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Der Titel des zweiten Soloalbums der Chastity Belt-Sängerin Julia Shapiro ist eine Zustandsbeschreibung. Wie jeder Mensch mit einem Puls auf dieser Erde fühlte sich das Jahr 2020 für Shapiro mehr als einmal völlig zorked an. Im März 2020 beschloss Shapiro die spätwinterliche Tristesse Seattles gegen den immerwährenden Sonnenschein von Los Angeles einzutauschen. Also packte sie ihre Sachen, nur um dann in der Stadt der scheinbar endlosen Möglichkeiten kurz nach ihrer Ankunft pandemiebedingt nahezu in die totale Isolation gezwungen zu werden. Da sie nirgendwo hin konnte und nichts zu tun hatte, begann sie neue Songs zu schreiben, deren Grundstimmung ihre damalige Gemütslage perfekt einfangen. Auf ihrem zweiten Album beschreibt Shapiro Los Angeles als eine in Zeitlupe dahinschmelzende Einöde. Als einen Ort, an dem sie mit Geistern und seltsamen Gestalten kommuniziert. Oder wie sie es ausdrückt: "It takes you on a wild ride. There's weird shit in it." "Zorked" wurde von Shapiros Mitbewohnerin Melina Duterte (JAY SOM) mitproduziert, die ihr Haus während des Lockdowns in ein praktikables Heimstudio verwandelte. Die durchaus noisigen Aufnahmen verliefen zum Glück unproblematisch, da ihr einziger Nachbar in Hörweite das ganze Jahr 2020 damit verbrachte, über zehn Stunden am Tag Karaoke zu singen. Auf Dutertes Drängen, entschloss sich Shapiro auch die neuen Songs weniger nach ihrem ersten Soloalbum "Perfect Version" oder nach Chastity Belt klingen zu lassen. Stattdessen sprang sie auf dem Höhepunkt ihrer Unsicherheit und ihres Unbehagens auf der Suche nach etwas Neuem ins kalte Wasser - und fand Kraft in schweren Shoegaze-Klängen.

THE CHARLATANS proudly announce their (Covid) delayed release of their 30th Anniversary tour and a career spanning best of entitled “A Head Full of Ideas’ Released on Then Recordings through Republic Of Music. ‘A Head Full of Ideas’ sums up their remarkable progress from 1990 Manchester scene hopefuls to one of the UK’s most enduring and best-loved bands. The accompanying tour begins at Belfast, Limelight 22/11/21 and finishes in Aberdeen on 20/12/21.

The band have notched up 13 Top 40 studio albums - three of them number ones - alongside 22 hit singles, four of them top 10. The rollercoaster highs have been accompanied by some shattering lows, any which one of them could have felled a less resilient band, from nervous breakdowns to near bankruptcy and the deaths of two founder members.

Somehow, they have not just carried on but adapted and transformed. The classic Charlatans sound - driving Hammond organ, Northern Soul and house-influenced rhythms, swaggering guitars and Tim Burgess’s sunny yet somehow yearning vocal - is instantly recognisable. And in spite of everything they have been through their music is now more relevant than ever, The Guardian described their last album, Different Days as “one of their best ever”.

As well as a very limited 6 Vinyl box set, there will also be Limited Coloured Triple vinyl LP version and 2CD deluxe of the box set featuring the hits albums plus a bonus live album ‘Trust is For Believers’, and finally a CD or Double LP Vinyl of just the hits albums.

Reinvigorated and revitalized, REAPING ASMODEIA are back and set to leave their mark on 2021 with their third full length, Darkened Infinity - due for release via Prosthetic Records on October 15. The Minneapolis, Minnesota three-piece present twelve tracks of rhythmically acerbic modern technical death metal and thematically dauntless songwriting, weaving together a conceptual story of transcendence, consciousness and humanity’s ongoing struggle with the psychological self. Darkened Infinity sees REAPING ASMODEIA capitalize on a growing reverence within extreme metal circles for their off-kilter time signature changes and complex songwriting, thanks in no small part to Alexander Kelly (guitars) and Daniel Koppy (drums)’s blistering sonic camaraderie that make the foundations of the band’s assault. Replete with an inhumanly savage vocal performance across Darkened Infinity’s runtime from Steven Lane, the trio shine on apocalyptic album highlights False Awakening, Oneironautic Oblivion and Simulacra. Produced and engineered by the band themselves in Minneapolis before being mixed and mastered by Zack Ohren (Machine Head, All Shall Perish, Carnifex) at Castle Ultimate and Sharkbite Studios, Darkened Infinity’s intricate lead melodies unfurl with a menacing clarity when set against the album’s more abrasive tones.

Met Cirkeldier Daniël en Struik, twee catchy Nederlandstalige popnummers, vieren FULCO en Teletext hun eerste samenwerking. Twee meezingers in een sausje van tijdloosheid. Vanaf 15 oktober te koop op een lekker ouderwetse 7inch single.

Unter der Regie des Produzenten Chris Cohen und mit Gast-Beiträgen unter anderem von Buck Meek und Tenci, weben die organischen und doch akribischen Folk-Klanglandschaften und tief empfundenen Texte auf dem Debütalbum von Le Ren aus Montreal einen reichen musikalischen Wandteppich. Mit der Veröffentlichung ihrer Secretly Canadian EP "Morning & Melancholia" im Jahr 2020 hat sich Le Ren den Vergleich mit der Musikalität und den kargen, eloquenten Texten von John Prine und Neil Young verdient. Auf "Leftovers" zeigt sie uns die lebendige Tiefe ihres klanglichen und thematischen Spektrums und schreibt mit einer kühnen Klarheit, die sie zwischen klassischen Ikonen wie Joni Mitchell, Vashti Bunyan und Karen Dalton sowie einer neuen Klasse von Folk-Ausnahmekönnern wie Adrianne Lenker, Jessica Pratt und Laura Marling beheimatet. "Leftovers" präsentiert zu gleichen Teilen Melancholie, tiefe Liebe und Heiterkeit, um die Trauernden aufzumuntern, während es ein Patchwork aus persönlichen Liedern über verschiedene Beziehungen zusammennäht: die, die wir mit Müttern, Liebhabern und Freunden teilen. Auf "Leftovers" destilliert Le Ren jahrelanges Material zu zehn straff ausgeführten Tracks, die durch das schwelgerische Zupfen ihrer Gitarre und das kristallklare Timbre ihrer Stimme vereint werden. Im April 2021 traf sie sich mit Chris Cohen in einem gemieteten Haus in Portland, Oregon, wo sie warten mussten, bis ein Nachbarsjunge aufhörte, draußen Lärm zu machen, bevor sie aufnehmen konnten. Die musikalischen Gastbeiträge wurden anschließend hinzugefügt: Kori Miyanishi, Cedric Noel, Saltwater Hank (Jeremy Pahl), Eliza Niemi, Kaïa Kater, Aaron Goldstein, Buck Meek und Tenci (Jess Showman) nahmen ihre Parts separat in ganz Nordamerika auf.

