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Repressed mint coloured vinyl for the 10th anniversary of the first Flenser pressing! Double Vinyl-LP including digital download code & comes with a 75-page zine. Layout by Niels Geybels (Agalloch, Planning for Burial), note new price on the mint edition. Long requested CD version back in print, note new price. For fans of Enemies List Home Recordings, Giles Corey, Black Wing, Planning For Burial. In 2008, Have A Nice Life released their now cult classic Deathconsciousness album to a whimper and critical non-interest. Six years after its release the band followed up with 2014's stunner The Unnatural World, and by then Deathconsciousness had become a force of influence and fanatic obsession. Seamlessly blending shoegaze, post punk, new wave, industrial and noise with unparalleled depth and weight, the album was originally released by Enemies List Home Recordings founded by HANL members Dan Barrett and Tim Macuga. The 75-page booklet accompanying the deluxe format of Deathconsciousness details the dark and forgotten history of the Antiochean cult. Blurring the lines between novella, liner notes, and academic text, the zine itself presents an engrossing narrative. The corresponding album is rhythmic, primal and expansive, and is a gloomy-post-punk masterpiece a mediation on death, loss and existence. It feels more fresh and engaging with every listen and has held up as a remarkable piece of art. Fans of Have A Nice Life exhibit both cultic thought and action for good reason it is perhaps a fanbase as dark and mysterious as the Antiochean's, which the album itself revolves around. Quotes : "Deathconsciousness is probably a perfect record" - Last Train To Cool // "A masterpiece of depression" - The Quietus // "85-minute powerhouse of a double-album" - The Needle Drop // "Have a Nice Life's Deathconsciousness could quite possibly move the Earth" - Sputnik Music (5/5 rating)".

Enjoy The Toons Records in conjunction with WaterTower Records, WB Games & DC Comics proudly presents Best of Batman: Arkham Knight, Music by Nick Arundel and David Buckley.

Curated by the games' composer, Nick Arundel, Best of Batman: Arkham Knight consists of 15 tracks from the 2015 video game. Each record comes housed in a 350gsm jacket with black inner sleeves and black flood printing inside the sleeve. Included with each record is a 12" x 24" foldout insert, featuring a collage of the game's main characters on one side, with a grand scale view of Arkham City on the other.

Best of Batman: Arkham Knight is a limited edition pressing.

Enjoy The Toons Records in conjunction with WaterTower Records, WB Games & DC Comics proudly presents Best of Batman: Arkham Knight, Music by Nick Arundel and David Buckley.

Curated by the games' composer, Nick Arundel, Best of Batman: Arkham Knight consists of 15 tracks from the 2015 video game. Each record comes housed in a 350gsm jacket with black inner sleeves and black flood printing inside the sleeve. Included with each record is a 12" x 24" foldout insert, featuring a collage of the game's main characters on one side, with a grand scale view of Arkham City on the other.

Best of Batman: Arkham Knight is a limited edition pressing.

Die Box, limitiert auf 1000 Stück im Handel, enthält das Debüt Album in seiner Original Version mit 6 Songs auf transparenter 180gr Vinyl.
Die Bonus LP "Demos & Rarities" erscheint als Picture Vinyl, die im Artwork Bilder des Original Master Tapes des Albums nutzt.
Neben den Demo Aufnahmen der Songs "Forgotten Past" und "Black Sun" befindet sich auf der LP auch der Song "Tommorrow's Dead", der zuvor nur auf der Vinyl Compilation "10 Years 8MM Musik" erschienen ist. Der Track "Living In Your Head" war damals B-Seite der Single "Creature of the Demon" und "The Man I Shot" & "Broken Wings" waren Teil des Split Album mit Aqua Nebula Oscillator "White Ring".
Nun werden all diese Songs aus der prägenden Zeit des Debüt Albums erstmals gemeinsam auf Vinyl veröffentlicht.

Das Foto Buch "The Early Days" zeigt eine große Auswahl von Fotos aus der Entstehungszeit der Band und enthält einen Text des Schriftstellers und Musikers Hendrick Otremba.

Auch die Dokumentation "MammutTigerWolf" der Regisseurin Irem Schwarz gibt vorher nie gesehene Einblicke in die Proben, Aufnahmen und Auftritte der Band Kadavar in ihrer Gründungszeit und wurde nie zuvor veröffentlicht.

Die Demo CD als Teil der Box war und ist ein Muss. 2010, Tiger, Lupus und Mammut nehmen ein paar Songs auf, brennen sie auf CD. Im Job-Center in Berlin, unten, in dem kleinen Copyshop, kopieren sie das Cover. Jedem Typen mit langen Haaren, dem sie in dieser Zeit begegnen, drücken sie ein Exemplar in die Hand: die ersten Aufnahmen von Kadavar. Die CD wurde in dieser Form nie neu produziert oder vertrieben.
Nun gibt es für diese Box die CD noch einmal, im Original Artwork. One time only.

Mit diesen Bestandteilen entsteht mit der "Kadavar - The First Album (Ltd. Anniversary Boxset)" eine einzigartige Sammlung an Zeitdokumenten die einen mit in ersten Jahre und die Entstehungsphase des legendären Debüt Albums von Kadavar entführt.

Boxinhalte:
- Debut Album (Gatefold / 180 gr Vinyl / transparent Vinyl)

THE OMEGA SWARM, eine atmosphärische Death-Metal-Band aus Deutschland, begann im Jahr 2022, sehr bescheiden, sehr zurückgezogen. T., der bereits vier großartige Alben mit Sulphur Aeon veröffentlicht hat, hatte keinen vollwertigen Live-Act im Sinn, als er frühe Demos komponierte und das Skelett seiner - damals noch namenlosen - neuen Kreatur formte. Im Herzen ein wahrer Schöpfer, umarmt T. die akribische Arbeit an Riffs, Tönen, Klängen, den abenteuerlichen Geist des Aufbaus und der Verwirklichung von Ideen, das Experimentieren mit seinen geliebten Gitarren und Synthesizern, um erstaunliche Vibes und Songs zu produzieren, die bedeutungsvoll und doch extrem, melodisch und doch hart sind und sich in THE OMEGA SWARMs Debütalbum vereinen, einer Platte, einem Zeugnis, das der Essenz der Kunst selbst gewidmet ist.

