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CARNIVORE is an American crossover / thrash metal band from Brooklyn, New York founded by singer and bassist Peter Steele, and was formed out of the breakup of the Brooklyn metal group FALLOUT in 1982. The first CARNIVORE album was heavily influenced by the contemporary New York metal scene. It also drew inspiration from BLACK SABBATH and early JUDAS PRIEST, whereas the second album had significant crossover influences. The "post-apocalyptic" theme that dominated the first album and was carried onto parts of the second album was apparently inspired by a dream Pete Steele had and which became the basis for the lyrics of "Predator", the first song from the original album. The lyrical theme was then expanded on to describe human society ( or the lack of one ) between imaginary World Wars III, IV and possibly V (as referenced in the song "World Wars III & IV"). Other lyrical themes included nihilism, anti-religious sentiment, cynicism, and explicit but tongue-in-cheek depictions of gore and despair. Song titles such as "Jesus Hitler", "Race War", "Thermonuclear Warrior" and "God is Dead" reflect these themes. In August 2017, it was announced that CARNIVORE would officially be reformed as CARNIVORE A.D., featuring original drummer Louie Beato and guitarist Marc Piovanetti along with secondary drummer Joe Branciforte sharing drum duties and also introducing new member Baron Misuraca as the bassist/vocalist. The band then made their live festival debut at the 2018 edition of Hellfest. CARNIVORE's "Retaliation" is a legendary and authentic metal/hc crossover album and an admittedly very heavy devastating wall of music with very much tongue in cheek lyrics. It became an absolute classic in the metal genre. It has remained unreleased for too many years and has now become very much in demand, now available again in Deluxe exclusive Limited edition 2LP vinyl and Digipack with no less than 3 bonus tracks ! ESSENTIAL CLASSIC !

To give you an idea of what the New Jersey, USA band Cowardice sound like, “Atavist” exists somewhere on the spectrum between the sombre strains of Bell Witch and the tormented tones of Body Void, with the first half of the album (“Suzerain”) erring more towards the bleakly melodic style of the former, while part two (“Sentinel”) shifts the focus towards a darker, dirgier approach; somewhere on the edges between melancholic doom and experimental sludge metal. Perhaps inevitably, it’s not quite that cut and dry - the gut-churning grind of “Unforgeable Key” for example, is just as nasty and gnarly as anything found on “Sentinel”, while the desolate disharmonies of “The Diminutive Principle” channel a similarly angst-ridden aura as much of “Suzerain” - but this distinction between the two halves, subtle as it may be, plays a big role in giving the whole album its sense of direction and progression.

And while it is always recommended to listen to the totality of “Atavist” so as to get the most out of it - especially if you’re a fan of the likes of Cavernlight and/or Chained To The Bottom Of The Ocean, both of whom also serve as useful touchstones for any prospective listener - also pay extra attention to the gorgeously gloomy slow-burn of opener “To The Hilt Of Humanity”, the haunting melodies and heaving grooves of the sludge-soaked “Clairvoyance Anxiety” and the morbid majesty of “Hall Of Mages”, as some of the record’s major highlights. Indeed, it’s this last track which will both test your resolve and prove, once and for all, that “Atavist” is more than worth every second you’ve invested into listening to it so far, with every crushing, cathartic chord and ringing, harmonic note… every tortured, suffering snarl and trembling, melancholy melody… coming together over the course of seventeen absolutely massive minutes to demonstrate that, despite its imposing size and intense sound, “Atavist” is nothing to be afraid of. Green and red coloured double vinyl edition.