The brothers Jerry and Jimmy Vivino belong(ed) to sought-after session
musicians and producers in the American blues scene.
Their services have been taken by numerous blues musicians such as Son Seals,
Johnnie Johnson, Hubert Sumlin, Al Kooper, Shemekia Copeland, Aaron Neville,
Lucky Peterson, Dr. John, Buddy Guy and Odetta, among others.
However, the Vivino Brothers rarely recorded albums together. With Chitlins
Parmigiana, however, they recorded something special by fusing urban blues,
jazz funk and soul. Although the album spreads a party atmosphere, the ballad
‘Fools Gold’ is goose bumps pure.
An enjoyable album that illustrates the Vivino siblings’ diversity.
The album by the Vivino Brothers, which is still legendary today, was no longer available in mint condition for over a decade. Now Chitlins Parmigiana is
emerging again - as a Double-LP.

Stolen Body are super stoked to announce the addition of French Psych/World rockers Gondhawa to our ever evolving roster.

Gondhawa is a musical laboratory - a fusion between Fela Kuti’s groove and Hendrix’s electricness.
Formed in 2018 in Angers (France) by Idriss (vocals and guitar), Clément (drums) and Paul (bass), the band explores different styles with a boundless energy. Inspired by French sci-fi literature, they invented a language. Outcomes Gondhawii, a fusion of sounds from all over the world and others as yet unidentified. With this new language the whole mind immerses into a delicious trance where we cross odd rhythms, quarter-tone riffs, oriental groove and electric explosions as well as stringed instruments from other countries. (n'goni, sanxian, microtonal guitar)

Gondhawa release their first album, “Kâampäla”. Six powerful and eclectic tracks dipped in stoner, afrobeat and progressive rock. Six tracks linking convoluted rhythms and inventive riffs.

Through the micro-tonal groove of Raba Dishka, the Afrobeat Stoner power of Käampâla, or the softness of Djoliko, a beautiful ballad lulled by the melancholy of acoustic strings from around the world, Gondhawa delivers the soundtrack of an interstellar road movie. An electric tornado with an abundance of rhythms and textures.

Das japanische Quartett CHAI veröffentlicht mit "Wink" ihr drittes Album und ihr erstes für Sub Pop. Es enthält CHAIs sanfteste und minimalistischste Musik, aber auch ihr mit Abstand bewegendstes und aufregendstes Songwriting. "Wink" ist zudem ein extrem passender Titel: eine subtile, aber kühne Geste. Ein Zwinkern ist ein unbefangener Akt der Überzeugung. CHAI besteht aus den eineiigen Zwillingen Mana (Gesang und Keyboard) und Kana (Gitarre), Schlagzeugerin Yuna und Yuuki. Nach der Veröffentlichung von "Punk" im Jahr 2019 führten CHAIs Abenteuer sie rund um die Welt, sie spielten ihre hochenergetischen und beschwingten Shows auf Musikfestivals wie Primavera Sound und Pitchfork Music Festival und tourten mit Indie-Rock-Größen wie Whitney und Mac Demarco. Wie alle Musiker waren CHAI im Jahr 2020 gezwungen, die Struktur ihrer Arbeit und ihres Lebens zu überdenken. CHAI nahmen dies als Gelegenheit, ihren Arbeits-Prozess durchzuschütteln und ihre Musik an einen aufregend neuen Ort zu bringen. Hatten CHAI zuvor ihre maximalistischen Aufnahmen genutzt, um die Ausgelassenheit ihrer Liveshows einzufangen und die Reaktionen des Publikums im Auge zu behalten, konzentrierten sie sich nun darauf, die etwas subtileren und introspektiveren Arten von Songs zu entwickeln, die sie gerne zu Hause hören - wo sie zum ersten Mal die gesamte Musik aufgenommen haben. Inmitten des globalen Shutdowns arbeiteten CHAI quasi als Garage-Band und tauschten ihre Songideen - für die sie mehr Zeit als je zuvor hatten - über Zoom und Telefonanrufe aus, wobei sie ihre Einschränkungen in eine Stärke verwandelten. Während sich die Band an einen persönlicheren Sound anlehnte, ist "Wink" auch das erste CHAI-Album mit Beiträgen von externen Produzenten (Mndsgn, YMCK) sowie einem Feature des Chicagoer Rappers und Sängers Ric Wilson. CHAI ziehen R&B und HipHop in ihre Mischung aus Dance-Punk und Pop-Rock, während sie unbestreitbar CHAI bleiben. Ob in Bezug auf diesen neu entdeckten Sinn für Offenheit oder ihre Art, zu Hause zu komponieren, das Thema von "Wink" ist, sich selbst herauszufordern.

Berlin, 26. Mai 2021. Deutsche Grammophon gibt die Unterzeichnung eines Exklusivvertrags mit der
Pianistin, Komponistin und Sängerin Hania Rani und der Cellistin Dobrawa Czocher bekannt. Das junge
polnische Duo, das seit seiner Studienzeit an der Musikakademie Feliks Nowowiejski in Danzig befreundet
ist, hat sich einen Namen gemacht mit seiner emotional leisen, doch zugleich ungemein authentischen
Musik.
Ihre künstlerische Partnerschaft begann mit einem Album. Dobrawa war eingeladen worden, Musik von
Grzegorz Ciechowski einzuspielen, dem Gründer und Frontmann der Band Republika, einem früh verstorbenen Rockmusiker und Komponisten. Sie bat Hania, gemeinsam mit ihr an dem Album zu arbeiten. Biała
flaga (»Weiße Flagge«) wurde ein umgehender Erfolg. Gleich nach Veröffentlichung im September 2015
fand es sich in den Top 30 der polnischen Albumcharts. Die beiden Künstlerinnen hatten einen unverwechselbaren Sound geschaffen, der die Fans begeisterte und ein sicheres Fundament für ihre kreative Arbeit
schuf. Nun erscheint ein neues Werk der Musikerinnen: das Debüt bei Deutsche Grammophon, ein Album
mit ausschließlich eigenen Kompositionen

Rambal Cochet (aka St Petersberg’s Konstantyn Isaev aka Volta Cab) lands on Wrong Era with four electronic snapshots suited to the more robust dancefloor. Opener,Leptis Magna, builds and twists through subtle plateaus’ towards a storm of climactic strings that clear to reveal momentary elation. Elation becomes soundtrack suspense on Fabrizio Mammarella’s remix, stripping back the parameters (while bringing the rhythm to the fore), resulting in a driving, tunnel trancer. Enter The Infinite is a steady builder; each tweak charming you towards twilight’s dancing silhouettes. Cyrillic balearic vocal’s melodise The Hidden Magenta, which locks you in it’s groove’s exotic, growing, immediacy.

