Suche:pos

Few bands in the UK's heavy underground have quite managed to reach the dizzying technical heights of progressive death metal quartet LUNA'S CALL. The Lincolnshire based band are now ready to surpass their own high watermark they set with 2015's debut record Divinity, with their long-awaited sophomore album 'Void' being set for release on Listenable records. 'Void' is a highly ambitious opus crafted from extreme technical wizardry and an eclectic sound palette that reaches from progressive rock, technical death metal and neo-classical. The album has been mixed and mastered by legendary producer Russ Russell (Napalm Death, At The Gates, Amorphis). Listeners will stand in awe of the complexity and dynamic ebb and flow that Luna's Call conjure, pushing their sound and scope further forward with an even grander and more epic statement. 'Void' is a delightful showcase of pummeling drums, shredding riffs, spacey synths and varied vocal styles, across a record that explores themes of observing the Earth's environmental destruction from the vastness of outer space. LUNA'S CALL have become a vital staple-piece of the UK's vibrant metal scene with performances at Bloodstock Open Air Festival 2018 and Badgerfest 2019. LUNA'S CALL have performed with acclaimed acts including Hundred Year Old Man, Moloch, zhOra and more. With 'Void', Luna's Call aim to take themselves further forward with the potential to tour and play large festivals in the future.

Poland's HATE are the leaders of the extreme metal scene in their homeland along with Behemoth and Vader. HATE's highly successful 'Erebos' album marked their 20th year of existence and is now available in Limited edition coloured vinyl for the first time. A real Death Metal Crusher !

On his latest opus, 2121, Michigan composer and multi-instrumentalist, The Lasso, creates a thermonuclear rocket ship glide of astral funk: a floating house party that exists at that eternal crossroads, suspended in timeless animation, the axis mundi where past, present, and future all get down. Its genesis traces back to the dozens of instrumental demos that The Lasso created throughout 2019 and early 2020, vulcanizing his singular twists on psychedelic rap with delirious mutations of vintage Ohio and Minneapolis funk. A long-brewing collaboration with New Mexico-based vocalist A. Billi Free, coupled with his introduction to the vocalist Rachele Eve, allowed for their voices to buoy his interstellar thump. Over the course of the summer of 2020, Lasso gathered various features from old and new collaborators to fill out the core vocalists, including Fat Tony, Hemlock Ernst (Sam Herring of Future Islands), Ill Camille, Namir Blade, and Nelson Bandela. In the fall of that year, The Lasso met up with The Saxsquatch and cellist Jordan Hamilton for the fait accompli: layering lush orchestrations to capture the haunted reverberations of a renowned 100-year old Michigan theatre. 2121 exists in its own galaxy, its own planetary tilt, its own sense of time. A record that asks whether the future is merely the place where the loop starts again, but this time a little more aged. As the centuries progress -- from 1921 to 2021 to 2121, with each repetition, we can hear the tape warble deepen and the hi-end lose its definition. What is it about this moment now that will shape our future ten decades hence? Life revolves in cycles, so you might as well maximize the upswing. If music is our collective vessel to track where and who we are and what we hope to lean towards in this next passage through history, the only sane answer is to turn 2121 up as loud as possible, until we all disappear into the shadows.

Speedcore Industrial pityless high time, with some electro nica super positions as well as few high-kicks in da dancefloro face !

Over the past several years, the recorded output of Carl Stone has been turned on its head. In previous decades, Stone perennially toured new work but kept a harboring gulf of time between the live performances and their recorded release. This not only reflected the careful consideration of the pieces and technical innovations that went into the music but also the largely academic-minded audience that was themselves invested in the history and context of the work.



The time span of Stone's recorded output in both sheer musical duration and year range was generously expansive. Following multiple historical overviews of Stone's work on Unseen Worlds and a re-connection with a wider audience, the time between Stone's new work in concert and on record has grown shorter and shorter until there is now almost no distance at all. Stone's work has often at its core explored new potential within popular cultural musics, simultaneously unspooling and satisfying a pop craving.

On Stolen Car, the forms of Carl Stone's pieces have also become more compact, making for a progressive new stage in Stone's career where he is not only creating out of pop forms but challenging them. Stolen Car is the gleeful, heart racing sound of hijack, hotwire, and escape. Stone carries the easy smirk and confidence of a car thief just out of the can, a magician in a new town setting up a game of balls and cups. With each track he reaches under the steering wheel and yanks a fistful of wires. Boom, the engine roars to life, the car speeds off into the sunset, the cups are tipped over, the balls, like the car, are gone.

