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Produced by Prince, this is one of the best albums that came out of the Purple One's Minneapolis funk-rock empire in the 1980s. Featuring the hit title track and “The Belle of St. Mark” (two Prince penned classics), this is another opportunity to celebrate the deeper fabrics within the purple quilt Prince laid across the 80’s pop scene.

This album marks the debut recording for Venezuela's Velvet label by pianist Ray Pérez and his trombone-led salsa band Los Dementes. Heavy dance numbers and the distinctive vocals of Perucho Torcat make this historic 1967 rarity a sought-after collector's item. Now the LP has been lovingly restored, mastered from the original tapes, with its original artwork intact, preserving the legacy of Los Dementes for today's generation of salsa lovers everywhere. First time reissue. Salsa pianist, vocalist, composer and arranger Ray Pérez, acquired his nickname "Loco" by being a free, independent spirit, an innovator and iconoclast who was initially branded as "crazy" for the freshness and audacity of his sound. Amazingly, he is not that well known in the US, where he spent some time in the late 1960s and salsa was king during the 1970s. Yet he was quite popular in his home country from the beginning, especially amongst the working class of Caracas and Maracaibo, who adopted Cuban music played by New York Puerto Ricans as their own and called it "salsa" years before the term was employed by US labels like Fania as a marketing tool. Pérez is revered in Venezuela, as well as in Mexico and Colombia, and his storied career, which spans seven decades and thousands of concerts, has yielded more than 35 albums recorded by his various bands, including Los Dementes, Los Kenya, and Los Calvos, all of which are collector's items today. At the start of 1967 Pérez debuted Los Dementes, with vocalists Claudio Zerpa and Perucho Torcat backed by an ace band featuring only trombones in the brass section. Titled "¡Alerta mundo! Llegaron los 'The Crazy Men'" the record was released on the small Venezuelan label Prodansa. Soon after, Prodansa folded and Los Dementes were left without representation or much compensation for their efforts, being paid only in records. In the end of February of that year, Pérez returned to Caracas from a stint in Maracaibo in order to finish his first LP with the well-established and larger Velvet label, entitled "Manicomio a locha". In the first quarter of 1967, Velvet unleashed a trilogy of salsa records in order to compete with rival label Palacio and their recent success with Federico y su Combo Latino: "Porfi '67 Salsa & Boogaloo" by Porfi Jiménez y su Orquesta, "Guasancó" by Sexteto Juventud and lastly "Manicomio a locha". The LP begins appropriately with the boisterous title track, written by the band's conguero Carlos "Nené" Quintero, who would become a legend in coming years. Torcat describes a jam session in mental institution and introduces the band, with tasty solos by trombonist Rufo García followed by Ray on piano. Already you can hear something was different about Ray and his "Crazy Men"-a sound as wild and innovative as what was happening in New York with Eddie Palmieri, but with a more unhinged, raw feeling in line with Willie Colón and other younger Nuyorican bands. Next up is an intriguing track sung in a mix of Italian, English, Spanish and Papiamento by Pérez himself, performed in the complicated rhythm of the mozambique, an Afro-Cuban carnival beat developed in the early 1960s. This is followed by the heavy dancer 'Rico guaguancó', penned by Angelito Pérez, which changes from the guaguancó to the mozambique rhythm mid-way through, proving that Los Dementes were "different from the rest" as the lyrics say. 'Puerto Libre', sung by Torcat, is dedicated to the Venezuelan island of Margarita in the Oriente region, and the independent spirit of its working people. The rhythm changes from guaguancó to guajira and back again but remains danceable all the way through. The side closes out with a "3 in 1" medley inspired by the popular formula of the mosaicos of Billo's Caracas Boys, seamlessly knitting together several different tempos, rhythms, moods and compositions. Side two starts strong with the fierce yet satirical 'Corte e' patas', then 'Alma Cumanesa', a typical folk song refashioned as a guaguancó. This is followed by the funky 'Guajira con Boogaloo'. The tune echoes the sound of young Latin New York, pointing out the connection between Cuban and African American soul music. The pace picks up again with 'Fiesta de trombones', a hot descarga and then the album closes with another medley. Though this marks the end of a rather short album, it also signaled the emerging success of Los Dementes and their involvement with the salsa boom in Venezuela, quickly selling out of its initial run of 1000 records and making for a memorable debut on the Velvet label. Now this rare and sought-after LP has been lovingly restored, mastered from the original tapes, with its original artwork intact, preserving the legacy of Los Dementes for today's generation of salsa lovers everywhere.

