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Delphine Dora is a prolific composer, improviser and musician who has released on a plethora of labels including Recital, Morc, Sloow Tapes, Feeding Tube, Okraïna and more, and ‘Le Grand Passage’ is her Modern Love debut, a stunning set of songs for piano and voice, recorded in one take without overdubs or edits.

In an act of pure expression, Delphine Dora recorded the 8 songs of ‘The Great Passage’ in a single take, succumbing to a whirlwind of inspiration that transported her beyond the material world. Baroque paradigms bleed into fragile, introspective mantras, expressed through a made up language of existential yearning and channeled through piano and voice. It’s music that caresses the sublime, made without any premeditation.

Delphine was nearing the end of a three-day prepared piano residency when an technician stepped in to tune her grand piano for her final performance. He removed the objects from the strings and fixed the pitch, leaving Dora with a freshly tuned instrument. Mesmerised by its new sound, she proceeded to switch on her recorder and pour out her soul, channeling, in her own words, "something greater than myself".

The result is some of the most unusual but elevated material the prolific composer, improviser and multi-instrumentalist has ever recorded, rooted in a deep understanding of European musical history but willing to push at its boundaries, questioning the earthly logic of life and death, asceticism and impiety. Glistening imperfections lash 'The Great Passage' to the physical world, but Dora - seemingly possessed as she quivers in a fictional dialect - lets her fantasies intensify her spirit, lifting the music towards the heavens. It's not sacred music, per se, but it is unashamedly mystical.

On the luxurious, languid opening, Dora dissolves eerily familiar romantic piano motifs into an attentive ceremony, singing with charged emotion. Her words aren't really decipherable, but their resonance vibrates beyond language; it's striking to hear how confident she is in vulnerability. She lets the piano wrap into her voice, connecting us directly to a unique mode of emotional expression by urging us - the listener - to project our own meaning onto her abstracted words.

Dora refers to the act of improvisation itself as a way to indicate "the fragility of being”, and as her words blur in and out of focus, dipping from a hoarse croak to a choking wail, she places herself at the very edge of musical formality, questioning strictures put in place to suffocate self-expression. Her music has often been labeled "outsider", but here she sounds intimate and interconnected, more self-consciously candid than anything traditional might have allowed. She conjures affecting, plainspoken poetry, like a bedside diary written in a hypnagogic, delirious state: a stream-of-unconsciousness, channelling the beyond.

The album title connects to a book dedicated to French philosopher and activist Simone Weil, who famously pored over global religions to ascertain spiritual truths. To Weil, meditation was a passage to access mystical experience, or a bridge between humanity and divinity. In Dora's hands, this idea is a corridor between herself and the listener, a liminal place where she's able to address feelings without making anything explicit. The title, of course, also refers to life, its impermanence, finitude, and fragility, presenting the complex, multi-dimensionality of being through one of the most undiluted, unbridled set of songs imaginable.

Nippon Psychedelic Soul 1970-1979 is Time Capsule’s continuation of the deep dive into Japan’s rich history of folk and psychedelic soul music.

Vinyl LP with 4 page insert, original artwork and photos

The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations.

The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.

At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.

Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.

Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.

Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.

If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.

Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.

The Fifth record from the friends for the bag.

A slip into the sound of Future Motion for a new paradigm.

Following a successful release that started the UFO Series, Future Motion goes into sounds for different arenas and pushes tools to technique.

Four sounds to share Where We Come From...

Danielle Boutet’s P »Pièces« is a mysterious artifact of Quebecois marginalia, self-released in 1985. Moving from languid ennui to high drama, »Pièces« is a dreamy gestalt, an album that borders Chanson, spoken-word, jazz noir, and minimalism, conjured from the chasm between acoustic and electronic realms. »Pièces« allows us a window into the highly intimate songcraft and compositional skill of an artist who longed to linger not in the public eye, but in relation with others and the world around her.

Born in Quebec City, Boutet studied music at the University of Montreal, where she focused on composition and percussion, before becoming involved in Montreal’s feminist and lesbian art scene. Primarily written, performed, and recorded by Boutet, with voice, guitar work, and technical assistance by Sylvie Gagnon, Pièces was created during a paradigm shift in home recording. Originally composed for the piano, Boutet and Gagnon utilized a consumer-friendly Tascam 4-track Portastudio and versatile Yamaha DX-7, alongside guitar, bass, marimba, and the human voice, to expand and contemporize the original composition’s scope.