Yellow Vinyl

The first release on Optimo Music founder JD Twitch’s new compilation-focused label Cease & Desist will be a collection of pioneering turn-of-the-90s British “Bleep & Bass” techno tracks curated by author and music journalist Matt Anniss.

Join The Future: UK Bleep & Bass 1988-91 is a partner product to Anniss’s critically acclaimed book on the foundations of British dance music’s ongoing love affair with sub-bass, Join The Future: Bleep Techno and the Birth of British Bass Music. The book, which was published by Velocity Press in December and features a foreword by JD Twitch, documents in vivid detail the previously untold story of the Yorkshire-pioneered style and the impact it had on the development of UK dance music.

The compilation is the first to focus on Bleep & Bass since the sound’s heyday in the late 1980s and early ’90s. It features a mix of historic cuts, period classics, overlooked gems and unreleased material. It was mastered for release by Warp Records co-founder and Forgemasters member Rob Gordon, a producer, remixer and studio engineer who arguably did more than anyone else to define the sub-heavy sound of the style.

Gordon also contributed a previously unheard version of Alfanso’s “Dub Feels Nice”, a near mythical track he produced in 1991 that has never received a proper commercial release. The cut has been a secret weapon for a handful of Sheffield DJs for almost 30 years, most notably Gordon’s fellow Forgemasters member Winston Hazel. Fittingly, the compilation also includes the original unreleased instrumental version of Tuff Little Unit’s Steel City classic “Join The Future”.

Many of the other tracks on the compilation are rare, hard to find or have not been issued on vinyl or digital since their initial release. It opens with Unique 3 and the Mad Musician’s “Only The Beginning” – the 1988 A-side of the first ever Bleep record – and also includes tracks and remixes from fellow scene pioneers Ital Rockers (an early alias of dub hero Iration Steppas), Nightmares on Wax, Cabaret Voltaire and DJ Martin and DJ Homes, the previously unheralded Chapeltown duo behind the influential Leeds-based studio and record label BASSIC.

Elsewhere on the compilation you’ll find Birmingham producer Demonik’s sought-after debut single “Layrinthe”, a hard-to-find cut from Bedford-based men of mystery Original Clique, two classic cuts from the vaults of influential Midlands label Network Records and a glassy-eyed slab of Bleep/deep house fusion from 100 Hz.

Join The Future: UK Bleep & Bass 1988-91 will be released on double vinyl and digital download. The 10-track vinyl version features an insert with extensive liner notes by Matt Anniss. It also comes with a code to download the 12-track digital download version. The compilation will be released by Cease & Desist on March 25th 2020.

After his debut LP ‘Temmuz’, released at the beginning of last year, Houschyar is back on Macadam Mambo with his new album: a less danceable but more personal opus. Being locked up on the rooftops of Istanbul, Houschyar repurposed a satellite dish, making use of its perfectly round and concave shape to create strange metallic-sounding percussive loops which he painted with sonic atmospheres that contained diverse shades of blue. ‘Mavi’ is an introspective pallet of emotions condensed into 7 hybrid compositions highly improvised which divagate into a very jazzy modern state of mind, jamming with pianos, electronic organs and rhythm boxes to produce another type of spiritual music that sounds absolutely timeless. In a very prolific year - with his release with DJ Sofa and Okay Temiz on Music from Memory and the initial EP of Raphael Kosmos’ newborn label Späti Records -, Marius Houschyar leaves no doubt about the level of his talent and him being part of a new generation of artists to keep a close eye on. To discover as soon as possible!

Das kanadische Ensemble BADBADNOTGOOD machte sich einen Namen als sie kurzerhand Jazz und HipHop miteinander verbanden - nun kehren sie mit ihrem Debüt auf XL Recordings zu ihren instrumentellen Anfängen zurück! Mit dem Talk Memory reflektieren sie die Geschichte und die Innovationen der Musiker und Komponisten, die sie auf dem Weg zum eigenen Sound beeinflussten. Die Band formte sich 2010 im Humber College Jazz Kurs in Toronto, das feste Trio-Line-Up mit Alexander Sowinski (Drums), Chester Hansen (Bass) und Leland Whitty (Gitarre und Holzbläser) existiert seit 2015. Für die drei ist ein Song ein lebender und atmender Organismus, der sich natürlich entwickelt und je nach Umgebung anders klingt. "Talk Memory" ist ein Album, das ganz in diesem Sinne entstanden ist und markiert auch einen Wechsel vom Ego hin zum Kollektiv, zur Balance und zur Harmonie. Es enthält musikalische Beiträge von Arthur Verocai, Karriem Riggins, Terrace Martin, Laraaji und der gefeierten Harfenistin Brandee Younger, die bereits mit Moses Sumney und Thundercat gearbeitet hat. Die Visuals entwarf Virgil Abloh mit seiner Designfirma Alaska-Alaska_äó, der auch das Albumcover gestaltet hat. "Talk Memory" ist ein Album, das betont, wie Musik als Konversation unabdingbar kollektiv und improvisiert sein muss. Es erinnert dabei an die typischen Momente einer Live Jazz- oder Soul-Show, in der der Frontmann jedes einzelne Bandmitglied vorstellt, um ihm/ihr den gebührenden Applaus zukommen zu lassen. Und so ist ein Album voller tiefer Zuneigung zur Musik und zur Community entstanden.