“At times it feels like Stone’s music is a secret decoder ring unlocking the in¬nite possibilities hidden within other recordings... deft manipulation and recreation of pop music’s emotional impact out of apparent chaos is a substantial part of what makes much of the music on Stolen Car the most fully realized of Stone’s career." - Jonathan Williger, Pitchfork, 7.8 Scored Review

"'Stolen Car,' by the sample-driven American composer Carl Stone — presents up-tempo found-melodies, pristinely rendered into fresh guises." - Seth Colter Walls, The New York Times

After two UK #1 albums, 2 million album sales and an array of international acclaim, you might’ve thought you knew what to expect from Royal Blood. Those preconceptions were shattered when they released ‘Trouble’s Coming’ last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.

The reaction was phenomenal, with highlights including 20 million streams, a premiere as Annie Mac’s Hottest Record and a run on Radio 1’s A-list and earned alternative radio support and media attention across the globe. In short, Royal Blood are primed to be bigger than ever before. That feat is set to be realised when they release their eagerly anticipated third album ‘Typhoons’ on April 30th via Warner Records.

When Mike Kerr and Ben Thatcher sat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced by Daft Punk, Justice, and Philippe Zdar of Cassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.

“We sort of stumbled on this sound, and it was immediately fun to play,” recalls Kerr. “That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”

Those traits pulsate throughout the new single and title track. Kerr’s spiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned by Thatcher’s thundering beats, his taut rhythms infused with groove-laden hi-hats.

After setting the tone with ‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of ‘Who Needs Friends’ hitting an early visceral peak. Royal Blood further reference their fresh array of influences by deploying vocodered vocals on ‘Million & One’ before dynamically switching between the biggest contrasts of their sound with ‘Limbo’. Already a fan favourite having been a regular during the duo’s 2019 shows, ‘Boilermaker’ lives up to its reputation and is more than matched by ‘Mad Visions’, which evokes a hyper-aggressive Prince. It ends with a final surprise in the shape of the stark piano ballad ‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.

That song’s unguarded sentiments gives the album a redemptive finale. Whether directly or allusively, the album focuses on exploring the flipside of success that they’ve experienced. It comes from the realisation that success is much more complicated than it seems and that having the time to regain perspective is a precious commodity which becomes ever more elusive. The situation called for reflection and change, which Kerr addressed in Las Vegas. He downed an espresso martini and declared it to be his last drink, and soon discovered that his new-found sobriety would have a positive impact upon his creativity and life as a whole.

That new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’ themselves. ‘Boilermaker’ was produced by Queens of the Stone Age frontman Josh Homme, the two bands having first connected when Royal Blood supported them on a huge North American tour. Meanwhile, the multiple Grammy Award winner Paul Epworth produced ‘Who Needs Friends’ and contributed additional production to ‘Trouble’s Coming’.

After two UK #1 albums, 2 million album sales and an array of international acclaim, you might’ve thought you knew what to expect from Royal Blood. Those preconceptions were shattered when they released ‘Trouble’s Coming’ last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.
The reaction was phenomenal, with highlights including 20 million streams, a premiere as Annie Mac’s Hottest Record and a run on Radio 1’s A-list and earned alternative radio support and media attention across the globe. In short, Royal Blood are primed to be bigger than ever before. That feat is set to be realised when they release their eagerly anticipated third album ‘Typhoons’ on April 30th via Warner Records.
When Mike Kerr and Ben Thatcher sat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced by Daft Punk, Justice, and Philippe Zdar of Cassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.
“We sort of stumbled on this sound, and it was immediately fun to play,” recalls Kerr. “That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”

Those traits pulsate throughout the new single and title track. Kerr’s spiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned by Thatcher’s thundering beats, his taut rhythms infused with groove-laden hi-hats.



After setting the tone with ‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of ‘Who Needs Friends’ hitting an early visceral peak. Royal Blood further reference their fresh array of influences by deploying vocodered vocals on ‘Million & One’ before dynamically switching between the biggest contrasts of their sound with ‘Limbo’. Already a fan favourite having been a regular during the duo’s 2019 shows, ‘Boilermaker’ lives up to its reputation and is more than matched by ‘Mad Visions’, which evokes a hyper-aggressive Prince. It ends with a final surprise in the shape of the stark piano ballad ‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.