So bodenständig T. auch ist, er ist nicht der Typ Mensch, der sich an eine Klangformel hält, er sucht nach "etwas mehr", "etwas anderem". Nachdem Sulphur Aeon mit dem monumentalen "Seven Crowns and Seven Seals" von 2023 vorerst abgeschlossen haben, was sie ausdrücken wollten, sind THE OMEGA SWARM jetzt sein Hauptaugenmerk, und das Line-up der Band, das von Sänger Christian Schettler (bekannt durch seine Arbeit bei den Labelkollegen Wound) und Schlagzeuger Max Scheefeldt (ex Misanthrope Monarch) komplettiert wird, passt perfekt zusammen. Musikalisch entstanden THE OMEGA SWARM aus T.s Experimenten mit rhythmischen Mustern, übereinanderliegenden Synthesizern, ausgefeilten Leads und etwas technischeren Riffingstrukturen.

Die wohl einzigen offensichtlichen Parallelen zu Sulphur Aeon sind die Betonung einer dichten, fesselnden Atmosphäre, epische Elemente und eine übergreifende Dunkelheit sowie die Erkenntnis nach der Fertigstellung der ersten Aufnahmen, dass auch THE OMEGA SWARM die Qualität besitzen, mehr als nur ein 'Schlafzimmerprojekt' zu sein.
Aufgenommen in den Studios von Feire Records und s/w records, gemischt und produziert von Langzeitpartner Simon Werner, wurde V. Santura (Triptykon, Dark Fortress) für das Mastering angeheuert und sorgte für den letzten Schliff von "Crimson Demise", einem Album, das stolz und mühelos zwischen Death und Black Metal changiert und von einer herausragenden Gesangsleistung abgerundet wird, bei der Chris eine ähnliche Bandbreite an Growls, Screams und cleanen Parts erreicht wie Peter Tägtgren in seinen besten Zeiten.

Vom Konzept her verzichtet die Gruppe auf uralte Lovecraft'sche Schrecken und wendet sich stattdessen geradlinigen apokalyptischen Themen zu. Ob Viren, bösartige Bakterien, verrückte Diktatoren, Klimawandel, religiöse und politische Ideologien, korrupte Technologie, Terrorismus oder Krieg, die Menschheit hat sich selbst für den Untergang gezeichnet - in leuchtenden Neonfarben, damit selbst eine außerirdische Spezies, die Galaxien entfernt ist, erkennen kann, was für Narren wir wirklich sind. "Die Menschheit kann sich nicht auf eine gemeinsame Wahrheit einigen, geschweige denn auf eine Strategie zur Lösung ihrer mannigfaltigen Probleme", erklärt Chris, "und bildet somit überhaupt keine Einheit. Der einzige gemeinsame Nenner, der uns alle eint, ist unsere Zerstörungswut, die irgendwann die gesamte Existenz der Menschheit gefährden könnte. Die Utopie wurde durch dystopische Szenarien ersetzt. Welche Formen des negativen menschlichen Verhaltens uns und die Gesellschaft derzeit beeinflussen und letztlich in eine zukünftige Endzeit führen, ist Teil des lyrischen Konzepts von THE OMEGA SWARM."
Aber keine Angst, bevor die Weltuntergangsuhr zum letzten Mal schlägt, soll euch das Vergnügen vergönnt sein, ein abwechslungsreiches, intensives und fesselndes Stück Metal zu erleben, das das neu formierte Trio aus dem Schlafzimmer auf die Bühne bringen will!

Danny Paul Grody's position within the modern instrumental guitar underground is unique - he isn't a polymath or a virtuoso. What he is is someone who plays with extreme feeling and deep emotion, sensations that pour through his audio to anyone listening. It has been this way for his work in his former band Tartentel as well as his solo work over the past 15 years.

2023's "Arc of Day" saw Grody step into a new environment, one where an album bearing his name featured other players, prominently his old friend Rich Douthit on drums / percussion. That glorious album was such an emotional success for the two players that they quickly recorded a sibling album in a darker tone. "Arc of Night" was born. The nature of writing was such that they re-titled the project the Danny Paul Grody Duo as well. Whereas the prior LP focused on "daytime" sounds, such as they are, with bright and ringing acoustic tones, this LP focuses on the darker side. Deep, shimmering electric tones take hold and guide the listener through those hours that can enrich, enchant and haunt us all.

Joined on some tracks by Chuck Johnson (pedal steel) and Trevor Montgomery (bass), this is an album that will make anyone tuned into material by Steve Gunn, William Tyler, Six Organs of Admittance, Jack Rose, Marisa Anderson, Eli Winter or Daniel Bachman quite excited. A great adventure that you and your inclined customers will not soon forget.

Second in a series of reissues from Pierre Jaubert’s Parisound studio archive on Strut Record IS Lafayette Afro Rock Band's elusive funk/Afro original album, 'Soul Makossa' originally released in 1973. Transparent blue colored LP

In 1971, an undocumented seven-member Afro-American ensemble known as the Bobby Boyd Congress made a transformative journey from the United States to France. Bandleader Frank Abel recollects, "We sensed that the soul and funk market was saturated back home, and our original plan was a brief 6-month stint in Paris. Surprisingly, we ended up staying for a decade." Upon lead singer Bobby Boyd's return to the U.S., the group rebranded as Ice and crossed paths with independent producer Pierre Jaubert, a seasoned studio professional with credits on groundbreaking recordings alongside Charles Mingus, John Lee Hooker, and Archie Shepp, among others.

Drawing inspiration from Motown's work ethic, Jaubert initiated regular rehearsals with Ice. He recalled, "I didn't want to mimic Berry, but with seven talented musicians collaborating daily, something unique emerged." The band, residing in Paris and immersed in the African-dominated Barbesse district, began infusing African elements into their music frequently performing with Paris-dwelling Camaroonian and legendary composer Manu Dibango.

Rechristening themselves Lafayette Afro Rock Band, the group's musical direction shifted towards predominantly instrumental compositions, characterized by a weightier, more intricate Afro-funk sound. Their debut recording under this new moniker, 'Soul Makossa,' made a powerful impact with a dynamic rendition of Dibango's classic, coupled with the intense break of 'Hihache' and the contagious 'Nicky.' Initially released by Musidisc in France and later in the U.S. via Editions Makossa, the album omitted the title track due to publishing clearance issues.

Despite modest sales upon its initial release, the album's enduring influence became evident as hip-hop culture surged in the '80s, establishing it as a primary source for samples and riffs. The iconic 'Hihache' break found fame in Biz Markie's 'Nobody Beats The Biz,' and tracks from the album were lifted by LL Cool J, The Beatnuts, Kruder & Dorfmeister, and numerous others.

Sid Spada unveils his first project, STELLAGONY, a unique musical adventure. After several collaborative projects, the Geneva rapper withdrew to craft nine tracks. Nine unique pieces in the sonic puzzle that contemporary rap has become.

