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Im Gepäck haben sie ihr viertes Studioalbum ‚Expedition One‘, welches die fiktive Geschichte des Lebens auf unserem Planeten im Jahr 2055 erzählt. Der gläserne Mensch ist bittere Realität geworden, körperliche und psychische Erkrankungen bestimmen zunehmend mehr unser Dasein. Angeführt von fünf Kommandanten plant ein Team aus abtrünnigen Mitarbeitern von Geheimdienst, Militär und führenden Technologieunternehmen eine Überlebensexpedition zu fernen Planeten. Ihre Mission: die Menschheit von der zerstörten Erde in eine neue Welt zu bringen, um neues Leben zu schaffen. ‚Expedition One‘ kommt am 19.01.2024 als elegant farbige Ltd. Doppel-Vinyl, als Digipak sowie digital und begeistert mit einer Vielzahl abwechslungsreicher Kompositionen und einer intelligenten Sci-Fi-Story, die aktueller kaum sein könnte.

The Great Joe Lewandowski Is Back on Skylax After the Explosion of His Previous Ep "Here I Am" Played by Just About Everyone From Arnaud Rebotini to the Hacker, Jennifer Cardini, Boris or Dax J and Acclaimed by the International Press (Ransom Note, Faze Magazine +++). This New 12 Inch Is the Logical Continuation With Always This Subtle Mixture to Find the Perfect Balance Between New Wave, Italo, Rock Completed by the Sepulchral Voice of Stolt and a Deafening Remix of the Brilliant Mufti. a Must...

Black Grape, eine Band, die nur in Manchester entstehen konnte, melden sich mit dem brandneuen Album ORANGE HEAD zurück. Shaun Ryder (Happy Mondays) hat sich vom wilden jungen Rabauken zu einem britischen Nationalschatz entwickelt. Ihm zur Seite steht Rapper Paul Leveridge aka Kermit. Black Grape gelten als eine der innovativsten und kultigsten Bands der letzten 25 Jahre. Sie hatten vier Top-10-Singles, ihr Debütalbum 'It's Great When You're Straight… Yeah' schoss 1995 direkt auf #1 der UK Charts und wurde mit Platin ausgezeichnet. Der Nachfolger 'Stupid Stupid Stupid' erreichte 1997 Gold. Black Grape waren schon immer ein düsteres, kosmisches musikalisches Puzzle, das Rock, Hip-Hop, Acid House, psychedelischen Pop und Reggae mit Ryders Gossenpoesie vermischte, vorgetragen in seinem unnachahmlich-hysterischen Stil.

Attention Banger Alert! Parissior Is a Spanish Dj Producer Who Has Been Producing Countless Tracks for Many Years Now. His Style Could Be Described as a Mix of Dark Disco, Indie Dance, Italo, Trance but Personally We Think It Goes Much Further. He Has a Total Mastery of the Art of Production (Something We Have Rarely Seen), It Looks More Like Sound Design It Sounds So Huge. His Tracks Are Not Just Dj Tools to Be Played but Bangers to Send in Pick Time. It Is Extremely Powerful, We Have Already Verified This During Our Recent Skylax Evenings (Especially for Our Event &Ldquo;série Noire”) and We Can Tell You That the Effect Is Devastating. for Us, He Managed the Perfect Ep, the One That All the Italian Indie Dance Producers, Even the Biggest Names in the Genre, Failed to Create. There's Nothing Cheesy About It, We've Been Listening to His Music Non-Stop Since We Received It, No Weariness in Sight. This Guy Is Monstrous. the 12 Inch Begins With the Brilliant Antennae, Which Is the Perfect Mix of Italo New Wave & Trance, Followed by Canes Venatici Which Could Have Been Created by Daft Punk if They Had Chosen to Be Less Commercial and Put Their Balls on the Table Instead of Hiding Behind Masks. Ceres and Alpha Apodis Follow the Same Line. We Miss Words So Much This Maxi Is Gigantic. a F%c$ing Masterpiece. to Add a Final Touch, Just Note That Many of His Recent Productions Have Been Recently Played a Lot by Pablo Bozzi & Soft Crash at Hör Berlin....

plastic death - the second album by glass beach - is a follow-up record almost five years in the making. The band's 2019 debut, aptly titled the first glass beach album , has over the years grown a cult fanbase for its unflinching depiction of queer life as mediated through social media, its oversized ambition, and its scrappy yet adventurous production. And while it took some time to arrive, plastic death sounds like the logical expansion of all the things that made their first album so special. Years and years of relentless writing, tinkering demos, cancelled tours and a few lockdowns only strengthen the chaotic core of what makes glass beach' s maximalist approach work so well. Frontperson and primary songwriter J McClendon is joined by lead guitarist Layne Smith, bassist Jonas Newhouse and drummer William White to create something adventurous on each song. Trumpet, trombone, violin, and even marimba dance and bloom alongside the band's own creative and dextrous instrumentation - a stunning, transformative creation that pulls from indie rock, jazz, prog, hardcore, metal, experimental, and beyond. Songs like lead single "the CIA," are examples of the band's ambitious writing. It's a dark, dancy, post-punk/jazz hybrid, a coordinated, breathless braid of synth and saturated guitar. Tension and confusion explode into a brutal modern metal climax to close the track, flickering with glitchy production zaps and razor-sharp stops. The artwork of plastic death is similarly rich with detail, resulting in a bioluminescent, fully-realized double album depicting sprawling scenes where moments of neon brightness shine momentarily in a dark undersea - a metaphor for the moments of optimism and catharsis glass beach provide on these songs. "This album is the Pacific garbage patch: cultural trash strewn together seemingly by accident, standing in stark juxtaposition to each other ," says McClendon. plastic death is a complete, uncompromising, playful work of art; every corner and crevice of the record's 13 tracks, each arrangement and timbre and texture, is alive with intention and possibility.