Inspired by prog rock and British poet and musician Anne Clark, »Pièces« translates Boutet’s influence by moving between sunny, wistful fairytale and dark, wintry dirge. Filled with longing marimba, vertiginous, startling synth pads, and folk guitar, each track on Pièces offers a wholly unique proposition. Some are modal and rife with the ethereal psychological tension of a sci-fi soundtrack, while others are more like entering a smoke-laced lounge, the entertainer embodying seduction.

With the sprechgesang of artists like Serge Gainsbourg, there is an intense intimacy to Boutet’s delivery, sometimes as if she is performing for an audience of one. As one lyric goes, translated to English from French: “Like holograms/ Images from a world/ That inhales souls/ And exudes drama.” Another song contains an excerpt from The Tao of Physics: “The eastern sages specify clearly that they do not identify an ordinary void, but rather, a void having an infinite creative potential.”

To English-language audiences, the album’s title, »Pièces«, might seem to simply refer to the eleven different pieces. The title can also, of course, refer to parts of a larger whole, but Boutet is keen to point out that there is also another meaning: In French, a pièce is a room. On the cover of the original cassette, Boutet is seen sitting on a chair, alone in an empty apartment, a cable snaking at her feet. Listening to »Pièces« is like entering eleven different rooms: whether a study encased in shadow, a greenhouse left to wither in an eternal frost, or a divine nave.

Boutet sold a few dozen copies around Montreal, a scene mostly occupied by the new wave explosion de rigueur, but the inclusion of Pièces in the 1987 issue of Ladyslipper—the North Carolina-based mail order catalog that championed women musicians of all calibers and careers—led to more exposure throughout North America. “In the catalog,” Boutet says, “they included it in the New Age section, but I was, and still am, aware that this album is relatively unclassifiable.”

Boutet would release one more album, titled Musiques Urbaines, before getting pulled in the direction of interdisciplinary art and theory. “Although I never stopped making music, I lost all interest in public diffusion or performance,” Boutet says. Despite her departure from performance and publicly releasing music, she left behind a strange and enthralling document of Montreal’s 1980s feminist fringe, an aural document of the historic moment when self-recorded music and its practical potential became a prismatic reality.

Danielle Boutet’s Pièces arrives February 16, 2024 as part of uncommon¢ (“uncommon sense”), an open-ended, serialized endeavor from Freedom to Spend that provides new meaning for rarefied recordings from music’s outermost fringe.

Sylvain Chauveau's debut album "Le livre noir du capitalisme" is a melancholic milestone – and a precursor of what later would become the Modern Classical genre. With his release in 2000, Chauveau created a landmark of contemporary electronic music, parallel to the first releases of Jóhann Jóhannsson and Max Richter.

Inspired by John Cage's reflections on silence and Mark Hollis' solo album of the same name, on "Le livre noir du capitalisme" Chauveau assembles contemplative, repetitive piano and string arrangements with electronic sound layers and discreet field recordings to create an other-worldly but seductive Musique Noir. Midway between ambient, jazz and post-rock, Chauveau lays out a new paradigm of electro-acoustic music that functions as much atmospherically as compositionally, and whose parameters keep the boundaries between academic and non-academic music dissolved to this day.

Originally released on the small French experimental label Noise Museum in 2000, the album got reissued by Type Records in 2008 with the English title “The Black Book of Capitalism”. Being out of print for a while, Sonic Pieces now rereleases the classic with its original French title, plus new remastering by Loop-O and in an ultra-limited, handmade edition with black bookcloth cover on both CD and vinyl.