STELLAGONY is a chronicle of adolescence, its wanderings, its parties, its excesses, and a certain form of self-destruction. Entering a new phase of his life, Sid Spada scrutinizes his last ten years to narrate his mental and artistic evolution. This project is like a window to the past that allows its author to step back and embrace the future possibilities serenely.

This artistic maturity forged during long months in the studio opens a new era. Each track, shaped by RougeHotel's production (Stranacorpus), who co-signs all the instrumentals of the project, serves as a sonic exploration rather than following fleeting trends.



The album's atmosphere dances between melancholy and the fantasy permitted by hyperpop, drawing from Latin and club sounds. A skillful balance between dark emotions and avant-garde energy is established.

STELLAGONY, produced by Sid Spada's label iuven, is set for release in the spring on Les Disques Magnétiques, a Geneva-based label affiliated with Bongo Joe Records.

All Again. That's the title of the upcoming full-length record from Philadelphia's Queen of Jeans. The LP tracks an entire arc that, by the final hazy vibrato wash of "Do It All Again," bleeds back into the ambient first seconds of the record. "Thought I'd call tonight, hear how you're dealing," Miriam Devora sings to a distant lover on opener "All My Friends" in a neon-lit, melancholy tenor, the precise sound of lonesome love. The full band joins her in a beautiful night time sway, but it's still no use: "I got all my friends around, but I'm not home til I'm alone with you."The rest of the record follows this relationship as it tumbles through loneliness and longing, to elation and joy, to pain and anger, and finally to its foggy close, where Devora admits, "If I got to do it all again, I'd find you there like I did back then."Releasing on Memory Music, All Again is principally an enveloping, rich indie-rock record, changing dance partners between cheek-to-cheek '60s pop sweetness, '90s alt-rock dirt, spacious and pained emo, and the songcraft and melodicism of the sharpest acoustic singer-songwriter acts. Devora (vocals, guitar, keys) and Matheson Glass (lead guitar, piano) took extra care this time to create a Queen of Jeans full-length that reflected in sound and structure the emotional depths they were exploring.It's the first time since their 2015 debut, Dig Yourself, that they've had a full band, with drummer Patrick Wall and bassist Andrew Nitz, to build with. Where on releases like 2022's sparkling lockdown-pop Hiding In Place Devora and Glass had gone into producer and mix/master engineer Will Yip's Studio 4 with sketches and worked with Yip to arrange the songs in studio, this time, they went in with a complete vision for the record. That allowed them to use studio time to expand the record's sonic boundaries. "We had a lot more room to play with some of the ear candy we've always wanted to explore and get weirder in the studio," says Glass.Those elements lend a physicality and playfulness to the memory and emotions that unfurl through All Again. "We're trying to tell the story of when you look back at an important relationship," says Glass. "Years go by, and the more you reflect on it, it becomes more warped and the facts become a little bit more murky. We wanted to play with that and get surreal with the story." (Literally: listen for a "monster" voice in the already-released banger "Karaoke.") The record's artwork, conceptualized by Devora, renders this idea with devastating clarity.

China Crisis is a band that has attracted critical acclaim and chart success over the course of a career stretching back well over 30 years. All tracks recorded at The Paul McCartney Auditorium, Liverpool Institute of Performing Arts, 16th September 2005. Except 'You Did Cut Me', recorded in 2003 during 'An Audience With'. This China Crisis release containing nine chart sigles, is pressed on Yellow vinyl incl. a 18 track bonus CD of the full concert, and includes insert with sleeve notes.

Prehistoric Sounds is the third studio album by the Australian punk rock group The Saints, released in 1978. This was the final album to feature founding lead guitarist, Ed Kuepper, who left the band shortly after the release. The record was described by AllMusic as ""the textbook by which to make a great rock record where horns play as much of a role as guitar"". In 2010, Prehistoric Sounds was listed in the top 50 100 Best Australian Albums. The album features two cover versions of the soul classics ""Security"" by Otis Redding, and ""Save Me"" by Aretha Franklin. Prehistoric Sounds is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl and includes an insert.

Harry Potter And The Cursed Child is a play based on the latest magical Harry Potter story, written by Jack Thorne from an original story written by J.K. Rowling, Thorne and John Tiffany. It’s the eighth story in the Harry Potter series and the first official to be presented on stage. The critically acclaimed production is the most awarded new play in theatre history with a record-breaking eleven nominations and won another record-breaking nine awards, including Best New Play at the 2017 Laurence Olivier Awards. The music is written, composed, performed, and recorded by Grammy and Ivor Novello Award-winner Imogen Heap. It is presented as four contemporary musical suites, each showcasing one of the play’s theatrical acts. This unique new album format from Imogen Heap chronologically features the music heard in the stage production, further reworked to transport listeners on a sonic journey through the world of Harry Potter and the Cursed Child. Harry Potter And The Cursed Child is available as a limited edition of 1000 individually numbered copies on translucent yellow coloured vinyl. This 2LP is housed in a gatefold sleeve and includes an 8-page booklet.

The earliest recordings of Neil Young with Crazy Horse are surrounded by a very special aura. The material is so historic - 55 years! - that the most loyal fans, whose shelves are filled with just about every release by the musician and his formative band, can hardly contain their excitement when new releases from this period are announced. Now the time has come again: EARLY DAZE will be released on June 28 and the excitement among fans is already palpable.

The album will be released on June 28th on black vinyl, CD and digital. A limited edition clear vinyl with exclusive poster will be available at indie retailers. EARLY DAZE is a collection of 10 songs, each one a unique original that became an instant classic and remains so to this day. The recordings on this album have never been heard before and sound as new as when they were made. The EARLY DAZE are back.

The earliest recordings of Neil Young with Crazy Horse are surrounded by a very special aura. The material is so historic - 55 years! - that the most loyal fans, whose shelves are filled with just about every release by the musician and his formative band, can hardly contain their excitement when new releases from this period are announced. Now the time has come again: EARLY DAZE will be released on June 28 and the excitement among fans is already palpable.

The album will be released on June 28th on black vinyl, CD and digital. A limited edition clear vinyl with exclusive poster will be available at indie retailers. EARLY DAZE is a collection of 10 songs, each one a unique original that became an instant classic and remains so to this day. The recordings on this album have never been heard before and sound as new as when they were made. The EARLY DAZE are back.

2024 Repress

Sein drittes Studioalbum “The Learning Of Urgency“ erscheint Anfang Juni 2024 auf ODESZAs angesehenem Label, Foreign Family Collective.