Nach einer fünfjährigen Auszeit, in der er sich ganz unterschiedlichen Musikprojekten widmete, kündigt Squarepusher sein nächstes Studioalbum "Be Up A Hello" an. Für das neue Album setzte Tom Jenkinson nach vielen Jahren erstmals wieder auf dieselbe digitale und analoge Hardware, mit der er in den frühen 1990ern seinen Trademark-Sound definierte. Die Verwendung der Vintage-Synthesizer und -Effekte (inkl. eines Commodore Vic-20) markiert eine radikale Kehrtwende für den Briten, der auf dem Vorgänger "Damogen Furies" noch komplett auf moderne Tools und die neueste Software setzte, von ihm selbst im Laufe von 15 Jahren programmiert und optimiert. Das Ergebnis klingt vor allem ausgelassen, wenn Tom astreine Breakbeat-Tunes wie "Nervelevers" und "Terminal Slam" – klassisches Dancefloor-Material – vom Stapel lässt. Düstere Tracks wie "Vortrack" und "Mekrev Bass" belegen derweil, dass er nach wie vor ein Faible für perfekt ausbalancierten Psycho-Overload hat. Insgesamt verweist "Be Up A Hello" auf die Ära der DIY-Raves in Essex, deren Ekstase, Ausgelassenheit und Hemmungslosigkeit die ganze Herangehensweise von Tom nachhaltig prägen sollten.

BLACKFIELD V - MARKING THE BANDS' RETURN TO FULL
COLLABORATIVE MODE.Blackfield is the collaboration between Israeli
songwriter & musician Aviv Geffen & British musician & producer Steven
Wilson
'Blackfield V' signalled a return to the full partnership that made the first two
albums such firm favourites with fans, hinted at by the reprisal of the medicine
bottle in the artwork from their first album.
The pair makes for a formidable musical force; Geffen has worked with legendary
producers Tony Visconti & Trevor Horn, has played live with U2 & Placebo & is
currently a judge on the Israeli TV show 'The Voice'. Wilson, leader of the hugely
influential band Porcupine Tree, has embarked on a highly successful solo career,
achieving 3 UK top 40 albums & 4 Grammy nominations.
Written & recorded over a period of 18 months in both Israel & England, 'Blackfield
V' contains 13 linked songs that form a flowing 45- minute ocean themed song
cycle. With the pair expertly handling vocals, guitars & keyboards, they brought in
Tomer Z from the Blackfield band on drums, Eran Mitelman on keys & string
arrangements were performed by the London Session Orchestra. 'Blackfield V' is
a powerful journey through catchy melodies, lush arrangements & stunning
production, with legendary producer / engineer Alan Parsons working on three of
the album's key tracks.
'Blackfield V' is available on Black LP via Kscope.

BLACKFIELD V - MARKING THE BANDS' RETURN TO FULL
COLLABORATIVE MODE.Blackfield is the collaboration between Israeli
songwriter & musician Aviv Geffen & British musician & producer Steven
Wilson
'Blackfield V' signalled a return to the full partnership that made the first two
albums such firm favourites with fans, hinted at by the reprisal of the medicine
bottle in the artwork from their first album.
The pair makes for a formidable musical force; Geffen has worked with legendary
producers Tony Visconti & Trevor Horn, has played live with U2 & Placebo & is
currently a judge on the Israeli TV show 'The Voice'. Wilson, leader of the hugely
influential band Porcupine Tree, has embarked on a highly successful solo career,
achieving 3 UK top 40 albums & 4 Grammy nominations.
Written & recorded over a period of 18 months in both Israel & England, 'Blackfield
V' contains 13 linked songs that form a flowing 45- minute ocean themed song
cycle. With the pair expertly handling vocals, guitars & keyboards, they brought in
Tomer Z from the Blackfield band on drums, Eran Mitelman on keys & string
arrangements were performed by the London Session Orchestra. 'Blackfield V' is
a powerful journey through catchy melodies, lush arrangements & stunning
production, with legendary producer / engineer Alan Parsons working on three of
the album's key tracks.
'Blackfield V' is available on Black LP via Kscope.