Der renommierte Komponist/Regisseur John Carpenter und seine kreativen Mitstreiter Cody Carpenter und Daniel Davies haben auch zum zweiten Teil der neuen "Halloween"-Trilogie, "Halloween Kills", den Soundtrack beigetragen. Wie der Film selbst bleibt auch Carpenters Filmmusik dem Geist dessen treu, was das Original von 1978 so großartig gemacht hat, und bringt es gleichzeitig fest in die Gegenwart. Die Musik ist unverkennbar John Carpenter: die düsteren Vintage-Synthesizer-Klänge, das atemberaubende Gefühl der Bedrohung, das mit nur wenigen dissonanten Tönen hervorgerufen wird. Doch mit einer breiteren Klangpalette, neuen digitalen Techniken und einem tieferen Sinn für Musikalität ist der Score zu "Halloween Kills" das Werk eines Meisters, der auch nach fast 50 Jahren in seiner Karriere immer wieder an seine kreativen Grenzen geht und neue Wege findet, seine Fans zu begeistern und zu erschrecken. John Carpenters hypnotisches Thema zu seinem Horror-Meisterwerk "Halloween" aus dem Jahr 1978 hat mittlerweile für Generationen von Kinobesuchern die Angst vor Slasher-Stalkern verkörpert und sich so sehr in die Popkultur eingewoben, dass es zum musikalischen Kürzel für das gesamte Horror-Genre geworden ist. Es sind nur fünf Noten, die auf einem Klavier gezupft werden, so spärlich arrangiert, dass es sich wie kaum mehr als eine Skizze anfühlt, so einfach, dass ein ungeübter Spieler es leicht aufschnappen kann, aber es ist eine der größten musikalischen Errungenschaften des Kinos. 2018 kehrte Carpenter zum ersten Mal seit "Halloween III: Season of the Witch" von 1982 zu dem Franchise zurück, das er mit seiner ikonischen Schöpfung ins Leben gerufen hatte, ließ die 40 Jahre an Fortsetzungen und Reboots unter anderen Filmemachern hinter sich und kehrte zu seiner ursprünglichen Vision zurück. Während David Gordon Green die Regie für den neuen "Halloween"-Film und seine Fortsetzungen übernommen hat, ist Carpenter geblieben, um ihnen ihre unverwechselbare akustische Identität zu verleihen, die zu "Halloween" gehört wie die Totenmaske und das schimmernde Schlachtermesser von Michael Myers.

Bygone, a 5 track exhilaration scripted by Chontane, immerses dancefloor devoted tracks in a rhythm driven yet melodic display. While intertwining wide-angle atmospherics and razor-sharp percussion, Chontane is able to make a reflection on today’s multifaceted, ever-evolving techno sound.

FUTUR II bietet eine einzigartige Perspektive zwischen Ausweglosigkeit und grenzenlosen Optionen. Hier entsteht ein Blick auf die Welt, in der wir zusammen mit NEWMEN gleichzeitig observieren und observiert werden. Eine serene Auffassung davon, dass alles zu spät gewesen sein könnte, ohne die Arroganz sowas mit Sicherheit behaupten zu können. Oder wie es im Song „Futur I“, eine Zusammenarbeit mit dem Ex-Kraftwerk-Robotor Wolfgang Flür, heißt: „There will be much to observe!“

A new addition to the Veyl family, LOFN bring a completely untethered approach to their music, which defies any and all boundaries and public expectation. The project of Aitcher Clark and Anna Coranic, the duo debuted in 2017 and has shared the stage with Telefon Tel Aviv, Oake and Hiro Kone. Their sound seamlessly weaves through outlines, bones and sketches of industrial, experimental, ambient, techno and beyond. 'Post-Apo Romance' is right at home on Veyl, emitting mythical electronics and post-industrial dispatches that perfectly pair with vicious, venom-like vocals. The experience begins at the same place we all do, with 'Mother', a deep pensive opener to unlock the gates. 'Pachad' gradually picks up a heavy rhythm before moving into more explosive territory with 'I Get Lit'. The madness subsides but gives way to the powerful 'Invocation' before finally drifting away with the title track.

"Kazakh artist Galya Bisengalieva’s debut album was released by One Little Independent in September 2020 and is a concept record about the shrinking of the Aral Sea, which has been called one of the “20th century’s more jaw-dropping ecological catastrophes, a consequence of the Soviet-era policy of diverting the two tributary rivers to irrigate cotton plants across Central Asia” (NY Times)
Now, roughly a year later, Galya is releasing Aralkum Aralas. In Kazakh aralas means mixed/reworked. Galya has thoughtfully curated a remix album of artists to respond to her work having previously commissioned new work for her label NOMAD Music Productions. Those musicians are; Coby Sey, Jing, Moor Mother, Jlin, CHAINES and Nazira. Galya approached artists whose practise she judged would resonate with her source material and bring new light to the narrative. She was interested in getting responses from artists from diverse backgrounds for their insight into her voice."

MLD (Minimal Lethal Dose) was a Japanese project lead by Takayuki Shiraishi after his first mythical release with BGM on Vanity Records in 1980. Made with the help of Jun Sonohara it was active between 1983 and 1986 in Tokyo. This compilation collects nine unpublished tracks from the original tapes and confirms his unique offbeat style ranging from Post-Punk, Dub, and Industrial.

MLD (Minimal Lethal Dose) was a Japanese project lead by Takayuki Shiraishi after his first mythical release with BGM on Vanity Records in 1980.

Made with the help of Jun Sonohara it was active between 1983 and 1986 in Tokyo.

This compilation collects nine unpublished tracks from the original tapes and confirms his unique offbeat style ranging from Post-Punk, Dub, and Industrial.

It's completed by "Perpetual Motion" and "Dynamo" previously released in 1983.

With his quirky approach, this record unveils another piece of Japanese experimental music history.

All these tracks have been carefully remastered by Krikor Kouchian.

Imagine Andrew Weatherall producing Pere Ubu. The 7” Taki Chrome / Strummer Maxxx single by Pink Skull released on Höga Nord Rekords give a hint of how such a collaboration would sound. Mid seventies kraut rock á la “Neu 75” meet leftfield and sophisticated punk. The record has an organic warmth to it yet the excessive use of electronics: most instruments on the tracks are synthesizers and drum machines – all Moog, Korg and whatnot.

In the warmth of the Pink Skull-sound you suddenly get a wash of cold, hard rain from all directions. These elements of surprise create edges in the round soundscape and brings chaos to the mix. This is of course all part of Julian Grefes (founder of Pink Skull) plan.

Pink Skull propels you out of the quarantine like a shiny metal free bird released from its rusty cage.

LTD Edition inklusive Bonus 7inch!

