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High Roller Records, insert, ltd 460, handnumbered, deluxe platic bag, The Deluge/ Shadow in the Black/ Divine Victim, Picture Shape Schallplatten sind besondere Accessoires, welche einzigartig aussehen, aber sicherlich nicht die Klangqualität einer herkömmlichen Pressung darbieten werden. Vor allem sind sie als Sammlerstücke mit optischem Faktor zu betrachten. Leichte Verkrümmungen durch den Herstellungsprozess, die jedoch die Bespielbarkeit nicht beeinträchtigen, können auftreten.

Hailing from Detroit, Shadow Show is an uncompromising power trio that combines elements of 60’s garage-psychedelia into a 21st century modern pop-art incarnation. Sleek and spellbinding, the music sweeps you up into frenetic grooves and dazzling harmonies. Their music pushes the boundaries of what can be, yet remains deeply rooted in the raw, untouchable Detroit sound. Three years ago, Shadow Show released their debut album, “Silhouettes,” in the US (Burger Records) and UK (Stolen Body Records). Since then, they have dedicated themselves to writing, arranging, and producing their epic masterpiece, “Fantasy Now!”, while occasionally taking breaks for full length US, UK, and EU tours, as well as obtaining support dates with bands like Automatic, Death Valley Girls, The Nude Party, and the 5.6.7.8’s, to name a few. “Fantasy Now”’ is a huge step forward from their debut LP, reaching a more ambitious Sgt. Peppery psychedelic vision that includes swirling pop melodies, fuzz guitar hooks, flutes, tympani, backwards surprise twists, and a magical medieval acapella interlude. Shindig Magazine says Shadow Show "transport the listener down a spiral into the mind's eye.” Allmusic praises their "kaleidoscopic explosion of tremolo guitars and mod pop vocal harmonies.” The band has recently completed a USA tour, and full USA and European dates are being booked for Spring 2024. Shadow Show’s transcendental triumph, “Fantasy Now!” was written, recorded, and produced by Shadow Show in Detroit, MI, with the exception of “Aunt Maizy,” recorded live in London, UK. Mastered by Warren Defever (Third Man Records, His Name Is Alive). The album will be released worldwide February 16, 2024 on Little Cloud Records (US), Stolen Body Records (UK), and Water Room Records (JPN).

Zwei Jahre nach ihrem letzten Album "Slave Driver" veröffentlicht das niederländische Quartett pünktlich zu ihrem 35. Geburtstag "Shadow Soul". Es ist bereits das 8. Album von Dead Head und wir sind immer noch davon überzeugt, dass die Jungs eine der am meisten unterschätzten Bands in der Geschichte des Thrash Metal sind. Sie haben nie etwas Schwaches oder Schlechtes veröffentlicht und was sie herausbringen, ist erstklassiger Metal! "Shadow Soul" knüpft nahtlos an diese Tradition an und präsentiert eine kraftvolle Fortsetzung ihres Erbes.

"Shadow Soul" ist also keine Überraschung, aber wer das mag, was Dead Head in den letzten 35 Jahren gemacht haben, der wird auch ihren neuesten Output lieben.

Zwar bleibt das Album dem für die Band typischen schnellen und aggressiven Thrash Metal treu, aber hier und da finden sich auch Death Metal und sogar Heavy Metal Arrangements. Das Album bietet größtenteils Hochgeschwindigkeits-Thrash ohne jegliche Trends oder unnötige Melodien und Tunes.