Been Stellar is what you get when you leave the youth alone in a
metropolis; they grow up, they make noise
Crackly, bright and distorted - stories of violence, love, and a new, un-glamorous,
New York City. 12" EP pressed on red transparent vinyl. Hailing from the suburbs
of Detroit, the beaches of Los Angeles, and Brazil by way of Sydney, Nando Dale
(guitar), Laila Wayans (drums), Sam Slocum (vocals), Nico Brunstein (bass) and
Skyler St. Marks (guitar) have positioned themselves at the glimmering rotten
center of tonight's rock and roll. Each member so distinctly themselves, it must
be assumed that such a diverse and unlikely gang were drawn tight together in
their first year of university by nothing short of serendipitous fortune and a
shared, waggish sense of humor.
They are a band of friends - sharing, crying, fighting, and kissing - wreaking havoc
together and laughing like how only the jaunty youth can afford to. Been Stellar's
arrangements come textured, swooping - pushing past you at a downtown pace
and off to find a better night. The songs are of their own time and space, offering
a New York City - Been Stellar's New York City - the sounds of growing up young.

Killer EP. Next-level Shackleton.

Taking off from Beaugars Seck’s foundational sabar drum rhythms — recorded by Sam in Dakar in February 2020 — Shackleton has constructed a trio of intricately layered, luminous, enchanted, epic excursions. The second is more dazzled and meandering, with jellied bass, insectile detail, and discombobulated jabbering; the third is more liquid, fleet of foot, and psychedelic, with a grooving b-line and funky keyboard stabs, scrambled eastern strings and hypnotic vocalese.

The harmonium in The Overwhelming Yes sounds like Nico blowing in chillily from up the desert shore. The overall mood is wondrous, twinkling with light, onwards-and-upwards; an uncanny, dubwise mix of the ancient and the futuristic. Mark Ernestus’ Version is stripped, trepidatious, mystical, and stranger still, with just a snatch of the original melody, extra distortion and delay, and crystal-clear drum sound.

Twenty minutes of startlingly original music, with Shackleton the maestro at the top of his game, and a characteristically evilous dub by Mark Ernestus. Mastered by Rashad Becker; handsomely sleeved.

Sick to the nth. Love 4 Ever.

'Body Riddle', ein Highlight des frühen Clark-Katalogs, von Produzenten wie Arca, Rustie und Hudson Mohawke als massgeblicher Einfluß bezeichnet, wurde unter persönlicher Betreuung von Clark neu für mehr Dynamik remastered und erscheint erstmals wieder seit 16 Jahren.

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BIO: Chris Clark arbeitet seit 20 Jahren mit Musik und Ton. Schon in jungen Jahren wurde er von Warp Records gesignt und veröffentlichte bis dato 13 Alben und eine Vielzahl an EPs und Singles. Sein jüngstes Studioalbum 'Playground In A Lake' für das Klassik-Label Deutsche Grammophon verschmolz sein Markenzeichen, die elektronische Musik, mit den Streichertönen des Cellisten Oliver Coates, der Geigerin Rakhi Singh und des Budapest Art Orchestra.

Nach seiner ersten Filmmusik für die Sky/Canal+ TV-Serie 'The Last Panthers' schrieb Clark die Scores zu 'Rellik' (BBC1/HBO) und das Drama 'Kiri' (Channel 4/Hulu). Kürzlich lieferte er die Filmmusik für Apple TV+ 'Lisey's Story', basierend auf Stephen Kings gleichnamigem Roman, sowie für 'Daniel Isn't Real', einem psychologischen Horrorfilm von Spectre Vision, der Produktionsfirma des Nicolas Cage-Kultfilms 'Mandy'. Dieser OST wurde ebenfalls von der Deutschen Grammophon veröffentlicht.