Park Hye Jin hat gestern ihr mit Spannung erwartetes Debütalbum, „Before I Die“, angekündigt, das am 10. September 2021 bei Ninja Tune erscheint. Das Album - komplett von der in Südkorea geborenen und nun in L.A. lebenden Produzentin, Rapperin, Sängerin und DJ geschrieben, produziert und performt - folgt auf die Veröffentlichung ihrer sehr erfolgreichen EP, „How Can I“ vom letzten Jahr, sowie auf eine Reihe von Kollaborationen mit Künstler*innen wie Clams Casino & Take A Daytrip („Y DON'T U“), Blood Orange („CALL ME“ Freestyle) und Nosaj Thing („CLOUDS“), sowie auf den Remix von Galcher Lustwerk für „Can You“.

Seit gestern Abend ist die Leadsingle und der Album-Opener, „Let’s Sing Let's Dance“ zu hören, ein wehmütiger Dance-Track, der Hye Jins mantraartigen Gesang über Klavierakkorde und wummernden Bässen platziert. Auf den anderen Tracks des Albums demonstriert sie eine deutlich erweiterte Klangpalette, in die sie eine Reihe von Einflüssen aus den Bereichen Elektronik, Hiphop und Downtempo einfließen lässt, um die bisher vollständigste Vision ihres Sounds zu präsentieren.

„Before I Die“ wird am 10. September 2021 auf Ninja Tune veröffentlicht, anschließend geht Hye Jin später in diesem Jahr auf Tour in Nordamerika, darunter eine Co-Headline-Show mit Shlohmo in New York, sowie Shows in Toronto, San Francisco, Miami und New Orleans.

Ihr Debütalbum folgt auf ein paar unglaubliche Jahre für die junge Künstlerin, in dem sie ihre gefeierte „How Can I“ EP auf Ninja Tune veröffentlichte. Eine Platte, die von Rolling Stone, Pitchfork („25 Most Anticipated Albums of the Summer“), FADER, i-D, Resident Advisor und vielen anderen hoch gelobt wurde und in zahlreichen „Best Of“-Listen 2020 von Billboard, The Guardian und anderen vertreten war. Auch in Deutschland fand die EP sensationellen Anklang, mit lobenden Artikeln und Beiträgen in u.a. Süddeutscher Zeitung, Rolling Stone Deutschland, im Missy Magazin, im Deutschlandfunk Kultur, im BR2, bei Radio Fritz oder im Musikexpress, die sie ebenfalls in ihre Liste der hoffnungsvollsten Newcomer*innen für 2021 aufnahmen.

Hye Jin wurde auch in die NME 100-Liste der „Essential emerging artists for 2021“ und in die „Generation V“-Serie des V Mag aufgenommen. Auch die britische GQ und Stereogum bezeichnen sie als „one to watch“. Die Lead-Single der EP, „Like This“, wurde auch im Soundtrack von FIFA 2021 verwendet und erhielt große Unterstützung von BBC Radio 1 und 6 Music, war #1 der „Top Electronic“ in den NACC-Charts (North American College and Community Radio) und in den „Top 200“ insgesamt, mit weiterer Unterstützung von KEXP, KCRW, SiriusXMU und mehr.

Honing your skills is under-appreciated in times of instant gratification and the continuous stream of music. Rotterdam-based producer Kofi The Unknown subverts this idea and took time for spiritual introspection, studying rhythms and sound production. Where being a late bloomer normally is seen as a sobriquet, the producer, composer and beatmaker wears it as a badge of honour and solidifies it as an honorary title by pinning it to his debut EP on Wicked Wax: The Late Bloomer. Wearing his heart on his sleeve, Kofi The Unknown shares his journey that led to The Late Bloomer, an emotional journey through sophisticated dance music, straight from the heart, aimed at the soul and feet.

Highly influential to Kofi’s sound and this EP is London’s Broken Beat scene. Syncopated drums, soulful chords and heavy bass lines work in tandem to emphasise the danceability the genre is known for. This is further solidified by the track Kofi released leading up to this release: One for Motet, an ode to the Broken Beat MC and Jazz Refreshed host Jason Hicks. The Late Bloomer further develops Kofi’s ode, but provides his Rotterdam flavour and brings his Hip Hop and Funk lineage into the mix.

Embrace Mistakes sets the stage for what’s to come in various ways. It is a textbook case of how dance music can tell a story and be introspective. Kofi’s honesty shines bright on the entire EP and strikes from the first kick drum on. It also shouldn’t be hard to recognise and feel the emotion the producer shares on the title track The Late Bloomer. The emotionally-laced chords and crushing drums are reminiscent of late nights at a warehouse or emotional sequences from a dystopian movie.

Staying true to his ethos ’exploring the university that music holds’, Kofi finds this beyond music production as The Late Bloomer provides an audible experience through creative mixing. Stuttering analog synths, enveloping leads, multiple percussion rhythms and off-beat snare rolls hit from all directions of the stereo spectrum, further underlining the sophistication of his merit. While the EP follows the Broken Beat accents on dance, it is an equally mindful listening experience.

Kofi The Unknown is a Rotterdam native producer with a knack for rhythms. His keen ear is informed by mentor and Dutch enigma Trian Kayhatu. While Kofi has taken the time to perfect his skills under the guidance of Trian, the two are simultaneously working on the exciting follow-up project to this debut EP. Without looking too far ahead, enjoy The Late Bloomer. It’s not only a crown jewel Kofi proudly wears, it is also establishing him as a future household name in the sophisticated dance scene. "

SUB PLATES Vol 5!! - SUB PLATES is back and in the original format that made it such collectable item when it launched back in the day! 2 x 10 inch vinyl replicating the dubplate style acetates. And picking up from where it left off with Vol 5 like it's never been away!

First up is the return of Suburban Base recording artist Cool Hand Flex, who had music featured on the first generation SUBPLATES! The track here 'Get Down' is a piece of uncovered treasure that has been rediscovered having sat on DAT master in storage since around 1994 and never been released. Exclusively held on dubplate by Randell, Hype, and Flex himself, it is finally getting a release as part of this special package.

Next up we introduce brand new music from brand new Suburban Base recording artist Sound Shifter collaborating with the legend Marvellous Cain on the beautiful 'Light Source One', a rolling piece of DnB which manages to keep classic elements of production whilst at the same time delivering stunningly fresh Drum & Bass.

Subbase veterans Sophisticated Bad Boyz open record 2 with the DJ Phantasy VIP '94 Dubplate version of 'Feel The Magic', only held on Dub Plate by a very select few, and appeared only once on the D&B selection album 3 (The Dub Plate Selection) with very limited vinyl of that cut as 5 tracks per side, now for the first time ever you can get this stunningly remastered dubplate cut on a side all by itself sounding truly amazing.

