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Robert and Lyric Hood aka Floorplan return to Classic with two-track release ‘The Curse Breaker / What You Need’, further demonstrating their unique gospel house sound. With their growing catalogue of previous Classic releases gaining extensive club support from tastemakers such as Dan Shake, TSHA, Jamie Jones and Seth Troxler to name a small few, as well as widespread specialist radio support, the appetite for Floorplan’s Classic output is evident. Now the father and daughter duo return with another adventurous vocal sample for their latest release; ‘The Curse Breaker’ combines a religious sermon with expertly produced house, building from a small flame to its euphoric, blazing climax. Next up, ‘What You Need’ displays the duo’s disco influences with a heavy dose of classic 20th century soul.

Very limited vinyl pressing, 500 copies, housed in a full colour sleeve & printed inner sleeve & download. CD in a 4 panel digipack with a 4 page lyric booklet. New Heavy Sounds are always on the lookout for new bands that are looking to push the boundaries of what is considered as inhabiting the ‘heavy’ or ‘metal’ spectrum’. Stuff that pricks up the ears, a bold new voice within a maelstrom of genres and sub-genres. We believe we have found such a band. New York-based GUHTS (pronounced ‘guts’) declare themselves to be an ‘avant-garde post-metal project, delivering larger than life sounds through, deeply emotional music’. We are thrilled to be able to deliver that statement in the form of their debut album ‘Regeneration’. By their own admission, GUHTS' musical style is influenced not only by iconic metal bands like Gojira, Cult of Luna, YOB and Deftones, but more unconventional acts like Bjork, Subrosa, Isis, Julie Christmas, and even PJ Harvey. It’s undoubtedly heavy, with a strong feminist streak, it’s cathartic and weighty, a formidable debut for such a new band. Founded in 2020 as a passion project by Scott Prater (Witchkiss), and Amber Burns (Witchkiss) and then Dan Shaneyfelt (Black Mountain Hunger), GUHTS became its members’ main focus following the release of their first EP 'Blood Feather' which itself received rave reviews from the likes of Decibel Magazine, Invisible Oranges, The Obelisk, Cvlt Nation, and more. Brian Clemens Sleaping Dreaming) & Daniel Martinez (Nefariant) joined GUHTS in 2022 and the band swiftly started booking tours and making plans to record 'Regeneration'. Since then GUHTS have been steadily making a name for themselves with their powerful live performances., sharing stages with the likes of Yob, Cave in, Marissa Nadler, plus appearances at the Maryland Doom Fest, Crucial Fest and Ohio Doomed and Stoned Fest. ‘Regeneration’ is set to cement their status as one of the coolest and most interesting bands on the scene. Of the album, vocalist Amber says. "Regeneration" symbolizes the power of self-renewal, often overlooked. Embracing it means shedding old layers and welcoming new beginnings. Without this, life stagnates and is “sustaining”. Through regeneration, change becomes empowering, allowing new facets to emerge. It's a courageous, transformative process, inspiring others to overcome fear and embrace change. The album embodies the human spirit's resilience and capacity for growth. Musically ‘Regeneration’ is a powerful and intense series of songs, topped off by some seriously powerhouse and expressive vocal performances. It’s slow-moving chords, moving like sheets through sludge. High guitar lines above, ranging from piercing and shimmering to nasty. Drums pound but not without groove. There are strings, pianos and synths widening the palette. Atmospheric sludge, Metalgaze, maybe, but there’s also that link to the New York Noise lineage from The Velvets and Sonic Youth, becoming a type of post-hardcore in the process, while gaining a connection to metal partly due to the sheer heaviness. A raft of creative experimentation that pushes beyond the realm of post-metal. And then of course, the very first thing that hits you is Amber Gardner's unbelievable, hypnotising vocals - as scary as a banshee while also intimate and persuasive. Amber means it for sure and almost dominates the proceedings. Her lyrics are eclectic, thoughtful. Immersed in women's narratives frombooks like "Women Who Run With the Wolves" or works like "On Our Best Behavior" by Elise Loehnen. Amber advocates stepping beyond comfort zones, believing it's transformative for individuals and vital for Earth's future. Hokey occult rock it is not. In short ‘Regeneration’ is a bold and startling debut, that will reward and enthral listeners the deeper they delve into its many layers.

Morphing Territories’ self-titled imprint serves as a vessel for the artist’s timeless approach to techno, characterized by hypnotic, unpredictable atmospheres born out of modular synthesis and field recording. Rooted in the inspiration drawn from the natural beauty of his native Switzerland, Morphing Territories embarks on a boundless quest to perfect the beat. The label reflects this journey through tireless improvisation and introspective self-discovery, resulting in finely sculpted sound constructs that defy the conventional boundaries of both complexity and simplicity. Morphing Territories Label stands as a testament to the artist’s commitment to pushing the boundaries of sonic exploration, inviting listeners to join him on an extraordinary sonic expedition.

La Matta Records proudly presents the official reissue of the first 7-inch by Rita and the Danger, an Italian Disco-Funk masterpiece originally released in 1980 on the Flop Record label. This rare and sought-after track ( “Io e lui al lago Nassua” ) recorded in Bari, finally comes out after more than 40 years, carefully restored directly from its original tape on a 16-track Ampex MM 1100 machine, was a pioneer of the 1980s Italo-disco genre. It features melodic overtones that flow into synthesized sequences of early electronic pop. In 1980, the B-side track “Io e Lui al Lago Nassua”, arranged by Cavaros (Rosa Cavalieri), reached the top of the national charts, invading dancefloors and radio stations all over Italy. It also helped Rita and The Danger connect with an audience that extended well beyond their native Puglia region. The group’s youthful charm resonates loud and clear 40 years after its first release, and this sound, which was born in the analog age and is still relevant in the digital age, is now being brought back to life with a new and extended version of the original 7-inch 45 rpm single.

ITALIAN LIBRARY GEM RE-IMAGINED BY BEATMAKER KORALLE AND RAPPER ILLA J

Four Flies is proud to present a new installment in the RELOVED series, 'New Levels / Chartreuse', with an original track from late-70s Italian ensemble Modern Sound Quartet and a rework from producer and beatmaker Koralle featuring iconic rapper Illa J.

In keeping with the aim of the series, which is to put a modern and urban spin on tunes from Italian golden age soundtracks and library music, Koralle has used the unique jazz-funk sound of the original sample to create a smooth and stylish hip-hop beat to which Illa J adds irresistible swag and coolness. More than a remix, 'New Levels' is a new composition that takes 'Chartreuse' into the world of contemporary hip-hop and rap.

Lorenzo Nada, aka Koralle, is a musician, beatmaker and producer from Bologna, Italy. Nada is best known for his project Godblesscomputers, which kicked off a couple of years ago while he was living in Berlin. After releasing four albums/EPs and touring Europe with a four-piece band, Nada is heading into a new direction as Koralle. Firmly rooted in hip-hop, Koralle is taking his jazz crates and field recordings to the studio. Equipped with an array of synths, Rhodes and bass, he creates deeply textured tracks that touch mind, body and soul. "Each beat is like an object found at the bottom of the sea," says Koralle to describe his music. And adds: "The samples emerge from the depths of my record collection and find a new meaning, transformed, like corals from the bottom of the ocean."