That song’s unguarded sentiments gives the album a redemptive finale. Whether directly or allusively, the album focuses on exploring the flipside of success that they’ve experienced. It comes from the realisation that success is much more complicated than it seems and that having the time to regain perspective is a precious commodity which becomes ever more elusive. The situation called for reflection and change, which Kerr addressed in Las Vegas. He downed an espresso martini and declared it to be his last drink, and soon discovered that his new-found sobriety would have a positive impact upon his creativity and life as a whole.

That new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’ themselves. ‘Boilermaker’ was produced by Queens of the Stone Age frontman Josh Homme, the two bands having first connected when Royal Blood supported them on a huge North American tour. Meanwhile, the multiple Grammy Award winner Paul Epworth produced ‘Who Needs Friends’ and contributed additional production to ‘Trouble’s Coming’.

300: Rise of an Empire is a 2014 American epic action film written and produced by Zack Snyder and directed by Noam Murro. It is a sequel to the 2007 film 300, taking place before, during, and after the main events of that film, and is loosely based on the Battle of Artemisium and the Battle of Salamis.

Its score was created by Dutch DJ and composer Junkie XL. This was made possible because in 2013, Hans Zimmer became responsible for the creation of the score to Snyder’s Man of Steel, for which he asked Junkie XL to collaborate with him and Snyder loved the end result. The score to 300: Rise of an Empire was performed by the Hollywood Studio Symphony, led by Nick-Glennie Smith. The vocals were provided by Hilda Örvarsdóttir and MC Rai. Junkie XL himself added the guitar, bass, drums, piano and synthesizer parts and mixed the full soundtrack at the Computer Hell Cabin studio.

The Bright Lights of America is the seventh album released by American punk rock band Anti-Flag. Released in 2008, the album marked a change in the band’s sound: although still very much punk, the album is their first to feature a string section and child choirs. Two singles were released from the album: both the title track and “The Modern Rome Burning”. Other popular songs from this album are “Good And Ready”, “Spit In The Face” and “Vices”. The song “Wake Up The Town” features guest vocals by Billy Talent-songer Benjamin Kowalewicz. Produced by Tony Visconti, Anti-Flag sounds fiery and angry as ever on this album. This is a limited edition of 500 individually numbered copies on solid red vinyl. The lp’s are housed in a gatefold sleeve with a deluxe leather laminate finish, and contains a double-sided poster with lyrics and liner notes.

“Some tracks chime and soar like Coldplay. Others are just a post-rock whimper away from Radiohead... Marillion deserve a fair hearing.” UNCUT
Marillion formed in 1979 and have sold over 15 million albums worldwide.
Rightly regarded as legends of progressive rock, the band have also continued to evolve and have been keen to embrace the possibilities of the internet, using innovative ways to interact with listeners resulting in an incredibly loyal legion of fans around the world.
‘Somewhere Else’ was Marillion’s fourteenth album and was originally released in 2007. Following on from the success of the previous album ‘Marbles’, which spawned two hit singles, ‘Somewhere Else’ gave the band their first UK top 30 album in ten years.
This new Kscope mid-price CD edition of ‘Somewhere Else’ is presented in four panel digi-pack packaging complete with a 12-page booklet. And 140gm 2LP edition of ‘Somewhere Else’ is presented in gatefold sleeve and features three bonus tracks recorded live on the 15th and 16th June 2007 at the Forum in London.

The 'Abroad EP' catalogues a period of time spent travelling Japan in the spring of 2019. Throughout the course of the month-long trip, Rudy carried around a portable recorder, capturing various sounds that caught his ear. That collection of found sounds would eventually become the foundation for the EP, each track utilizing a handful of different recordings ranging from bird calls in Tokyo's Yoyogi Park, to windchimes in the coastal town of Kawazu. The EP took a full year of patient, daily work to complete, during which time Rudy invited a diverse group of collaborators in to help finish the songs. Throughout the recording process, harp, saxophone, and violin parts were added to create a unique blend of organic and electronic sounds.