Für Kasbo ist „The Learning Of Urgency“ ein extrem wichtiges Konzept. Das Songwriting kreist um das Thema Entschleunigung, da die letzten Jahre seines Lebens von einem Gefühl des akuten Drucks geprägt waren, der sich in einem unterbewussten Zwang manifestierte, ständig mehr zu erreichen und zu tun. Das Ergebnis hätte ihn fast seine Karriere gekostet, da er einen seltenen, stressbedingten Hörverlust entwickelte. Das Ende der Pandemie relativierte diese Stressfaktoren, und indem er sich mit ihnen auseinandersetzte, war er in der Lage, persönlich und beruflich wieder auf Kurs zu kommen und dieses neue Album zu schreiben. Vier Jahre lang nahm Kasbo „The Learning Of Urgency“ auf, während er hauptsächlich in Göteborg und Stockholm lebte. Er hatte die Gelegenheit, im geschichtsträchtigen Aufnahmestudio Riksmixningsverket (RMV) zu arbeiten, das auf der Insel Skeppsholmen in Stockholm liegt und dessen Besitzer:innen niemand geringeres als ABBA sind. Das Studio ist in einem 150 Jahre alten Lagerhaus untergebracht, das früher von der schwedischen Marine betrieben wurde. Kasbos Musik hat bis heute über 500 Millionen Streams erreicht. Er wurde mit dem schwedischen P3 Gold Award in der Kategorie „Dance Artist Of The Year“ ausgezeichnet und erhielt Lob von Billboard, The FADER, Stereogum und anderen. Mit seinen sich ständig erweiternden Fähigkeiten hat Kasbo als Live-Performer, DJ und Produzent die Dreifaltigkeit der modernen Tanzmusik erreicht.

Sear Bliss liefern ihr Opus Magnum nach einer 30 Jahre langen Reise in die epische Dunkelheit ab - willkommen zu einer Reise in den Weltraum selbst,
dessen Göttlichkeit aus progressiven Komponenten und geschwärztem Chaos besteht: Sear Bliss' "Heavenly Down". Äußerlich mächtig und innerlich
erfüllend, wenden Ungarns metallische Vorreiter einmal mehr ihre charakteristische Formel an, Eleganz und Böses zu vereinen; zwei getrennte
Welten, die sich makellos zu einer besonderen Einheit von höchstem Rang verbinden. Heavenly Down" ist eine galaktische Reise, auf der Sear Bliss die
Regeln des experimentellen Metals neu schreiben, und die Reise ist sehr aufregend, glauben Sie uns: Obwohl "Heavenly Down" die üblichen Black
Metal-Qualitäten enthält, zeigt es eine saubere Form von Sear Bliss' eigener Originalität, gemischt mit einigen üblichen Ausstattungen. Wie nicht
anders zu erwarten, bewahren Sear Bliss ihre Blackened-Wurzeln mit epischen Tremolo-Picking-Passagen, feuernden Blastbeats und András Nagys
anmutigen Schreien, doch der Einsatz von schönen cleanen Gitarren und majestätischen Keyboards fügt dem bereits mächtigen Bild noch etwas
hinzu. Aber keine Angst vor zu viel sanftem Zeug, denn es gibt einige massive Headbanger-Riffs, die einem einfach die Augäpfel rausschreddern.

January 2023, Dorset. Snow is piled at the door, icy roads are closed, and Emily Cross is in a coffin. Not a setting typical for a rebirth. But for Loma, this is where they bring their band back from the brink. "It's like a demon enters the room, whenever we get together", writer, singer and instrumentalist Cross says of the struggle to bring new Loma music into the world. Following the release of their 2020 second album Don't Shy Away, Loma's three members were cast around the globe and the band-not for the first time-entered a deep sleep. Multi-instrumentalist and recording engineer Dan Duszynski remained in his studio in Don't Shy Away's central Texas heart, but Cross, a UK citizen, moved to Dorset, and writer and instrumentalist Jonathan Meiburg left the US for Germany to research a book. In the pandemic years, even being in the same room was impossible, and attempts to start a new record faltered. The following winter, in an attempt to salvage the record and the band, Cross suggested they regroup in the UK, in the tiny stone house-once a coffin-maker's workshop-where she works as an end-of-life doula. With minimal recording gear and few instruments, Loma turned two whitewashed rooms into a makeshift studio, using a padded coffin as a vocal booth. It was a turning point. They scrapped much of what they'd made, letting a new place set a new course. The one-lane roads, hedgerows and dark skies of Dorset gave the new songs an ineffable but unmistakable Englishness. The band used the ruin of a 12th-century chapel as a reverb chamber-surprising hillwalkers who peeked in to find them singing to no one-and the sounds of Cross's chilly workshop wormed their way into the recording: a leaky pipe, a drummer's brushes on a metal lampshade, the voices left on an ancient answering machine. What emerged was How Will I Live Without A Body?: a gorgeous, unique, and oddly comforting album about partnership, loss, regeneration, and fighting the feeling that we're all in this alone. Many of its songs have a feeling of restless motion; faceless characters drift through meetings and partings, tangling together and slipping away. "I Swallowed A Stone" is like a nightmare with a happy ending; "How It Starts" and "Broken Doorbell" reflect on the challenge (and necessity) of wrestling with agoraphobia. Though the record nods to the trio's separate lives- a German percussion ensemble, a pair of Texan owls, and the surf at Chesil Beach make guest appearances-the core of Loma's sound remains intact: earthy, organic and deeply human, anchored by Cross's cool, clear voice. Loma's previous album, Don't Shy Away, was galvanized by the unexpected encouragement and contributions of Brian Eno. This time, they found inspiration in another hero, Laurie Anderson, who offered a chance to work with an AI trained on her entire body of work. Meiburg sent her a photo from his book-in-progress about the once and future life of Antarctica; Anderson's AI responded with two haunting poems. "We used parts of them in a few songs," he says. "And then Dan noticed that one of its lines, 'How will I live without a body?' would be a perfect name for the album, since we nearly lost sight of each other in the recording process." In the end, Loma's efforts to reconnect with one another are the album's central focus: what do you owe a shared past, when everyone and everything has changed? "Making this record tested us all," says Duszynski. "I think that feeling was alchemized through the music." Alchemized, because How Will I Live Without A Body? is by no means a stressed-out record: an undercurrent of deep calm runs through it. But maybe 'relaxed' isn't the right word. It's more like a feeling of relief, of making it through a tough journey together.

FTB’s 1971 ‘Satori’ reissue: white vinyl edition, get it now!