Rapping on Koralle's beat is Detroit artist Illa J. Raised in a musical family (his father played piano, his mother sang, and his older brother is the late hip-hop producer J Dilla), he grew up surrounded by jazz, gospel and soul, before building a name for himself as a rapper with a distinctive flow and timbre, but also as a singer and songwriter. Illa J has said of his approach to lyric writing that "the melody comes first, then I bring the words in, even when I'm rapping, you know rhythmically. I'm a singer, so melody comes first, but in terms of the subject matter, the music tells you."

The Modern Sound Quartet was an ensemble led by Milanese pianist and composer Oscar Rocchi. It included Rocchi on keys, Andrea Surdi on drums, Ernesto Verardi on guitars, and Luigi Cappellotto on bass. 'Chartreuse' (written by Cappellotto) comes from their 1976 library LP Cocktail Bar – a collection of jazz-funk/jazz-rock/fusion tunes, each named after a famous spirit. While little known to the general public, Cocktail Bar is highly sought after by diggers, DJs and beatmakers.

'New Levels / Chartreuse' is the fifth release in the RELOVED series, following Jolly Mare's retouch of Piero Umiliani's 'Discomania' (12"), Free The Robots' rework Gianni Safred's 'Autumn 2001' (7"), Dengue Dengue Dengue's remix of Giuliano Sorgini's 'Oasi Nella Giungla' (7"), and Fratelli Malibu's reversioning of Alessandro Alessandroni's 'Tema di Susie' (12"). The 7" releases are co-curated by fellow independent label Little Beat More.

Two superrare & heavy funk cuts from Donnie Sanders. "Shing A Ling Baby" can be found on the incredible "Feeling Nice Vol.4" compilation album. "Naptown USA" is completely unknown and waits to be discovered.

Die von der Zeit als "Klassensprecher einer ganzen Generation" betitelten und von hunderttausenden Festivalbesuchenden in Deutschland, Österreich und der Schweiz als einer der besten Live Acts bezeichnete Band OK KID, sind NACH 10 Jahren "Endlich wieder da wo es beginnt"! Wenn OK KID 10 Jahre Jubiläum feiern, merkt man erst selbst, wie alt man doch geworden ist. Ist das wirklich schon eine Dekade her, dass man zu "Kaffee warm" seinen Liebeskummer im braunen NASS ertränkt hat und sich bei "Stadt ohne Meer" freude-taumelnd in den Armen lag?! Yes, it is. Apropos STADT OHNE MEER: Seit 5 Jahren haben die KIDS ihr eigenes Festival in besungener Stadt Gießen. Dort, wo für die KIDS der Startpunkt ihrer fulminanten Karriere war. Doppeltes Jubiläum also. Es hätte keinen besseren Ort und Zeitpunkt geben können, um ihr neues Album "Endlich wieder da wo es beginnt", genau an diesem Ort, anzukündigen. Wie der Name schon anmuten lässt: Ein Hybrid aus Vergangenheit und Zukunft. Neue Songs, überraschende Kollabos und Klassiker im neuen Soundgewand.

Platz 2 Powermetal SOUNDCHECK 01/24
Die aus Brisbane stammende Band Caligula's Horse hat sich seit ihrer Gründung im Jahr 2011 zu einer der führenden Progressive-Metal-Bands der Welt entwickelt. Mit Charcoal Grace, ihrem 6. Studioalbum, kehrt die Gruppe mit einer Kombination aus roher Rock-Power und immenser emotionaler Tiefe zurück. Charcoal Grace ist aus der statischen Hoffnungslosigkeit geboren, die die Pandemie der Band und einem Großteil der Welt in den letzten Jahren aufgezwungen hat. Es ist ein Album, das mit den Erfahrungen und Ergebnissen dieser Zeit abrechnet und letztlich auf eine Katharsis abzielt - auf eine hoffnungsvollere Zukunft. Der Titel Charcoal Grace wird von der Band als "die düstere Anziehungskraft und seltsame Schönheit von Stille, Schweigen und Verlust" beschrieben. Das kann man im 10-minütigen Eröffnungstrack "The World Breathes With Me" hören, einem Mission Statement für die Hauptthemen des Albums. Musikalisch ist es ein Werk der Kontraste, das sich von der leichtesten Ebbe bis zum schwersten Fluss bewegt. Der zweite Track und die erste Singleauskopplung des Albums, "Golem", befasst sich mit dem Kampf mit der Last der Erwartung durch die Pandemie. Es ist ein schwerer Song mit Schwerpunkt auf Riffs und treibenden Rhythmen. Im Mittelpunkt des Albums steht die vierteilige Suite des Titeltracks, ein 24-minütiges Werk, das die grundlegenden Themen des Albums vertieft: Verbindung, Entfremdung und die Art und Weise, wie die Menschheit unter Zwang handelt. Musikalisch deckt es alle Facetten des Vokabulars der Band ab, von schwerer und dichter, orchestral begleiteter Intensität, die die dunkelsten lyrischen Ideen der Songs verkörpert, bis hin zu sanften, akustisch geprägten Momenten und Introspektion. Nachdem Caligula's Horse in den letzten Jahren nicht in der Lage waren, ihr letztes Album Rise Radiant der Welt zu präsentieren, sind sie nun bereit, Charcoal Grace auf schonungslose Art und Weise unter die Leute zu bringen. Mit diesem Album hat Caligula's Horse ein Statement abgegeben, und sie sind bereit, dass die Welt zuhört. Charcoal Grace ist erhältlich als Gatefold 180g 2LP

ALWAYS + FOREVER is the first compilation to be released on Do You Have Peace? collecting unreleased tracks from both new and existing artists on the label. Featuring Time Cow, YL Hooi, Teresa Winter, Jonnine, Guest, Static Cleaner Lost Reward, Hermeneia, Zaumne, Birthmark, Silzedrek, Laughter of Saints, Vessel & Rakhi Singh. Originally imagined as a project to link together the dream pop related leanings of a disparate group of artists, as the project grew it became more amorphous but still kept a strange and half awake quality throughout. The pop leanings are still there, although often buried under slabs of reverb, but there are also less heavy lidded bedroom confessionals, as well as DIY chamber pieces and teary eyed instrumental passages. Most of the vocal-led tracks are in the first half of the album, leaving the second section to drift fully into hypnagogic sedative territory. Where vocals do come in they are more like half remembered fragments of dream speech than any kind of traditional narrative. The voices eventually leave us completely, drifting through 3 chamber pieces, reclaiming the classical arrangements of strings / piano / etc from the lofty heights of concert halls and scores to something more intimate and familiar, a box room in a flat, or a bedroom, a memory of lying awake staring at the ceiling and trying to go to sleep again.