Taken from from Skinshape’s 8th studio album ‘Craterellus Tubaeformis’. For fans of Khruangbin, El Michels Affair, Madlib, Bonobo. Will Dorey aka Skinshape has proven himself time and again a connoisseur for the cosmopolitan, across a prolific career expertly exploring understated sounds and theatrical textures. Taking his place alongside the likes of Khruangbin, Tame Impala, Bonobo and Madlib, Skinshape’s global kaleidoscopes are loaded with warmth and wisdom created on vintage analogue equipment applying a perfectionist’s touch. As a former member of indie band Palace, he has played everywhere from Glastonbury and BBC Maida Vale to headlining Shepherd’s Bush Empire. Skinshape’s words on the tracks. The Ocean: “This one is dedicated to all the surfers out there. Following the theme of 1960s rock and combining it with subtle elements of 90s beats (that you may not be able to hear).” The Longest Shadow (feat. Andy Platts): “This song takes a more experimental route than some of the more 'psych' tracks on the album. The hot vocals of Mamas Gun frontman Andy Platts lends the track a deep soul vibe, whilst Jon Moody (of the band Franc Moody) lends his piano skills for an electric solo in the latter part of the track.” Support from BBC 6 Music, BBC Radio 2, Jazz FM, Soho Radio, MOJO, Uncut, Shindig etc.

Redrum Recordz and Fremdtunes present:
Maj Rachel - 'My Shadow Was a Nun'
With her debut "My Shadow Was a Nun", Maj Rachel creates anamalgam of soul, musique concrete, sound design experimentsand classical. She employs objects as percussion, fieldrecordings, piano, guitar, synths, violin and effects incompositions that are rich in color and contrast. Her music isabstract, paradoxical, full of emotion. At times, her voicesubmerges into a tumultuous sea of reverb and distortion, onlyto emerge in soft, bittersweet melodies. She sounds dark andeerie. She sounds romantic and whimsical. In short, it's apowerful debut album that engages the mind, heart, and gut.
This is what Maj herself says about "My Shadow Was a Nun":
"So sensitive yet so immune. Light beams shine through millionsof holes. The sun makes the black thick wall seem light grey.The light pulls apart to colors. Love feels painful yet beautiful.You are around even though you're not. A brain doesn't like tothink it's alone. Arranged sound into personal stories, all self-recorded. Because sound creates deep emotion."

We are very excited about Lizz Wright’s new album, and her 2024 European tours. The initial teaser single, Sweet Feeling, is doing quite nicely on Spotify, Apple, etc. and the second single, Your Love, featuring Meshell Ndegeocello, to be released in February, will have a dance remix as well. The album will be April 12. Her London date of March 15 at Cadogan Hall is confirmed, and Virgin staff is invited. Joe Baxter is doing PR and radio for the UK.

AEON FOUR are back with a storming lil' 10” !!

'Shadow Leakage' is the darker of the two tracks, with relentless breaks continuing where the excellent 'Tremor EP' left us. Deep & cinematic, just wait for the drop!

'Ex Machina' has already been tested on the floor, blissed out sounds & rhythmic vocal samples combined with heavy beats making this one another Aeon classic!

Support from Double O, Gremlinz & Jesta, Sweetpea, Jay Cunning, Charli Brix, Sun People & more.

Repress!

Shadow Child returns with his Connected collaborations album.
Album sampler 1 of 2 features 'Um' with Bodhi which bends the rules of drum programming and brings beautiful haunting vocals, his sought after remix of Jaydee's classic 'Plastic Dreams and previously unreleased solo track 'Steak Fingers' which is exclusive to this release.

Essence of Life was formed in 1973 in Charlotte North Carolina at Johnson C Smith University.

Towan Butler and Craig Young were basketball players on scholarship who were singing in the shower after practice, when a man named Jock Johnson who was a business major who had graduated heard Towan and Craig singing in the shower and asked if we would like to be in a singing group that he was putting together, if we did he asked us to meet him later that evening at a location on campus.

When we arrived we were introduced to Jerry Johnson, who is Jocks brother, Kenny Lock and Larry Graves and Essence Of Life was formed. Essence Of Life has performed with such groups as Blue Magic, The Whispers and The Barkays to name a few.

Essence Of Life sang and danced their way into the hearts of fans all over the United States spreading love through high impact performances.

As the warehouse-rave season approaches, it’s perfect timing for Shadow Child & Mark Archer to make their collaborative debut on Food Music with a special release that includes 2 vinyl only exclusives that saw a digital release on DJ Haus’ Dance Trax label earlier in 2023. Adding to these is a brand new slice of big-room Techno in the form of ‘Chinwah (Big DJs)’, which will no doubt be pounding its way out of the worlds cooler parties in the coming months with a controversial spoken-word message to boot.