Originally released in 1971, this album marked a significant milestone as the first Japanese artist's work intentionally tailored for international audiences. It made waves not only in Japan but also in the United States and Canada, where the single "SATORI PART 2" climbed to number 8 on the charts. The album's distinctiveness lies in its infusion of Eastern and Japanese musical elements, a reflection of the growing interest in Oriental philosophy across Europe and America during that time.

In the early '70s, Japan was transitioning from the pop-centric GS genre to a more folk-influenced sound, with rock still finding its niche. Despite this, FLOWER TRAVELLIN' BAND garnered support for their pioneering sound, both at home and abroad, maintaining their popularity over the years.

The new album from Lebanese-American musician Solpara, Melancholy Sabotage, marks his full length debut and return to Nicolas Jaar's Other People label. While it was recorded over Covid lockdowns, Jaar had been talking about wanting to back a Solpara full-length since he put out Swing. The album came to life while Solpara was living alone in a Brooklyn loft, collecting unemployment checks and viewing ample free time as the artist residency he'd dreamed of; he'd previously been forced to make music in odd windows between numerous jobs and the unmerciful pace of city life. Free from obligations, he would wake up early to take Arabic lessons online, read Tracey Thorn's autobiography, and skateboard the deserted streets, then come home and design sounds until he had a track that felt like it needed to be released. While this easy going lifestyle was peaceful in many ways, Solpara found more complex inspiration in the emotion that stemmed from participation in Black Lives Matter protests and the 2020 Beirut Port explosion, which rocked all of his extended family members in Lebanon.

Melancholy Sabotage explores the theme of sabotaging melancholy. Echoing sounds from the post-punk, trip-hop, and ambient genres, it is about sabotaging the cycle of melancholy and looking at this process without ignoring the sources that put it into motion. It may be compared to a rattling breaking free from retention, reaching states of dreamy euphoria while simultaneously acknowledging the sources of retention, viewed from above. The sources can be personal, political, or socio-economic. They are to be apprehended post-melancholy, after the sabotaging of the initial cycle of melancholy. In other words, it is about transcending melancholy and understanding where it came from with some distance. It may be beautiful and healthy to feel for a while, but how may one sabotage this cycle when it becomes paralyzing? Ultimately, this album is about feeling melancholy but also resisting it and naming the sources that initiated it.

"Time To Hold Better" points to neglect on both personal and group levels. "This Time Last Year" is a personal time capsule. "We Keep Us Safe" is about solidarity, autonomy, and care witnessed within protest groups. "Melancholy Sabotage" is a sonic exploration of the album concept illustrating anger and sadness, but finally, resistance and liberation from these feelings. "Measures" is a more fluid exploration of the latter after the initial storm has passed. "We Don't Owe" points to bigger bodies inflicting harm on populations that we owe nothing to. "Breaking Points" harkens the times that we may lose focus while pushing to transcend melancholy. "Eviction" is about being pushed out of a space unwillingly while simultaneously being forced to move forward.

Melancholy Sabotage pulls from a range of genres, uniting electronic sounds under the same post-punky glow. It pulls from complex, heavy themes including damage and injustice, presenting Solpara's most moving body of work to date. It highlights the poignance that has always been at the heart of his fluid sound, which caters to dancefloors and avant-garde spaces in equal measure. Working with a mix of dissonant guitars, distorted drum machines, and distant, reverb-washed vocals, Melancholy Sabotage is Solpara's uneasiest outing to date. The record pinpoints the duality at the heart of Solpara's sound, which is as plaintive as it is searing.

Or Kantor, a respected tattoo artist and the creative force behind the renowned "Love Light" studio stepping into the music scene for the first time with his debut album "Sarda Sarda" blending the atmospheric tones of surf music with influences from Mediterranean ballads

Born and raised in west Texas, her upbringing pours through her songwriting in tales of desert highways and the hustle and bustle of oil towns. Laced with heartache, joy, loss and female angst, her songs are ingenious and uniquely her own. On June 28, 2024, Singer/Songwriter Kat Hasty will release her 2021 debut album "Drowning in Dreams" on CD & vinyl for the first time.

“More than ever, people need to hear songwriters talk about their lives. We don’t always have to search for monster hits. We can just write about our lives and maybe that might actually work. That’s what this record is a lot of. A lot of massive songs, but also a lot of me just writing authentically and honestly about my life. Flyin symbolizes the next phase of my career. I feel like I'm flying into this chapter where I’m the best version of myself that I've ever been. Y’all better catch-up or you’re getting left behind. I’m on fire!”

Klassisch. Kult. Legendär. Obligatorisch. Worte können die Bedeutung von Gorgoroths Debütalbum für die zweite Welle des norwegischen Black Metals nicht beschreiben. Jetzt wiederveröffentlicht auf limitierter Picture Disc mit klassischen Originalcover, schwarzer Außenhülle und limitiert auf 500 Stück.

Ende 2022 unterzeichneten ALTAR OF OBLIVION einen Deal mit From the Vaults und veröffentlichten im letzten Jahr die "Burning Memories"-EP, die als Appetizer für ihr kommendes viertes Album diente. Aber NICHTS konnte vorhersehen, was kommen würde. "In The Cesspit Of Divine Decay", das neue Album der dänischen Epic-Doomer, ist ein Konzeptwerk, das auf dem Tagebuch von Gitarrist Martin Meyer Sparvaths Urgroßvater mütterlicherseits, Jesper Wilhem Meyer, basiert, der während des Ersten Weltkriegs (1914-1918) widerwillig für das Deutsche Reich kämpfte.

Die Vorbereitungen für dieses akustische Unterfangen begannen 2005, als die Band eine Demoversion dessen aufnahm, was sich Jahre später in das jetzt fertiggestellte Album verwandeln sollte, das ursprünglich das Debütalbum der frühen Duo-Inkarnation der Band sein sollte. Dieses Album enthält einige der ersten Kreationen der Band, und in vielerlei Hinsicht kann es als eine Art Altar Of Oblivion-Prototyp betrachtet werden, der ihr düsterstes und traditionellstes episches Doom-Werk hervorbringt und ausspuckt. Während und seit der Pandemie waren Altar Of Oblivion im Aufnahmemodus
und haben sowohl neues als auch altes Material fertiggestellt, darunter zwei Alben, zwei EPs und ein Akustikalbum, was der Band eine wohlverdiente Studiopause ermöglicht, um sich von nun an auf Live-Shows zu konzentrieren. Für 2024 sind bereits einige Auftritte bestätigt, und das Kollektiv freut sich nun darauf, wieder auf die Bühne zu gehen, schwerer, älter und stärker als je zuvor. Die Zeit wird zeigen, ob Live-Auftritte die richtige Kur für einen schweren Fall von verfärbter Studio-Bräune sind.