ESP Institute artist Bartellow, one third of the project Tambien and otherwise known in the Contemporary Classical sphere as Beni Brachtel, returns to the label with his second full-length release, Noosphere. While currently heading the SVS label and residency series out of Munich, Beni’s resume expands well beyond electronic music to include immersive sound installations such as The Adven- ture Of The Empty House (solo live performance across seven floors of Walter Henn’s Deckelbau building), a slew of compositions for the Bavarian State Opera (for which he doubled as conductor), and a prolific career of over twenty-five theater scores for institutions such as the Münchner Kammerspiele, Schauspiel Basel, Maxim Gorki Theater Berlin, Berliner Ensemble, Schauspiel Köln, Schaus- piel Graz and with directors Ersan Mondtag, Alexander Eisenach, Jessica Glause and Tobias Staab among others.

Noosphere is a compendium excerpting from theatrical scores WUT (Elfriede Jelinek, at Schauspielhaus Köln, directed by Ersan Mondtag, 2020), Ödipus and Antigone (Maxim Gorki Theatre Berlin, directed by Ersan Mondtag, 2017), Der Zauberberg (Thomas Mann, Schauspiel Graz, directed by Alexander Eisenach, 2017), Hass Tryptichon (Sybille Berg, Wiener Festwochen / Maxim Gorki Theatre, directed by Ersan Mondtag, 2019), Wonderland Ave. (Sibylle Berg, Schauspielhaus Köln, directed by Ersan Mondtag, 2018), Die Verdammten (after Visconti ́s film, Schauspielhaus Köln, directed by Ersan Mondtag, 2019) and Roi Ubu (Alfred Jarry, Theater Neumarkt, Zurich, directed by Alexander Eisenach, 2018).

The work traverses homages, infusing everything from Baroque to Impressionism, and while these types of references are certainly built into the canon of Theatre as a discipline, here we gather histor- ic layers in an even wider net. Under the self-referential thumb of Contemporary Classical music, this sort of "hindsight" approach has been largely avoided, however, in today’s all-access arena, the constant stream of historic causal-chained events has opened a delta where anything is possible. This defines Bartellow’s stance among his colleagues as well as his cultural position as a composer.

Beni considers beauty a fleeting objective in the arts, that expression is often expected to follow notions of Destructivism or the unfulfilled. Art will pore over wounds, collective angst, mourn- ing a loss of natural habitat or a fear of technological invasion, yet there is a bitter irreverence for the friction or salvation in beauty itself. Acknowledging this subjectivity — what one audience considers superficial pleasure may be deeply profound to another — he leans into musical instinct as if composing via divine conduit.

Noosphere conjures a array of suspense, ecstasy, melancholy, and dread, but in isolating the work from its theatrical component, Brachtel directs our focus toward formal qualities, clearing unim- peded space to conceive fresh narratives and examine dynamism and interconnectivity. In sympathy with often difficult theatre pieces, the passages can be dark and transgressive, but more importantly they remain relative to Brachtel’s circumstances at their time of creation. The title Noosphere speaks to the evolution of human thought and knowledge, opening a door to subjective points-of-view. For example, Nexus II On The Beach refers to both Roberto Musci’s Water Messages On Desert Sand as well as the film Bladerunner, invoking the image of an android enjoying the sunset, but whether or not this abstraction may be considered beautiful depends the listener’s cumulative life experience and perspective.

This is hybrid chamber music, augmented by electro-acoustic layers, juxtaposing various periods and successively processing their residual themes into a trans-generational rendering of “now.”

ONO Records is proud to present a long awaited project from EDN, the recording project of Elena Nees. Hailing from Adelaide / Kaurna, Elena has crafted her sound in the form of sweet bedroom folk and pop, self releasing a number of tender EPs since 2020 along with releasing a fantastic six track cassette with the esteemed Naarm based cassette label Healthy Tapes under her Allume alias. Here, the EDN moniker takes these folk pop sensibilities and filters them through a love for electronic hardware production and music.

The record begins with the end-of-the-night dancefloor ballad ‘A Mirror’. Jittering and agitated drum programing makes way for EDN’s feather-weight vocals, cleverly manipulated over bubbling synths as the track melts into a bonafide braindance-pop anthem. ‘(Blue!) Flor’ keeps the tempo rising, breaking out into a funked drum machine jam allowing pearlescent pads to intermittently wash over. The thumping ‘Ummmm’ continues the jam ending the first side with an urgent techno-not-techno freak out.

Side B opens with the crystalline fourth world ambience of ‘Mess 1’ before EDN’s angelic antipodean twang takes the spotlight again on the gorgeous and introspective ‘2 Bored Angels’. Interluding briefly with the trip-hop induced breakbeat experiments of ‘Slo’, ‘Mirror Fuck’ bookends the record perfectly with glistening keys and EDN’s soulful vocals singing of longing and desire. An excellent closer. 

EDN gives us a triumphant and utterly unique record that unveils itself more and more with each listen and highlights her immense and diverse talent. One we are proud to include in the ONO catalogue!

Written & Produced by Elena Nees
Artwork by Mathieu Larone & Grace Otto
Mastering by Marco Pellegrino

ISLAND APES is a British band, formed in the East Midlands around 2018. The current line-up consists of ex members of Bivouac, Force Fed and Fudge Tunnel; guitarist/producer Dean Selby, drummer Antronhy, vocalist MKJ and bassist David Ryley. Their roots lie in anxiety, ritual and underlying melody. Call it what you like. Answers on a postcard to God Unknown. So the Germans call English football fans Island Apes? I guess they don’t know about the punk band of the same name. ISLAND APES features a lineup of UK underground punk legends. Antronhy, the drummer, was Nirvana’s infamous dancer at their Live at Reading performance. David Riley was the bass player in the legendary UK noise rock band Fudge Tunnel and current bass player in doom masters Conan. MKJ was in Forcefed and Meatfly; two early 90's influential UK hardcore bands. They have paid their dues and have produced a wild, lo-fi trip into an alternate punk universe where they tame audio chaos and explore the psychedelic side of consciousness. It’s grungy and grimy, guttural and grating, and even dubby, all in the most beautiful way. Their debut self-titled record is available on limited vinyl copies via God Unknown Records. To keep it punk the album will be released on vinyl only. Limited to 300 copies.

Limited Green Vinyl

CHIWAX CLASSIC EDITION presents Dana Kelley "Beta".
Originally released in 1999 on Sugardish Recordings.

Nach den ersten geheimnisvollen, ohne viele Informationen gestreuten Songs „leichter//kälter“ und „Die
Sonne in deinem Zimmer“ dürfte man Edwin Rosen inzwischen auf dem Schirm haben. Diesen anfangzwanzigjährigen Ausnahmekünstler, dessen Songs sich mit ihren stoisch-sehnsüchtigen Eigenproduktionen, psychedelischen Soundscapes und sonorem Gesang gekonnt zwischen New- und Dark-Wave, Post-Punk
und Synth-Pop bewegt. Dass nicht nur Edwin Rosen selbst diese musikalische Melange als neueneuedeutschewelle,
die mittlerweile eine ganze Generation junger Musiker:innen beeinflusst hat, umschreibt, ist dabei nur konsequent. Seine erste Single „leichter//kälter“ schafft es bis auf Platz 6 der Single-Trendcharts und im
November 2023 spielte er seine ausverkaufte Headline Tour.