plastic death - the second album by glass beach - is a follow-up record almost five years in the making. The band's 2019 debut, aptly titled the first glass beach album , has over the years grown a cult fanbase for its unflinching depiction of queer life as mediated through social media, its oversized ambition, and its scrappy yet adventurous production. And while it took some time to arrive, plastic death sounds like the logical expansion of all the things that made their first album so special. Years and years of relentless writing, tinkering demos, cancelled tours and a few lockdowns only strengthen the chaotic core of what makes glass beach' s maximalist approach work so well. Frontperson and primary songwriter J McClendon is joined by lead guitarist Layne Smith, bassist Jonas Newhouse and drummer William White to create something adventurous on each song. Trumpet, trombone, violin, and even marimba dance and bloom alongside the band's own creative and dextrous instrumentation - a stunning, transformative creation that pulls from indie rock, jazz, prog, hardcore, metal, experimental, and beyond. Songs like lead single "the CIA," are examples of the band's ambitious writing. It's a dark, dancy, post-punk/jazz hybrid, a coordinated, breathless braid of synth and saturated guitar. Tension and confusion explode into a brutal modern metal climax to close the track, flickering with glitchy production zaps and razor-sharp stops. The artwork of plastic death is similarly rich with detail, resulting in a bioluminescent, fully-realized double album depicting sprawling scenes where moments of neon brightness shine momentarily in a dark undersea - a metaphor for the moments of optimism and catharsis glass beach provide on these songs. "This album is the Pacific garbage patch: cultural trash strewn together seemingly by accident, standing in stark juxtaposition to each other ," says McClendon. plastic death is a complete, uncompromising, playful work of art; every corner and crevice of the record's 13 tracks, each arrangement and timbre and texture, is alive with intention and possibility.

Fakear needed to reinvent himself. To return to the essence of his project, with spontaneity and above all, honesty. Ten years after his first steps in the industry, Fakear now returns to his roots, without looking to the past with nostalgia or contempt; but rather by contemplating his past self with kindness.And this new wave got expressed in one word : Talisman, his last album that came out in February 2023. Alongside a sold out French and European tour, a show at Le Trianon in Paris also sold out, and soon one in salle Pleyel (in February 2024).But such a comeback doesn’t just completely stop after only one album – even though it was particularly noteworthy to the media and the audience. And neither does the inspiration for Fakear.This is how Hypertalisman was born. Like the following of this rebirth and this new inspiration for Théo. Like an extension of Talisman: a new dimension, a parallel universe.“Talisman was me returning to my roots. Hypertalisman is a window to the future.”

Entfesselt den unerbittlichen Zorn und betretet das nächtliche Reich, in dem uralte Kräfte und ungezähmtes Chaos herrschen. UPON STONE's "Dead Mother Moon" ist nicht nur ein Album - es ist eine Beschwörung der rohen, wilden Kraft, die sich im menschlichen Geist regt, wenn er von der Dunkelheit der Natur in ihrer erbarmungslosen Einsamkeit umgeben ist. Dieses Album fängt die Essenz der Melodic-Death-Metal-Klassiker der frühen 90er Jahre ein und haucht ihrer Größe neues Leben ein. Lasst die Intensität der Nacht die ursprüngliche Energie in Euch erwecken! Hört UPON STONEs triumphales Debütalbum "Dead Mother Moon" und fühlt Euch für immer!

It's the pair you've all been waiting for! FINALLY!

Alan Tew's driving jazz-rock, sleuth-funk masterpiece, Drama Suite Part I is finally reissued to sate your appetites for arguably the very best library two-parter in existence. If you don’t know, get to know. Originally released in 1976 but wonderfully timeless, Drama Suite Part I is at the top of every library funk collectors' list. It's easy to see why...

Racing out the gate, the gritty crime funk of "The Detectives" makes for a thrilling, wild ride. A dramatic action theme, it's packed with strident playing and bags of attitude. There follows 10 (ten!) drama-tinged, horn-heavy, wah-wah-laced, conga-enhanced, synth-riddled links for neat segues and maximum funk fever. "Helicop" is another fast paced and energetic dramatic action background with great breaks and horns. "The Big One (Prelude)" has an ace bassline and creeps along superbly to create expectation and contains an amazing rolling piano loop that just stops you dead in your tracks. It's all building to "The Big One", a driving, dramatic, full-band action with fantastic funk breaks, heavy horns and *that* piano refrain. It was sampled by Jay-Z, and you can't really blame him, can you? The brief, tense "Headlights" and (even briefer) burner "The Burn" add some - you guessed it - deep drama over insistent rhythms to close out Side A.

