Buscar:shado

From a humble storefront studio located in a shoeshine parlor on Norfolk, Virginia's Church Street, Noah Biggs built a world. Hustler by day, gambler by night, the always-in-a-suit Biggs took a gaggle of off-brand singers and combined his connections and charisma to forge timeless soul music during a period of deep upheaval. Compiled here are 25 of Shiptown's most compelling sides recorded between 1965-1977, from the likes of Ida Sands, The Soul Duo, The Anglos, Dream Team, The Grooms, Positive Sounds, Barbara Stant, Wilson Williams, Art Ensley, and yes, Flip Flop Stevens.

From a humble storefront studio located in a shoeshine parlor on Norfolk, Virginia's Church Street, Noah Biggs built a world. Hustler by day, gambler by night, the always-in-a-suit Biggs took a gaggle of off-brand singers and combined his connections and charisma to forge timeless soul music during a period of deep upheaval. Compiled here are 25 of Shiptown's most compelling sides recorded between 1965-1977, from the likes of Ida Sands, The Soul Duo, The Anglos, Dream Team, The Grooms, Positive Sounds, Barbara Stant, Wilson Williams, Art Ensley, and yes, Flip Flop Stevens.

Brian Destiny is a seeker. Brian Destiny is truth. Brian Destiny has nothing left to sacrifice. Having spent a decade anchoring the Fat White Family on keys - co-writing the bands most popular tunes/stopping Saul Adamczewski and Lias Saoudi from stabbing each other – Nathan Saoudi AKA Brain Destiny, is finally ready to step out from the shadows and launch his own personally curated assault on the culture.

Having recently recovered from a lengthy, serious gambling addiction Brian Destiny finally wearied of betraying his talent, himself and the rest of the world and began laying down the first of what would eventually grow into a collection of EPs and a forthcoming album, the first of which Brain’s Got Talent is out this January. An outsider artist spiritually incapable of groupthink, Brian Destiny is what happens when you take an obsession with Marvin Gaye, The Ramones, Lee ‘Scratch’ Perry and an unhealthy fixation on the life and trials of Napoleon Bonaparte and smash them together at the back of a Ladbrokes in Sheffield on a never-ending Tuesday afternoon.

Brian Destiny has no time for your doom mongering. He knows too well our only salvation at this point is dedication and asks one simple, timeless question…is it gonna be love?

Brian Destiny is a seeker. Brian Destiny is truth. Brian Destiny has nothing left to sacrifice. Having spent a decade anchoring the Fat White Family on keys - co-writing the bands most popular tunes/stopping Saul Adamczewski and Lias Saoudi from stabbing each other – Nathan Saoudi AKA Brain Destiny, is finally ready to step out from the shadows and launch his own personally curated assault on the culture.

Having recently recovered from a lengthy, serious gambling addiction Brian Destiny finally wearied of betraying his talent, himself and the rest of the world and began laying down the first of what would eventually grow into a collection of EPs and a forthcoming album, the first of which Brain’s Got Talent is out this January. An outsider artist spiritually incapable of groupthink, Brian Destiny is what happens when you take an obsession with Marvin Gaye, The Ramones, Lee ‘Scratch’ Perry and an unhealthy fixation on the life and trials of Napoleon Bonaparte and smash them together at the back of a Ladbrokes in Sheffield on a never-ending Tuesday afternoon.

Brian Destiny has no time for your doom mongering. He knows too well our only salvation at this point is dedication and asks one simple, timeless question…is it gonna be love?