Nach den ersten geheimnisvollen, ohne viele Informationen gestreuten Songs „leichter//kälter“ und „Die
Sonne in deinem Zimmer“ dürfte man Edwin Rosen inzwischen auf dem Schirm haben. Diesen anfangzwanzigjährigen Ausnahmekünstler, dessen Songs sich mit ihren stoisch-sehnsüchtigen Eigenproduktionen, psychedelischen Soundscapes und sonorem Gesang gekonnt zwischen New- und Dark-Wave, Post-Punk
und Synth-Pop bewegt. Dass nicht nur Edwin Rosen selbst diese musikalische Melange als neueneuedeutschewelle,
die mittlerweile eine ganze Generation junger Musiker:innen beeinflusst hat, umschreibt, ist dabei nur konsequent. Seine erste Single „leichter//kälter“ schafft es bis auf Platz 6 der Single-Trendcharts und im
November 2023 spielte er seine ausverkaufte Headline Tour.

Liverpool’s acclaimed sensual existentialist Brad stank today announces the release of his resolutely romantic new album In The Midst of You on January 26th via his new label Sunday Best Recordings. He launches the album alongside the quintessentially Brad ‘Natty Wine’ and its accompanying video. The new single ‘Natty Wine’ neatly encapsulates the many charms that emerge throughout the album. With Brad backed by soulful female vocal harmonies, the song’s jazzy psychedelia possesses a touch of twanging Americana, its warm and vibrant live instrumentation making for a song as relaxed as a Sunday afternoon in the sun. It’s also notable for featuring Brad’s favourite percussive instrument deep in the mix: a wooden frog. He adds, “This is a tongue-in-cheek song I wrote after being gifted a bottle of natural wine by a friend. I’m a working class boy who would much rather drink shitty lager at a party, like Stella or Holsten Pils. I’ve got no right to be writing a song about natty wine but I was feeling bougie. It’s a love song in disguise, I liked the imagery of lyrics like, ‘Your sweet loving just keeps dripping from the vine.’” In The Midst of You finds Brad in late night lothario mode, his previous seductive style now taking a more resolutely romantic and perhaps surprisingly spiritual direction. The phrase “in the midst of you” comes from the Bible, Zephaniah 3:17, “the full quote is something along the lines of “God is in the midst of you” - basically meaning that you have to look inward for peace or enlightenment, etc. the album is about that in parts and also, as always, I tried to put a romantic twist on it so that the “in the midst of you” is about being in love with somebody. It’s kind of a juxtaposition but I’ve always enjoyed taking spiritual messages and giving them a double meaning, explains Brad. “Hopefully it’s a positive message of prostrating yourself to somebody, or to spirituality or something - but giving yourself fully to something , being in the midst…”

The Ganjas Meets Nairobi. The Space Rock of the Chileans together with the Dub of the Argentines. First time on vinyl celebrating 10th anniversary. Sounding laid-back and incisive at once, crisp production and rock sensibilities. The Ganjas are one of the best exponents of Chilean Space Rock and a fundamental-must-listen to understand the new Chilean psychedelic scene of the last decade. They began 25 years ago with long jam -kind -of-playing, with steady drum beats and simple basslines, but adding innovative and colorful lyrics and synths, without never losing the song structure. On the other side of the Andes, the eclectic by nature Nairobi laid the groundwork for a new style in Dub. Since 2009 they had released 3 studio albums and worked with the best legendary Dub producers: Mad Professor, Lee “Scratch” Perry and Sly & Robbie. Touring the same year 2014 in Chile they coincided with The Ganjas at BYM Studios for an unforgettable session that brought this recording, that boasts an intricate rhythm, sumptuous keyboards, and soaring guitars offering elastic grooves, disembodied vocals, and deep bass lines. The album itself revisits the past while also looking to the future. The songs are particularly creative, with the Bob Marley & The Wailers cover ‘The Heathen’ totally revitalized and other passages like ‘Pastor’ and ‘Eagle & Snake’ that travel through an incredible mix of styles, brilliantly blending Trip-Hop, Dub FXs from soundboard, a Brian Jones-esque style slide guitar, and songs like ‘Soul Salvation’ that brings an steady reggae beat with genius saxophones lines from Ignacio Czornogas (King Krule). Mastered by Cem Oral at Jamming Masters (Berlin). AVAILABLE 300 BLACK VINYLS. For fans of: Primal Scream (Echo Dek), Sumo, Dub Syndicate-Murder Tone, Upsetters, Peaking Lights, Peter Tosh-Mama Africa.

"Hast du mich vermisst?" - mit dieser selbstbewussten Frage starteten ASP im Jahr 2000 ihre Karriere. Nun erscheint ihr Debütalbum auf Picture-Vinyl. Viel ist seitdem geschehen im Hause ASP. Viele Geschichten wurden erzählt, durch viele Jahre sind wir gemeinsam gereist, haben den Dunklen Turm besucht, sind als Raben durch die Lüfte geschwebt, haben im Kerker gesessen, an Klippen gehangen und im Horror-Hotel gewohnt, sind durch die Tiefsee getaucht und wieder an Land gespült worden. Und all dies begann mit der Frage, die nach über zwei Jahrzehnten aktueller scheint denn je: "Hast du mich vermisst?" - denn die Musiklandschaft braucht heute dringender als je zuvor einen musikalischen Geschichtenerzähler, der es schafft, mehr als nur Hintergrundbeschallung zu liefern, nämlich ein klangliches Refugium für alle, die mehr suchen als nur Oberflächlichkeiten und Wohlfühlgedudel.

Doch auch wenn der Stil der Band sich weiterentwickelt hat und die Themen- und Bilderwelten immer stärker ausgeweitet wurden - jedem Anfang wohnt ein Zauber inne, und Songs wie "Schwarzer Schmetterling" und "Und wir tanzten (Ungeschickte Liebesbriefe)" dürfen auch heute noch, nach über zwei Dekaden, auf kaum einer Setlist fehlen. Publikum und Musiker ergehen sich auf Konzerten gleichermaßen in Emotionalität und Bedeutsamkeit dieser Lieder. Und auch weitere Hits wie "Sing Child" oder "Where Do the Gods Go?" erfreuen sich nach all den Jahren - unter anderem ihrer ausgesprochenen Tanzbarkeit wegen - außerordentlicher Beliebtheit. Das belegt den Kultcharakter dieses Erstlingswerkes und des ersten Kapitels des Schmetterlingszyklus.