Flip over for "The Detectives (Slow Version)", a relaxed, thoughtful version featuring synths. You might recognise it as being sampled by Domo Genesis and Evidence for "Tallulah" from their brilliant collaboration a few years ago. "The Detectives (Interlude)" is another slow, pensive version featuring electric piano and a trombone solo in the centre section. There follows 6 further links, Detectives versions essentially, with guitars, electric pianos, flugelhorns - all very cool and relaxed rhythms. The strutting majesty of big-time highlight "The Build Up" is next. It's a medium-slow drama background with occasional light statements of The Detectives theme peppered throughout. Nice. The fantastically-titled "Snout" is a slow, tense background theme which features a repetitive guitar figure with alto flutes over the top. The tense, stabby funk of "The Prowler" rounds out proceedings, with nervous figures over a slow, insistent cymbal beat.

As with all of our KPM re-issues, the audio for Drama Suite Part I comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity. We're not quite sure what else to say about this landmark record, other than, GET IT!

It's the pair you've all been waiting for! FINALLY!

Alan Tew's Drama Suite Part II. What can we really say? Honestly? We guess the first thing that strikes you is how clean the drums are. Almost impossibly slick but dripping so, so heavy with the neck-snapping funk you'd expect from perhaps the most sought-after library funk set of them all! The cheapest on Discogs is, currently, £1300+. Now's your chance to remedy that. If you know, you know. And we think you know...

"The Rub" is a cool, low-slung heavy-funk roller with relaxed brass and alto flute phrases. Up next, "Money Runner" is another edgy funk glider, its easy-tempo moving in harmony with slinky rhythmic riffs and featuring a seemingly ad-libbed electric piano solo. Strutting along after, "White Elephant Walk" is another laconic, deeply stoned walking theme with electric piano and alto flutes. There follows a couple of brief "walking" links before the brilliantly tense "Master Plan" slowly builds. Expectancy grows to the main theme around a minute in and then a melodic theme builds slightly to the 3 minute mark before floating down gradually and elegantly to its climax. It's utterly fantastic. The smoky, after-hours "Night Watch" is a slow, cool gem featuring alto flutes and synths.

Now we're talking, "The Fence (a)" is just sensational and worth buying this album all on its own. It's likely the reason you're here, anyway. Another impossibly funky, slow and easy tempo with a bass riff to die for, dramatic guitar with gorgeous electric piano and alto flute phrases. It was sampled for "Action Satisfaction" by J5, way way back. "The Fence (b)" is a slower, more deliberate version of the previous heater, but it's no less essential. Indeed, it's absolutely jaw-drooping. Closing out this remarkable side, "Surveillance" is another horizontal masterpiece of relaxed yet dramatic jazz-funk. Vibes ad-lib in centre section and give you an idea of how Roy Ayers making library funk in the mid-late 70s might've sounded. Sensational.

Flip over for "Total Silence", a near-beatless and understated scene-setter featuring neat interplay of guitar and synthesizer themes over bass and hi-hats. The slow "Eyes" follows, a brief gem with subdued electric piano solo and a light climax. The fantastic "Drama Backcloth (1a)" is up next, a repetitive piano and bass refrain with guitar figures over the top. Its creeping crime-funk vibe was pilfered for "Outta Town Shit" by Ghostface Killah in 2006. "Drama Backcloth (1b)" is a short, subdued version without the guitar figure. "Drama Backcloth (2)" features an expectant, background marimba figure over light rhythm whilst the cool "Drama Backcloth (3)" centres around a relaxed riff and the angular "Drama Backcloth (4)" presents eerie progressions with piano interjections. It's decidedly non-rhythmic!

We're then onto 14 (!) different half-minute "Scenechanges", all jazzy and funky, some cool and dramatic, some slow and rhythmic. All ace and groove-fuelled. The aptly-titled "Final Statement" closes proceedings, a slow, pensive theme on guitar joined by cool brass and a solo trumpet to its climax.

As with all of our KPM re-issues, the audio for Drama Suite Part II comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity. We're not quite sure what else to say about this landmark record, other than, GET IT!

Impossible to find in the wild, KPM's Image is exactly that; this record paints extraordinary, hyper-vivid scenes with music, in the way only the library greats can. Originally released in 1974, Image is an absolutely stunning listen from start to finish, and arguably the most wanted KPM grail that's still not been reissued - until now! Just too good…

Worth the price of admission alone, and likely the reason you're all already drooling about this release, the mellow, dramatic beat of "Image", Brian Bennett's opener and title track, is a Jaylib-sampled firecracker. A reflective, scenic underscore which grows to full orchestra and ends as it begins - it's just beautiful. Next up, swoon to "The Little Orphan" by Neil Richardson featuring strings and harp. It's a deeply emotive, sweeping orchestral piece. Just straight gorgeous. It's followed by "Paradise Island", a lush, horizontal Balearic gem courtesy of Gordon Rees and David Gold; it'll send you into a blissful reverie with its elegant strings and gentle drums. From the same pair, "Forbidden Fruit" is, again, string-drenched but the strings are more insistent, stabbing even, and, with drums and Blaxploitation guitars high up in the mix, it's definitely a funkier proposition. "The Enchantress", again a Rees-Gold special, is a slower, groovy, synthy wonder. Closing out the A-Side, "Phenomena" is a mysterious gem, a Gold solo effort set at a breezier tempo with propulsive percussion and head nod, fast-paced breaks with ace keys.