Chris arbeitete mit der Choreografin Melanie Lane zusammen und vertonte 12 zeitgenössische Tanzprojekte, darunter die Aufführung ihres Soloprojekts 'Tilted Fawn' im Sydney Opera House und zuletzt 'Personal Effigies', das im März 2018 mit dem Kier Choreographic Prize ausgezeichnet wurde, sowie 'WOOF' für die renommierte Sydney Dance Company.

Chris' umfangreiches Verzeichnis an Remixen für Künstler wie Thom Yorke, Massive Attack, Depeche Mode, Max Richter, Battles und Nils Frahm wurde 2013 als Doppelalbum 'Feast / Beast' veröffentlicht.

'What's always set Clark apart is his eclecticism, dynamism, and flair for the dramatic... His tracks don't drop as much as they slip or swerve... He'll end a techno album with eight minutes of beatless, sky-cracking ecstasy and it will make sense. He's allergic to the idea of standard sounds and presets. And unlike many of his more insular peers, Clark can be open to sentimentality — not schmaltz — as much as a belief in humanness and all its inexact wonder. In electronic music's never-ending battle between man and machine, he's seeking a third way.' - Pitchfork

Features Many Of The Premier Female Vocalists To Emerge From France During The 60s Including France Gall, Jacqueline Taïeb And Françoise Hardy

Ola Szmidt's third EP is the culmination of many years' creative output and also marks the beginning of a new era, as her first release since signing with Matthew Herbert's Accidental Records.

A real bravery of spirit runs through EP3, which feels like her most intimate recording to date: underpinned by pulsating processed

loops and a lyricism that is viscerally ‘openhearted’ (to use a favourite adjective of Ola’s). The palpable physicality of the sound is wrapped in an expansive translucence. Breath is a consistent thread, joining each textural vista to the next. The unifying theme is healing, in myriad forms, from cell to mind, individual to collective.

Zero T returns to the imprint with his Irish soul brother Steo for their much anticipated joint EP on wax.

In collaboration with Myth, the lead track ‘Go’ will be opening sets for days with its long and soulfully energetic intro that crescendos into full dancefloor epicness.

Title track ‘Stop/Start’ draws in on classic jungle-inspired drum and bass edits, beautifully executed with timeless appeal.

Much-hyped French foursome Visages also feature with their techno-inspired rework of the duos much loved ‘Can’t Hide’ – an impressive first outing on the imprint with their signature hypnotizing grit and edge.

Mark your calendars now with August X as the official release of Zero T & Steo’s Stop/Start vinyl EP.

Eine der weltweit führenden Death Metal Bands sind zurück mit ihrem brandneuen Album 'Tyrants of Doom'. Dieses Meisterwerk markiert das mittlerweile 4. Studioalbum der Deutschen und beinhaltet 10 neue gehirnschmelzende Songs in bekannt versierter Manier. Musikalisch ein weiterer Schritt vorwärts und das bisher ausgereifteste und erwachsenste Material der Band. Kurz gesagt: "Verwesung trifft Melancholie, Brutalität und Melodie".

- Ein fantastisches Album, das auf der ganz großen Bühne mitspielt
- Slaughterday gehören mittlerweile zur Speerspitze des internationalen Death Metal Zirkus'
- Sehr zu empfehlen für Fans von AUTOPSY, DEATH, CARCASS
- Eigenständiger klassischer, technisch versierter Death Metal

Cawd Slaydaz is a clear shift for Frigio Records. Yet, this debutant also marks a return of sorts. The album brings together Hugo de Naranja, co-founder of former Red Light Radio, and Max Abysmal. The link that connects the two? Their love for Colombia and the rich musical melting pot of this diverse nation. Nothing is stable on this eleven track LP, recorded in Bogotá Colombia with 10 different local guest artists. Rhythms are cross pollinated, cold and stark city thump collides with rich and lively organic flows. The style pursued is anything but singular, like the messages. Social exclusion and brutality in the poetic Perreo “Dejen Bailar” is mirrored in the Cumbia food ode “Potato Trip”. Dark Electronics, Experimental Bass & Trap are the genre tags that most will attempt to label this record with. This ignores the Leftfield Funk of “El Gorila Del Desierto”, the Stoner Ambient of “Uffff” or the Synth-Punk rage of “Razones”. An audio snapshot of a country: TOTÁL.