The Dutch groove-driven heavy rock band Hell Valley High releases their highly anticipated debut-lp “Welcome To Hell Valley”. The album was recorded at Big Dog Recordings, just outside of Antwerp, Belgium. All music was recorded live to capture Hell Valley High’s true energy. The title is a nod to the legendary 1994 Kyuss album. At the same time - like the band’s name - the title is an ode to the band's favourite movie Back To The Future. “Welcome To Hell Valley” includes groovy & grungy songs and catchy fiery stoner rock tunes. The album also contains a cover of the song “Send Me A Postcard”, that was originally released in 1970 by Shocking Blue. Hell Valley High is composed of seasoned musicians who have played a lot of shows in The Netherlands and toured Europe extensively. The group features ex-members of Wildebeast, Filthy Felons, Note To Amy, Apehanger and Junkyard Safari. Black and orange coloured vinyl edition.

From minimalistic murmurings to swarming walls of sound... 113 is an experimental ambient(electronic)/drone(rock) project from The Netherlands. One can liken the Tilburg-based trio Drone Assembly as much to an ongoing science expedition as a musical project. Standing over an impressive assortment of instruments and gear, the members coalesce until becoming - in their own words - a ‘living organism’; synths, looping stations, effect pedals are combined with organic percussion, acoustic instruments and vocals in a probing, conversational way.

Indeed, each performance by Drone Assembly is a completely unique sensory experience. Over the five years since the project’s beginnings, Drone Assembly have performed in all kinds of unusual settings. And in doing so, they defy conventional hierarchies between performer and listener. Each show comes from a level of improvisation, Drone Assembly use the impressive collection of sounds and textures at their fingertips with utmost care and conviction. The result is music that ebbs and flows along the emotional beat of the moment, veering from soft mellow passages, hypnotic swells to resonant walls of noise.

Vinyl release, hand numbered with an unique silk screen printed cover, including insert, download code (also to an exclusive live video of the first four tracks) and sticker.

Hailing from Nancy, France, Cyann is a young artist aged 19. She is preparing a debut album that will surprise you with its maturity, so abundant is her work and her imagination fertile.Cyann or Wysteria, her stage name, has been immersed in the world of musical environment.A multi-instrumentalist, she began her musical career learning to play the harp at the age of four, then violin at Nancy Conservatoire. Dedicated and passionate Cyann went on to teach herself piano and acoustic guitar, two instruments that are now at the heart of her creative process. A singer-songwriter, Wysteria is the heir of a light, airy and genuine folk sound and modern Pop, from Vashti Bunyan to Billie Eilish. Yet her music remains coherent in the themes it tackles. If Cyann is naturally gifted as a composer, she is also an excellent lyricist.She writes stories as well as poems.At ease in both English and French, her texts are a true declaration of love to nature and life. Water, air, fire and all the natural elements are inexhaustible sources of inspiration for Cyann, who succeeds in associating an imagery and an atmosphere with simple, meaningful sensations.Cyann is a spontaneous artist, and her voice doesn't betray her. Her singing comes straight from the heart, natural, unadorned singing, comparable to that of Beth Gibbons (Portishead). Bold and inspired, Cyann has many strings to her bow. The breathtaking freshness and the wide range of her repertoire will surprise many a listener

All the music in the world is at your fingertips, and it's up to you to set the vibe_ So, what should we listen to? If you're having trouble deciding, turn on the radio. It's the perfect place to discover something new, or jam along to a tried-and-true station that'll never let you down.Tune In is due out 11/1/2024 via Chiefdom Records. The second of three installments in the Terrestrial Radio series, it's a carefully curated collection of instrumental fusion, designed to serve as the perfect radio mix for fans of jazz, hip hop, funk, soul, reggae and beyond. It's the latest release from Cincinnati based executive producer Doctor Bionic (Jason Grimez). As a DJ, producer, and former member of 90s rap group MOOD, Grimez' musical career revolves around hip hop. He's always preferred to sample songs from the late 60s and early 70s because of the authentic tone. "Growing up collecting and sampling records was an education, whether we realized it or not," he explained. Grimez records and produces music using analog gear to emulate the instrumentals that he's always loved as he works with some of the best musicians in the Cincinnati area to bring his ideas to life. Among others, Jonathan Luck Spaulding and Josh "Mojo" Cole made several appearances on guitar throughout the record. Every Doctor Bionic release is accompanied by a unique, thought-provoking album cover. For Tune In, Grimez worked with Refael Idan Suissa, a painter and digital artist based in Israel.Next time you're looking for some new instrumental tunes to set the tone, you can count on the growing catalog from Doctor Bionic. Tune In is available everywhere on 11/1/24.