Mit ihrem neuesten Album "Suffer & Become" setzen VITRIOL aus Portland ihr entschlossenes Bestreben fort, die Essenz des modernen Death Metal sowohl zu verfeinern als auch neu zu definieren. Fachmännisch aufgenommen vom visionären Frontmann der Band, Kyle Rassmussen, und gekonnt abgemischt von Dave Otero (bekannt für seine Arbeit mit Archspire und Cattle Decapitation), umarmt VITRIOLs zweites Full-Length-Album von ganzem Herzen die verblüffenden technischen Feinheiten und die unverfälschte Wildheit und lässt langjährige Fans, die ihr bühnenzerstörendes Können neben Acts wie Morbid Angel und Cattle Decapitation erlebt haben, völlig fassungslos zurück. Tracks wie "Shame and Its Afterbirth" und "Weaponized Loss" bieten unverfälschte Streifzüge in eine Welt intensiver klanglicher Erkundung, durchtränkt von dichtem, geschwärztem Sound. VITRIOLs Wirkung ist nichts weniger als ein Paradigmenwechsel, der Grenzen auslöscht und neue Maßstäbe setzt, und "Suffer & Become" ist ein unbestreitbares Meisterwerk zeitgenössischer Extremität.

Few bands have burst quite so brilliantly onto the scene as Clap Your Hands Say Yeah. Fewer still can say their debut album defined a scene, a time, and marked a paradigm shift in the music industry. But the then five-piece, fronted by the enigmatic Alec Ounsworth, managed all this and more; no wonder their self-titled record is still considered one the finest, and most influential, indie releases of the 2000s.A heady blend of left-field pop and melodic, exuberant indie rock, the record repurposed a number of classic new wave references for a new generation of music fans. Fun-loving and quirky, the band achieved that rare alchemy - synthesising a dizzying array of styles and influences into something wholly their own. And that something was utterly glorious, full of buzzing synths, trebly guitars, bustling drums, and lilting, wailing vocals. The record's raw, ramshackle sound was an integral part of its appeal; time has merely magnified that charm. In `The Skin Of My Yellow Country Teeth' and `Upon This Tidal Wave Of Young Blood' Ounsworth wrote two of the most uplifting, celebratory tracks of this millennium, obvious highlights on an album of consistent excellence, and one rightly lauded for re-writing the rules of what indie bands could be.

Föllakzoid wächst durch Entschlackung und versucht mit jeder Platte, längere Zeiträume mit immer weniger Elementen zu füllen. Und wie der beste Techno, Kraut und Psychedelia im Laufe der Zeit bewiesen haben, ist manchmal der minimalste Rahmen das stärkste Gefäß für Transzendenz. Das ist es, was Föllakzoid mit V erreicht haben, ein immersives Werk, das den Hörer auf eine verführerische Reise direkt auf die Tanzfläche mitnimmt. Die kreative Perspektive der Band bestand schon immer darin, die narrativen, musikalischen und visuellen Paradigmen, die physische und digitale Vorstellungen prägen, zu verlernen, um eine metrische Zeit-Raum-Struktur zu schaffen, die sowohl den Autor als auch die Erzählung auflöst. Als kreatives Projekt der queeren und transsexuellen Künstlerin Domingæ hat die Band eine einzigartige Erfahrung in der Psychedelic-Rock-Szene gemacht. Im Gegensatz zu früheren Föllakzoid-Platten, die in einzelnen Takes mit der gesamten Band aufgenommen wurden, dauerte es einen Monat, um ihr neuestes Album V aus mehr als 70 einzelnen Stems zu erstellen. Gitarren, Bass, Schlagzeug, Synthesizer und Gesang wurden isoliert aufgenommen, und der Produzent Atom TM, der bei den Aufnahmen nicht anwesend war, wurde dann gebeten, die vier Sequenzen der Stems ohne jegliche Länge, strukturelle Einschränkungen oder Richtlinien neu zu organisieren. Die dem Spiel innewohnenden Möglichkeiten waren endlos und wurden doch durch die innere Logik des Spiels selbst und durch den Geist der Spieler zusammengehalten. V ist eine Übung, bei der es darum geht, mit der kleinstmöglichen Anzahl von Wörtern eine ausführliche Geschichte über nichts zu erzählen. Es ist eine Geschichte über die Elektrizität und den Code, den wir bewohnen - oder der uns bewohnen könnte - und die man sich mit herzzerreißenden Bässen, flirrenden Beats, kopfschüttelnden Melodien und einer unheilvollen Anziehungskraft vorstellen kann, die sich manchmal wie echte Hypnose anfühlt.