Es könnte keinen besseren Zeitpunkt und keine bessere Gelegenheit für Banco del Mutuo Soccorso geben, um ihr 50-jähriges Bestehen zu feiern und gleichzeitig ihr vielleicht ehrgeizigstes Konzeptalbum seit der Veröffentlichung ihres Debütalbums 'Darwin' im Jahr 1972 zu veröffentlichen. Das neue Album trägt den Titel 'Orlando: Le Forme dell'Amore'. Vittorio Nocenzi hat zusammen mit seinem Sohn Michaelangelo und dem Texter Paolo Lugli jahrelang an dem musikalischen Konzept des neuen Albums gearbeitet. Ein echtes Gedicht aus dem XIV. Jahrhundert durch verschiedene Lieder zu erzählen und möglicherweise die Fakten und Ideale zu beschreiben, war ein Berg, den es zu erklimmen galt. Das Ergebnis der immensen Arbeit im Studio findet sich in einem epischen Album wieder, das für Fans des progressiven Rocks neue Maßstäbe setzen wird. Zweifelsohne waren Banco schon immer stark mit ihren Wurzeln verbunden, aber 'Orlando: Le Forme dell'Amore' ist ein definitiver Beweis dafür, wie sich traditioneller Prog-Rock in einer modernen, neuen Mischung aus Klang und Geist weiterentwickeln kann. Die Entscheidung, die Stücke auf diesem Album nur auf Italienisch zu singen (wie zuvor auf Transiberiana), bestätigt den Willen der Band, dem treu zu bleiben, was sie von Anfang an gemacht hat. Um den Fans zu helfen, die Texte besser zu verstehen und zu verfolgen, werden neben den italienischen Originaltexten auch englische Übersetzungen der Texte im Artwork enthalten sein. Darüber hinaus bietet die Band auf ihrer Website eine ausführliche Erklärung des gesamten Konzepts und der Narration des Albums. Für das Cover des neuen Albums verwenden Banco das ikonische 'Salvadanaio' (italienisch für 'Sparschwein'), das zum einzigartigen Logo und Markenzeichen der Band wurde. 'Orlando: Le Forme dell'Amore' soll am 23. September 2022 über InsideOutMusic veröffentlicht werden. Es folgt eine intensive Live-Tournee mit Konzerten in Italien sowie im restlichen Europa und in der ganzen Welt im Jahr 2023.

With his Arjunamusic label and a growing catalog of category-defying releases, Samuel Rohrer
continues to quietly, yet confidently, make a name for himself as a genuinely unique figure within
the European electronic music realm. Over the past decade he has assembled a repertoire of
music that fills a sadly neglected gap in the modern musical landscape. That is to say, he has
made a number of “electronically”-aided works that never seem to make “electronic-ism” the main
selling point or raison d'être. Rohrer understands that we inhabit a networked media landscape
that no longer sees a novelty value in every synthetic or technological sound, and by realizing
this, he makes a music that fully engages with the present without completely disregarding the
exciting speculative sensibility that has allowed electronic music to solidify into a tradition. His
latest solo album, Hungry Ghosts, again shows the high quality of sonic design that can be
achieved by conceptualizing musical passages as living, breathing entities rather than as
signposts to some still distant reality.
Maybe more so than any of Rohrer’s solo records to date, Hungry Ghosts is the one that
most unambiguously displays the artist as a kind of inspired sound “cultivator” or landscaper
rather than just a straightforward “producer”. The emphasis here seems to be biological growth
processes rendered in musical form, and in fact some track titles namechecking the biodiversity
of the external world (“Slow Fox”, “Ctenophora”) and neurochemistry (“Serotonin”) lend some
additional credence to this interpretation.
As with previous outings, Rohrer starts with his skills as a genre-resistant percussionist
and builds from there, with dense clusters of drum hits and icy cymbal exclamations leading the
way into a wide-open atmosphere full of fragmented phrases, marked with strange reversals or
compressions of time. The percussive portions and other ambiences merge together in such a
way that the latter seems like a kind of shifting, holographic camouflage for the former; an effect
which makes for a greater than usual number of shifts in mood. Rohrer’s already established
ambiguity and mystery are the moods that permeate throughout, to be sure, but there are also
surprising moments of humorous whimsy (the flourishes of cartoon mischief and teasing silences
on the tracks “Human Regression” and “Bodylanguage”), reverence (the optimistic organ swells
and steady sequencer guiding “Ceremonism”), and meditative focus (the slow-motion spectral
waltz of “Treehouse”). Also notable here are very brief etudes, such as “Window Pain,” whose
dark, lush ebb and flow actually seem tailored to repeated or looped listening.
It’s particularly remarkable that almost all of this material is recorded solo and in a “live /
no overdubs” mode, given how much it feels like well-rehearsed ensemble playing, and given the
impeccable timing involved in continually exchanging the sounds at the very forefront of the mix.
And here we come full circle to the idea of “electronic music” mentioned at the beginning here:
instead of making us feel that we are in the presence of some fully-realized form brought back
from “the future,” Rohrer invites us instead to witness fascinating processes of transition and
mutation, and to value them for what they are now as much as for where they are headed.