DESTROY BOYS" catalog vinyl is back in stock!
2024 has been a big year for the band with the release of their new album, Funeral Soundtrack #4 (available on Hopeless Records) and Epitaph Records are harking back to these two seminal vinyl releases from the band"s early days, just in time for Black Friday!

"Sorry Mom" (2017) ( on vinyl for the first time!) and "Make Room" (2018)- both albums will be available on black vinyl. DESTROY BOYS formed in 2015, when founding members Violet Mayugba and Alexia Roditis were just 15 years old, and each release has marked a period of growth and change. "Looking back, our first three albums marked the deaths of things," says guitarist Violet Mayugba. "They were soundtracks to our funerals, whether they were for our ages, our mental states. We"ve gone through a lot of changes as a band and as people." "The first one (Sorry, Mom) was our high school album," Mayugba explains. "On the second record (Make Room), we went to college and were saying goodbye to our childhood. On the third one, we"d just gone through COVID and, speaking for myself, I lost my entire sense of self and gained a new one." Now, at 24, Mayugba and Roditis are standing firmly on solid ground with more resolute and confident than ever in their place as musicians.

Anything goes, everything is OK,’ is New Cool Collective’s free and easy creed. These eight jazz players are continually reinventing themselves, finding new inspiration and inspiring others. Brilliant as ever under a new spotlight, New Cool Collective excels on their 25th album Everything is OK, released by Dox Records this autumn on 25 October 2024.

Earlier this year, the band celebrated its thirtieth anniversary with a pocket-sized ode to their prolific past: 30 Years Live. Having played and partied, the group turned their attention to the future: what next for an ensemble that thrives on musical experiment and collaboration? Where to now? Which way to go to rekindle that creative spark and foster that flame?

New Cool Collective has met the challenge head-on, determined to surprise their audience, and themselves too. They spent a little time reflecting, considering suggestions, weighing up options – eight creative artists exploring, coalescing. Soon their ideas gelled into something special. They laid down a series of tracks that both build on the band’s thirty-year history and feed on a newfound freedom to simply be New Cool Collective. Everything is OK embodies that sense of a group which knows how to surpass expectations, to make music from the heart, to go back to their roots, back to the essence of those early years.

Anything goes, everything is okay on a record that features extensive brass arrangements and orchestral elements. There’s something magnificent about those seductively intimate tracks, something way beyond the traditional orchestral big band sound. New Cool love to experiment with alternative production techniques, developing the final mix themselves to create a unique, unmistakably recognizable sound – however surprising or unusual the music, you know you’re listening to New Cool Collective – like you’re there and the band is playing just for you.

Everything is OK is brimming with ideas, surprise and humour. The music is contemplative, yet it also leads straight to the dance floor: it gets you moving – body and soul. This is music for the intellect, to take you out of your comfort zone and to show you subtly, ironically: is everything really ok?

Marina and the Diamonds is an award winning platinum selling artist. She has three top 10 albums including Gold certified The Family Jewels and her second studio album Electra Heart which debuted at No.1 on the UK’s official charts. In celebration of 10 years since the original release of Electra Heart, Electra Heart (Platinum Blonde Edition) will be released on magenta vinyl on the 23rd September 2022. This special edition features additional tracks as previously heard on alternate releases of the album.

Featuring the hit single ‘Primadonna,’ as well as TikTok sensation ‘Bubblegum Bitch’ which had a massive revival with TikTok in 2021. The album will also include two tracks, ‘Electra Heart’ and ‘E.V.O.L’ that have never previously been released physically.