DJ Support:

Horse Meat Disco, Doc Scott, Josh Wink, Pangaea, Joyce Muniz, Benjamin Damage, KE (Kid Enigma), Yung Singh, Anja Schneider (Club Room), Pinch, Tom Findlay (Groove Armada), Elle Clark, Joshua James, Monty Luke, Adam Beyer, Otik, Tom Ravenscroft, Nightwave + Martyn Bootyspoon, Violet, TEED, Addison Groove, Mad Miran, Emerald, Dusky

"Shadow City" is Chicken Diamond 6th album on Beast Records. The idea: put the Mississippi Hill Country Blues to fusion until it reaches the temperature of a Stooges Metallic 2 X KO. That's exactly what Chicken Diamond does! Even if his style is ultimately close to the blues roots, his work always inspires fear and loathing to the Eric Clapton fan base!

VROMM returns to Over/Shadow with a second helping of cosmic electronica and this time Kid Drama jumps on the buttons of lead track Molecular to provide a rolling, stomper of a remix.

Es ist 16 lange Jahre her, seit der monströse Sound von SADUS der Welt das letzte Mal ein neues Album bescherte!
Auf "The Shadow Inside" behalten SADUS ihre charakteristische Death/Thrash-Mischung bei und liefern 10 wütende Tracks, während sie ihren Old-School-Wurzeln treu bleiben und die Bedeutung der Übernahme von Verantwortung für die eigenen Handlungen vermitteln, um das Beste, was das Leben zu bieten hat, freizusetzen.

Das mit dem fesselnden Artwork von Travis Smith geschmückte Albumcover zeigt einen alles verzehrenden Dämon des Kosmos, der heftig eine gequälte Seele darunter umhüllt, und bringt so perfekt die Vision und Dualität der Songs auf dieser Platte auf den Punkt. Obwohl es sich nicht um ein Konzeptalbum handelt, handelt jeder Song von Lebensentscheidungen und davon, wie wichtig es ist, Verantwortung für das eigene Handeln zu übernehmen, um das Beste, was das Leben zu bieten hat, freizuschalten.

Repress!

We have been long time fans of ETCH and he covers a multitude of styles as usual on this 180g Ltd Edition orange splatter vinyl. Utilising his influences to the maximum, each track on the EP is perfectly executed by the Sussex based producer.

RIYL: The Fall, Royal Trux, The Dead C, Shirley Collins, ’70s British progressive rock, Dean Blunt.
Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book. Recorded in summer of 1994 at S.H.P studios (frontman Graham Lambkin’s parents’ home), the group’s sophomore record Put the Music In Its Coffin is a more sinister, saturnine affair than their debut City Lights. Coffin was many listeners’ introduction to the Shadow Ring, who had hitherto self-released their music, courting a steady stable of international fans through the magazine and mail-order catalog Forced Exposure. For their follow-up, the duo reached out to the ascending Philadelphia label Siltbreeze, whose eclectic roster of sneering, low-fidelity rock and noise connected disparate subterranean scenes from rust-belt America to the English Midlands, Dunedin, and beyond. As luck would have it, Siltbreeze proprietor Tom Lax was already a fan of the band’s first record and arranged to release both a 7” and their “difficult second album.” The connection proved to run deeper than vinyl within six months, Lax would pick up the pair from the airport for their spring 1995 US tour. This episode marked not only their first trip to the States but their first live performances at all, formally introducing the Shadow Ring to the American underground and solidifying the allure of the Folkestone pair. From the get-go, the record has a menacing, vile ambience. Its opening track “Horse-Meat Cakes,” inspired by an anecdote by pulp author Philip K. Dick about how he and his wife subsisted off low-grade pet food when he first arrived in San Francisco, sets the tone lyrically and sonically. Subsequent tracks are filled with Rabelaisian body horror and sinewy, haptic diction. “I try to pass out vital organs, convinced that they are waste,” intones Lambkin in “Heart, Liver & Lungs,” before a chorus of detuned guitars kicks in, nearly drowning out the speaker’s account of consuming chevaline intestines. Later songs similarly detail vernacular cooking (“Caribbean Porridge,” about a cornmeal hangover cure), bodily processes (“Nocturnal Middle Rumbles,” about nighttime defecation), and creaturely conflict (“Crystal Tears” and “Spin The Animal Dial”). The album’s makeshift percussion and teenaged rawness resembles the verve of City Lights, while its screeching strings and gnarly distorted vocals give it a sparse, miasmic atmosphere that look towards the uncompromising, otherworldly experimentation of the band’s Hold Onto I.D. (1996) and Lighthouse (1997), making this one of the Shadow Ring’s most distilled musical statements

Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book. Recorded and self-released by the group's own Dry Leaf Discs in 1993, City Lights is the debut record of the then duo Graham Lambkin and Darren Harris_an assured arrival statement teeming with stripling angst and ambition. Lifelong chums Lambkin and Harris were barely nineteen and living at home in the seaside town of Folkestone, Kent, with few overhead expenses. The two were freshly employed as a forklift operator at a hardware store and an aide at a home for children with disabilities, respectively, affording them the time and funds to commit to a proper full-length release. Frontman Lambkin describes the album as a "microscopic examination of leisure activities, this time centered around a nightclub," a conceit surging through its lyrics, song titles, cover art (depicting an audience of cats and mice at the Leas Club, a Folkestone fixture), and flip side (replete with fictional bandmates and pseudonymous liner notes). On a recently-acquired secondhand guitar, Lambkin plays repetitive, brooding licks that form the record's backbone, weaving in and out of sync with Harris's free-form percussion and the pair's sing-song poetry. Tracks range from unraveling nursery-rhyme ditties to extended jams awash with Casiotone and toy piano noodling. The duo's musical hobby-horses work themselves in: the influence of Mark E. Smith's breathless deadpan, the headless outer-edges of ESP-Disk's back catalog, the eerie atmospherics of Hirsche Nicht Aufs Sofa, and the deconstructed rock tunes of the Dunedin scene are all detectable, although there is a sui generis quality to the Shadow Ring's artless temerity. "I've got to see and taste those city lights," intones Lambkin on the album's title track_indeed, this is a record of naked drive and pent-up desperation, and a shimmering glimpse of what's to come. For Fans of The Fall, Royal Trux, The Dead C, Shirley Collins, '70s British progressive rock, Dean Blunt.

'Dawn of the Axe' harkens to dustier, more archaic times - ones where subgenre delineations weren't so strict and all was mostly heavy metal. For sure, Cruel Force can still thrash with the best of them. The nine songs comprising the 39- minute album exude a wider variety of moods and dynamics, and also sees Cruel Force exploring their more epic side, with three of those songs topping six minutes.

No matter the mood or dynamic, though, energy bristles from every second of 'Dawn of the Axe'- riff, rhythm, lead, vocal, everything - and with the slightly-more-atmospheric recording style, it all gels together to create the band's strongest and most complete statement to date.

No matter how you (axe) slice it, there's no wimping out whatsoever!

It's rare for a band to be away a full decade and then come back with their best work, but such is the case with Cruel Force and 'Dawn of the Axe'. There's some strange magick brewing in the Devil's Dungeon, and they've crossed the Styx to bring you that Power Surge!

Completing the Shadow Rhythms series, Western Lore presents an 8 track various artist EP featuring Response, Denham Audio, Elkie, Eusebeia, Bluematter, Pod, Wrecked Lightship & Low End Activist.

There’s an eclectic mix of junglism on offer here, from deep end esoteric to traditional tearout, flowing toward more ‘outsider’ techno, dubstep & bass music influences on plate 2.

Repress!

Part two of the Various Artists Shadow Rhythms series on Western Lore.