Inspiriert von der gemeinsamen Vision eines unverwechselbaren Sounds reisten Julius, Mario und Marko 2016 nach Norwegen. Mit dem Auto machten sie sich auf den Weg zwischen scharfen Klippen und wilden Fjorden, mitten durch die raue Natur. Schneestürme und Hagel brachten sie unterwegs an ihre körperlichen und geistigen Grenzen. Diese ungezähmte Gewalt der norwegischen Wildnis war ein prägender Moment in der musikalischen Entwicklung der Band und zieht sich bis heute durch jeden Song der drei Jungs aus Görlitz. Die Grundidee von Mystik, Natur und Spiritualität, die die Initialzündung war, hat sich als Vision und Leitprinzip für die Band erhalten. Ihre Musik ist deutlich von Heavy-Rock-Bands wie Motörhead und High on Fire beeinflusst, zeichnet sich aber auch durch progressive Parts aus, wie sie in Kvelertak und Solstafir zu finden sind. Kommt mit einem Killer Artwork, in naturell farbiges Vinyl mit einer etched B-Seite.

Tarja Turunen ist seit 2005 auf Solopfaden unterwegs. Die ehemalige Sängerin der finnischen SymphonicRock-Formation Nightwish nennt sich seither nur noch Tarja und hat inzwischen zahlreiche Alben veröffentlicht.
Ob klassisch, live eingespielt oder farbenfroher Symphonic Rock, mit ihrem englischsprachigen Rockdebüt My Winter Storm” legte sie bereits 2007 den Grundstein für ihren späteren Soloerfolg.
Die stilistisch abwechslungsreiche Platte erreichte in Deutschland Platz 3 der Albumcharts und wurde mit
Gold ausgezeichnet. Im Zuge des Jubiläums wird der Album-Opener ”I Walk Alone” als limitierte 10-ZollSonderedition auf weißem Vinyl veröffentlicht.
Der fast meditative, von Metal-Gitarren und symphonischem Orchester untermalte Track zu Beginn gipfelt
in einem eingängigen und monumentalen Hardrock-Refrain, dem Tarja die funkelnde Gesangskrone aufsetzt.
Neben der ”Single Version” und der ”Artist Version” enthält die 10inch-Single drei weitere Mixversionen
des Songs: Den markanten ”In Extremo Remix” mit den typischen Sounds der deutschen Mittelalterband,
den stark elektronisch angehauchten ”The Tweaker Remix” und den wahrhaft düsteren ”The Darkroom
Mix” von Deviousnoise.
I Walk Alone” stammt übrigens aus der Feder des erfolgreichen schwedischen Songwriter-Teams Wollbeck/Lindblom/Sommerdahl (das u.a. auch für Tina Arena, den Jazzer Till Brönner oder Südkoreas Girls’
Generation arbeitete).