Tschechiens berühmt-maskierte Modern-Metal-Band veröffentlicht ihr neues Album "Five Angry Men". Der Name ist Programm! Tschechiens berühmt-maskierte Modern-Metal-Band veröffentlicht ihr neues Album "Five Angry Men". Der Name ist Programm! Dieses brutale Meisterwerk überrollt einen wie eine Dampfwalze und reiht sich in die Riege von Five Finger Death Punch, Disturbed und Stone Sour ein! Während DYMYTRY in den letzten Jahren mehrere Alben auf Tschechisch veröffentlicht haben, ist "Five Angry Men" ihr zweites Album mit englischen Texten und gleichzeitig Teil ihres Weges sich auf dem internationalen Markt zu etablieren. Produziert und gemixt wurde die Platte von Kristian "Kohl" Kohlmannslehner, der auch internationale Metal-Bands wie Powerwolf, Hämatom, Crematory oder Benighted produziert. Verpasse nicht deine Chance und schnappe dir das“ neue Album Five Angry Men" als limitierte Splatter-Vinyl, CD-Digipak oder digitale Version, welches am 26. Januar 2024 erscheint!

Das 2010 erschienene Album „Pyramid of the Sun“ ist der Meilenstein von Maserati. Es war die letzte Aufnahme der Band mit Schlagzeuger Jerry Fuchs, die ein Jahr nach seinem tragischen Tod fertiggestellt und veröffentlicht wurde. Es wurde zu einem der wichtigsten Alben der Band und ist nach wie vor der Grundstein von Maseratis legendärem Katalog. Als letzter Teil der Feierlichkeiten zum 20-jährigen Bestehen von Maserati kommt "Pyramid of the Sun - Anniversary Edition" neu verpackt, von den Original-Masterbändern von Josh Bonati neu gemastert und ergänzt um die Bonustracks "Pyramid of the Moon" und "Pyramid of the Moon (The Field Remix)" sowie ein grandioses Live-Set von der SXSW Music Conference 2009.

Hiyo is a coming out party in a lot of ways for a band that has been a staple of the American Folk Music scene for over two decades. Co-Produced and engineered by Nashville's Rachael Moore and including performances by Jamie Dick (Drums), John Mailander (fiddle) and Maya de Vitry (vocals), the album Hiyo pushes the sound of CCL past anywhere it has been before. For a band that spent 15 years performing around a single microphone, CCL has found new inspiration in all of the sounds the world has to offer. "Synthesizers, drum machines, banjo...the world is really open right now to what constitutes folk music and we are grabbing on to that inspiration with both hands and not letting go," says leader Dave Wilson. Produced by Rachael Moore & Dave Wilson. Recorded & Mixed by Rachael Moore (George & Tammy) at Echo Mountain in Asheville, NC. Mastered by Nathan Dantzler at The Hit Lab in Nashville, TN.

Following Far Out’s reissue of Agustin Pereyra Lucena Quartet’s La Rana, the label continues its memorialisation of the late, great Argentinian guitarist’s music, with the first ever direct from tape, audiophile reissue of Pereyra Lucena’s self-titled debut album from 1970.

One of the outstanding South American guitarists, Agustin Pereyra Lucena commanded a unique position in Latin music history. He hailed from Buenos Aires, but was obsessed with the music of Brazil. A disciple of Antônio Carlos Jobim, Baden Powell and Vinicius De Moraes, the nature of Agustin’s Argentinian roots combined with the nurture of Brazil and its music to give Agustin a sound entirely his own.

After being scouted in a nightclub, by musician and guitar craftsman Jorge Demonte, Agustin was invited for an audition at Argenitinian label Tonodisc. Before he knew it, aged 22, he was in the studio recording his first album.

Agustin enlisted fellow Argentinian Brazilophiles Mario "Mojarra" Fernandez who played bass and drummer Enrique "Zurdo" Roizner. He had first heard the duo backing Vinicius de Moraes, Toquinho and Maria Creuza on their legendary La Fusa live album, also recorded in Buenos Aires. For vocals, Agustin brought in his old friend, a French teacher called Helena Uriburu, who at the time had (unbelievably) never sung in a studio before.

The atypical bossas and spiritual swinging sambas, composed by many of Agustin’s aforementioned heroes, were elevated to new heights by Agustin’s dazzling arrangements and phenomenal guitar playing. The almost cosmic reaches Agustin achieved with his sound are balanced against the stylish sophistication and breezy nature of the music.

Moments of calm serenity include Agustin’s own composition “Nina No Divagues”, Durval Ferreira and Pedro Camargo’s “Chuva” and the Brazilian bossa classic “Tristeza Nos Dois”, which feels like it draws equally upon exotica and early library records. Accompanied by Roizner’s shuffling samba jazz drums, opener “O Astronauta” is Agustin’s cover of the Brazilian guitar standard composed by Baden Powell. Another Baden Powell classic, “Consolacao” is an extended full-band set, which features Agustin’s crisp guitar dancing around a hypnotic rhythm section. Upright bass is swapped out for a big, round-sounding electric one, which sits loud in the mix for almost seven minutes of deep, groovy, distinctively early-seventies magic.

Agustin passed away in 2019, and it is only in recent years that he is starting to gain his plaudits as one of South America’s greats. On the liner notes of the album Vinicius De Moraes writes: “I think I never saw, with the exception of Baden Powell and Toquinho, anyone more linked to his instrument than Agustín Pereyra Lucena. It would give the impression that if the guitar were taken away from him, he would fade into music as one dies from the amputation of an arm.”

Agustin Pereyra Lucena will be released on audiophile vinyl LP, CD and digitally on the 26th January 2024 via Far Out Recordings.

Wings of the Wild is the fifth studio album by Australian singer-songwriter Delta Goodrem. It features the singles “Wings”, “Dear Life”, “Enough” and “The River”. Her lead single "Wings" became a hit and achieved two times Platinum Certification in Australia. For the single "Enough", Goodrem collaborated with American hip hop rapper Gizzle, who can be heard on the track. The album peaked at #1 on the Australian Albums Chart and continued to become Gold Certified. It also made the charts in New Zealand, Scotland, and the UK. Wings of the Wild is available on vinyl for the first time as a limited edition of 1500 individually numbered copies on white & black marbled vinyl and includes an 8-page booklet with photos and lyrics.

Wings Of The Wild by Delta Goodrem, released 25 January 2024, includes the following tracks: "Dear Life", "In the Name of Love", "Heavy", "The River" and more.

This version of Wings Of The Wild comes as a 1xLP. This release comes with (a) Booklet.

The vinyl is pressed as a marble, white & black disc.