A discreet but essential figure in the field of musical creation, Horacio Vaggione has been crafting an ambitious, precise and highly significant body of work for over the last fifty years, coupled with a demanding research activity. This disc offers four purely electroacoustic pieces which illustrate, each in their own way, this singular and fascinating grammar developed by Horacio Vaggione, a complex but fertile grammar which establishes a very special relationship between structure and texture, between matter and formula, to create a fascinating musical space, made up of polyphonies and metamorphoses. (François Bonnet, Paris, 2022)

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«Schall» (1994), 07’30

Schall exclusively uses piano sounds sampled and processed with various digital techniques. The sound palette focuses on several shapes of various sizes which reiterate, altered to varying degrees, throughout the process. The granular paradigm is clearly assumed here, as is also that of the interactions between various temporal scales. Basically, there is a concern for the articulation of micro-events. The piece essentially plays with low-intensity frames, composed of various planes and punctuated by stronger objects, in a kind of polyphonic dialogue between proximity and distance. (H. V.)

«Rechant» (1995), 15’51

Initially, a few brief sounds of instrumental origin — percussions, flutes, strings. Processed by means of various digital techniques, projected on various temporal scales, analyzed and re-synthesized, worked in their parts (in their saliences), articulated in their edges as well as in their interactions, these sounds show, as Bachelard would say, «pluralism under identity». I thus tried to compose morphologies by targeting properties contained in the material and by projecting them on temporal perspectives of all sizes. The title, an allusion to the old polyphonic technique, refers to the iterative content of these morphologies as well as to the modalities of their interweaving. (H. V.)

«24 Variations» (2001), 09’50

The word «variations» applies here to the morphological transformations of the material, as well as to the various contexts in which these transformations appear. The result can be heard as a continuous interaction between sound particles of different sizes, composed of several layers, reflecting a preoccupation with detailed articulation spanning different time scales. (H. V.)

«Gymel» (2002), 09’25

In Gymel I tried to compose a space-trajectory using layered sounds, produced by morphological operations (splits, clusterings) that spread out from location to location in variously dense objects. The space was treated through phase-decorrelation, a technique which I use extensively, both to create spaces and to locate sounds and movements within a polyphonic (stratified) context. (H. V.)

An ode to nineties trance and the more introspective side of lower-mid tempo music. Drawing inspiration from the external environments that encompass Australia and the vast rural landscapes, Reflex Blue’s double LP is a reflection of migration, introspection and deeper meditative states.

Spanning across nine tracks the LP explores our deeper connection to the outside world.

Anlässlich des 20-jährigen Jubiläums des bahnbrechenden Opeth-Albums "Damnation" aus dem Jahr 2003 wurde ein spezielles Vinyl-Re-Issue-Projekt zusammengestellt, um einen entscheidenden und bahnbrechenden Moment in der illustren Geschichte der Band zu würdigen. Ursprünglich in der Stille von Åkerfelts Heimat Schweden aufgenommen und von Porcupine Tree's Steven Wilson produziert, wird das Album von Fans und Kritikern gleichermaßen gefeiert. - Damnation" ist ein Album, das einen Paradigmenwechsel in der Herangehensweise der Band an die Komposition darstellt, da sie ihre Metal-Wurzeln aus dem Vordergrund ihres Arsenals verbannt hat. Stattdessen wird es durch einen zusätzlichen Einblick in Ambiente, Atmosphäre und progressiven Rock ersetzt, was zusammen mit Åkerfeldts charakteristischer Lyrik und Musikalität ein einzigartiges Album von ätherischer Schönheit und Sehnsucht schafft, das vielen Opeth-Fans in Erinnerung bleibt

Eight years following their debut LP “Charnel Passages” (one of the most anticipated death metal debuts of current death metal cannon), US-via-UK abyssic death metal contingent CRUCIAMENTUM have finally emerged with their sophomore masterwork “Obsidian Refractions” set for release on Nov 24.

Now more commanding than ever with a formidable new lineup, “Obsidian Refractions” sees CRUCIAMENTUM deliver their most advanced and overpowering work yet. Taking everything in the band’s death metal paradigm to the next sonic measure beyond anything they have previously released, “Obsidian Refractions” combines the very essence and aesthetic of ancient cult death metal while encapsulating the dynamic, complex, next-level affectations relevant in today’s death metal landscape. The result being “Obsidian Refractions” as a towering death metal monument unparalleled.