Blues & Roots is not only a cornerstone in Charles Mingus' body of work but also a testament to the enduring power of the blues as a foundation for jazz

Mingus managed to both honor tradition and push the boundaries of jazz, all while making a deeply personal and politically charged musical statement. The album remains one of the most vital and influential recordings in the history of jazz music. Released in 1960 this album stands out in Mingus' discography as a raw, vibrant homage to the roots of blues and gospel traditions in jazz. Mingus sought to return to his musical roots, drawing from blues and gospel traditions he grew up with, particularly from the African American church music of his youth. The album is a powerful statement of how deeply the blues tradition influenced modern jazz. It combines the unfiltered emotional intensity of the blues with Mingus' forward-thinking and often unconventional compositional techniques. The album's tracks are imbued with a strong sense of the blues, which is especially apparent in songs like "Wednesday Night Prayer Meeting" and "Moanin'." The album carries a loose, jamsession feel, reflecting the church and street-based roots of blues music. The use of call- and- response patterns in several tracks also hints at gospel traditions. Blues & Roots is often cited as a critical album in the development of jazz as a genre that embraced both its past and future. Mingus' ability to integrate traditional musical forms (such as blues and gospel) with more modern, experimental elements opened up new possibilities for jazz. His compositional style, which juxtaposed tightly arranged sections with freewheeling solos, influenced generations of musicians, from avant-garde jazz artists to rock musicians and composers in other genres

This album is often recommended for fans of modern jazz and is considered a notable addition to the discography of Lee Konitz and Jimmy Giuffre

It exemplifies the ethos of jazz as a medium for exploration and innovation, with a focus on personal expression and artistic dialogue. Released in 1959, featuring two influential figures in the genre this album captures a significant moment in jazz history, showcasing a unique collaboration that emphasizes improvisation and melodic exploration. In the late 1950s, jazz was undergoing significant transformations, with movements such as cool jazz, hard bop, and avantgarde emerging. Lee Konitz and Jimmy Giuffre were both pivotal figures in the cool jazz scene, and their collaboration was a meeting of two innovative minds. Known for his smooth tone and lyrical improvisation, Konitz was influenced by the bebop movement and studied under legendary figures like Lennie Tristano. He often pushed the boundaries of traditional jazz through his emphasis on melody and harmony. Jimmy Giuffre was notable for his unique approach to composition and improvisation, often incorporating elements of classical music and folk traditions. He was a key figure in the West Coast jazz scene and known for his use of space and silence in music. The album features a mix of standards and original compositions, highlighting the artists' ability to reinterpret familiar melodies with Giuffre's arrangements often incorporate complex harmonies, while Konitz's playing brings a sense of lyricism and warmth: an essential listen for fans of jazz.

The Tokyo Blues is an album that reflects Horace Silver's deep musicality, cultural curiosity, and love for the blues

Its combination of relaxed grooves, melodic beauty, and hints of Eastern influence make it a unique and memorable work within Silver's extensive catalog. It's a perfect example of how jazz can both explore new territories and remain grounded in its own traditions, showcasing Silver's versatility as both a pianist and a composer. Released in 1962 it is considered a gem within Horace Silver's prolific career and offers an intriguing combination of Horace Silver's unique jazz language with the subtle influence of his experiences in Japan, producing a warm, thoughtful, and musically rich album. Horace Silver's The Tokyo Blues is the result of his quintet's tour of Japan in 1961, which left a strong impression on him. While on tour, Silver was struck by the culture, atmosphere, and aesthetics of Japan, which he sought to translate into the musical language he was deeply rooted in hard bop. The album, however, doesn't feature overt Japanese musical scales or instrumentation, but rather evokes a mood and a sense of place. Silver's approach was more about integrating his impressions of Japan, its serenity, beauty, and mood of reflection, into the compositions. He did this within the framework of the jazz tradition, creating music that remains unmistakably his own. His quintet was already known for its catchy themes, complex rhythms, and inventive solos, and The Tokyo Blues adds a layer of atmospheric and emotional depth to that established style. In the early 1960s, Horace Silver was at the height of his creative powers. His work was instrumental in shaping the hard bop movement, a style that emphasized blues, gospel, and soul influences over the more intricate, intellectual sounds of bebop. The Tokyo Blues stands as an example of Silver's ability to evolve his sound while staying true to the groove-based essence of hard bop.