Kaipa sind zurück! Im Sommer 1964 begann die musikalische Karriere von Hans Lundin, als er Mitglied seiner ersten Band als Organist und Sänger wurde. Er sagt, dass die folgenden Jahre "die beste Ausbildung waren, die ich je bekommen konnte". Neun Jahre später, 1973, gründete er die Gruppe KAIPA. Jetzt, 60 Jahre nach Beginn seiner Karriere, sind er und seine aktuellen Bandkollegen Per Nilsson, Jonas Reingold, Darby Todd, Patrik Lundström & Aleena Gibson stolz darauf, die Veröffentlichung von Kaipas 15. Studioalbum "Sommargryningsljus" (Summer Dawn Light) anzukündigen. "Eine flüsternde Morgendämmerung, die Sonne ist auf dem Weg, um einen brandneuen Tag aus den Schatten der Nacht zu eröffnen", heißt es zu Beginn des Songs "Songs in Our Hands". Das Thema der Morgendämmerung lag Hans Lundin in seinem Songwriting schon immer sehr am Herzen. Auf seinem selbstbetitelten Debütalbum, das 1975, also vor 49 Jahren, erschien, schrieb er darüber in dem Lied "Se var morgon gry". Auch in den Liedern "Dagens port" und "Visa i sommaren" auf den folgenden Alben kehrte er zu diesem Thema zurück. Mit dem neuen Album schließt er den Kreis und kehrt dorthin zurück, wo alles begann. "Sommargryningsljus" enthält acht Stücke, die eine nächtliche Reise von der Abenddämmerung bis zum Morgengrauen darstellen, wobei die ersten beiden Stücke die Dämmerung und die letzten beiden die Morgendämmerung repräsentieren. Diese nächtliche Odyssee kann als Metapher für den Zustand zwischen Tod und Wiedergeburt oder als Allegorie des Lebens in umgekehrter Reihenfolge betrachtet werden.

Like an unsent love letter to a psychedelic London where everyone is trying to find their way to a secret Television Personalities gig, Cuneiform Tabs emerge with an astounding debut of lo-fi pop and DIY experimentation. A hazy collage of joyful heartaches, twisted children's TV themes and sing-song melodies, the album echoes the sounds of '60s AM radio from a dozen narrow alleyways to the North.

Over 18 months, the Tabs' Matt Bieyle and Sterling Mackinnon traded 4-track tapes between the Bay Area and the UK. While they previously played together in indie band Violent Change, the duo's physical distance and their songwriting process of building, blurring and distorting across the Atlantic would create something no one saw coming. Grabbing any instruments at their disposal and splitting vocal duties, Bieyle and Mackinnon pushed their Tascam to its limit to make glittering, odd-shaped gems.

There is an insular feel to Cuneiform Tabs, suited for late nights after the entire city has stumbled into dreamtime or lazy afternoons when you can't quite recall where you need to be, but you know you won't make it there on time. It's like a pirate radio show where Bob Pollard alternates Swell Maps and Cleaners From Venus records while randomly unplugging various bits of gear and reading passages from a book on R.D. Laing.

Originally released in a hyper-limited artist edition, W.25TH / Superior Viaduct is thrilled to bring this kaleidoscopic LP to a wider audience.

Mit einem der besten Symphonic-Metal-Alben, die je aufgenommen wurden, waren After Forever ihrer Zeit voraus und legten den Grundstein für spätere Bands. Dies ist eine remasterte Version ihres selbstbetitelten und letzten Albums, das jetzt in cremeweißem Vinyl erhältlich ist.

Vor langer Zeit waren After Forever eine Kraft, mit der man in der Symphonic-Metal-Welt rechnen musste. Auf dieser 15. Jubiläumsausgabe gibt es zwei neue Songs, und vor allem "Sweet Closure" bringt alles, was die Band ausmacht, für ein letztes Hurra auf den Tisch, und dazu gehört natürlich auch eine beeindruckende Instrumentierung. Es ist eine glorreiche Rückkehr zur Form, die perfekt in das Album passt.

Dies ist eine perfekt remasterte Version des selbstbetitelten und letzten Albums der Band, die unglaublich klar klingt und dabei nichts von der metallischen Wucht der ursprünglichen Veröffentlichung einbüßt.

Die Hamburger Punk Chaoten AXIDS veröffentlichen am 28. Juni mit den Amis von Knelt Before aus Oregon ein Split-MINI-Album mit dem Titel "SPLITSCREEN". Darauf zu hören: eigene Songs der beiden Bands und gegenseitiges Covern. Klingt nach Spaß, Krach und ewiger Adoleszenz. Die eine Seite voller stabiler HC-Screamo-Anthems, die andere eine konsequente Weiterführung, was die AXIDS 2021 mit ihrem Release "KIDS WITH AN AXE" gestartet haben: ein wilder Mix aus Punk, Garage und Black Metal mit einer ordentlichen Portion Wahnsinn. Musikalisch weiterentwickelt, bleibt inhaltlich alles beim Alten: Scream of Consciousness, Humor und purer Blödsinn. Die Titel sprechen für sich. Hier und dort taucht dann aber doch mal eine Message auf: "Nie wieder Krieg. Nie wieder Voldemort!" - zu hören im Opener: AXIDPELLIARMUS _ Wie es zu der Split gekommen ist, erzählen die AXIDS so: "Als wir das ganze vor drei Jahren gestartet haben, sind wir schnell über Insta mit unendlich vielen nicen Leuten in Kontakt gekommen. So auch mit Knelt Before. Wir haben uns sofort verstanden und eine Bandfreundschaft ist trotz der großen Distanz entstanden." Die Split läuft unter dem Titel Splitscreen und zeigt, wie die Jungs von beiden Bands aufgewachsen sind: Popkultur, Videospiele und Punkrock. Parallelen und Unterschiede wurden hier mit viel Passion fürs Detail von dem Künstler Rachid Lotf für das Cover Artwork in Szene gesetzt. Aufgenommen wurde die Seite der AXIDS von Yannig Malry - kein Unbekannter in der deutschen Punkszene - im Off Ya Tree Studio in Hamburg. Den Mix verantwortet Tobi Forneberg, der ansonsten für seine Extrem-Metal-Produktionen oder als Live-Mischer vom Freak Valley Festival bekannt ist. Ein musikalischer Spagat, der den AXIDS zugute kommt. Veredelt wurde das ganze zum Schluss von Philipp Welsing von Original Mastering.