Flip over for "Infinite Expanse", John Scott's dramatic panorama adorned with proud, triumphant horns. Scott's "Static Objects" paints patient, pastoral scenes; there's a serenity and stillness to the proceedings. Next up, Be With favourite John Fiddy delivers shifting shapes and patterns with his wonderful "Metamorphosis", all wah wah, harps, dramatic percussion and strings. It's by turns billowy and blasting. "Cubist Pictures" follows, Neil Richardson's brilliant nebulous, fragmentary piece. Better yet, Richardson's gorgeous, beatless "Analysis" follows, and it's an orchestral beauty featuring cello, harps and woodwind. It's no exaggeration to describe this as transcendental. His "Crystal Ball" presents more static scenes with cello, twinkling percussion and strings, before Steve Gray's fantastically-titled softly-ace "Gliding Through Clouds" closes out this remarkable set.

As with all of our KPM re-issues, the audio for Image comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.

Joseph Omicil, Jr, a.k.a. Jowee Omicil, is a Haitian-Canadian jazz musician. He has worked in the past with artists such as Roy Hargrove, Pharoah Sanders, Tony Allen, Kenny Garrett, Jacob Desvarieux, Glen Ballard, Harold Faustin, Michel Martell, etc. He hosted Quincy Jones' 85th birthday celebration at Montreux Festival. He also starred in the Netflix series The Eddy, produced by Damien Chazelle, and Le temps d'aimer, directed by Katell Quillévéré (Cannes Festival 2023). The Bois- Caïman ceremony was Haiti's first major collective uprising against slavery. On his new album, SpiriTuaL HeaLinG: Bwa KaYimaN FreeDoM SuiTe, Jowee performs his ancestors' revolution in his own way. Joweebroughttogetherallhisinnertubes,soprano,alto,tenor,wood,clarinets, piccolo flute, cornet, that blows, that winds, that rumbles. Thisrecord is an incantation, a therapy, it cleanses the world by drawing onthe fantasized memory of the Haitian revolution. There are FreedomSuites by Sonny Rollins, Max Roach and others. Prayer music, music tobreak the chains in your head and on your wrists, music of black powerandwhitemagic.ForJowee,akidfromMontreal,sonofaHaitianpastor, who sang Jesus in all the tones, and then Michael Jackson, andthen2Pac,wholearnedjazzfromOrnetteColeman,theceremonynecessarilyhasthetasteoffree.Thisrecordisahealinghour-longimprovisation.

Die kurzlebige Gruppe Freakin' Inglish verschaffte sich mit ihrem Tape-Only-Debüt massiven Respekt in der Hip-Hop-Szene, nur um sich im Jahr darauf aufzulösen. Nach einer digitalen Veröffentlichung im Jahr 2013 und einer CD-Wiederveröffentlichung durch Chuck D's SpitSlam Label im Jahr 2021, geben der Uptempo-Titeltrack und das clever produzierte "A-Dorable" ihr Vinyl-Debüt.

For PACKS, making a record isn’t a means to an end; the making of the record is a communal experience, bottled up for the public to hear. On third album Melt the Honey PACKS explores a state of contentment, even bliss, long elided. The self-produced record honors the unpretentious disaffection of the grunge movement and the inventive arrangements of Guided By Voices, whose prolific output has inspired PACKS since their inception.

To make Melt the Honey, PACKS traveled to Mexico City, where Madeline Link had spent significant time as an artist-in-residence at Casa Lü. Over the course of 11 days, PACKS practiced new songs in a rented studio space. From there, they took a bus to Xalapa where they worked as artists-in-residence at a house known as Casa pulpo, an architectural feat removed from the bustle of city life. “The house has no straight lines, it puts you in a creative mindset,” Link says. Melt the Honey, is an outward-facing testament to the wonderfully strange details of daily life, vividly rendered by a songwriter who knows they’re worthy of reverence. Out January 19th on Fire Talk.

For PACKS, making a record isn’t a means to an end; the making of the record is a communal experience, bottled up for the public to hear. On third album Melt the Honey PACKS explores a state of contentment, even bliss, long elided. The self-produced record honors the unpretentious disaffection of the grunge movement and the inventive arrangements of Guided By Voices, whose prolific output has inspired PACKS since their inception.

To make Melt the Honey, PACKS traveled to Mexico City, where Madeline Link had spent significant time as an artist-in-residence at Casa Lü. Over the course of 11 days, PACKS practiced new songs in a rented studio space. From there, they took a bus to Xalapa where they worked as artists-in-residence at a house known as Casa pulpo, an architectural feat removed from the bustle of city life. “The house has no straight lines, it puts you in a creative mindset,” Link says. Melt the Honey, is an outward-facing testament to the wonderfully strange details of daily life, vividly rendered by a songwriter who knows they’re worthy of reverence. Out January 19th on Fire Talk.

Ulvers legendäre erste beiden Black Metal - Alben, "Bergtatt" & "Kveldssanger" endlich wieder als separate Vinyl - LPs erhältlich! Beide Werke wurden für das lange vergriffene LP Box Set "Trolsk Sortmetall" (2014) von Jaime Gomez Arellano für Vinyl remastert und kommen - wie auch die vorherigen 2019er Editionen - in Klappcovern und auf 180gr schwerem, farbigem Vinyl. Das 4-seitige "Bergatt" LP-Booklet enthält ein ausführliches Interview mit Ulvers Mastermind Krystoffer Rygg und das 8-seitige "Kveldssanger" LP-Booklet enthält ein Notenblatt des Songs "Ulvsblakk". Truly classic Norwegian Black Metal pioneering art!