TEMIC haben gerade mal ein Album aufgenommen, aber um an diesen Punkt zu gelangen, musste diese Supergruppe durch ein ziemliches Karrierelabyrinth navigieren. Die Jungs haben bereits mit Devin Townsend, Mike Portnoy's Shattered Fortress, Neal Morse, SHINING und Maraton gespielt. Aber erst als die Welt im Jahr 2020 stillstand, kamen Keyboarder Diego Tejedia und Gitarrist Eric Gillette dazu, gemeinsam eine Band zu gründen.

Ihre Idee war nicht gerade einfach: ihre Vorliebe für energiegeladene Electronica und Killer-Melodien in einer modernen Prog-Metal-Band zu orchestrieren. Aber mit der Verpflichtung von Sänger Fredrik Klemp und Simen Sandnes am Schlagzeug haben Temic es geschafft, dieses Konzept zu verwirklichen. Terror Management Theory" ist voller Wendungen und Überraschungen. "Count Your Losses" zermalmt tonnenweise Tech-Riffs, während "Falling Away" in ein schwarzes Loch aus sternenklaren Synthies abdriftet. Am Ende dieses labyrinthischen Albums steht "Mothalah", ein siebenminütiges Epos, das -angeführt von einem heroischen Falsett - nie aufhört, nach dem Himmel zu greifen.

TEMIC haben gerade mal ein Album aufgenommen, aber um an diesen Punkt zu gelangen, musste diese Supergruppe durch ein ziemliches Karrierelabyrinth navigieren. Die Jungs haben bereits mit Devin Townsend, Mike Portnoy's Shattered Fortress, Neal Morse, SHINING und Maraton gespielt. Aber erst als die Welt im Jahr 2020 stillstand, kamen Keyboarder Diego Tejedia und Gitarrist Eric Gillette dazu, gemeinsam eine Band zu gründen.

Ihre Idee war nicht gerade einfach: ihre Vorliebe für energiegeladene Electronica und Killer-Melodien in einer modernen Prog-Metal-Band zu orchestrieren. Aber mit der Verpflichtung von Sänger Fredrik Klemp und Simen Sandnes am Schlagzeug haben Temic es geschafft, dieses Konzept zu verwirklichen. Terror Management Theory" ist voller Wendungen und Überraschungen. "Count Your Losses" zermalmt tonnenweise Tech-Riffs, während "Falling Away" in ein schwarzes Loch aus sternenklaren Synthies abdriftet. Am Ende dieses labyrinthischen Albums steht "Mothalah", ein siebenminütiges Epos, das -angeführt von einem heroischen Falsett - nie aufhört, nach dem Himmel zu greifen.

Ursprünglich 1994 veröffentlicht, ist Prostitute das vierte Album von Alphaville und war die erste Veröffentlichung seit fünf Jahren. Mit "einer großen Vielfalt an Stilen" enthält das Album elektronischen Jazz, New-Wave-Musik, Synthpop, Swing, Hip-Hop, klassische Balladen und Pink-Floyd-ähnliche elektronische Musik - es ist also eher ein theatralisches Album.

Die erste Singleauskopplung war "Fools", gefolgt von der zweiten Single aus dem Album, "The Impossible Dream". Das Album wird zum
ersten Mal auf Vinyl veröffentlicht. Die 2 CD Extended Version enthält mehrere Mixe und alternative Versionen.

- 2LP - remastered, Trifold-Hülle plus 24-seitiges Booklet,

- 2CD - mit der Original-CD und einer zusätzlichen Disc mit Tracks, die nur auf 12"-Vinyl erhältlich waren, und einer 5"-Maxi-CD mit Mixen, alternativen Versionen usw.