Brilliant Corners is an exceptional example of Monk's distinctive approach to jazz, which was characterized by angular melodies, unusual chord progressions, complex rhythms, and an idiosyncratic sense of timing

The title track, "Brilliant Corners," for example, was so intricate that it took multiple takes to complete, and the musicians found it challenging to follow its unconventional structure. This difficulty speaks to Monk's originality and his pushing the boundaries of what jazz could be at the time. The LP is one of Thelonious Monk's most acclaimed and influential albums, recorded in 1956 and released in 1957. It stands as a cornerstone in Monk's discography, showcasing his innovative approach to jazz composition and performance, and is often regarded as one of his finest works. Upon its release, Brilliant Corners was met with widespread critical acclaim and remains a significant album in jazz history and helped solidify Monk's status as one of the great innovators of modern jazz. It was a breakthrough album for Monk commercially as well, attracting attention from jazz critics and listeners who were beginning to appreciate his genius more widely. Today, Brilliant Corners is considered an essential jazz record, often cited as one of the greatest jazz albums of all time: musicians like Ornette Coleman, Cecil Taylor, and Eric Dolphy were influenced by Monk's ability to push the boundaries of jazz without losing its essence. The album is not just a masterwork in Thelonious Monk's discography but a pivotal moment in the evolution of modern jazz.

CARNIVORE is an American crossover / thrash metal band from Brooklyn, New York founded by singer and bassist Peter Steele, and was formed out of the breakup of the Brooklyn metal group FALLOUT in 1982. The first CARNIVORE album was heavily influenced by the contemporary New York metal scene. It also drew inspiration from BLACK SABBATH and early JUDAS PRIEST, whereas the second album had significant crossover influences. The "post-apocalyptic" theme that dominated the first album and was carried onto parts of the second album was apparently inspired by a dream Pete Steele had and which became the basis for the lyrics of "Predator", the first song from the original album. The lyrical theme was then expanded on to describe human society ( or the lack of one ) between imaginary World Wars III, IV and possibly V (as referenced in the song "World Wars III & IV"). Other lyrical themes included nihilism, anti-religious sentiment, cynicism, and explicit but tongue-in-cheek depictions of gore and despair. Song titles such as "Jesus Hitler", "Race War", "Thermonuclear Warrior" and "God is Dead" reflect these themes. In August 2017, it was announced that CARNIVORE would officially be reformed as CARNIVORE A.D., featuring original drummer Louie Beato and guitarist Marc Piovanetti along with secondary drummer Joe Branciforte sharing drum duties and also introducing new member Baron Misuraca as the bassist/vocalist. The band then made their live festival debut at the 2018 edition of Hellfest. CARNIVORE's "Retaliation" is a legendary and authentic metal/hc crossover album and an admittedly very heavy devastating wall of music with very much tongue in cheek lyrics. It became an absolute classic in the metal genre. It has remained unreleased for too many years and has now become very much in demand, now available again in Deluxe exclusive Limited edition 2LP vinyl and Digipack with no less than 3 bonus tracks ! ESSENTIAL CLASSIC !

Producer, designer, publisher, filmmaker, all-round scene phenom - Lasse Marhaug returns with his first album since relocating from Oslo to the Arctic Circle, surveying his 35-year career for a set of grizzled, doom-pocked rhythms and foghorn drones pulled from the aether. Expansive and hard to categorise, it's a precision-tooled set of ice-cold tonal productions that heavily lean into Mika Vainio’s rhythm experiments, with extra levels of growling bass and curious noises to send us deep into the uncanny.