Flipped with another much sought after classic dubplate special 'Intelone' by Asend was a Kool FM only VIP Dubplate around the time Asend aka Dead Dred hosted his show on the Midlands version of the infamous pirate radio station, it made only one appearance on a 1996 Kool FM dubplate special project and has been hard to find ever since. Remastered and sounding incredible!

4 amazing tracks on one highly collectible EP including unreleased tracks and limited dubplates, stunning value from SUBURBAN BASE RECORDS once again, in stock and ready to ship!

limpe fuchs' first solo record came about by accident. initially, christoph heemann invited the famous anima duo to do a studio record in his home-town aachen, but paul fuchs decided not to join in, so limpe went on her own - and the recording sessions taking place in late 1986 and early 1987 turned out to become "via", limpe's first solo-record and the (visible) starting point of her ongoing exceptional career as an internationally performing, independent female improviser. besides a plethora of (partly self-built) acoustic instruments that can also be heard on her legendary anima (music) records, such as violin, saw blade, chimes, wood block and limpe's unmistakable unique vocals, "via" featured a korg-synthesizer, that drew limpe's attention in the studio and she decided to give it a try and recorded a lot of electronic music for "via" - and in all the years to follow since then she never got near the instrument again; neither for studio recordings nor live performances . fast forward to 2015: after not having met christoph heemann for many years, they got in contact again and performed selected dates (as macchia forest together with timo van luijk) when he proposed to limpe another korg-synthesizer recording. not having touched the instruments in decades limpe was reluctant at first but warmed up to the idea eventually and improvised a wonderfully meditative and soulful electronic piece of music. she also recorded five of her pendulum strings exclusively for the first time (with a bit of vocals, too) - huge self-built instruments of various size with an amazing sound rich of oscillating overtones. the both side-long recordings - one side korg, one side pendulum strings - featured on "solaia" are a visceral document of limpe fuchs' artistic versatility and musical sensibilities. it's fair to say: the spirit of her musical approach is captured perfectly on this new studio-album (mixed and mastered by her son zoro babel), which is released in conjunction with a first-time re-release of "via" - both to celebrate her long-standing musical career (and her eightieth birthday). "via" and "solaia" are available now as two separate lp's. both records are released in an edition of 300 copies and accompanied by a 30-page longform interview with limpe fuchs and christoph heemann to give an insight in their collaborative history and portray limpe's outstanding artistry.

limpe fuchs' first solo record came about by accident. initially, christoph heemann invited the famous anima duo to do a studio record in his home-town aachen, but paul fuchs decided not to join in, so limpe went on her own - and the recording sessions taking place in late 1986 and early 1987 turned out to become "via", limpe's first solo-record and the (visible) starting point of her ongoing exceptional career as an internationally performing, independent female improviser. besides a plethora of (partly self-built) acoustic instruments that can also be heard on her legendary anima (music) records, such as violin, saw blade, chimes, wood block and limpe's unmistakable unique vocals, "via" featured a korg-synthesizer, that drew limpe's attention in the studio and she decided to give it a try and recorded a lot of electronic music for "via" - and in all the years to follow since then she never got near the instrument again; neither for studio recordings nor live performances . fast forward to 2015: after not having met christoph heemann for many years, they got in contact again and performed selected dates (as macchia forest together with timo van luijk) when he proposed to limpe another korg-synthesizer recording. not having touched the instruments in decades limpe was reluctant at first but warmed up to the idea eventually and improvised a wonderfully meditative and soulful electronic piece of music. she also recorded five of her pendulum strings exclusively for the first time (with a bit of vocals, too) - huge self-built instruments of various size with an amazing sound rich of oscillating overtones. the both side-long recordings - one side korg, one side pendulum strings - featured on "solaia" are a visceral document of limpe fuchs' artistic versatility and musical sensibilities. it's fair to say: the spirit of her musical approach is captured perfectly on this new studio-album (mixed and mastered by her son zoro babel), which is released in conjunction with a first-time re-release of "via" - both to celebrate her long-standing musical career (and her eightieth birthday). "via" and "solaia" are available now as two separate lp's. both records are released in an edition of 300 copies and accompanied by a 30-page longform interview with limpe fuchs and christoph heemann to give an insight in their collaborative history and portray limpe's outstanding artistry.

“40 years ago my international career started for real when I got
a call from the musical mastermind Thad Jones, asking me to
join his new big band project Ball of Fire in Milan, Italy.
“Guess if I said yes!
“Since then I have walked winding musical paths and I still do.
“As the pandemic started to spread, I got stranded at home in
Skillinge Sweden from 13 March 2020.
“Many many months later, I can present something I’ve never
done before, a solo performance. Only me, myself and my
trombone in a beautiful-sounding church not far away from
where I live with my wife Beatrice, Ingelstorp Kyrka.
“I do not really know exactly when the idea got stuck in my head
but I guess around Christmas 2020. Having spent a strange but
personally wonderful year being at home, I suggested a solo
recording to my wife, and she thought it was a great idea.
“I called the priest in the church, named Maria, and she
immediately said ‘Yes, go for it. I will see to it that the church is
heated and ready for you.’
“The first time was almost a shock. Such a beautiful sound,
making the tone of my trombone just fly through time and
space. Beatrice and I looked at each other in silence, knowing
that this can become something special.
“I picked a wide range of songs and hymns for these occasions
and it felt very special to be able to record it in a wonderful room
with only one person in the audience, the one I love the most.
“All the songs have a special meaning to me, whether they are
songs I sang in church as a child or just picked them up on the
way. One is even written by one of my ancestors, Israel
Kolmodin.
“They present a side of me that is always there, but not always
to be seen. I hope you like it.
“Love, Nils.” - Nils Landgren

Hier kommt das zweite Album der "Schnöselpunks" Wiener Zucker. Mit Hilfe von Paul Gallister als Produzent wurde ein weiterer Schritt in Richtung Headliner Konzert im Happel Oval gemacht. Üppig gezuckert sind in Österreich nicht nur Mehlspeisen. Auch Menschen und deren Sprache triefen bittersüß aus dem Schmelztiegel glorreich vergangener Tage. Eliten feiern fröhliche Urständ. Den Moment zu leben, heißt für einen Kahlenberger gepflegt auf das morgen zu defäkieren. Ob nun subtile Reichenkritik oder genußvolles Eintauchen in die Leichtigkeit des Seins der Upper-Class. Auch das zweite Kahlenberg Album wird diese Frage nicht erschöpfend beantworten. Zu vielschichtig bricht das Licht der einzelnen Zeilen. Der Wiener Zucker ganz offensichtlich aus purem Kristall.