After Sunrise, the new collaboration from Circles Around The Sun and Mikaela Davis reunites the disco cosmonauts and acclaimed harpist for further explorations of the synergy first showcased on the title track of CATS’ 2023 album, Language.

Comprised of two new original compositions, ‘Gloaming Way’ and ‘Moonbow’, and an inspired interpretation of Brazilian legend Sérgio Mendes’ ‘After Sunrise,’ the album features the first appearance of vocals on a Circles Around The Sun recording, sung by Davis. A live take on ‘Language’ rounds out the second side and brings the pairing full circle.

Once the endless night of the discotheque finally gives way to morning light, you may find yourself seaside as the sun peeks over the horizon. As the party rolls through the dawn and into the day, this is the soundtrack.

This is After Sunrise. If it’s nice, play it twice."

Underground lifer Nick Sakes returns on the debut LP from Upright Forms. The tight-knit Minneapolis trio feels like the culmination of Sakes' varied and prolific career to date, bringing together the unhinged prog-punk ferocity of Dazzling Killmen & Colossamite with the careening chaos of Xaddax and the shout-along hooks and dynamic songcraft of Sicbay. Blurred Wires is skewed yet tuneful, challenging yet compulsively listenable, concise yet brimming with invention. The experience of a lifetime distilled to 33 rotations across a gripping 33 minutes.

Consider “They Kept on Living,” a song that first appeared in an earlier version on the SKiN GRAFT comp Sounds to Make You Shudder!. It starts off with a grinding 7/4 groove, with cryptic lines over scratchy noise-punk chords. After a brief build, the band explodes into a massive chorus, with Sakes shouting the title line against a fist-pumping riff.

The trio sound equally convincing digging into the pummeling aggression of “My Lower Self,” where Sakes’ vocals start off as a feral snarl and then soar triumphantly during the chorus, or the soothing indie-pop hush of the Paster-penned “Drive at Night.”

Various “tug-at-your-heartstrings” touchstones informed “Long Shadow”. Sakes channeled Television Personalities, cult heroes of melodic British post-punk, on “Animositine,” which he accurately labels “our prettiest song.”

Nearly 35 years into his career, Sakes is finding new ways to challenge himself — and in Paster and Westphal, he’s found two musicians who are equally comfortable with both the thorniest and the loveliest manifestations of underground rock. When they reflect on their chemistry, they agree that their openness to collaboration is, as Sakes puts it, “one of our superpowers.”

On Blurred Wires, that superpower yields dynamic, challenging and profoundly memorable results.

Limited Edition MOD Compact Disc in Digipak Lite packaging."

Step Ball Chain recruits the French maestro Batenko for a club cut EP, a kiss from the underground laden with tweaked tools exhibiting an already imitable signature sound. The inconspicuous producer based in Marseille reveals a four track feast dipping into corners of forward thinking techno, bass and unexpected dance delight, centered in flirty, freaky mastery. Gamma-Ray Bursts delivers delicious locked grooves for late night deviants; obscure vocal fragments fidget over driving basslines, momentary euphoria and a feverish pulsation that is core to the label.

Auf ,From The Source", dem ersten neuen Studioalbum von Causa Sui seit vier Jahren, hat die Band eine ihrer ehrgeizigsten Musiken überhaupt geschaffen - eine Reise durch die Klanglandschaften, die den Sound der Gruppe ausmachen, und ein Vorstoß zu neuen Horizonten. Mit ihren Verbindungen zu Jazz, experimenteller und Ambient-Musik sind Causa Sui so etwas wie eine Anomalie in der ständig wachsenden europäischen Psychedelic-Rock-Szene. Sie gehen immer ihren eigenen Weg. Nie zuvor wurden die weitreichenden Einflüsse der Gruppe so sorgfältig miteinander verwoben wie auf ,From The Source", von groovigem Zamrock und elektrischem Jazz bis hin zu schwebendem Post-Rock, Sabbath-Riffs und hypnotischer Kosmik. Das Album wurde in monatelangen Sessions im eigenen Studio aufgenommen, wobei jeder Teil durch intensive Erkundungen schrittweise verfeinert wurde, aber dennoch Raum für Improvisation blieb und die Magie der klinischen Perfektion vorgezogen wurde. Das Temperament der Musik reicht von eisern heiß bis eiskalt, mit allen dazwischen liegenden Ebbe und Flut. Die dynamische Bandbreite war schon immer von zentraler Bedeutung für Causa Sui, aber auf diesem Album erforscht die Band sie in einem neuen Ausmaß - jeder Track dreht und wendet sich und führt den Hörer nahtlos auf unvorhersehbare Pfade. Der Höhepunkt des Albums, und wohl auch des einzigartigen Ethos der Band im Allgemeinen, ist die seitliche Odyssee ,Visions of a New Horizon" - eine 24-minütige Suite in sieben Teilen. Ein angemessener Abschluss des Albums, das in diesem Jahr das 20-jährige Bestehen der Band markiert.

Die schwedische Post-Rock-Band OH HIROSHIMA kehrt zurück, um in einem Zeitalter der verblassten Jugend und der Ernüchterung für Wunder und Ehrfurcht einzutreten. All Things Shining", das fünfte Studioalbum der Band, zeigt das auf einen brüderlichen Kern reduzierte Projekt, während es sich immer weiter in neue klangliche Gefilde ausdehnt. Vor über 15 Jahren als DIY-Post-Rock-Aufnahmeprojekt in Kristinehamn gegründet, ist Oh Hiroshima stetig über seine schwedische Heimatstadt hinausgewachsen und zu einem hoch angesehenen Studio- und Live-Projekt in der internationalen Post-Rock-Szene geworden. Nach vier abwechslungsreichen Alben, die Elemente von Shoegaze, Electronica, Post-Punk und tanzbarem Indie-Rock beinhalten, stellt Oh Hiroshimas bevorstehende fünfte Veröffentlichung All Things Shining" eine bedeutende Entwicklung im Songwriting und Sounddesign der Band dar. All Things Shining" ist eine musikalische Reflexion über den bisherigen Lebensweg der Band und darüber, dass das Staunen über die Welt heutzutage so viel schwieriger zu erreichen ist - ein weiterer bedeutender Meilenstein in Oh Hiroshimas Reise. Das Album, das gleichzeitig persönlich und universell ist, dient als klangliche Erkundung der zweischneidigen Natur des Alterns; das zweischneidige Schwert der Anhäufung lebensbejahender Erfahrungen, die unweigerlich unsere Wahrnehmung der Welt um uns herum trüben. Wie der Titel schon andeutet, betonen Oh Hiroshima jedoch, dass noch nicht alles verloren ist. Mit Songs, die von zeitlosen literarischen Werken inspiriert sind, die für Jakob und Oskar im Laufe ihres Lebens von zentraler Bedeutung waren, ist "All Things Shining" eine Erinnerung daran, dass es im Gegensatz zu den anderen Bands, die sich mit dem Alter befassen, noch etwas gibt.