Das zweite und letzte Studioalbum der Punk-Ikonen - X-Ray Spex. Das heiß begehrte Album wurde 1995 in einer sehr kleiner Auflage nur auf CD bei Receiver Records in Großbritannien veröffentlicht und war in den letzten 27 Jahren offiziell nicht erhältlich! Das Album vereinte die original X-Ray Spex-Sängerin Poly Styrene mit der ursprünglichen X-Ray Spex-Saxophonistin Lora Logic und dem Bassisten Paul Dean sowie dem Kula Shaker-Frontmann Crispian Mills an der Gitarre unter seinem damaligen Pseudonym Red Spectre. Das Reissue wurde von den Original-Masterbändern neu gemastert und ist zum ersten Mal überhaupt auf LP erhältlich! Mit dem originalen und erweiterten Artwork, einschließlich bisher unveröffentlichter Texte und originaler Cover-Notizen von Poly. Die Popkultur ist voll von klassischen Alben, die iregndwie durchrutschen. In den letzten Jahren haben die verstorbenen Poly Styrene und X-Ray Spex mit ihrem 1978er Debütalbum "Germfree Adolescents" Kultstatus erlangt, aber das 17 Jahre später veröffentlichte Nachfolgealbum "Conscious Consumer" ist im Sand der Zeit untergegangen. Heutzutage wissen die meisten Leute nicht einmal, dass X-Ray Spex ein Nachfolgealbum hatten. Diese liebevoll zusammengestellte Neuauflage rückt ein verlorenes Juwel ins Rampenlicht, das viele Merkmale des Debüts aufweist, aber durch eine andere Brille betrachtet wird. Conscious Consumer" war eine Weiterentwicklung des klassischen Debüts mit derselben Punkrock-Dringlichkeit und denselben Konsumthemen, aber mit einer poppigeren Kante und einer durchdachteren Weisheit, die aus der Perspektive eines älteren, weiseren Krishna-Anhängers aus den Höhen und Tiefen des Lebens geschöpft wurde. Im Jahr 1995 war das Album ein unerwartetes Comeback und wurde ein verlorener Klassiker. Es war das erste neue Material, das die Band seit Jahren aufnahm, obwohl viele der Songs bereits ein Jahrzehnt zuvor geschrieben worden waren. Nach der Veröffentlichung verschwand das Album jedoch schnell vom Radar, lang bevor Poly dihren verdienten Kultstatus erlangte. Die Band, die sich 1991, 1995 und 2008 neu formierte, wird heute weltweit dafür verehrt, dass sie eine neue Art von musikalischem Lebensgefühl ausgelöst hat. Die verstorbene Poly ist heute ein Pin-up der Punk- & Popkultur für eine Originalität und einen Feminismus, die zu dieser Zeit kaum existierten. Ihre bissigen, witzigen und brillanten Texte und ihre unverwechselbare Stimme haben den Test der Zeit bestanden, und zusammen mit der ursprünglichen Saxophonistin der Band, Lora Logic, ist sie Teil der Punkrockgeschichte geworden. Die unscharfen Schnappschüsse der kurzen frühen Besetzung zeigen den frechen und scharf gekleideten Teenager-Kern, der vor Talent, Originalität und Stil strotzt, in einem Standbild der popkulturellen Punkrock-Perfektion. Wenn er sich das Album nach einer langen Pause wieder anhört, ist Bassist Paul Dean überrascht. Conscious Consumer" klingt jetzt so viel besser als in meiner Erinnerung. Damals wurde es nicht richtig veröffentlicht und deshalb kennt es niemand. Wenn du Germfree Adolescents liebst, wirst du Conscious Consumer lieben, sie sind miteinander verbunden. X-Ray Spex hatten nicht nur ein großartiges Album, sie hatten zwei!" CD, Eco Mix LP (random colour) & Crystal Clear LP (for Indies Only)

"Solastalgia I" ist ein Konzeptalbum und der erste Teil einer Trilogie. Solastalgia ist ein Kunstwort, gebildet aus dem Lateinischen (solacium - Trost)
und dem Altgriechischen (algos - Schmerz), das erstmals in den 2000er Jahren von dem Umweltphilosophen Glenn Albrecht verwendet wurde.
Solastalgia bezieht sich auf den Schmerz und die Trauer über den Verlust unserer Umwelt: Emotionen, die zur Verzweiflung treiben, die wir durch
unsere Gier und Hybris selbst verursachen. Die Klima- und Biodiversitätskrise führt dazu, dass die Zerstörung von Umwelt und Natur immer mehr
zunimmt. Das Album ist eine künstlerische Reflexion und Verarbeitung des Verlustes der Heimat, des Reichtums und der Vielfalt der Natur und der
Lebensgrundlagen allen Lebens, die letztlich zu Zerstörung, qualvollem Tod und Aussterben führen. Ein dystopischer Ausblick und zugleich eine
Warnung für die Gegenwart. Begleitet wird die Trilogie von Kurzgeschichten von Wolf-Georg Zaddach sowie von Fotos und Bildern der Künstlerin Sara
Zaddach.

Das nigerianische Establishment bezeichnete die Einwohner der Republik Kalakuta als "Hooligans", "Hanfraucher" usw. Noise For Vendor Mouth demonstriert Felas Gleichgültigkeit gegenüber diesen Beschimpfungen, denn für ihn sind die Menschen in Kalakuta in Wirklichkeit ein Haufen hart arbeitender Bürger, die versuchen, in einer von Korruption und Misswirtschaft geprägten Gesellschaft zu überleben. Er fügt hinzu, dass die wahren Hooligans die Machthaber sind, die auf politisches Gangstertum und manchmal auf Militärputsche zurückgreifen, um verfassungsrechtliche Probleme zu lösen. Er hält ihre Kritik für nichts anderes als den Lärm, den Straßenverkäufer machen, um ihre Waren zu verkaufen.

Mattress: Fela wurde von Kritikern vorgeworfen, dass er sich nicht um die Frage des Feminismus und der Ungleichheit der Geschlechter kümmere und sich damit im Einklang mit verschiedenen Traditionen befinde, die er aus ihrer Sicht willkürlich aufrechterhalte. Mehrere Themen stehen aus afrikanischer Sicht im Gegensatz zum modernen westlichen Blick. Nehmen wir die Polygamie: Fela wurde kritisiert, weil er die Polygamie offen befürwortet. Wie kann ein Mann, der sich gegen die ungleiche Stellung der Geschlechter und gegen Rassismus einsetzt, eine männliche Vorherrschaft gutheißen? Fela rechtfertigt die Polygamie, abgesehen von der traditionellen Wiederbevölkerung der afrikanischen Gesellschaft nach der Sklaverei, mit der polygamen Natur des Menschen. Der Mensch sei - so seine Überzeugung - von Natur aus polygam. In christlichen Gesellschaften, in denen Polygamie nicht geduldet wird, heirateten Männer offiziell eine Frau, hatten aber Mätressen. Afrikanische Männer sind seiner Meinung nach da ehrlicher - sie gehen damit offen um leben mit ihren Frauen unter einem Dach. Lieder wie Mattress tragen vielleicht nicht dazu bei, das Macho-Image von Fela zu ändern, doch zieht er ja lediglich Vergleiche.