Lasse Marhaug has put his mark on literally hundreds of albums - working with artists like Jenny Hval, Merzbow, Jim O'Rourke, Kevin Drumm, Hilary Woods - so many others - yet he still regards himself as a primarily visual artist who got diverted into an occasionally different path. If his last album 'Context' was a kiss goodbye to decades of life in Oslo, 'Provoke' turns a new page, but one that draws heavily from memories of the distant past, reflecting on the way the topographies of Norway's frozen north helped shape his creative worldview. Weaving electronics into environmental recordings captured in the bleak Arctic winter, the album was mixed during the Polar night season, when, for two straight months, the sun never rose past the horizon. Somehow, even at its bleakest, Marhaug avoids the usual aesthetic signifiers for this kinda thing, finding elements of queered beauty in all the severity, juxtaposing elements that shine a bright light on all the odd spaces in-between.

A consideration of noise music's place in 2024, and whether it can still be a tool for subversion when its aesthetics have been so commodified, ‘Provoke’ also refernces an experimental '70s Japanese art magazine that attempted to define a new language for photography. Operating somewhere between these two guiding poles, Lasse feels his way through a subtly altered mode of expression, a new approach to familiar concepts. Album opener ‘Plates’, for example, gives it the full Ø treatment, like some exceptional ‘Oleva’-outtake, but , eventually, shards of interference start to exhale like horses blowing, creating uncanny sensations that hit through ambiguous feeling rather than sheer noise terror. Ritualistic, corporeal - hard to know what you’re listening to and why it makes you feel that certain way - so much more than just machine cycles optimised for their ultimately hollow brutalist aesthetic.

Marhaug paints vivid pictures from a carefully chosen palette, drawing us into a soundworld that's rich with contradictions and contrasts. Even the relatively deafening 'New Topographics' offsets its wall of distortion with a muffled, perforating kick drum, cutting into the noise like a knife through butter. And all of this preparation makes the album's lengthy centrepiece 'Monochrome Head' even more impactful; hinging on a Pan Sonic-like alloy of bass and drums, the track snowballs through tempered feedback and improv scrapes and whistles that pick up into an orchestral din. Marhaug accents the bluster with rhythmic hums that gather in momentum until they're almost oppressively heavy, as if everything's about to collapse.

A masterclass in quietly subversive world-building, 'Provoke' invites us to peer at an expansive sonic landscape and marvel at its intricacies, but this time around there's a Lovecraftian behemoth lurking somewhere beneath its icy surface.

elbow return with their seventh studio album on 3rd February 2017. 'Little Fictions' was recorded in Scotland and Manchester and sees the band collaborate with the string players of The Hallé Orchestra, the Hallé Ancoats Community Choir, members of London Contemporary Voices and session drummer Alex Reeves. As with the previous three elbow albums it was produced by Craig Potter.
'Little Fictions' is emphatically a band album. Having written individually for its chart-topping predecessor, 'The Take Off and Landing of Everything', sessions this time were collective affairs, with all four members gathered initially in a house in Scotland before moving to Guy's attic in Prestwich and finalising recordings in the familiar setting of Blueprint studios, Salford.
'Little Fictions' is an upbeat album. All the band talk of the sessions being 'joyful', Mark summarises it as 'the sound of four people who love what they do and each other', of an album that came into being naturally and, at times even unconsciously. Lead single 'Magnificent (She Says)' was embraced for the joyous, thrilling piece of music it is, positive and outward looking. Mark never even considered his audible switch towards electric guitars, most notable on the psychedelic lushness of 'All Disco', until the very end of the process.
The departure of drummer Richard Jupp prior to commencing the writing and recording process in earnest saw early sessions characterised by new approaches to rhythm, with the band utilising percussive noises, sampling and loops to build tracks. The grooves that run through much of the album, from the go-go beats of 'Gentle Storm' through the jagged trip hop of 'Kindling' to the soulful 'Firebrand & Angel' represent both the band's widest musical palette and a newfound sense of experimentation borne from both necessity and desire. That desire fuelled the title track, an eight minute piece that is epic without at any point feeling excessive. As a shorthand for the album it is perfect, crossing musical genres and experimenting with sound in ways that demonstrate the confidence and enthusiasm of the band throughout the recording process.
'Little Fictions' is, therefore, more than just yet another brilliant elbow album. In many ways it marks the start of a new chapter for the band, characterised by a rediscovery of shared purpose in doing the thing that has always brought them together, the place that Mark describes as 'the creative space where we all meet'.

