarly, overlooked electronic pioneer Jeff Phelps was raised just blocks from a Western Pennsylvania steel mill_close enough to smell the sulphur and hear the roaring blast furnace. When Tascam released their ground breaking Portastudio in 1984_allowing multi tracking on the far more financially inclusive cassette tape_Phelps purchased one immediately, and quickly added a Roland SH-101 monophonic synthesizer, Fender Rhodes suitcase piano, Roland drum machine, and a basic Radio Shack stereo mic. Those basic tools were employed on his first commercial productions for his own Engineered For Sound label: 1985's "Magnetic Eyes" LP and Antoinette's "Now You're Gone" 45. These DIY sketches generated few profits, and Phelps kept his day job in the energy business. Jeff Phelps eventually found his way back into performance and recording, starting with The Next Level Band near the end of the decade. Houston gourmands might have caught them at the opening of Texas's first Cheesecake Factory. "Magnetic Eyes" has already had a few lives, between TomLab's 2010 replica pressing and inclusion on Dante Carfagna's genre-defying Personal Space compilation. This 2021 edition features the heretofore un-re-released second mix, completed after discovering flaws in the initial 1985 pressing. Enjoy this technically perfect, artist-approved version of a visionary techno-adjacent masterwork.

Für Candlemass schließt sich ein Kreis: Ur-Sänger Johan Langquist, der 1986 das wegweisende Debüt Epicus Doomicus Metallicus einsang, kehrt endlich für ein komplettes Studioalbum zur Band zurück!
The Door To Doom setzt den roten Faden fort, den Mastermind, Songwriter und Bassist Leif Edling in den letzten Jahren für seine Band verfolgte: epischer Weltklasse-Doom-Metal, der sich auf
schleppendes Mammut-Riffing stützt. Mit Langquists dramatischen Vocals und viel Liebe zum Detail verfeinert die Band dieses Album und macht es zum nächsten - Epicus'. Gekrönt wird das Meisterwerk
von einem Gastauftritt von Black Sabbaths Gitarrenikone Tony Iommi auf 'Astorolus - The Great Octopus'- The Door To Doom ist die Doom-Metal-Offenbarung des 21. Jahrhunderts!

Her debut LP, Banshee, was released on Wax Poetics. Has collaborated with MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and more. Kendra Morris’s Nine Lives, to be released on Karma Chief Records (a division of Colemine Records) in early 2022, marks not only the culmination of the decade since the release of her first LP Banshee, but also a turning point in Kendra’s life. Nine Lives heralds the beginning of a new chapter; label, and an evolution to the next level of adulthood. This collection of her original songs encapsulates moments from what could be nine lifetimes. Kendra, while very much a New Yorker and veteran of almost 2 decades on the NYC scene, hails from Florida and aesthetically embodies the broader sense of American culture, bringing to her contemporary sound influences found in music and cinema dating back to the mid 20th century. Her music conjures imagery evocative of road trips to weird and wonderful places. Concurrently a visual artist, filmmaker and animator, Kendra harnesses the feline nine lives metaphor repeatedly. In the context of the chapters of her musical trajectory alone, we see at least 9 lives. From discovering multi-tracking on a karaoke machine as a child, to playing in bands in Florida, moving to NYC and creating music alone on an 8 track, releasing her first 2 LPs on Wax Poetics, releasing her 2016 EP Babble and collaborating with DJ Premier, 9th Wonder, MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and David Sitek, to name a few. The life of this multi-disciplinarian artist contains units of time and story lines through which we can all relate to universal themes of love, loss and overcoming one's fears. Kendra, never ceasing to heed her spiritual calling to continue creating music and art, no matter what, has no plans of slowing down but a belief in only evolving, eager to begin experiencing her next nine lives.

Paul Wise aka Placid is the driving force behind ‘We’re Going Deep’ – a thriving online community and record label that’s showing no signs of slowing down as we start the new year. Born out of a lifelong affair with the many shades of electronic rhythm and an obsession for collecting records that first started in 1988.

As a label owner, his mission couldn’t be clearer: releasing new music for heads - old and new. Fresh cuts aimed squarely at the dance floor, your front room or even just the headphones! Rather than staying too hung up on the past, he’s very much focused on serving up the best in new Acid, Electro, Techno, Deep House along with the odd slice of Downtempo goodness.