With her captivating voice and richly detailed songwriting, Sarah Jarosz has emerged as one of the most compelling musicians of her generation. A four-time Grammy Award-winner and ten-time nominee at the age of 30, the Texas native started singing as a young girl and became an accomplished multi-instrumentalist by her early teens. After releasing her full-length debut Song Up in Her Headat 18-years-old, she went on to deliver such critically lauded albums as Follow Me Down, Build Me Up From Bones, and Undercurrent, in addition to joining forces with Sara Watkins and Aoife O’Donovan to form the acclaimed folk trio I’m With Her. Her fifth studio album, World On The Ground, produced by John Leventhal, went on to win the Grammy award for Best Americana Album. In 2021 Jarosz released the Grammy-nominated Blue Heron Suite, a much-anticipated song cycle which she composed after being the recipient of the FreshGrass Composition Commission.

The seventh album from Sarah Jarosz finds the highly decorated songwriter at the apex of change. A Texas native, she’s spent most of her adult life living in New York City, but shortly before writing the album Jarosz left her adopted home to join her soon-to-be husband in Nashville, TN. The geographic shake-up led to a sonic one as well for Polaroid Lovers. For the first time in her career she opened herself up to collaborators, leading to writing sessions with Daniel Tashian, Ruston Kelly and Natalie Hemby. The creative reorganization of her writing process evolved to include a much richer and more electric sound in the studio and being in Nashville meant access to a world of hot shot players. She tapped guitarist Rob McNelley (Miranda Lambert, Carrie Underwood), Tom Bukovac (Tom Petty, Vince Gill) on guitar and organ, her husband- bassist Jeff Picker (Nickel Creek), and drummer Fred Eltringham (Sheryl Crow, Lucinda Williams) for the album recording. Tashian took the helm as producer and the whole album was laid down at the legendary Sound Emporium.

As it goes with all change, Jarosz’s major life events had her feeling contemplative. While sitting on the precipice of adulthood, Polaroid Lovers finds her reflecting on past loves, childhood dreams, the places she lived in and all the versions of herself that she’s been. Although the listener experiences the sonic shift forward, the album’s subject matter is a photo album of the past. Jarosz has never sounded more assured. Polaroid Lovers is filled with the kind of confidence that comes from hard won life experiences and the conviction of someone who truly knows herself.

Mista Sinista officially started DJing in 1986 and joined the X-Men in 1992. They later became the X-ecutioners and released two albums. Mista Sinista toured the world several times with the X-ecutioners and was a tour DJ for Common, Beatnuts, Joe Fatal and Lauryn Hill just to name a few. Some of his album credits include The Beatnuts Street Level LP and Common’s Resurrection LP. His work was also highlighted on Fat Joe’s sophomore release, Jealous One’s Envy. He continues to perform worldwide and is featured on The Rewind with DJ Safire which airs weekly on Beatminerz Radio. Mista Sinista’s debut LP is a mix of well-produced tracks along with live turntablism. The project features emcees Mr. VooDoo, Ill Bill, Vinnie Paz, The One Chadio, U.G. & The former MC Jean Grae to name a few. This album also features Rugged One, Q-Bert, The Cut Lieutenant, Ace & Rob Swift. Production credits on the project include Mista Sinista, Steve Dee, Nick Wiz, Statick, Eitan Noyze, Cee da Cuban & DJ Safire

tapetopia 008 Der Expander des Fortschritts was founded in 1986. The “risk group” described itself as “pop musique concrète” or “abstract pop”. Der Expander des Fortschritts relied on disharmony and ruptures, which resulted in radio plays in a song format; the GDR as a realsocialist satire provided its material. Even the band’s name was a cultural appropriation of the superstructure by the substructure: “progress” was a fetishized word in the GDR, factory sports clubs would add it to their name, solidarity concerts would use it as a motto. The title “Urknall · Horde · Mensch” resulted from an Expander-typical translation of “Weltall, Erde, Mensch”, a compendium ceremoniously presented to each initiator on the occasion of their socialist youth initiation. In 1988, the band released the tape album on their own label Irrmenschkassette, a big bang in a tiny edition. The tapetopia series, using the original layouts and track lists, publishes cassette editions from the GDR underground of the 1980s, especially from the “walledin” scene in East Berlin. More than three decades after their initial “release”, most of these tapes have yet to be heard on either vinyl or CD, even though they made an audible mark in the canon of GDR subculture. Despite the tiny original editions of the time, many of the bands were considered cult in countercultural circles, which made them highly suspect in informed circles.

Who exactly is Sauce Walka? He is DAT BOY DEN. Often considered one of rap’s biggest enigmas for his larger than life personality yet equally sharp and grandiose pen game, the Houston based rapper aims to put a stamp on his name with his newest studio album, DAT BOY DEN. The 18 track album features appearances from popular artists such as Peezy, BIG30 & Freeway, as well as fellow Houston-based artist Money Man & The Sauce Factory labelmates Peso Peso, Sauce WoodWinnin, Sauce Gohan & 44 Mike Deezy. Previous notable collaborations include artists such as A$AP Rocky, Bun B, Chief Keef, Lil' Keke, Maxo Kream, Migos, Slim Thug, Travis Scott, Trinidad James, and XXXTentacion. pPressed on Red & White Split Vinyl, housed in a widespine jacket.

Key Marketing/Selling:
Sauce Walka is an incredibly versatile rapper and while his image may be more street leaning, he is an incredibly gifted lyricist with an unmatched pen game and can outrap some of the more lyrical rappers
Founder of the popular Houston based label, The Sauce Factory
Popularized the term “Drip”
Made headlines in 2015 for releasing a diss track aimed at Drake called, “Wack 2 Wack,” over appropriating Houston culture
Sauce Walka has over 1.3M monthly listeners on Spotify
Supporting Conway the Machine on the WON’T HE DO IT tour from September-October 2023 and recently collaborated on the standout single, “Dangerous Daringer”
Sauce Walka is an extremely viral personality and very active on social media, and willing to put in the work to support his products
Previous notable collaborations include artists such as A$AP Rocky, Bun B, Chief Keef, Lil' Keke, Maxo Kream, Migos, Slim Thug, Travis Scott, Trinidad James, and XXXTentacion

Sie sind ein großer Fan von Videospielen? Entdecken Sie eine Zusammenstellung der besten Videospiel-Soundtracks, aufgeführt von Londons besten Filmmusikern, London Music Works. Von 'Call Of Duty' über 'The Legend Of Zelda' bis zu 'World Of Warcraft' – lassen Sie sich von diesen Videospiel-Musikuniversen überraschen! Gepresst auf klarem Doppelvinyl.