"There could barely be a better figurehead for Belgrade's simmering multi-limbed music scene than Jan Nemeèek" The Quietus `Dissolved', a new album by Serbian synthesist and sound designer Jan Nemeèek, began its life cycle in a studio live room. It unpacks the paradigm of the individualistic act of computer music creation, transporting it into the communal setting of a band, its performers contributing elements ranging from prepared piano to Turkish lyre. The album opens with an unexpected falter, a false start that imbues the album with a sense of vulnerability. It's as if the album itself is finding its footing, mirroring the dissonance of an orchestra tuning. This digital ensemble, an assembly of electronic voices, seems to search for its harmony, its discord, its pitch, its timbre - much like a traditional counterpart would. As it unfolds, `Dissolved' further taps into the raw tonalities of partially defunct digital synthesizers, ranging from early 2000s' attempts at neural networks to precursors of oscillator-laden software synthesizers, in order to build its cloud of suspended tension and alternate histories. Through this clash of wistful piano and biting frost of digital pads with the iridescent hum of tube amps, the album reflects New Age tropes through the prism of metal (machine) music. Hailing from Belgrade, Serbia, Jan Nemeèek has been releasing electronic music since 2005, with a particular focus on ambient and bass-heavy electronic compositions. Nemeèek's music is characterized by his use of a wide range of sound generating tools, including neural networks, analog synthesizers, and granular synthesis. His approach to music production allows his work to unfold with patience, influenced by borderline dub sub-bass movements and heavily based on deconstructed recordings. Jan has released several albums, most notably 2014's Fragmented and later Recurrences. Prior to that, he co-founded the Creative Commons-based net label Norbu. `Dissolved' is set to be released on vinyl and digital on 10th November 2023 via Refractions, a new imprint founded by Nemeèek.

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Women In Revolt! is an exhibition of work by over 100 women artists working in the UK during the 1970s and 80s. It explores how women used radical ideas and rebellious methods to change the face of British culture. With music, painting, sculpture, photography, film, and performance, they forged a path for women’s liberation in the UK. To underline this trailblazing exhibition, a compilation has been dutifully curated to further reveal the music, sound art, and prominent musicians creating during this artistic and societal paradigm shift. The music that defines and defied this era, not only soundtracked but spurred on increasingly impassioned creative output and representation for women. Bands included on the compilation like X-Ray Spex and The Slits remain front of mind for band’s espousing this robust stance both sonically and politically, with equally impactful artists included like Ludus, whose lead singer Linder Sterling also impacted the genre.

‘Techniques 4 Life’ is a metaphysical adventure of sub-genres. Brainy and bouncy like Denzel’s sense of humor. It’s not necessarily about making something different per se, or having something to say. It’s more about filling your day-to-day, finding reasons to stay. Exploring techniques for life.

First four tracks to come out from an era that’s marked by a paradigm shift in world-building.

Eclipse kehren zurück mit ihrem neunten Album "Megalomanium". Nach ihrem bisher erfolgreichsten Album "Paradigm" (das die massive Single "Viva La Victoria" enthält, die allein bisher über 26 Millionen Streams auf Spotify hat)) veröffentlichten die schwedischen Hard Rocker ihr letztes Album "Wired" Ende 2020 (Platz 23 der deutschen Charts). Trotz der fehlenden Tourneen gelang es ihnen, weiter zu wachsen. Das neue Album bietet den fröhlichen, hooklastigen und gitarrenorientierten Sound von Eclipse in seiner reinsten Form, 80er beeinflusster Melodic Hard Rock. Die Band ruht sich jedoch nicht auf Lorbeeren aus und bietet einige neue Elemente für einen Sound, der vor allem in Europa bereits Massen von Fans gewonnen hat. Während die erste Single "The Hardest Part is Losing You" einfach zeigt, dass die Inspiration intakt ist - eine der besten Hymnen von Eclipse überhaupt! - Songs wie "Got It!" oder das von Victor Crusner gesungene "High Road" zeigen, dass die Band sich nicht scheut, neue Wege zu gehen. Trotzdem können sie im hymnischen "Children of the Night" mit einem Riff, das die Erinnerungen an den besten Dio/Sabbath-Sound weckt, sehr hart rocken. Weitere Highlights sind das sofort erkennbare "Hearts Collide" und das treffend betitelte "Anthem", das die Fans, die die Shows der Band genießen, in Brand setzen wird. Megalomanium hat absolut alles, was man von den Jungs aus Stockholm erwarten würde, und noch mehr. Erik Martensson (auch W.E.T.) zeigt einmal mehr, warum er einer der gefragtesten Autoren und Produzenten der Szene ist. Sein Geschmack für Melodien, Songwriting und Harmonien ist absolut herausragend und wenn er sich mit Magnus Henrikssons Gitarren duelliert, ist absolute Magie da. Große Europa Tournee von Juni bis November.