Sticking to the trusted format of 4 different producers, all serving up high grade electronic explorations, WGD 006 launches with another stellar line up. Headed up by the foreboding sounds of Versalife with “Omikron” on A1, spacious atmospherics and half-step beat usher in a gnarled bassline that simply won’t let go. As delicately placed melodic touches light up an otherwise pitch black soundscape and open up the spaces in between, it’s a superb reminder of the Dutchman’s majestic talent. Accompanied with an outing from Belgium’s rising talent Mariska Neerman, snappy percussion and machine pulses greet you from the off on A2 “Twin”, evolving into a fully emotive and uplifting ride. Leading with layered synths, Neerman demonstrates her sparkling knowhow for drenching you in heart warming pads and strings that harmoniously sing.

Written under his Analogue-1 alias, head to B1 for the legendary sounds of James Zeiter shimmering through on “Counterpoint”. A subtle and stripped back 4/4 trip into the lighter side of acid inspired grooves that shuffles out into the unknown: tweaking all the way as the intensity build. Powerful stuff at the right moment, do not underestimate the alchemy at work here. Last but not least, newcomer Morthen Kiang leaves us on a punchy 909 driven martian inspired work out, that fully summons the vibe of our Red Planet friends. A perfect ending note packed full of machine oscillations and cosmic waves.

1985 Music celebrates 5 years with a collection of remixes from its impressive back catalog.

It’s been 5 years since the inception of 1985 Music and over that period it’s grown a family of exciting underground producers as well as a celebrated back catalog from artists new and old. With this release, the label remixes some key tracks from the archives.








h d2. Dogger, Mindstate, Anile & K S R - Don't Hurt Me (Re-work)

A staggering collection Detroit techno-soul music, beamed directly into your consciousness from 1994. Kenny Larkin should need no introduction to those whose ears are trained in the ways of the motor city and her musical sons and daughters. He is one of a handful of artists from the city whose original and unique sonic output has helped shape and advance techno as an art form and as a serious musical movement across the world and it's galaxies beyond, a formidable DJ and producer whose music continues to push the envelope today. 'Azimuth' gives us what would be Larkin's first full length offering, and across 11 tracks of blistering hi-tech machine funk, ambient, soul drenched rhythms and futurist club music he deftly crafted a classic. This is the album you hold in your hands now, here in 2021. Originally released on Warp Records, 'Azimuth' is back here in it's expanded form of a 2 x LP and bonus 10" reissue. A record that effortlessly sounds like it came to earth yesterday while being 25 years old, a true Detroit classic that still makes waves across the planet today. File under - 'Essential'.

'Azimuth' has been legitimately reissued for 2021 on Kenny’s own Art Of Dance imprint. Remastered from DAT tapes and original sources by Curve Pusher. Designed by Atelier Superplus

While previous albums, most notably Leland and Minutes of Sleep (2014) as well as two albums released as one half of the duo Aris Kindt (most notably the stellar Swann and Odette from 2017) have relied on singular thematic and narrative drives that were often of a personal, collaborative, or hermetic in nature, Thresholds is an album that aspires to sonic universality and the presentation of a fully formed psychoacoustical world. That being said it is not an “album of ideas”. Inspired by the ecological and political upheavals of the present and the role of speculative thought as an avenue of global transformation Thresholds is the work of a mature artist fully in control of his powers. Both expansive and nuanced the album widens the aperture of the affective possibilities of the electronic assemblage; themes skip from one track to the next, elevating and informing each other in tangible fields of abstract figuration. The titles, while often heady, concisely allude to strategies implicit in the construction and arrangement of the works: Cut Up, within the context of the album, is exactly that. Luck Takes a Step juxtaposes stately synths with just the right touch of playful fluctuation and latent atonality. The title track itself is a knotted mass of uncertainty and propulsive beats the breakdown of which is a nervous series of fits and starts that resonate not just within the track but as the fulcrum of the entire album: the threshold of our Threshold: “…we are caught up in our own original transversals of time to the point of dissolution, and that which remains a part of the contrivance of ourselves is ultimately that which crosses the threshold and is somehow, miraculously, reconstituted on the other side of it. Because it is via the threshold that we can best observe the conditions of experience as lived even as we cross to the other side of understanding, rejoining the ancient equilibriums of which we, in our depths, are comprised.” (From the liner notes)
No track overstays its welcome and with the help of standout vocalist Eliana Glass, and instrumentation by Dave Harrington (Darkside with Nicolas Jaar), Mark Nelson (Pan American), Will Shore, Greg Paulus and Gareth Redmond, and mixed by Phil Weinrobe, the result is a dizzyingly pure inward gaze that is first and foremost an album about connection.

After their celestial Arcturian Corridors opened proceedings on Quindi, London-based brothers Clive and Mark Ives are back with a new record. When Woo first began recording at home in the early 70s, Clive and Mark were the embodiment of furtive genius. Since re-emerging in 2013, they've released scores of albums, collaborated with Seahawks, and have now struck up a productive relationship with Quindi.