2020. The year of the corona-pandemic, when the music world was forced into a standstill, five old friends put in motion an old idea that had been lingering - and what eventually was to become a new band and powerhouse: The Halo Effect.
The members of The Halo Effect are not only masters of their domain, but also some of the pioneers of the Gothenburg melodeath scene; Lead guitarists and melodic deathslingers Niclas Engelin and Jesper Strömblad, lead singer and raging growler and lyricist Mikael Stanne, further on adding to this mix is the solid backbone and foundation of power bassist Peter Iwers, and his partner in crime since twenty plus years, hard-hitting drummer Daniel Svensson.
Knowing each other from an early age during the late 80’s and then playing together in different constellations during the 90’s, they came to dominate the Metal scene in Gothenburg - mainly being part of the two major bands and metal exports In Flames and Dark Tranquillity, also two of the pioneers and major forces behind the melodeath monicker: The Gothenburg Sound. A sound that would echo far and wide across the world and influence countless of metal bands during the 90’s and early 2000’s.This was also the initial thought behind The Halo Effect - to go back to the roots and
explore what the groundbreaking metal sounded like then. And add the experience and skills of what the members could bring to the table now. The result is an exceptional album and real tour de force to fans of melodeath where the echoes of the Gothenburg Sound is evident. The Halo Effect delivers the goods in a brutally efficient display of heart pounding beats, melodic mayhem and furious growling at its best. Raw, yetmelodic, and in your melted face.Buckle up and remove your ear plugs. The restrictions are being lifted, the pandemic is over, and The Halo Effect is finally ready to meet its audience all over the world.

2020. The year of the corona-pandemic, when the music world was forced into a standstill, five old friends put in motion an old idea that had been lingering - and what eventually was to become a new band and powerhouse: The Halo Effect.
The members of The Halo Effect are not only masters of their domain, but also some of the pioneers of the Gothenburg melodeath scene; Lead guitarists and melodic deathslingers Niclas Engelin and Jesper Strömblad, lead singer and raging growler and lyricist Mikael Stanne, further on adding to this mix is the solid backbone and foundation of power bassist Peter Iwers, and his partner in crime since twenty plus years, hard-hitting drummer Daniel Svensson.
Knowing each other from an early age during the late 80’s and then playing together in different constellations during the 90’s, they came to dominate the Metal scene in Gothenburg - mainly being part of the two major bands and metal exports In Flames and Dark Tranquillity, also two of the pioneers and major forces behind the melodeath monicker: The Gothenburg Sound. A sound that would echo far and wide across the world and influence countless of metal bands during the 90’s and early 2000’s.This was also the initial thought behind The Halo Effect - to go back to the roots and
explore what the groundbreaking metal sounded like then. And add the experience and skills of what the members could bring to the table now. The result is an exceptional album and real tour de force to fans of melodeath where the echoes of the Gothenburg Sound is evident. The Halo Effect delivers the goods in a brutally efficient display of heart pounding beats, melodic mayhem and furious growling at its best. Raw, yetmelodic, and in your melted face.Buckle up and remove your ear plugs. The restrictions are being lifted, the pandemic is over, and The Halo Effect is finally ready to meet its audience all over the world.

2020. The year of the corona-pandemic, when the music world was forced into a standstill, five old friends put in motion an old idea that had been lingering - and what eventually was to become a new band and powerhouse: The Halo Effect.
The members of The Halo Effect are not only masters of their domain, but also some of the pioneers of the Gothenburg melodeath scene; Lead guitarists and melodic deathslingers Niclas Engelin and Jesper Strömblad, lead singer and raging growler and lyricist Mikael Stanne, further on adding to this mix is the solid backbone and foundation of power bassist Peter Iwers, and his partner in crime since twenty plus years, hard-hitting drummer Daniel Svensson.
Knowing each other from an early age during the late 80’s and then playing together in different constellations during the 90’s, they came to dominate the Metal scene in Gothenburg - mainly being part of the two major bands and metal exports In Flames and Dark Tranquillity, also two of the pioneers and major forces behind the melodeath monicker: The Gothenburg Sound. A sound that would echo far and wide across the world and influence countless of metal bands during the 90’s and early 2000’s.This was also the initial thought behind The Halo Effect - to go back to the roots and
explore what the groundbreaking metal sounded like then. And add the experience and skills of what the members could bring to the table now. The result is an exceptional album and real tour de force to fans of melodeath where the echoes of the Gothenburg Sound is evident. The Halo Effect delivers the goods in a brutally efficient display of heart pounding beats, melodic mayhem and furious growling at its best. Raw, yetmelodic, and in your melted face.Buckle up and remove your ear plugs. The restrictions are being lifted, the pandemic is over, and The Halo Effect is finally ready to meet its audience all over the world.

Two amazing originally unissued Kent Soul discoveries that were featured on their Bill Haney’s Atlanta Soul Brotherhood CD from 1998.