Ulvers legendäre erste beiden Black Metal - Alben, "Bergtatt" & "Kveldssanger" endlich wieder als separate Vinyl - LPs erhältlich! Beide Werke wurden für das lange vergriffene LP Box Set "Trolsk Sortmetall" (2014) von Jaime Gomez Arellano für Vinyl remastert und kommen - wie auch die vorherigen 2019er Editionen - in Klappcovern und auf 180gr schwerem, farbigem Vinyl. Das 4-seitige "Bergatt" LP-Booklet enthält ein ausführliches Interview mit Ulvers Mastermind Krystoffer Rygg und das 8-seitige "Kveldssanger" LP-Booklet enthält ein Notenblatt des Songs "Ulvsblakk". Truly classic Norwegian Black Metal pioneering art!

Lyon-based David Kiledjian is the creator behind a number of projects such as Fowatile, HILA and Dowdelin. Beside that he is producer of albums by Armenian pianist Tigran Hamasyan and Malian band BKO, and collaborator with Talib Kweli, Piers Faccini, Miguel Atwood-Ferguson and Vaudou Game. David is now releasing 'The Otium Mixtape', his first opus under his own name. These ten tracks build bridges between languages and folklore from world, jazz, hip-hop and electronic avant-garde.

"Keith Porteous, who was A&R at BMG brought me to a bar called The Absinthe to check out a new band he was working with. What was immediately interesting about them was that, while their tastes were root-ed in ‘70’s rock, they didn’t sound retro. They had created a classic rock sound for their generation. What was also great is that they were four distinct personalities-four characters, like the Beatles or the Monkees. But they all dressed in matching outfits and did coordinated rock moves on stage. Amazing. I went to Moncton, NB and met the guys at an old schoolhouse that they’d wrangled to do pre-pro-duction. We spent a week or so workshopping their super cool songs and hanging out at their favorite watering holes. They had sold me with their live show and part of the trick of producing them was to try to capture that. I knew we weren’t going to do a lot of overdubs or ornate production. That week was an absolute blast. The guys were so funny and so engaging, just dripping with personality, which I knew was going to serve them well in the music business. I remember going to a Chinese Buffet with them and their girlfriends and watched them eat half of the food in the restaurant. I think the bill came to less than $100 for the nine of us. I still love the record and I wish it had made them world famous rock superstars. Every song on it is so uniquely them, they had perfectly distilled their influences, both old and new, and I don’t think any other band could have made this record. " - Moe Berg

Met 'Het langste jaar' is Het Zesde Metaal aan zijn zesde album toe. Het nieuws van de ongeneeslijke ziekte van gitarist en toetsenist Tom Pintens inspireerde de band om een album te maken in de intimiteit van de eigen kring. Tom leidde de groep als producer naar de studio in juni 2023. Gezien zijn fysieke toestand mag het een wonder heten dat hij de opnames nog kon bijwonen, maar zijn geest bleef vlijmscherp tijdens de intense sessies. Toen het begon door te dringen dat hij de mix niet meer zelf zou afkrijgen, riep Pintens de hulp in van het vertrouwde producersduo Jo Francken en Pieterjan Maertens (Nie voe kinders, Calais, Skepsels), die het werk binnen de uitgezette lijnen feilloos afmaakten.

Hoewel frontman Wannes Cappelle naast het verlies van zijn eerste luitenant ook het vroegtijdig overlijden van een geliefd familielid te verwerken kreeg, werd het geen somber album. Cappelle opent met een pakkende ode aan de duurzame liefde, vraagt zich af wat te doen met de tijd die ons nog rest en probeert te vatten hoe een boodschap van enkele seconden een levenslange impact kan hebben. Maar Cappelle zou Cappelle niet zijn als hij niet ook de blik naar buiten richtte en een spiegel voorhield die ons niet van onze beste kant liet zien. 'Het langste jaar' is de muzikale neerslag van de hevigste periode uit de geschiedenis van de band, maar is tegelijk wellicht de meest melodieuze plaat in je Het Zesde Metaal-verzameling, met meer ruimte dan ooit voor fijnzinnige maar uiterst efficiënte arrangementen. We horen u al meeneuriën en we zijn nog maar begonnen!

Met 'Het langste jaar' is Het Zesde Metaal aan zijn zesde album toe. Het nieuws van de ongeneeslijke ziekte van gitarist en toetsenist Tom Pintens inspireerde de band om een album te maken in de intimiteit van de eigen kring. Tom leidde de groep als producer naar de studio in juni 2023. Gezien zijn fysieke toestand mag het een wonder heten dat hij de opnames nog kon bijwonen, maar zijn geest bleef vlijmscherp tijdens de intense sessies. Toen het begon door te dringen dat hij de mix niet meer zelf zou afkrijgen, riep Pintens de hulp in van het vertrouwde producersduo Jo Francken en Pieterjan Maertens (Nie voe kinders, Calais, Skepsels), die het werk binnen de uitgezette lijnen feilloos afmaakten.