On Paradise In Pimlico, you're hearing a very different sound to the one gently creaked out on early classics like Into The Heart Of Love. This is fulsome, contemporary production rich in detail and artful sound design, but crucially, Clive and Mark's gorgeously melodic approach remains open and inquisitive, even with the sheen and shimmer of modern studio techniques.

Woo sound more confident than ever in their composition, too. The crystalline, fragile tones of 'Cadenza D'Innocenza' glide through key changes that spell out an engrossing narrative, while the cascading melodies on 'Moment To Moment' pirouette across the space between notes with masterful poise. 'Paradise In Pimlico' is an illustrious suite of orchestral composition played out with the lightest touch, framed by the slightest of synthesized fauna and topped off with tender sax and flute. Album closer 'In Case Love Fails' takes on a subtly cinematic urgency with its undercurrents of walking bass and the strike of the string section (synthetic or otherwise).

There's space for markedly new approaches, too. The rhythm section on 'The Motorik Mirror' clunks and pops with a tactile, high-definition quality which teeters between electronic sculpture and clockwork, organic machination. The deft, lightly-brushed drums coursing through 'Even More Notes' see Clive and Mark step into a different mood, celebrating the beat as another fluid, tonally-rich texture in the mix and adding a smoky, jazzy hue to the Woo repertoire.

It's far from a drum-focused exercise though. At every turn, you're confronted with aching beauty and timbral surprises. If there's one constant throughout Paradise In Pimlico, it's the omnipresent chimes. These twinkling drops of light scattered throughout are something of a hallmark of Woo, ensuring the lilting, lullaby-like magic of their music persists whichever direction they head in.

An unique nexus of electronic music and jazz! Fabio Kumori drum machine, synth, efx, double bass and Ü tenor sax, efx came together in several studio sessions and recorded the tracks for this album.

Some of the tracks let us feel electronic grooves close to house music combined with atmospheres reminding us on ambient music as well as nuances from Detroit techno. While on some tracks the tenor sax sounds pure and intensive like known from free jazz improvisations, on other tracks the sound of the sax is strongly modified by live efx that let it sound like electronic waves drifting through the endless space of universe.

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!

Jamie Paton, something of a veteran on the label, is once again exploring the inner realms of electronic music. This 7” is not a step in the wrong direction from his earlier high-quality standard; Paton’s crystal-clear sound cuts like surgical laser through a block of ice.

“Parabolas” and “Fleshed Out” are in all their static cold beauty, quite advanced compositions in regards to cooperating rhythm patterns; Paton knows his machines like his own children, giving them a proper playmate in his synthesiser-day care – a man-machine playground!

This release manifests Paton as a master of leftfield-half tempo house oriented-kosmische music.

A genre blur of decorative art punk psych overflow, mixed and mastered by KRAMER on “Blessence Blue” Vinyl LP ltd edition of 500. RIYL: WEEN, Lee “Scratch” Perry, Dat Politics, Prince Buster, Captain Beefheart, Deerhoof, Thinking Fellars Union Local 282, Young Marble Giants, Jad Fair. As an energetic force in the downtown New York perfor1mance art noise scene for over ffteen years, Lumberob is releasing his debut solo LP - Language Learner - on Shimmy-Disc. Having collaborated now for over 23 years, Kramer and Lumberob understand how to make rather majestic messes. This music is urgent madness, overfowingly decorative, lusciously spastic, with an unpredictably eclectic sonic vaudeville energy. Lumberob emerged from a year in Costa Rica with a bag full of pandemic recordings. As a rejuvenated yet still scrappy loop artist expanding his sound with synth bass and drum machines, yet still rooted in improvised vocal phrase looping and skanky guitar, Lumberob insists this album Language Learner to be a bold exercise in genre discovery or genre blur, proudly assuming its position in high contrast to other recent gorgeously crafted Shimmy-Disc releases. It is this contrast that’s reminiscent of the wildly divergent and inventive catalog curated by Kramer from decades past. This debut is an odd blend of ingredients, but the concept is relentlessly pure Lumberob. Participants in Costa Rica include David Mendez playing nylon string, Alicia Cigna singing, Ariel Soto playing partial kit and conga, and Juan Jose Lopez playing bongos. Additional sessions in Brooklyn include Tobin Scroggins playing guitar and Becca Stabile singing. Kramer added bits and pieces throughout during his mixing and mastering of the album. Call it Dada Ska - a skanky electro-bounce. This is dance music for working things out. This is workout music for dancing things, and the live show is truly the dafy psychedelic roughneck business.