The late great Bill Haney, unacknowledged genius of Southern Soul and owner of the revered Chant record label was interviewed by Rod Dearlove and published in Voices From The Shadows. It was recalled that Roy Hamilton came to town to work the clubs, Bill had the dramatic song ‘My Peaceful Forest’, and somehow got the ‘The Golden Voice’ to record it - what an epic production it turned out to be!

Similarly, The Drifter’s Charlie Thomas whilst in town to perform got to record ‘Don’t Let Me Know’, the recording comes in at just over two minutes, we have had an extended version cleared for this 7” release.

repressed !

Surfing on the shores of Java and Casablanca! 2 unexpected tales from the Beat generation.

Tony Turpijn and his Evergreens fulfill the dream of every pantropical music lover with a silky instrumental rhythm ’n blues take on the Sundanese love song “Es Lilin” (Ice Lolly). Link Wray meets Mulatu Astatke meets Oslan Husein in Rotterdam, 1965.

Obscure formation Les Jaguar’s de Casablanca beat the Shadows with a boss version of the surf classic “Gonzales”. The band consists of a French/Spanish guitar section and a Moroccan rhythm section featuring the eccentric drummer/percussionist Jauk Armal, the “Okay Temiz from Casablanca”. “Gonzales” is originally recorded in 1962 and released by “La Voix Du Maghreb” in Morocco on an ultra collectible EP, which is now impossible to find.

Utter presents the second full-length album by enigmatic duo Vādin - a collaboration between sound artists and performers Christian Duka and Lucie Štepánková (aka Avsluta). “Black Tortoise” is a voyage accompanied by the uncanny, the shadow-dwelling specters and arcane symbolism derived from ancient Chinese astronomy.

“Astrologia” opens the album with an eerie torrent of droning voices and glassy, percussive interventions, leading into the patiently unfolding opening of the “The Presence” with it’s ominous narrative riding the swelling, thunderous rhythms culminating in swarms of hallucinatory chaos. The doom of “Calliope” follows, infused with cavernous, beastly vocalisations which lure the listener into “The Furnace”, a drowsy kaleidoscope of rhythms weaved together with Štepánková’s mother-tongue narration. And further on still, into the make-believe world conjured up by the buzzing and swarming objects overheard on “Plateau”.

Available on limited vinyl and digital formats. A special fold-out pamphlet is included with physical copies.

Spoken word by Lucie Štepánková. Mixed at SAE Institute by Christian Duka and mastered by Rashad Becker at Clunk. Transferred and cut by Helmut Erler at D&M.

Artwork designed by Marco Maldarella.

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

British soul royalty John Turrell's classic debut solo album 'The Kingmaker' is given a much-deserved release on a limited edition yellow vinyl LP. Delivering eleven stunning raw vocal performances on emotionally searing tracks, Turrell manages to span upbeat northern soul jaunts, downtempo bluesy groovers and emotive ballads in a cohesive collection that never ceases to treat the listener.

Created with writing partner and producer Nick Faber as a reflection and meditation on the ebb and flow of a normal man's life, authenticity and relatability are two key characteristics of the writing style on this record. While it is an album that references a diverse set of influences there is an unmistakable soul and blues sensibility that courses throughout the tracks. There are the same recognisable soaring vocals and heartfelt lyricism from the 'Smoove & Turrell' frontman that long term fans are used to (Smoove even lent a helping hand with engineering duties on the record) however this is undoubtedly a case of John running his own show.

LIMITED NEON YELLOW LP with gatefold insert and digital download card.

FP030F pressed in half black half purple vinyl 500 copies hand-numbered. FP030G pressed in black with red splatter vinyl 500 copies hand-numbered. A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan.