POSY is the recording name of Rudy Klobas, Portland-based producer and multi-instrumentalist with a unique sound that intersects jazz, R&B, and electronic music. Originally trained on classical guitar, POSY gradually taught himself piano, bass, and drums and began writing and recording his first songs on a four-track cassette recorder. POSY's music is lush and densely layered, but maintains an element of simplicity that ultimately leaves one feeling relaxed, nostalgic, and hopeful all at the same time.

Optimo Music presents “Janara” the new album from Italy’s José Manuel. We always have our ears open for music that is unique, powerful and that can conjure up a ritualistic atmosphere, and this meistrerwerk did all that, and then some. We knew we had to release it after the first listen.

We’ll let José tell you about it….

This album is a result of the necessity of exploring and opening my mind to new musical horizons, by testing the main traditional instrument of the Italian region Campania, whose name is “Tammorra”. It is a big drum, which must not be confused with the typical tambourine, made from a wrap of wood shaped in a circle and covered with dried skin (almost always goatskin or sheepskin). This instrument was used during playful events, especially during rituals and ceremonies, such as the frequent devotional pilgrimages in honour of the Virgin Mary. By using this instrument, the sound, the rite and the magic could take possession of the mind and the body creating a perfect union. Also, the dancers, as if they were bitten by a tarantula and possessed by a strange evil, launched themselves to an uncontrolled dance by moving every part of their body.

In addition to the Tammorra, I also inserted some texts, which have been written by some Neapolitan friends and interpreted with Neapolitans voices, in honour of the “JANARA”. The Janara represents a popular belief of the Southern Italian regions, particularly of the Benevento area. The Janara is one of the many types of witches represented by folktales belonging to the rural tradition.

The Janara was expert in medical herbs, which were also be used for her magical practices, such as the manufacturing of ointment. The ointment gave her the power to become incorporeal with the same nature as the wind. According to the tradition, in order to snatch the Janara it was necessary to grab her by the hair. It was also said that if anyone was able to capture the Janara during her incorporeal moment then Janara herself would offer protection to them and their family for seven generations, in exchange for her freedom.

With this work I hope that the listener might get carried away by the spirit of this pagan and popular legend that can be still be considered as current. As a matter of fact, the folk tales speak of a probable comeback of the Janara, who after being burned at the stake seems to be thirsting for revenge for the evil suffered.

Minimal Wave presents ‘Recordings 1980-1982’ (MW077), a triple 7” box set by pioneering south Florida synth-punk band Futurisk, in honor of their 40th anniversary. Founded by Jeremy Kolosine in 1978, Futurisk recorded many songs and performed live throughout the early 1980s. Though they had released two 7”s that sold out, had a legendary live show, and even some videos, by 1984 Futurisk was history. Eventually, the main core of Futurisk would be the Jeremy Kolosine, Richard Hess, and Jack Howard line-up though much happened leading up to this point.

In 1979, the teenage Jeremy Kolosine won studio time and money in a competition with his drum-machine-triggered guitar-synth act called ‘Clark Humphrey & Futurisk’. He decided to form a band around the name to record a more punk release titled The Sound of Futurism 1980 / Army Now. It was an ambivalent anti-war anthem with Jack Howard on drums, Frank Lardino on synth, and Kolosine on vocals and guitar synth. Many live shows ensued with the line-up which included Jeff Marcus on bass and Vinnie Scrimenti on drums but in 1981 a rift between the band caused them to part ways. They continued for a bit as ‘Radio Berlin’ (no relation to the Vancouver act) and Kolosine, who had gotten absorbed in a new analog synthesizer with sequencer continued as Futurisk.

He recruited synthesist and recording engineer Richard Hess who had a myriad collection of Moogs, Oberhieims, and CATs. Jack Howard returned on drums and syn-drums and the lineup for the Player Piano EP was cast. The EP, like the live show, was a strange blend of punk, minimalist, and disco-influenced electro-pop, with drum machine triggered synths and often frantic real drums all led by Kolosine’s schizophrenic Bowie / Ferry / Foxx adulations. It was recorded by Richard Hess and the band in the rooms of a friend’s house. The drum sound, recorded in a bathroom, rocks, even today. Reportedly, Futurisk may have been the first synth-punk band in the American South, and their 1981 track ‘Push Me Pull You (Pt. 2)’ was an early pre- ‘Rockit’ excursion into electro-funk.