Hoewel frontman Wannes Cappelle naast het verlies van zijn eerste luitenant ook het vroegtijdig overlijden van een geliefd familielid te verwerken kreeg, werd het geen somber album. Cappelle opent met een pakkende ode aan de duurzame liefde, vraagt zich af wat te doen met de tijd die ons nog rest en probeert te vatten hoe een boodschap van enkele seconden een levenslange impact kan hebben. Maar Cappelle zou Cappelle niet zijn als hij niet ook de blik naar buiten richtte en een spiegel voorhield die ons niet van onze beste kant liet zien. 'Het langste jaar' is de muzikale neerslag van de hevigste periode uit de geschiedenis van de band, maar is tegelijk wellicht de meest melodieuze plaat in je Het Zesde Metaal-verzameling, met meer ruimte dan ooit voor fijnzinnige maar uiterst efficiënte arrangementen. We horen u al meeneuriën en we zijn nog maar begonnen!

Flat Party’s debut self titled EP, available on black or limited edition cream vinyl. Featuring tracks written over the past few years, the five-track record acts as a perfect entry point to Flat Party’s unforgettable wonky indie without getting too abstract.

Over 20 years into their career, Toxic Positivity is everything fans have come to know and love from The Used – straightforward, in-your-face, destructive, and vulnerable all at once.

Established in 2000, The Used was brought to life and have since released a collection of albums that pioneered the scene of emo rock. High-energy live shows, gut-wrenching relatable lyrics, and melodies that blended pop sensibility and hard rock was the perfect combination to make an everlasting impression on fans globally.

The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: 'New Standard'. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJ-friendly muse: "I realized I wanted to make a record where every track could go off in a live setting."These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun."From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.

Opaque Lime vinyl. The Loneliest Girl is the third studio album by New Zealand musician Chelsea Nikkel, better known as Princess Chelsea. It was recorded by Chelsea between 2016 and 2017 in her home studio in West Auckland, New Zealand. The Loneliest Girl examines the loneliness and ultimately the artistic satisfaction a strong work ethic can bring, the result of which is this eclectic collection of pop songs. As a studio based artist Chelsea was conscious of not wanting to fall too deep into a production hole for her third album and wanted to more than ever before capture moments of inspiration, madness and spontaneity on record. Chelsea's trademark arrangements featuring classic 80s Synths (Yamaha DX7, Roland D-50), ambient guitars, and orchestral instruments are all here but are presented in a more refined and simple manner than on her previous releases. Stylistically The Loneliest Girl moves away the more uniform synth sounds of The Great Cybernetic Depression to more eclectic territory similar to her first release Lil' Golden Book and certainly sounds like a record made by a lover of pop music across all genres from 60s girl groups to 80s power ballads, and late 80s acid house to 90s pop. Like her earlier work, adult issues are presented in a humorous and sometimes childlike manner, and this juxtaposition rather than softening the blow makes jarring social commentary hit harder.

'The Space Lady's Greatest Hits' features the best of these recordings - mostly covers of 60s pop and psych alongside interstellar originals and features archival photographs and liner notes from The Space Lady herself. "Greatest Hits" contains The Space Lady's personal favourites; her haunting take on The Electric Prunes' "I Had Too Much To Dream (Last Night)," a frantic "Ballroom Blitz", and an unbelievably perfect version of "Major Tom" - amidst other reconstructed pop music.

Tigers Jaw is the second full-length by American emo band Tigers Jaw. It was released 2008. Five young friends from Scranton, PA known as Tigers Jaw play their brand of upbeat yet melancholy indie-rock. The subtle yet massively clever lyrics combine with music that moves with such youthful exuberance even the most jaded listener will look back to their more careless days. The debut from Tigers Jaw may wear is influences on its sleeve, but instead of a repetitive list of sound-alike bands, themes such as death, friendship, and growing up are tackled from an endearing and hopeful perspective that is almost impossible not to relate to.

Aptly titled Two Worlds, Tigers Jaws sophomore full-length draws on the strengths of the band's raw, minimalist atmospheres and driving grunge-rock rhythms, funneling them into a catchy, brooding and brilliantly focused album. Sounding as confident as ever in abandoning dependence on traditional pop structures, songs ebb and flow naturally as the band explores fresh tones and textures. Firmly planted in their own niche of the 90 s-era Midwestern emo sound, Two Worlds probes Superchunk's indie-punk stylings, Weezer's discordant pop moments and the far edges of Kurt Cobain's brain while managing to sound almost nothing like those groups. Chimey clean guitars weave in and out of the mix, juxtaposing a gain guitar laden with thick grit. Standing alone, the tones create familiar Tigers Jaw moods, but when combined, the effect lays the foundation for swelling walls of sound. Pulsing bass fills the low end, locked with the drums in rhythmic unison, alternately tracing guitar lines and stepping forward to grab the listener s car. Similarly, the drumming style perfectly compliments the songwriting with steady beats and measured flash. Lush and resonant cymbal splashes constantly flourish, adding color and a new spaciousness. Keyboards swell in a wave of warmth creating the band s defining ambiance, in parts taking on more adventurous melodies and chord tones. At its core, Two Worlds is a Tigers Jaw album through and through. It evokes many moods the band is known for, but adds a depth that will leave listeners discovering new reasons to love them with each new listen.

From acclaimed director James Carney (‘Once’, ‘Sing Street’, ‘Begin Again’, ‘Modern Love’). Album features tracks performed by the film’s actors, including Eve Hewson, Joseph Gordon- Levitt and Oren Kinlan, with additional vocals by Lianne Carr Wyllie, Adam Hunter and Gary Clarke.