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing black and white smoke effect vinyl. Two albums in and London’s Grave Lines, purveyors of ‘heavy gloom’ have already carved a unique niche in the myriad spheres of heavy music. Their first album ‘Welcome To Nothing’ set the tone for their distinct take on doom metal, which was broadened even further with album two ‘Fed Into The Nihilist Engine’. An epic feast of hard ‘n’ heavy riffs coupled with brooding sadness interspersed with thoughtful transcendent moments of introspection. Never a band to rely solely on trotting out those ‘doom metal’ tropes, the band began to weave in gothic and experimental elements into their music, to delve deeper into the dark shadows of the psyche. Now with their third album ‘Communion’ Grave Lines continue their exploration into the ugliness of the human condition, at the same time becoming a band that truly defies any pigeonhole. Continuing to hone and evolve their collective vision and aided by the masterful production of Andy Hawkins at The Nave Studios, 'Communion' sees Grave Lines creep further into the various corners of their sound. In a nutshell ‘Communion’ is a violent descent of bile-soaked intensity spiralling between filth laden swagger, and fragile mournful lament. The album delves into the internal aloneness of existence and the failings of the human connection. Owing as much to Bauhaus and Killing Joke as it does to Black Sabbath or Neurosis, there are moments of gut wrenching doomed up heaviness and bellowing noise rock, contrasting with ambient gothic passages and a thoughtful melancholy, to a create a powerful new chapter in their ceaseless journey through the gloom. The seven tracks act as distinctly separate representations of the album, each individually mirroring the remoteness of human consciousness. Opening track 'Gordian' doesn't waste any time, a burst of feedback kicks you straight into a filthy low slung punked up stomp before the band switch mood to drop off into a doom abyss, singer Jake raging at the void. 'Argyraphaga' continues the pummelling groove, gradually descending into nihilistic sludge. In direct contrast the sprawling atmosphere of 'Lyceanid' travels through the darkness. Jake’s vocals harnessing the spirits of Scott Walker and Mark Lanegan in equal measure. The rest of the band (on top form throughout) focus the dynamics over eleven enthralling minutes, as the song builds and builds to a towering crescendo before finishing with a plaintive acoustic coda. This is pure Grave Lines’. An immersive blend of darkness and light. 'Tachinid' is a violent palette cleanser, harsh industrial synths astride a hateful droning spoken word sermon. 'Carcini' is soaring melancholic doom, with the band at their most melodic whilst still able to crush the listener. Broodsac, with its circular riffs, is all gothic post punk noise rock meets fuzz fat riffs, and album closer ‘Sinensis’ offers a final delicate, melancholy moment of calm before launching into an industrial charged grind into oblivion. Grave Lines’ fusion of elements makes them one of the most powerful and mesmerising bands inhabiting the heavy music world at the moment, and with ‘Communion’ they have crafted an album that encapsulates their distinctive dynamic perfectly. ‘COMMUNION’ will be released in deluxe black and white smoke effect vinyl, housed in a full colour single sleeve with download included, CD and all digital platforms

'My Echo, My Shadow, My Covers and Me' is a fiercely collaborative and celebratory project. An eclectic collection of masterfully crafted and carefully curated covers, each track features at least one acclaimed musical artist. It includes epic re-imaginings of classics such as 'Wind Of Change' by Scorpions, 'Take A Chance On Me' by Abba and 'Beds Are Burning' by Midnight Oil. It features collaborations with artists like Portugal the Man, Brandon Boyd of Incubus, Jewel, Beck, Taylor Hanson and more. It will be available on one-of-a kind recycled coloured vinyl, mystery coloured cassette and CD.

STRICTLY LIMITED COLLECTOR'S 'ART EDITION' OF THE ALBUM OF THE SAME NAME + TONS OF BONUS SONGS.
Elegantly electronic as ever, the new songs draw a remarkable strength from their monumental arrangements and foreboding aura. Embellished by a vague sense of nostalgia and enhanced by old family photos from the private Ljung vaults, "Orchestra Of Knives" is ZEROMANCER's dark night of the soul, an odyssey trying to coming to terms with the ineffable fact that we're all going to die. Instead of wallowing in misery and self-pity, however, the Norwegians chose to use this intense realization to craft some of their most touching, most heartfelt and easily most monumental songs ever.

The harsh and the mellow, the dark and the light, the depression and the elation all flow together on "Orchestra Of Knives", an album worthy of the turmoil of our age. Once and for all, ZEROMANCER are the masters of electronic melancholy, the designers of a musical world nourished by the shadows we cast. It's been too long since we felt understood and at ease merely by listening to a song.