The ‘Recordings 1980-1982’ box set includes three 7”s, an Army Now (1982) Flexi 5” x 7” postcard, and a 16-page full-color booklet featuring unpublished photographs of the band, the history of the band, and an interview with founder Jeremy Kolosine. The three 7”s are The Sound of Futurism 1980 / Army Now which includes an unreleased track from the same session, the Player Piano five-song 7” EP from 1982, and the Ocean Sound 7”, which has not been released in this format until now. All three 7”s are remastered, pressed on heavyweight 70-gram vinyl, and housed in heavy color printed matte sleeves featuring the band’s original artwork. The box is case wrapped and depicts an early illustration of the band printed in black on white with a spot gloss. Limited edition of 600 copies.

Just in time for the holidays comes a brand new Christmas classic from Academy Award-winning composer Michael Giacchino (Up, Ratatouille & Lost) and if the world ever needed a shot of positivity right now then this is it!

The idea of writing a Christmas single happened whilst hosting a Christmas party with Richard Kind at the Royal Albert Hall in 2019. During that party, they heard a radio announcement regarding a Christmas song competition, and they immediately began trying to

write a song and find someone to sing it! Throughout the party, guests turned up, but no one wanted to sing the song, that is until Himesh Patel and UK band Itchy Teeth knocked on the door and took up the challenge. Himesh was fresh from starring in Danny Boyle’s film Yesterday, and Itchy Teeth were the band that performed with him throughout the movie.

Recalling classic Christmas earworms such as Wings ‘Wonderful Christmastime,” the single is written by Michael Giacchino, Elyssa Samsel and Kate Anderson and performed by Itchy Teeth. The B-side is a beautiful smokey lounge version of Christmas Number One performed by the John Robert Wood Yule Sextet.

The LTD 7’ comes complete with a digital download card and is presented in gatefold Christmas card cover, ready and waiting to be given as a gift and inscribed with your very own holiday greeting.

Let us see 2020 out in a flurry of positivity, optimism and fun, so get ready to be singing this song around the christmas tree this year with all your family (even if that mean doing so on Zoom)

Happy Holidays!!!

REPRESS!!

These tracks were recorded by Kevin Low and Fiona Carlin in Kevin’s bedroom in Gayfield Square, Edinburgh, in 1986. Me and my dad, Kevin, dug out a huge bunch of his tapes over the lockdown (about 80 of the them at first). Some were…better than others, however, the Gayfield Square demos were the pick of the lot. Previously Kevin and Fiona were part of the Post Punk / indie band ‘Wild Indians’, whose first release “Stolen Courage” had come out in 1983 – released on Flexi Disc via the Edinburgh fanzine Deadbeat. Throughout the mid-1980s they performed across Edinburgh’s clubs, including at the Hoochie Coochie Club (name checked on track 7), where they played alongside bands and close friends Pop Wallpaper and Visitors. The band went on to release two 12” singles, “Love of My Life” in 1984 and “Penniless” in 1986.

After the band broke up Kevin sold his guitar amp and 7inch collection, Fiona her saxophone and they went out and got themselves a Yamaha RX-5 drum machine, Yamaha QX7 sequencer and a Yamaha DX-100. These bedroom tracks are the fruits of their first venture with this hardware, combining their experimentation with synthetic sounds (mostly the DX-100’s famous pre-sets) with a post-punk vocal style.

These eight tracks are also, in part, the fruit of the “Enterprise Allowance scheme” - a policy venture of Margaret Thatcher’s UK government that gave unemployment claimants access to an extra £40 to top up the basic dole money. Following Thatcher’s election victories in 1979 and 1983, the policy sought to reduce the figures of mass unemployment which hung over Britain well into the 1980s. This policy, according to Kevin, helped to keep up the credit payments. He notes that, “when Fiona and I turned up at the DHSS office with the sure-fire money-making plan of making a business as a ‘song-writing’ duo they signed us up. However, I still think they thought we said, sign writing as they were filling out the form.”

Kevin and Fiona stopped making music together shortly after these tracks were recorded so unfortunately, they never saw the light of day…until now!

Fiona went on to work in Film and Television sound. Kevin became a photographer, working mostly in theatre. He is now an artist/painter working in Glasgow.