Introducing Wishy, a brand new band from celebrated Indiana songwriters Kevin Krauter and Nina Pitchkites. Wishy came to life as a musical partnership between the two Indianapolis musicians when Pitchkites moved back home from Philadelphia in 2021. The two bonded over their love for 90s alternative bands like The Sundays and My Bloody Valentine and soon began crafting their own brand of swirling pop-rock with an introspective, grungy flair. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. While Krauter spent the better part of the last decade cementing his place as a torchbearer of Midwestern dream pop with 2018's Toss Up and 2020's Full Hand, Pitchkites delved into her own indie electro-pop project Push Pop, writing songs like "Spinning" that would later be reworked for Wishy. To round out the live band, Pitchkites and Krauter enlisted guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host. Across two trips to Los Angeles in late 2022 and early 2023, Krauter and Pitchkites linked up with friend and producer Ben Lumsdaine, who had some spare time between Durand Jones tours to record the pair's newly written songs. The result of their fruitful time in sunny California is the aptly named Paradise, a breezy and melodic EP that puts on full display the songwriter's musical fluency. Tastefully blending shoegaze, dreampop, and alt-rock into a heavenly haze, Wishy delivers a strong 5-song introduction that's dense with melodic earworms and stirring sentiment. Wishy's debut single for new label home Winspear, the driving and distorted "Donut," showcases Pitchkites' hypnotic vocal and Krauter's melancholic wash of guitars. Written after a period when Pitchkites was driving on a spare, "Donut" laments the cynical capitalism of Midwest living and the reliance on a car to get around. Of the song Pitchkites says "When you've got the possibility of the open road plus the limitations of your shitty car-and you're stuck driving on a donut spare tire- it's a Catch 22." Throughout Paradise, the band laments on American loneliness and idealism as it relates to our everyday lives. Across the EP's five tracks, Pitchkites and Krauter trade bittersweet reflections on love and self actualization over vast, scrappy guitar chords. The whole thing feels equally indebted to early aughts alt-rock and '90s jangle pop. Wishy's music is cathartic, yet underlined by a subtle brooding energy-sitting nicely alongside the work of their contemporaries like Momma or Tanukichan, both of whom Wishy will have shared the stage with. Wishy will be touring this Fall supporting Tanukichan, and the band will make their first festival appearance at LEVITATION in Austin, TX. After that, they have their eyes set on finishing their debut album, slated for release via Winspear in 2024

"With just a handful of teasing plays, the ID requests for this tune here have been snowballing out of control. And rightly so. The track is a coproduction of Keinemusik's own Adam Port and California based producer Stryv. Both met in Kreuzberg, exchanged some ideas and came up with „Move" - the undeniably most sensual and well… moving club anthem of the season."

Ben Klock & Fadi Mohem announce debut collaborative album featuring Coby Sey and Flowdan on new label LAYER

Ben Klock and Fadi Mohem present their first collaborative album on their new label LAYER. The ten-track full length project titled Layer One follows the hypnotic EP Klockworks 34 that set the stage in 2022. In a bold departure from the techno roots that have defined and nurtured their careers, Klock and Mohem are now pushing genre boundaries, exploring IDM, ambient and experimental electronic music while still retaining the brilliance that characterised their earlier work.