Limited new repress on blue vinyl. RIYL: Sharon Van Etten, Big Thief, Phoebe Bridgers, Angel Olsen, Neko Case, Bonnie “Prince” Billy, Bill Callahan, Steve Gunn, Kurt Vile, Cass McCombs, Jessica Pratt, Kevin Morby, Molly Burch Phosphorescent, Waxahatchee, boygenius. Recorded and mixed by Joshua Wells (Destroyer, Lightning Dust, ex-Black Mountain). Guest vocals from Bonnie “Prince” Billy on the “Don’t Slow Me Down” single. Guest pedal steel guitar from Paul Rigby (known mostly for his studio work with Neko Case) on 3 of the 10 tracks. Support thus far from FLOOD Mag, Stereogum, KEXP, KCRW, Popular TV (ex-Nylon writers), Pitchfork, Exclaim! & more. “Tonight” single synced for a Netflix series 13 Reasons Why in March 2017. Ashley Shadow winks at darkness, but she won’t lead you towards it. It’s easy to fall under the spell of Ashley’s haunting voice. The Vancouver, B.C. based songwriter forged her own identity as a songwriter with 2016’s eponymous self-titled debut. Her sophomore effort, Only the End, maintains the moody introspection that is ingrained in Pacific Northwest life, but now comes armed with a palpable hope complementing her signature melancholy. Ashley explains, “I wanted to make a more upbeat album, something you could play with some friends over. Some of the songs I wrote were initially bummers, but when we went to record them, we lightened them up.” Balancing a couple of jobs and navigating life and love in increasingly unstable times, the album was written over two years by Ashley at her apartment. Her confident vibrato above lightly, distorted guitars mirrors the album’s theme of resilience, if not triumph, over adversity. There is comfort in these warm songs that endorse the realism of contented acceptance, rather than the naïve search for non-existent utopias. While the songs were conceived in contemplative solitude, Ashley invited some very capable collaborators for their journey into the studio. Ashley’s first album saw her take center stage after more than a decade of gracing friends’ projects in a supporting role. The move to the front was a cautious one. “First record was, can I do a solo album? This time, I know what I’m doing. It’s way more clear.” "Don’t Slow Me Down" reunites Ashley with Bonnie “Prince” Billy for the first time on record when she sang vocals on Bonnie's Lie Down In Light album in 2018. The album also includes contributions from Paul Rigby (Neko Case), Colin Cowan (Elastic Stars), Joshua Wells (Black Mountain, Lightning Dust) and Ryan Beattie (Himalayan Bear). It’s clear to anyone listening. It’s Only the End. If only all endings were so glorious

1985 war das Jahr, in dem der Grundstein für die Karriere einer Band gelegt wurde, die auch fast 35 Jahre danach noch genau so aktiv ist, wie am ersten Tag. Die Rede ist natürlich von RAGE, die zunächst 1984 als AVENGER gestartet sind, bevor es dann zur Umbenennung kam.

Nun werden die legendären Alben der Herner Metal-Legende mit etlichen bisher unveröffentlichten Titeln auf Doppel-LPs neu veröffentlicht.

„Reflections Of A Shadow“ (1990) gilt bis heute als eines der am meisten unterschätzten Alben der Band. Die Neuauflage enthält neben dem regulären Album, die Titel der damaligen EP "Extended Power" und etliche unveröffentlichte Bonus-Titel, die aus der Aufnahme-Session des Albums stammen. Ein absolutes Muss für alle RAGE-Heads!

In collaboration with Timmion Records, Daptone is proud to present My Echo, Shadow and Me, the debut album from the soulful Chicano brother, Johnny Benavidez. Hailing from San Diego (via El Paso, TX), Johnny's desire to sing was influenced by his grandfather, John Lorenzo Guzman, who as a teen in the early sixties spent some time harmonising with groups in El Paso, most notably Sonny Powell and the Night Dreamers. When he was 13, Johnny was given a record player and a box filled with R&B, Doo-Wop, and Soul 45s that he studied obsessively, employing the harmonies and melodies therein to cultivatehis own unique voice. After a chance encounter with the legendary Dimas Garza, Johnny's career began to blossom and soon he would find himself singing alongside stars like Eugene Pitt and Archie Bell, garnering the interest of Timmion Records..