- Multicoloured vinyl
- Black, red and white in the form of rotating rays
- Each record individually made by hand
- Differences in pattern shapes and colours are therefore possible
- Every copy is unique
- 2 x180g 12" vinyl
- In total 9 bonus tracks off the EPs 'Damned Le Monde', 'Mourners' and 'Terminal Love'
- Sumptuous gatefold sleeve
- Printed inner sleeve and containing lyrics
- Printed vinyl labels
- Strictly limited to 300 copies only!!!

Das 1995er Album von Trouble liefert eine ordentliche Portion Stoner Metal!

Uns gefällt, was Trouble mit diesem Album, "Plastic Green Head", gemacht haben. Die Musik klingt zwar nicht ganz so wie die völlig doomigen, erdrückenden Riffs auf dem früheren Material, aber was Trouble hier machen, klingt alles andere als nicht authentisch. Um nicht in die Irre zu gehen: Es klingt definitiv immer noch nach Trouble, aber sie scheinen einen entspannteren Stoner-Metal-Ansatz gewählt zu haben; sie opfern die düsteren Atmosphären für beschwingtere Stimmungen.

Die ersten paar Tracks sind absolut fantastische Angebote von Vintage Trouble. Das verspielte, thrashige Riff des Titeltracks, das das Album er- öffnet, ist ein großartiger Einstieg in die Musik.

Das spielerische, thrashige Riff des Titeltracks, das das Album eröffnet, ist ein großartiger Einstieg in die Musik, und Eric Wagners markanter Gesang klingt kraftvoll darüber. "Plastic Green Head", "The Eye" und "Flowers" sind allesamt das, was man was man von Trouble erwarten würde, riesige, aufgewühlte Riffs, 80 bpm Drumbeats, Eric Wagners nasale und doch kraftvolle Stimme. Sie sind einfach, sie sind eingängig, und sie sind einfach nur gut. "The Porpoise Song" ist eine Coverversion eines Songs von The Monkees, und seltsamerweise ist sie sehr gut. Eine große Wand aus Gitarrenlärm und Eric singt mit einer weniger nasalen und melodischeren Stimme. "Opium Eater" klingt, als könnte es ein Alice in ChainsSong sein.

Auf diesem Album gibt es jede Menge Sabbath-Verehrung, aber auch ein eher beschwingtes Hardrock-Gefühl. Wir würden sogar sagen, dass sich ein wenig Grunge in ihren Sound eingeschlichen hat. Sound eingeschlichen hat (um fair zu sein, ist es wahrscheinlich umgekehrt, der Trouble-Einfluss hat sich in den Grunge eingeschlichen). Wenn du nach einer schönen Dosis Stoner Metal suchst, wirst du genau das hier finden. Es gibt jede
Menge einprägsame Riffs, die für einen hohen Wiederspielwert sorgen, und obwohl man nicht so viel Doom findet, wie man es vielleicht von
Trouble erwarten würde, ist er dennoch vorhanden, wenn man danach sucht.

Adopting a collaborative approach for the recording of their third album, Death Bells have returned Between Here & Everywhere, an effort that captures the cross-section of Southern California's shadowy hidden interzones, outside of the lights and luxury. The record features nine new songs that represent Will Canning and Remy Veselis' continual growth, as well as accompaniment by an experienced cast of contributors on keys, strings, piano, and operatic backup vocals. Recorded with Colin Knight at Paradise Studios, and mixed by Mike Kriebel at Golden Beat, Between Here & Everywhere bristles with immediacy and emotion, with every element tactile, balanced, and elevated. Between Here & Everywhere sets out to map the potent mess of Los Angeles. Canning cites the "vastness" of the band's adopted home as a constant muse, and much like the city itself, the album ebbs gradually from harrowing to hopeful over its 35-minute runtime. The lyrics are categorized as "narrative, but not autobiographical," born of intrigue, intimacy, and a sense of "looking outward." From the highly-strung blast of "Hysteria", to the hypnotic rhythms of "Lifespring", and the staunchly resonant hope displayed in "Last Days", "Space Without A Name" and "Eternity Street", Between Here & Everywhere encompasses Death Bells' most captivating work to date.