The conceptual direction of Layer One delves into a post-human world, where humans are close to extinction on Earth, leaving only imprints, traces, and relics behind—digital fossils and machine-generated images capturing fleeting moments of non-human photography, as Artificial Intelligence remains in a world that quietly thrives without us. We do not perceive this as a bleak apocalyptic dystopia, but more a sober and serene reflection of a world that continues to exist and flourish, indifferent to the absence of humanity. Despite this unremitting setting, through this journey we find survivors who signal a remembrance of the human sensibilities.

Elevating this project are two very human and dynamic collaborations featuring the charismatic Coby Sey and the legendary grime MC Flowdan. Sey, a prominent figure in the British music scene known for his work with artists like Tirzah and Mica Levi, injects his music with a mesmerizing emotional depth. Opening the album with the powerful track ‘Ultimately,’ Sey offers spoken-word musings on creativity and life over experimental landscapes meticulously crafted by Klock and Mohem. Nostalgia permeates this opening track, and track 7 ‘Clean Slate’ reinforces this sentiment with Sey’s stream-of-consciousness wordplay.

Flowdan, the gritty MC whose verses have become anthems of the UK grime movement, made headlines in 2023 with two songs that reached the top 20 of the UK singles chart. In 2024, he was awarded his first Grammy for the Skrillex and Fred Again collaboration Rumble, becoming the first grime artist to win in any category. On track ‘Our Sector,’ Flowdan unleashes his raw energy and dynamic flow, adding a thrilling vocal dimension to the album’s narrative. The fluid delivery of his lyrics and rhythmic timing are enhanced by the staccato beats and abstract synths. These collaborations are not mere features; they are pivotal moments that crystallize the album’s vision—an experimental re-imagining of electronic music’s possibilities.

Immediately offering an impressive entry to Klock and Mohem’s changing sonic universe ‘Escape Velocity’ shows the collaboration at its strongest. Deftly juggling between ambient chords and more densely intricate rhythmic moments. These tightly layered textures and intense clashing moments are continued through most of the album. On other tracks the duo are just as innovative ‘Rest Assured’ rips open the sound palette Klock and Mohem are known for, synths dart around flickering through into unexpected areas. Penultimate track ‘The Machine’ feels like the internal innards of a PC or synthesizer brought to life. Electricity flows through the track like an auditory exploration of the digital world's hidden mechanical and electrical processes. In contrast, final track ‘Melatonin’ does exactly what the name suggests; its soothing melodic ambience cradles the listener as the album draws to a close.

Alongside the album’s release, the duo will release two singles. This album represents the work of two artists at the peak of their creative powers, inviting listeners to step outside the familiar and explore a different musical perspective.

Futureslowdubdisco moves in a deep groove of sonic slowness: a two-way collaboration between producers Francesco Colagrande and Simone Ticconi, the creators of ‘Superpaesaggio’, their debut for Hermit Records.
These four original tracks blend dub and deep techno abysses, ephemeral ambient atmosphere, and hypnotic library obsessions. Lose yourself blissfully in the low beats, the lazy flow of the four movements, the hypnotic repetition, the almost shamanic rite that takes over all your senses.
The conclusion, though, is entrusted to two cleverly manipulated remixes of L'oggetto and D Lewis & Paul Hyde, which cranks up the BPM dial. Enclosed within kaleidoscopic artwork put together by Flavia Mastrella (Leone d'oro 2018), ‘Superpaesaggio’ is a journey into sound that has no worries sinking into the reverberations and delays of ordinance, as well as involving sparse and distant voices that bring more human entities into the entire Futureslowdubdisco project.






e B2 SUPERPAESAGGIO 1 L'oggetto RMX
D Lewis & Paul Hyde RMX