Backed by the incomparable Cold Diamond & Mink (Bobby Oroza, Pratt & Moody) two incredibly successful singles were cut and plans for a full length were struck, culminating in 11 original songs penned by Benavidez. From the uplifting bounce of the title track, the doo-wop dinged "Dedicated to You", the Latin flare of "Uncle Sam," to the Sweet Soul masterpiece "Somebody Cares" (licensed and released on a Penrose Records 45), My Echo, Shadow and Me is not only an aweinspiring display of Jonny's versatility as an artist but also serves as a window into the eclectic array of soulful sounds that inspired him to fall in love with music and become a singer. A must have for fans of Daptone, Timmion, Penrose, et al.

With absolute electricity at every turn as well as the rough 'n' ready charisma of frontwoman Stacey Savage, Savage Master strutted and surged with a power and poise redolent of early '80s US metal. Uniquely, the hooded Louisville quintet put a concertedly occult spin on everything, making them stand out amongst all those trying to reignite a 'Metal Massacre'. Swift and succinct were the eight songs
across the half- hour 'Mask of the Devil'; for however much "star power" was already here early on, Savage Master knew that heavy metal ultimately lived or died on the strength of songs - and they were just beginning to realize their massive potential.

In collaboration with Timmion Records, Daptone is proud to present My Echo, Shadow and Me, the debut album from the soulful Chicano brother, Johnny Benavidez. Hailing from San Diego (via El Paso, TX), Johnny's desire to sing was influenced by his grandfather, John Lorenzo Guzman, who as a teen in the early sixties spent some time harmonising with groups in El Paso, most notably Sonny Powell and the Night Dreamers. When he was 13, Johnny was given a record player and a box filled with R&B, Doo-Wop, and Soul 45s that he studied obsessively, employing the harmonies and melodies therein to cultivatehis own unique voice. After a chance encounter with the legendary Dimas Garza, Johnny's career began to blossom and soon he would find himself singing alongside stars like Eugene Pitt and Archie Bell, garnering the interest of Timmion Records..


Backed by the incomparable Cold Diamond & Mink (Bobby Oroza, Pratt & Moody) two incredibly successful singles were cut and plans for a full length were struck, culminating in 11 original songs penned by Benavidez. From the uplifting bounce of the title track, the doo-wop dinged "Dedicated to You", the Latin flare of "Uncle Sam," to the Sweet Soul masterpiece "Somebody Cares" (licensed and released on a Penrose Records 45), My Echo, Shadow and Me is not only an aweinspiring display of Jonny's versatility as an artist but also serves as a window into the eclectic array of soulful sounds that inspired him to fall in love with music and become a singer. A must have for fans of Daptone, Timmion, Penrose, et al.

Psychedelic and fantastic... Speed is high and the fly is high as well... the level is ecaping the one point zero usual formats and bring the music back to the Dancefloor.. A pure Tribal thing... with a Robert mononom eyeblink (mononom 02 and 03 almost ). Enjoy a true thing. Always. Still. Hopefully there are some !!

Pacific Northwestern doom metal monolith BELL WITCH will see the
release of their new album "Future's Shadow Part 1: The Clandestine
Gate" on 2LP/2CD, June 9th.For their new album, bassist/vocalist Dylan
Desmond and drummer/vocalist Jesse Shreibman exploded Bell Witch's
bounds
Like 2017's lauded "Mirror Reaper", "The Clandestine Gate" is a single 83-minute
track -- a composition that pulses and breathes on a filmic timeframe. It
constitutes the first chapter in a planned triptych of longform albums, collectively
called "Future's Shadow." While traces of organ and synthesizer hovered over
"Mirror Reaper" and Bell Witch's 2020 collaboration with Aerial Ruin, "Stygian
Bough Volume 1", "The Clandestine Gate" drew those instruments closer to the
center of its compositions.The band reunited with their longtime producer Billy
Anderson as they began negotiating these new compositional weights. On "The
Clandestine Gate", Bell Witch's twinned voices build off of the chantlike textures
of previous records while steering toward more developed melodic lines,
structured harmonies, and rhythmic death metal growls.
The immense gravity of a work like "The Clandestine Gate", which features
exclusive stunning cover art by Jordi Diaz Alama, allows ideas to simmer in a way
that feels profoundly and somatically intuitive -- not just a philosophical exercise,
but an embodied truth. By slowing down both their creative process and the
tempo of the music itself, Bell Witch digs even deeper into their long standing
focus: the way life spills on inside its minuscule container, both eternal and
fleeting, a chord that echoes without resolution.