“I had to write myself back into existence,” says Jessie Baylin. “I’d been feeling lost, empty, unsure if I’d ever make music again, and I think this album came along to remind me of who I really am, of who I could still become.” Indeed, Jersey Girl is more than just another record for Baylin; it’s a radical act of self-actualization, a moving work of reflection and rebirth from an artist who’s spent the better part of her adult life running from her roots. Written and recorded with GRAMMY-winning producers Daniel Tashian and Ian Fitchuk (Kacey Musgraves, Birdy), the collection marks Baylin’s first release since the passing of her longtime collaborator Richard Swift, whose influence looms large here even in his absence, and it signals the start of a profound new chapter, one marked by love and empathy for the face staring back in the mirror. The songs are lush and dreamy here, drawing on a hazy palette of warm guitars and vintage keyboard tones, and Baylin’s performances are nothing short of mesmerizing, her tender voice front-and-center in the mix as she grapples with guilt and shame, pain and healing, purpose and identity. Baylin’s the first to tell you this wasn’t an easy record to make—in fact, it wasn’t a record she intended to make at all—but sometimes the biggest breakthroughs come from the most unexpected places. “I had to be tricked into writing these songs,” Baylin confesses, “but it was a good kind of trick. I didn’t realize what was happening until I was already in the midst of it, and that turned out to be exactly what I needed.”

Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS ascend to the next level of mind-bending modern metal on their upcoming, in-your-face full-length, IMAGO, out March 18, 2022. Following their 2019 Napalm Records debut, the XXXXX EP, the unbridled outfit breaks new ground and transcends all expectations with their exciting and undeniably fresh second studio album. IMAGO’s multifaceted, cathartic delivery seamlessly mixes gut-punching hardcore riffs and catastrophic breakdowns with colorful electronics, brutalizing vocals and, at times, trance-like synth – exploring elements of djent, hip-hop and even hyperpop influence along the way. The album’s addictively erratic, emotive atmosphere echoes their spontaneous live performance; having previously toured with modern metal giants JINJER, the four-piece relentlessly smashed European stages while captivating each listener with futuristic stylings reverberating the likes of Bring Me The Horizon, Architects, Norma Jean and LANDMVRKS. Furiously crashing opener “SOMEONE ELSE” sets free the uncompromising spirit of SPACE OF VARIATIONS – instantly breaking down genres and placing a forceful exclamation mark at the start with smashing instrumentation and a feverish vocal and lyrical assault by Dmytro Kozhukhar and Olexii Zatserkovnyi. Devastatingly heavy “1M followers” takes no prisoners from the first second and features a hefty appearance from former Asking Alexandria vocalist Denis Stoff, resulting in a fearless, addictive metalcore banger. Tracks like eponymous “IMAGO” and intense mid-tempo “Serial Killer” emphasize the multifaceted nature of SPACE OF VARIATIONS with sporadically scaled-back instrumentation and emotion turned to 10. On the contrary, previously released penultimate post-hardcore dystopia “Ultrabeat” delivers bone-crushing beats and is by far no stranger to the band’s devotees. Closing with an insane verse from Ukrainian rap sensation ALYONA ALYONA, the track undeniably marks a milestone in the unit’s soon-to-be revered history while representing the seething desire to expand all limits of songwriting and creativity. This mindset embodies SPACE OF VARIATIONS and their sonically boggling ode to the future, IMAGO. 1. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS steps up its game with hard-hitting opener “SOMEONE ELSE” from the upcoming full-length album IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. “SOMEONE ELSE” promises aggressive screams, charging transitions and deadly synth parts straight to your face. Stay tuned for this futuristic metal monster called SPACE OF VARIATIONS! 2. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS drifts off into distant universes with their second single “vein.mp3” from the upcoming full-length IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. Like a bestial alien, "vein.mp3" goes wild with its shattering drums, thudding bass, heavily distorted guitars and evil screams. Beware of this musical demon called SPACE OF VARIATIONS! 3. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS reveals its album title track “IMAGO” from the upcoming full-length IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. With melodic, yet distorted and heavy riffing, booming drums and deep growls, "IMAGO" proves itself as SPACE OF VARIATIONS’ anthem! 

12 October 2022 will mark the 150th anniversary of Ralph Vaughan Williams’ birth

- A concentration of absolute masterpieces by the best-known British symphonist!
- Ideal performance by his compatriots BBC SO under the baton of Sir Andrew Davis with the participation of Tasmin Little.
- A must-have!

“Sir Andrew lives and breathes this music as to the manner born and takes his beloved BBC SO on a moving journey from shadowy darkness to blazing light. With sumptuous sound this is easily the best "modern" version in the catalogue.”