What I can say about TORRES is I think the music comes from a convicted place. Not convicted meaning a person is narrowly and foolishly committed to an ideal, or unshakably convinced of themselves, or a zealot, or stubborn. I mean dedicated, I mean: If TORRES' music gets weird, gets brainy, gets funny, gets defiant, provokes, deliberately scandalizes, employs the crass to undermine the austere, courts lofty philosophical truth-it's all done with the conviction of an artist with the (essential) belief in the worth of their task. I think you can hear it in the songs, someone reaching, leaning over the boundary between known and not, probing the almighty. After a decade and six studio albums and however many one-offs and tours and articles read and conversations had, the parts of this pursuit I've been able to observe are all marked by a dedication to creation that treats the act-ongoing-with as much preciousness as the evidence of the act that is left in a record. The modes of being are different: heartbroken, broke, furious (right- and unrighteously), awestruck by love, compelled by desire. sometimes resigned to death, sometimes fascinated by and reverent of the future. Sometimes viscerally present, other times suspended in heady awareness, poised on a fulcrum of observation and participation in the phenomenon that aliveness is. The tools are the same: instruments that growl and shriek and moan, a lyrical voice shouting, swooning, chuckling, snarling as the moment commands. TORRES' music-making is conducted in a melodic vocabulary unique to itself-methods, equipment, circumstances shifting around the impulse to affirm the self within the world, to make art that bears all these little artifacts of the divine and of the real and show it to people and know it is valuable. I think that's what Mackenzie's music does. And I think it's just incredibly good music to listen to. -Julien Baker TORRES is the pseudonym of Mackenzie Scott. She was born January 23, 1991, and lives in Brooklyn, New York, with her wife Jenna, stepson Silas, and puppy Sylvia. She has been releasing albums and performing as TORRES since 2013. What an enormous room is TORRES' sixth studio album (her third with Merge). It was recorded in September and October 2022 at Stadium Heights Sound in Durham, North Carolina. It was engineered by Ryan Pickett, produced by Mackenzie Scott and Sarah Jaffe, mixed by TJ Allen in Bristol, UK, and mastered by Heba Kadry in NYC. The album contains 10 songs. Mackenzie wrote all of them. Sarah played bass guitar, synths, drums, organ, and piano. Mackenzie sang vocals, played guitar, bass, synths, organ, piano, and programmed drums. Additional synth bass, tambourine, and shakers were played by TJ Allen.

What I can say about TORRES is I think the music comes from a convicted place. Not convicted meaning a person is narrowly and foolishly committed to an ideal, or unshakably convinced of themselves, or a zealot, or stubborn. I mean dedicated, I mean: If TORRES' music gets weird, gets brainy, gets funny, gets defiant, provokes, deliberately scandalizes, employs the crass to undermine the austere, courts lofty philosophical truth-it's all done with the conviction of an artist with the (essential) belief in the worth of their task. I think you can hear it in the songs, someone reaching, leaning over the boundary between known and not, probing the almighty. After a decade and six studio albums and however many one-offs and tours and articles read and conversations had, the parts of this pursuit I've been able to observe are all marked by a dedication to creation that treats the act-ongoing-with as much preciousness as the evidence of the act that is left in a record. The modes of being are different: heartbroken, broke, furious (right- and unrighteously), awestruck by love, compelled by desire. sometimes resigned to death, sometimes fascinated by and reverent of the future. Sometimes viscerally present, other times suspended in heady awareness, poised on a fulcrum of observation and participation in the phenomenon that aliveness is. The tools are the same: instruments that growl and shriek and moan, a lyrical voice shouting, swooning, chuckling, snarling as the moment commands. TORRES' music-making is conducted in a melodic vocabulary unique to itself-methods, equipment, circumstances shifting around the impulse to affirm the self within the world, to make art that bears all these little artifacts of the divine and of the real and show it to people and know it is valuable. I think that's what Mackenzie's music does. And I think it's just incredibly good music to listen to. -Julien Baker TORRES is the pseudonym of Mackenzie Scott. She was born January 23, 1991, and lives in Brooklyn, New York, with her wife Jenna, stepson Silas, and puppy Sylvia. She has been releasing albums and performing as TORRES since 2013. What an enormous room is TORRES' sixth studio album (her third with Merge). It was recorded in September and October 2022 at Stadium Heights Sound in Durham, North Carolina. It was engineered by Ryan Pickett, produced by Mackenzie Scott and Sarah Jaffe, mixed by TJ Allen in Bristol, UK, and mastered by Heba Kadry in NYC. The album contains 10 songs. Mackenzie wrote all of them. Sarah played bass guitar, synths, drums, organ, and piano. Mackenzie sang vocals, played guitar, bass, synths, organ, piano, and programmed drums. Additional synth bass, tambourine, and shakers were played by TJ Allen.

The Infernal Sea sind seit 2011 eine Plage auf dieser Erde, komponieren grimmigen und furchteinflößenden Black Metal mit ihrem einzigartigen UK-Imprint und beschwören fesselnde Geschichten aus der englischen und europäischen Geschichte des Mittelalters herauf. The Infernal Sea stammen aus dem Osten Englands, einer Gegend voller Trostlosigkeit und Trostlosigkeit, die in ihrer Musik widerhallt. Viele ihrer Geschichten stammen aus dieser Gegend, insbesondere auf ihrem neuen Album 'Hellfenlic', das sich um die brutale Verfolgung von Männern und Frauen durch den berüchtigten Witchfinder General, Matthew Hopkins, dreht. Es erzählt von seiner Besessenheit, seinem religiösen Eifer, seiner Brutalität und schließlich seinem Untergang.

The Infernal Sea setzen ihre Live-Auftritte mit einer furchterregenden und fesselnden Bühnenshow fort und ziehen das Publikum in ihren Bann, wo auch immer sie sich aufhalten. Dazu gehören Auftritte bei wichtigen britischen Festivals wie dem Bloodstock Festival, Incineration Festival, Damnation Festival, A Night of Salvation, Reaper Fest, Cosmic Void sowie eine ganze Reihe von wichtigen Supportslots für Bands wie Anaal Nathrakh, 1349, Taake, Napalm Death, Akercocke, Nargaroth, Primordial, Hellripper, Tsjuder, Mork, Rotting Christ, Hulder, Strigoi, Abigail Williams, Arch Enemy und viele mehr. The Infernal Sea beeindrucken das Publikum weiterhin mit ihren mitreißenden Headline-Shows, darunter eine Reihe von ausverkauften Auftritten im Jahr 2023.

Das neue Album von Wiki, 14K Figaro, erscheint nach einer Reihe gemeinsamer Projekte mit The Alchemist und MIKE, Navy Blue, Subjxct5 und NAH. Es ist vollständig von Tony Seltzer produziert, einem langjährigen Mitarbeiter, der half, seine frühesten Werke zu vertonen, darunter 'No Mountains In Manhattan' (2017), das Debütalbum für XL Recordings, und 'Oofie' (2019), den kraftvollen Nachfolger. Zu den Features zählen World's Fair MC Remy Banks, Bruiser Brigade-Spucker Zelooperz und der produktive WifiGawd aus D.C. Wiki steht mehr denn je als Anker zwischen Vergangenheit und Zukunft, für New York, für Hip-Hop und für sich selbst. Die 2LP enthält 4 unveröffentlichte, exklusive Bonustracks mit Gastfeatures von Papo2oo4 und SPRTY K.