Deap Lips is Wayne & Steven from THE FLAMING LIPS with Julie & Lindsey from DEAP VALLY. This special collaboration came together after a friendship formed between the bands.- - The seeds of Deap Lips were first planted years ago, when Troy and Edwards each fell in love with the music of the Flaming Lips. The Lips' 1999 classic The Soft Bulletin is one of Edwards' top ten of all time. "You can listen to their entire catalogue and the experience is so intact, full of experiments, philosophy, hooks, and the sublime," says Edwards. "There are very few artists who can offer the same experience on a decades-spanning deep dive."

Flash forward to 2016 as Deap Vally were touring with Wolfmother and Coyne turned up at a show in Raleigh (Edwards was on maternity leave at the time). Wayne, in town scouting the best edible giant gummy props, came for the show and Troy and Coyne were introduced after the set.

After that chance meeting Coyne started following Deap Vally on Instagram and would tag them in random posts of the Lips in the studio, much to their delight and amusement. Deap Vally wondered:
is Wayne hinting at a collaboration? They had this theme on the brain as Edwards and Troy had recently embarked on a series of yet to be released collaborations with the likes of KT Tunstall, Peaches, Jamie Hince (The Kills), Soko, Jenny Lee (Warpaint), Jennie Vee (EODM), Zach Dawes (Queens of the Stone Age, Mini Mansions), and Ayse Hassan (Savages).

Negativland’s mirror image sequel to last year’s True False, The World Will Decide turns the focus away from the very human inability to accurately define reality, and towards the technologies being built to do a better job at it. But if sorting true from false seemed like a full time job back when all one had to keep track of was one’s own mind, life alongside the machines built to connect everyone only seems to multiply the uncertainties. On The World Will Decide, those uncertainties are made almost deliriously danceable: a netweb of densely sampled voices melting speech back down into music and back again, into what everyone can agree are the real questions—did that firefly really land on your finger? Would you like to be arrested? Does this app connect you to people, or replace them? Is this post an example of inauthentic behavior? Do people have to die? Or, as one of the many sampled voices on this work assures the listener: we can really feel like we’re here.

Behind the finest and most moving pieces of contemporary-classical music lie deeply personal and poignant stories, and Simon Goff's new album Vale is no exception. The British violinist and composer's dazzling exploration of the interface between violin and technology and between the poles of intimacy and grandeur, as rich and deep and wide as the landscape that lies its heart, named after the Vale of York where Goff grew up. The album encapsulates not just a landscape but a place in time and an identity forged through youth and adulthood, all viewed from his current base in Berlin. Goff's artistic project is one which has been informed by his previous collaborations as both a performer and recording engineer, performing with artists such as Thor Harris (Swans, Amanda Palmer) and Federico Albanese, playing in concert halls across Europe. On his very first day working at the legendary Vox-Ton studios, Goff was introduced to Adam Wiltzie (half of the venerated post-classical/ ambient duo Stars Of The Lid/A Winged Victory for the Sullen), and over the next two years, he worked with post-classical and post-rock visionaries such as the late Jóhann Jóhannsson, Hildur Gudnadóttir (notably on the film soundtracks for Chernobyl and Joker), Dustin O'Halloran and Yair Elazar Glotman.

Mit .Maidan?g vero.ffentlicht die da.nische Post-Rock-Band BOUNDARIES am 23.04.2021 ihr Debu.talbum auf Vinyl. Der Longplayer ist ein hemmungsloses Rockalbum u.ber all die Ungestu.mheiten, die wir in uns und um uns herum aktuell erleben. Oder, um es mit den Worten der VISIONS zu sagen: BOUNDARIES sind .Weltschmerz zum Ho.ren?g. Dabei kombinieren die Da.nen das was sie am besten ko.nnen: Post-Rock mit neuen Einflu.ssen. Der Albumtitel .Maidan?g (gesprochen: /m...d..n/) beschreibt dabei eine Fla.che in oder bei einer Stadt, die fu.r o.ffentliche Versammlungen und Proteste genutzt wird, und soll auch musikalisch und inhaltlich genau diese Funktion u.bernehmen. Von aufreibenden Implosionen im Song "Harness" bis hin zur klaustrophobischen Einsamkeit im Track "Indefinite Hours", vermitteln BOUNDARIES eine breite Gefu.hlswelt, die in jedem von uns zu finden ist.