Starring Eve Hewson (‘Bad Sisters’, ‘Behind Her Eyes’, ‘The Knick’, ‘Robin Hood’), Oren Kinlan (‘Sunlight’, ‘Taken Down’), Jack Reynor (‘Midsommar’, ‘Sing Street’, ‘Glassland’) and twice Emmy-winner Joseph Gordon-Levitt (‘Create Together’, ‘HitRECord on TV’, ‘The Trial of the Chicago 7’, ‘Lincoln’).

Two tracks submitted for Oscar consideration - ‘Meet In The Middle’ and ‘High Life’.

Zusammen mit Krautrocklegende Ax Genrich (Guru Guru, Agitation Free, Ax Genrich Band) wurden verschiedene Sessions des Musikerkollektivs Weltraum in den Red Roof Studios aufgenommen. Das wunderbare Zusammenspiel der einzelnen Musiker spiegelt sich in den Aufnahmen wieder. Nicht nur klassischer Psychedelic & Space Rock, beeinflusst vom Krautrock der 70er Jahre, findet sich im Sound der fünf Musiker, sondern auch tiefsinnige Überschneidungen mit verschiedenen Genres der Musiklandschaft. Das Abtauchen im musikalischen Weltraum gelingt dabei faszinierend mühelos.

Wo Master draufsteht, ist auch Master drin. Das neue Album "Saints Dispelled" ist 100% Master! Kniet jetzt vor dem Meister nieder!
Die tschechischen Death/Thrasher Master gehören zu den Gründungsmitgliedern des Death Metal und waren von Anfang an eine der ersten Bands,
die sich diesem Stil verschrieben haben, als das Genre noch in den Kinderschuhen steckte. Jetzt, vierzig Jahre nach dem Start und mit Album Nummer
vierzehn, legen die Titanen mit "Saints Dispelled" ein erdrückendes neues Werk vor.
Master, auch bekannt als die Motorhead des Death Metal, liefern uns 2024 ein weiteres zähflüssiges Death Metal-Werk. Sie haben es wieder einmal
geschafft, hochoktanigen, ohrenbetäubenden, unerbittlichen Death Metal zu produzieren. Mit einer Diskografie, die man nicht an zwei Händen
abzählen kann, haben sie selten einen Takt ausgelassen, um die schnelle Brutalität zu produzieren, die wir alle so lieben und genießen. "Saints
Dispelled" ist keine Ausnahme, vielleicht würden wir es zu ihren besseren Alben zählen (die Zeit wird es zeigen). Dies ist eindeutig nicht die Art von
Album, die man sich anhören kann, während man ein schönes Buch liest und einen warmen Tee trinkt.

House Party is the 2023 debut album by German musician Kev Koko. After rising to international fame as part of a techno trio during the 2010s and producing multi platinum hits for German artists during the pandemic, ‘House Party’ marks the return of Kev Koko as an artist. To reflect both the multitude of influences as well as the collaborative spirit that define Kev Koko’s work, every song features another artist from Berlin’s music scene: From techno artists (southstar & ALCATRAZ) and German rap stars (Pashanim & Yung Hurn), to newcomers like Ceren & Sita Messer. - “I wanted to capture what a house party in Berlin in 2023 sounds like. Journeying from techno to rap, from electronic music to hyper pop. You are all invited.”

Dutch lute player and composer Jozef Van Wissem's new album The Night Dwells in the Day out 19th January 2024. “It's like a part of my body,” says Jozef Van Wissem of the relationship he has to his chosen instrument, the lute. “The complexity of it is what keeps me going because you can always find something new.” The ability to constantly extract something different and explore fresh terrain is evident throughout Van Wissem’s sprawling back catalogue and up to his latest album, ‘The Night Dwells in the Day’. Over the years he’s released countless solo albums stretching into double figures, there’s been collaborations with Jim Jarmusch and Tilda Swinton, award-winning computer game soundtracks, along with award-winning film soundtracks, from Jarmusch’s Only Lovers Left Alive to Pierre Creton’s 2023 film A Prince. Since studying the lute in New York with Patrick O'Brien in the 1990s, Van Wissem has gone on to create works equally as rooted in classical Renaissance and Baroque forms of lute music, as contemporary sounds spanning drones, electronics and field recordings. Throw in some of his formative influences from the no wave and industrial scenes, alongside a dedicated approach to minimalism and this has resulted in Van Wissem producing distinct and singular work whose sound is often a marriage of opposites; meditative and intense, forward thinking but with a sense of the arcane. The Quietus has called him “probably the most famous lutenist in the world”. The genesis for his latest album began during lockdown in Warsaw, where Van Wissem splits his time between Rotterdam. “The Call of the Deathbird” was the first song he wrote from the album and is the first to be shared, along with an accompanying video today. Over a hypnotic yet beautifully fluid and plucked melody - captures scenes of deserted streets, death and the intense isolation that gripped us all. One of the relatively rare tracks that Van Wissem sings on - along with some stirring and enveloping guest vocals from Hilary Woods (who will tour with Van Wissem later this year – details below) - his towering voice circles above the music much like the swooping deathbird he sings of. Normally Van Wissem writes all the music for one album within a confined period but this one song from a few years ago stuck around and took on a new lease of life and so joined a bunch of freshly written songs for the album. While one song written during, and about, the pandemic came to be the album’s centerpiece, the rest of the album grapples with the world as it moved on and all the dualism and dichotomies that followed. “It has to do with darkness and light,” Van Wissem says of the album. “The title can mean different things to people but sometimes people say that if I play a happy piece of music that it still sounds sad. So this is why I came up with that title.”