To say 'In Heaven' is about conquering grief would be oversimplifying everything Tim Showalter has achieved on the eighth studio album from Strand of Oaks. A stunning, hopeful reflection on love, loss, and enlightenment, 'In Heaven' is a triumph in music making, and a preeminent addition to the Strand of Oaks discography.
'In Heaven' was recorded in October 2020 with Kevin Ratterman at Invisible Creature in Los Angeles. Carl Broemel (My Morning Jacket) is featured on guitar through the record, while James Iha (The Smashing Pumpkins) contributed vocals and guitar for "Easter". Bo Koster (MMJ, Roger Waters) provided keyboards, Cedric LeMoyne (Alanis Morrissette, Remy Zero) bass, Scott Moore violin, and Ratterman monstrous drums. Showalter also played a lot of synth on this record, which he hasn't done since 2014's HEAL. With clean sounds, Jeff Lynne-esque acoustics, and sophisticated songwriting, he approached 'In Heaven' in a more poised and pop-leaning way than his past releases.
Pairing smart, imaginative lyrics and striking arrangements, tracks like “Carbon” and its magnificent violin stand out, as does “Sister Saturn” with its funky, sinuous groove, and the sublime “Horses at Night,” which features one of Showalter’s most exquisite melodies to date. There’s also a discernible current running through In Heaven of homage to some notable losses in music—John Prine, Jeff Buckley, and Jimi Hendrix all play a part—for In Heaven is about moving beyond sadness or anger to a state of gratitude that we ever had these people to begin with. And while every song provides some clue to Showalter’s personal heaven, the jubilant “Jimi and Stan” says it all, wherein Hendrix and his beloved cat Stan are hanging out, going to shows, and looking at stars together.

Nachpressung der beliebten Compilation! Auf "Singles Round Up" kommen die ersten zwölf 7"-Singles, A&B-Seiten von Holly Golightly zusammen. Mit dabei ist das bluesige ,No Big Thing" mit seinem Barklavier und der Mundharmonika, das schmutzige gitarrenlastige ,Til I Get", die mit dem Jazzbesen bearbeiteten Drums und der Kontrabass von ,Come The Day", das eindrückliche ,Stain" und die brillante Coverversion ,Box Elder" von Pavement. Holly Golightly (ihr echter Name!) begann ihre musikalische Karriere 1991 bei Thee Headcoatees, einer Splittergruppe von Billy Childishs Thee Headcoats. Nach vier Jahren als Headcoatee trennte sie sich von der Band, um 1995 ihr Solodebüt ,The Good Things" zu veröffentlichen. Während bei den Headcoatees ein 60's Girl Group Sound auf dreiakkordigen Garagerock traf und viele Songs sowieso aus der Feder von Billy Childish stammten, vermischten sich auf Hollys Soloplatten Blues aus der Zeit vor dem Rock'n'Roll mit Folkrock und einer entspannteren Rock'n'Roll Gangart. Neben Coverversionen von Künstlern wie Willie Dixon, Ike Turner oder Lee Hazelwood schreibt Holly den Großteil ihres Materials selbst. Holly Golightly ist ohne Frage die interessanteste und vielseitigste Künstlerin aus der Schule von Billy Childish und ist mit Sicherheit eine der besten Songwriterinnen der Post-Grunge Ära, die mit jedem Album besser und besser wird. Seit ihrem Debüt 1995 war sie stetig aktiv, hat eine ganze Stange von Alben und eine noch größere Stange Singles für die verschiedensten Labels veröffentlicht und in den USA, Australien und Europa getourt.

AMSIA is one of those hidden representatives of Basque experimental music that happened and disintegrated long ago.

Called "The other musics" or "Risky music" it originated two decades ago in the slaughterhouse of the Basque town of Azkoitia (Gipuzkoa).
This native music scene was an attempt to summarise the evolution of contemporary pop/experimental/ contemporary music, rather than an attempt to generate something new.

Its character is solitary and its nature is electronic; the result is a sound collage of MIDI orchestrations combined with synthesized sounds, vinyls and sampler libraries.

The sound of it is chaotic, unpredictable and strangely beautiful.

Pan-Pot zeigen mit einem unkonventionellen, von Breakbeats gekennzeichneten Techno auf Voodoo Signs eine ganz neue Seite von sich. Mit atmosphärischen Klängen voller kontrastreicher Elemente eröffnet Voodoo und hypnotisiert die Zuhörer:innen mit gebrochenen Rhythmen und bedrohlichen Vocals. Signs sorgt mit seinem treibenden, von einem wiederholten und spannungserzeugenden Piepen getragenen Rhythmus für Peaktime Stimmung. Plötzlich durchschneidet ein Breakbeat die energischen Klänge, bevor der 4/4 Beat die frenetische Clubatmosphäre wieder herstellt.

House anthem Slo Moshun “Bells Of NY” is one of the most iconic gems in the Network catalogue and gets a timely reissue.

The lovingly remastered 12” includes the epic nearly 9 minutes long “House To House Mix” which started the fuss in the first place, plus the much loved by DJs “Xen Mantra Beefy Bells Mix” which like fine wine seems to have matured with age.

It’s almost impossible to explain the hype that exploded when the first copies of this landed in 1993. Network pressed a limited run of the first copies on the Dansa label with
bogus New York producer credits in an attempt to create mystique.

The combination of that relentless uptempo house piano and the break where everythIng slows down underneath a hip hop sample hypnotic proved irresistible, and saturation radio plays from KISS in London turned the track into an instant anthem right away.

The the boss of a rival label boasted they had sourced the track and paid “a fortune” to licence it for UK release. He was making it up as a stampede by labels to locate and release the track began.

Network sensed an opportunity to create major mischief and create even more of a buzz. New York garage producer and Network ally Andrew Komis was enlisted and happily donned the bogus ID of a new kid on the block NYC producer to do phone interviews with UK dance music publications.

His pretend story that Bells Of NY was his homage to the UK House scene laced with Big Apple Hip-Hop was eagerly printed by the magazines.

They were left red faced when the truth emerged that former Nexus 21 and Altern 8 member Mark Archer and his new music making partner Danny Taurus had in fact come up with the gem in homely Staffordshire and not glamorous New York for Network.

All the PR spin in the World would not matter a not if the record didn’t live up to the hype.

Bells Of N.Y did and still does.
It gave Network a first chart hit on their six6 label and more importantly is an all time House Music Classic.

Art-house kosmische from the battered basements of pre-9/11 New York. Polyrhythmic screamo for underemployed Gen-Xers and trust fund weed dealers alike. La Mia Vita Violenta, Blonde Redhead’s 1995 sophomore effort, in print as a definitive single LP for the first time since… ever.