After some time of laying in the dark, the Warsaw-based Syntetyk label and club night series emits waves yet again with their very first cassette release by various friends from the local and global underground.

Tape starts with a pathos ambient track by Mchy i Porosty, followed by a desert night drive dub by Rapha. The A side continues with a wavy melodic thumper by Olivia, accompanied by a nostalgic club diver by Czech maestro Exhausted Modern and a punkish fast paced hymn done by the Colombian prodigy – Filmmaker.

The B side opens with Dogpatrol’s broken jungle track and carries on with Astma’s industrial dub-driven tune. Album slowly comes to a close with a nasty distorted wave by Dyktando, dystopian radiation emitter by Chino and ends with Mala Herba’s folk inspired epic ambient drone.

Gatefold, 2 x black Vinyl, Special Cover vanish, printed Innersleeves

Das Album SHADOW KINGDOM präsentiert Dylan mit einigen Songs aus seinem legendären Backkatalog in neuen Interpretationen - darunter Fan Favorites wie "Forever Young" und "It's All Over Now, Baby Blue" sowie ausgesuchte Katalogperlen wie "Queen Jane Approximately" und "The Wicked Messenger". Ursprünglich für ein exklusives Streaming-Film-Event eingespielt, das im Juli 2021 lediglich in einem begrenzten Zeitraum von einer Woche ausgestrahlt wurde, ist SHADOW KINGDOM nun erstmals auf Vinyl, CD und digital erhältlich. Die Setlist des Albums umfasst 13 Originalsongs, die Dylan für seinen Auftritt in "Shadow Kingdom" persönlich ausgewählt hat, sowie das abschließende Instrumental "Sierra's Theme". "Dylan zeigt immer wieder, wie sehr man selbst als notorische lebende Legende auf der Höhe der Zeit bleibt." (Joachim Hentschel, Süddeutsche Zeitung). "Die für diesen Anlass halbakustisch umarrangierten Songs sind dabei geradezu betörend. 'Tombstone Blues' als entschleunigtes Rezitativ ist einer der Höhepunkte, ein geisterhaftes 'What Was It You Wanted' ein anderer." (Maik Brüggemeyer, Rolling Stone).

The Chasm, eine der angesehensten mexikanischen Extrem-Metal-Bands, wurde 1992 von Ex-Cenotaph-Sänger/Gitarrist Daniel Corchado gegründet. Nach den Aufnahmen zu Deathcult for Eternity zog die Band nach Chicago um: The Triumph im März 1997. The Chasm sind nun, 4 Jahre nach ihrem hochgelobten Album 'A Conscious Creation from the Isolated Domain - Phase I', mit einem brandneuen Album zurück. The Scars of a Lost Reflective Shadow" wurde in Luxinframundis 2021-2022 produziert, aufgenommen, gemischt und gestaltet. Gemastert im Ensomberoom V3, Mai 2022 von Geoff Montgomery (Macabre, Nunslaughter, Viking). Das neue Album ist kein Instrumentalalbum wie der Vorgänger, sondern wieder mit Corchados charismatischem Gesang!

Akhira Sano was born in 1992 in Niigata, Japan. Focusing on the imperfections and irregularities of form and sound, he creates, observes, records, and extends them secondarily through drawing, graphics, installation, videography, and music composition.
His major works include "Penetrating, For Filtration" (Important Records, 2019), "Particle Dialogue - Observation and Recording" (The Trilogy Tapes, Inc. 2022), and major solo exhibitions include "Perspectives of Possibility" (FAITH, 2021) and "mē on - Seeing the Absent" (TOH, 2022).