Die schwedische Post-Rock-Band OH HIROSHIMA kehrt zurück, um in einem Zeitalter der verblassten Jugend und der Ernüchterung für Wunder und Ehrfurcht einzutreten. All Things Shining", das fünfte Studioalbum der Band, zeigt das auf einen brüderlichen Kern reduzierte Projekt, während es sich immer weiter in neue klangliche Gefilde ausdehnt. Vor über 15 Jahren als DIY-Post-Rock-Aufnahmeprojekt in Kristinehamn gegründet, ist Oh Hiroshima stetig über seine schwedische Heimatstadt hinausgewachsen und zu einem hoch angesehenen Studio- und Live-Projekt in der internationalen Post-Rock-Szene geworden. Nach vier abwechslungsreichen Alben, die Elemente von Shoegaze, Electronica, Post-Punk und tanzbarem Indie-Rock beinhalten, stellt Oh Hiroshimas bevorstehende fünfte Veröffentlichung All Things Shining" eine bedeutende Entwicklung im Songwriting und Sounddesign der Band dar. All Things Shining" ist eine musikalische Reflexion über den bisherigen Lebensweg der Band und darüber, dass das Staunen über die Welt heutzutage so viel schwieriger zu erreichen ist - ein weiterer bedeutender Meilenstein in Oh Hiroshimas Reise. Das Album, das gleichzeitig persönlich und universell ist, dient als klangliche Erkundung der zweischneidigen Natur des Alterns; das zweischneidige Schwert der Anhäufung lebensbejahender Erfahrungen, die unweigerlich unsere Wahrnehmung der Welt um uns herum trüben. Wie der Titel schon andeutet, betonen Oh Hiroshima jedoch, dass noch nicht alles verloren ist. Mit Songs, die von zeitlosen literarischen Werken inspiriert sind, die für Jakob und Oskar im Laufe ihres Lebens von zentraler Bedeutung waren, ist "All Things Shining" eine Erinnerung daran, dass es im Gegensatz zu den anderen Bands, die sich mit dem Alter befassen, noch etwas gibt.

Madlib Invazion presents a colored vinyl issue of the long out of print 11th issue on the Madlib Medicine Show series - Low Budget High-Fi Music, on clear pink vinyl. In 2010, Madlib launched an ambitious series of releases known as the Madlib Medicine Show, which allowed the prolific producer to release new material on a monthly basis. The series touched on all the genres Madlib digs, and that’s just about any genre you can consider - from Jazz to Rock, Soul to Disco, myriad African musics, Brazilian and Reggae. On the 11th installment in series Madlib returned to his hip hop roots with Low Budget High-Fi Music. Featuring a run-down of regular Madlib collaborators who provide the Beat Konducta’s foil, it also included a hint of what was meant to come on the never-realized second Jaylib album, with a previously unreleased J Dilla collaboration."

Repressed. In 2010, Madlib launched an ambitious series of releases known as the Madlib Medicine Show, which allowed

the prolific producer to release new material on a monthly basis. The series touched on all the genres Madlib digs, and that’s just about any genre you can consider from Jazz to Rock, Soul to Disco, myriad African musics, Brazilian and Reggae. On the 11th installment in series Madlib returned to his hip hop roots with Low Budget High-Fi Music. Featuring a run-down of regular Madlib collaborators who provide the Beat Konducta’s foil, it also included a hint of what was meant to come on the never-realized second Jaylib album, with a previously unreleased J Dilla collaboration.

As the summer season approaches, here comes Kito Jempere and Hard Ton with a perfect summer jam! Taken from upcoming fifth Kito Jempere album, ''The Sound of Love'' is a classic early nineties balearic beat ballad - 96 beats per minute of morning bliss, mellow
pads, enigma-esque drums and beautiful vocal drama by one and only Hard Ton.
Besides the title track and a new club driven remix from man-of-the-hour Eden Burns, vinyl is packed with an array of old and new goodies. Much requested Andras remix from 2020 previously available digitally only. Live version of previous Hard Ton collaboration, ''Your
Ghost in Me'', played by 8-piece Kito Jempere Live Band. Plus another two massive and previously ''digital only'' remixes from Eden Burns for all your dance-club needs. And all this comes with a beautiful sleeve from Berlin based photographer Alexey Kiselev.

SABÏRE has now returned in 2024 with a 15 track epic, self-styled "half-concept" album, "Jätt", 5 years in the making. SABÏRE began at the tail end of 2010 as an idea to have a band that played simply what came naturally on guitar to Scarlett Monastyrski with no set genre or category. Simply the natural music. Shortly thereafter, the concept grew to accompany that sound with a big show and distinctive stylisation. The biting and sharp sound production, along with their personal lyrics, birthed for them a label for their music: ACID METAL. Not to be confused with the mind altering substance, Acid Metal took its name from the concentrated corrosive fluid not unlike the blood of the Xenomorph in the Alien films. The instruments are awash with acidic modulation, "like a drop of acid in the dark." The lyrics all hold a tinge of biting realism that once realised by the listener, stings them like a droplet of acid resting upon their skin. To take their metaphor further, their distinctive production style let's stand apart from the rest of the "modern" sound that degrades the potentcy of many new bands. They call it "brick culture," because it all sounds the same. Concentrated acid burns all the way through anything solid leaving a hot trail behind it, like the band continues to do so with garnering the attention of the world of heavy music. Band leader Scarlett Monastyrski comments : " 'Jätt' is meant to be THE sound of SABÏRE. A monolith to what we stand for artistically. We wanted this album to be its own art piece rather than simply a collection of arbitrary songs, a really 'blue' coloured sound. The physical copies hold beautifully styled texts detailing the concept for those chosen songs, as well as small epistles to accompany each track," says . “ 'Jätt' is a “blue” sounding album; the colour. You may understand that more when listening to the album yourself. The cover of 'Jätt', “Dante and Virgil in the Ninth Circle of Hell” - Gustav Doré, 1861, could be seen through a symbolic lense in which the listener is symbolised as Dante, the artist as Virgil, and the bodies locked within the ice of frozen lake as the music surrounding them; we as the artist are shepherding the listener through the mire. This could be perceived like this, or you may just see it as an attractive album cover. “ "We put our heart and soul into this one and can't wait to give our Wild Ones and Acid Fiends what they've been so patiently waiting for