“These songs combine a raw need, a ready access to neediness, with seemingly incongruous cinematic changes reminiscent of ‘60s Italian pop music and movie scores. They switch between emotional grandeur and eye scratching immediacy.” —Arto Lindsay

comment to come

TOTAL turns 21 this year, and Kompakt’s venerable compilation series couldn’t have asked for a more auspicious coming-of-age collection. If TOTAL 20 was consolidation against the odds, the Kompakt crew producing for a dreamt-of dancefloor in an uncertain future, then TOTAL 21 feels abuzz and alive with possibilities. Significantly, it’s the first TOTAL in some time that’s streamlined down to a single disc; this makes TOTAL 21 even punchier than usual, a joyous, reflective, and always thrilling 75-minute audio scan of the world according to Kompakt.

As with every instalment of TOTAL, there’s a deft balancing here of Kompakt regulars and new blood. Of the latter, there’s a first appearance by KOLLMORGEN, remixed by PATRICE BÄUMEL into an astral torch song; Amsterdam’s NICKY ELISABETH, offering up ROMAN FLÜGEL’s pulsating, arpeggiated remix of “Celeste”; and CAPTAIN MUSTACHE swoops down into view, PLAY PAUL in tow, with the dream-like electro lift-off that is “Everything”. JONATHAN KASPAR also drops by with a new track, “Von Draussen”, a stealthy and lethal floor-hugger with prowling bass.

Elsewhere, there’s the lead track to MICHAEL MAYER’s astonishing recent EP, “Brainwave Technology”, which not-so-gently spears the tech-futurist babble of AI, transhumanism and posthumanism, soundtracked by one of Mayer’s typically lush, glimmering soundscapes. JOHN TEJADA reaches back to the heyday of glitch and dub techno with the gorgeous “Spectral Progressions”, while the brothers VOIGT & VOIGT, on “Nicht Mein Job”, seem reinvigorated by the interwoven patterns and funky minimalism of the Profan days. Not to be outdone, JÜRGEN PAAPE kicks TOTAL 21 with “La Guittara Romantica”, a chiming and lilting lullaby for woozy late-night reflection.

Throughout, it feels as though Kompakt are taking a moment to both breathe in the dust of the past and look forward to a bright future. Perhaps that’s why, on “Fasson”, SASCHA FUNKE seems so confident, with pinprick melodies bouncing around a hall of audio mirrors, or why THE BIONAUT returns with “Blue Sky Motor Lodge”, a song so moistly melancholy, so enduringly lovely, it’ll make you weep tears of joy. ROBAG WRUHME gets a little delirious on the ticking, twisting “No”, and then GUI BORATTO mops everything up with the bubbling, bumping glam-stomp “Wake Up”.

That’s not all – spring for the digital and/or vinyl edition and you’ll get a new cut, “Happy”, from MICHAEL MAYER, and MARC ROMBOY & C.A.R.’s “I Am A Dancer”. But however you choose to play it, now TOTAL’s turned 21, it’s your duty to throw it the celebration to end all celebrations. Let the party begin, and don’t forget to bring a party favor…

New York electronic experimentalist Nicky Mao's 4th full-length, Silvercoat the throng, emerged against the backdrop of lockdown, compelled by an intuitive directive: “resist the urge to fill the space.” Compositionally this translated as a simmering, shadowy energy, veiled but variable, traced in a composite of strings, synthetics, rhythm, and voice. The title alludes to a poetic notion of “possibility, rescued from darkness,” which aptly evokes the shape-shifting, devotional feel of these ambitious and elegant sound designs, crafted in defiance of impermanence, driven by the pursuit of becoming “more and more articulated, differentiated.”

Collaborations with travis from ONO, Speaker Music, and Muqata'a further expand the album's lyrical, liminal palette, meshing elements of experimental techno, spoken word, neo-classical, and industrial noise into a fluid, encrypted dialect all its own. Mao speaks of creative strategies of solidification and reification, encounter and transformation, pure being and punctuation – a multitude

of sparks, fuses, and forking paths leading across fresh thresholds and twilit terrain. Taken as a whole, Silvercoat captures Hiro Kone at the peak of their powers, alchemizing disruption and decomposition into regenerative interior worlds: “Within the darkness and absence is an opportunity for discovery.”

10 tracks of beautiful Hip Hop music produced by Vienna Producer Mez & French producer 20Syl.

"We made this album after running into each other on tour in Brazil then again in France. We kept talking about needing to do a project together then eventually met up on my homies farm in Southern Oregon in the U.S. and made this record. Being in the same space and recording in the age of sending verses back and forth seemed a bit crazy in a sense but we really wanted to catch a real vibe of 2 mc’s in sync and where a real moment and connection was captured. We spent 7 days eating bomb food, living, laughing, writing, recording, and just vibing.

We asked for beats from a bunch of folks but ended up feeling the overall vibes of Mez, a Vienna based producer who I previously worked with on my solo material and whose beats just hit us and Rita as the perfect instrumentation to the album we wanted to create. The incredibly talented homie 20Syl (Hocus Pocus, C2C, AllttA) who I also had worked with before and who Rita collaborated with on his group's (C2C) album came in with 2 joints to round it out. We also got some amazing features from our folks Destani Wolf, Wes Restless, and the ever dope Georgia Anne Muldrow."

LP Vinyl include two exclusive remixes by Moar & Mossy P

"Widerstehe dem Drang, den Raum zu füllen." Diesem Impuls folgt die New Yorker Elektronik-Experimentalistin Nicky Mao aka HIRO KONE auf ihren vierten Album "Silvercoat The Throng", das Elemente von experimentellem Techno, Spoken Word, Neo-Klassik und Industrial Noise verwebt. Kompositorisch drückt sich dies in einer schwelenden, schattenhaften Energie aus, die verschleiert, aber variabel ist und in einer Komposition aus Streichern, Synthesizern, Rhythmus und Stimme nachgezeichnet wird. Der Titel spielt auf den poetischen Begriff der "Möglichkeit, die aus der Dunkelheit gerettet wurde" an, was das formverändernde, hingebungsvolle Gefühl dieser ehrgeizigen und eleganten Klangentwürfe treffend beschreibt, die trotz der Vergänglichkeit entstanden sind, angetrieben von dem Streben, "immer artikulierter, differenzierter" zu werden. "Silvercoat The Throng" zeigt HIRO KONE auf dem Höhepunkt ihrer Kräfte, aber lauscht selbst.