Superb funky-soul tune which was comped on the incredible "Natural Resources II" compilation album. The original 45 is tricky to find so most of the soul music aficionados out there should be pleased with this reissue.

Richmond, Virginia's twin titans of doom team up for the split album of the year with 'Reflection Of The Negative'. Cough deliver a typically electrifying one song down-tuned epic side, while Windhand serve up two brand new songs for their half of the dirge. This is premier doom at its absolute gloomiest.

COUGH return with their first album in over five years. Produced by Electric Wizard’s Jus Oborn and recorded by Oborn and Windhand’s Garrett Morris, Still They Pray is the kind of monolithic cosmic doom that will take the listener to the heights of despair and the bottom of the abyss. With Still They Pray, COUGH summon psychedelic feedback-driven melodies just to deconstruct them to their core. This is easily COUGH at their most focused: pessimistic riffs and tortured grooves collide in melodic agony alongside a hallucinogenic blend of harsh and clean incantations, crushing and cathartic yet utterly mesmerizing. Step through the gates of madness and stare into the void. FFO Windhand, Electric Wizard, Pallbearer, Sleep, YOB, Uncle Acid & The Deadbeats

Das Debütalbum von Geelong's starken Trio aus erfahrenen Punk/Alternative/Noise-Rockern feat. 'Lightning' Ben Watkins (ex- Warped), Buzz Munday (ex- Bored!) und Adam Doherty (ex- Spaghetti Westerns). GRYTT mischen OZ-Hardrock mit Proto-Punk-Attitüde und noisy Alternative. Das selbstbetitelte Debütalbum von GRYTT klingt, als hätte Lemmy die Amme für das Kind von Husker Du und Wipers gespielt. Buzz' unglaubliches und unnachgiebiges Schlagzeugspiel bietet eine klapprige Kulisse aus "Friedhofsschicht in der Gießerei"-ähnlichem Gepolter als Vehikel für Ben und Ads' solipsistisches und a-rhythmisches Gitarren- und Bassgefuchtel und eine kollektive, temperamentvolle Reihe fataler lyrischer Erklärungen, die mit einer solchen Intensität deklamiert werden, dass sie geradezu lebensverbessernd klingen; Ihr dreckiges, maritimes Stolzieren ist eine eingängige, von Verzerrungen getriebene melodische Schwere, d.h. diese Australier beweisen ein für alle Mal, dass ihr Sinn für Dynamik sowohl intensiver als auch immenser ist als der der anderen Kinder im Block! Inspiriert von Husker Du, Black Sabbath, Wipers und ZZ Top (neben vielen anderen), verbindet die aus Geelong stammende Rockband GRYTT die Sounds des harten Aussie-Rocks mit einer lärmenden Proto-Punk-Attitüde. Die Band wurde 2022 gegründet und besteht aus Sänger/Gitarrist "Lightning" Ben Watkins (Ex-Warped), Schlagzeuger Buzz Munday (Ex-Bored!) und Bassist Adam Doherty (Ex-Spaghetti Westerns). Obwohl sie angeblich Teil einer Szene sind, die Aggression und Lärm ebenso schätzt wie Hooks und Melodien, zeigen GRYTT eine auffällige Pop-Sensibilität. Der Gesang ist üppig geschichtet und doch knurrig, und die Texte schaffen es, eine Schönheit in den Banalitäten des Vorstadtmelodrams zu finden. Unterstrichen von schreienden Garagenrock-Gitarren und der kraftvollen Rhythmusgruppe der Gruppe, treiben GRYTT den Rock'n'Roll mit Vollgas voran. "Featuring members of international touring artists Bored! and Warped "Recorded, Mixed & Mastered at Goatsound, Melbourne Australia by Jason Fuller "Ltd 300 copies on white vinyl worldwide, artwork by the renowned Alex Hegyesi

Richmond’s COUGH delivers thoroughly massive, psychedelic doom on their aptly titled Relapse debut ‘Ritual Abuse’. The albums five epic tracks are impenetrable walls of sludge; at points suffocating and claustrophobic, at others warped and hallucinogenic. ‘Ritual Abuse’ is an impressive monolith of sound and volume, and one of the finest moments yet of 21st century doom. Recommended if you like: ELECTRIC WIZARD, BONGZILLA, EYEHATEGOD, THOU, BURNING WITCH, CORRUPTED, BUZZOVEN

The undisputed kings of grind, PIG DESTROYER return with their long awaited fourth proper full length ‘Book Burner’. ‘Book Burner’ is a resounding statement of championship, as every element of PIG DESTROYER towers above their closest peers—a 32 minute, 19 song knockout punch of cerebral viciousness. Scott Hull’s guitar heroics sound like a mutant double speed hybrid of Slayer and the Melvins jacked up on amphetamines, new skinsman Adam Jarvis is the pinnacle of inhuman drumming, Blake Harrison delivers layer upon layer of suffocating atmosphere and JR Hayes remains the poet laureate of extreme metal. ‘Book Burner’ is the finest work of extreme music’s best band. Limited edition deluxe CDs and LPs available with bonus ‘Blind, Deaf and Bleeding’ EP, expanded packaging and the much talked about short story penned by JR Hayes. RECOMMENDED IF YOU LIKE: Napalm Death, Converge, Melvins, Discordance Axis, Wormrot