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marbled green vinyl

A1 - The Cartographer
JLM Productions opens the EP with an inspiring, uplifting intro leading wonderfully towards an intricate old school atmospheric drum loop, laden with sprightly deep bass tones with crisp, clear hats and cymbals. Luscious, long swaying strings weave their magic on the ears as catchy keys sneak around the movements of a cartographer far from silent, to create a composition which will rightly sit atop your playlist for some time to come.
A2 - Fata Morgana
Showcasing his diversity in the genre and an immense ability to seamlessly mix old school jungle sensibilities with a modern atmospheric twist, Fata Morgana sees JLM Productions fuse a medley of swirling, enveloping atmospheric pads and a tight two-step breaks to form a collage of inspired vibes which will fit perfectly within a synth wave-style dancefloor set - or a good old throwback jungle mix.
AA1 - The Navigator
Breaks are on the agenda immediately with The Navigator, bringing forth a myriad of fluid drum samples, filtered and chopped with old school sensibilities shining through. Tense pad work builds the vibe with washes of synths before the breaks switch up, throwing in more surprises to the mix alongside along early 90's jungle inspired melody. We are continually treated with layers of detail and intricacies with FX as the breaks reach their final form. A real treat.
AA2 - Aleya
Closing out the EP, we see JLM Productions deftly toying with the legendary Apache break, which features heavily in the varied cluster of classic jungle breaks on display. A diverse selection of pads and keys tint the engulfing atmospheric soundscape with a quiet Sci-Fi intensity, developing and
evolving towards a stunning breakdown before the breaks
return, eventually exhaling towards a fittingly epic outro.

Das 2.Album von Schubmodul "Lost In Kelp Forest" ist ein Konzeptalbum, das sich thematisch nicht wie beim Vorgänger in den unendlichen Weiten des Weltraums, sondern in einer Unterwasserwelt abspielt. Die sechs hauptsächlich instrumentalen Stücke werden dabei durch Erzählerstimmen belgeitet, die eine zusammenhängende fiktionale Geschichte auf einem dichten atmosphärischen Soundteppich erzählen (Stimmen Alma Chomel aus Frankreich und Shane Wilson aus den USA). Als Fundament donnert das Dreigestirn, geformt in klassischer Besetzung von Gitarre, Bass und Schlagzeug, einen Mix aus Space-, Stoner- und Progressiv-Rock auf's Parkett der gelegentlich durch Synthesizer, Sound- und Sprachsamples ergänzt wird. Verträumte, atmosphärische Passagen treffen auf kolossale Riffs und münden häufig in einem epischen melodischen Zenit aus voluminösen, warmen Sounds, über die sich sanfte bis schnelle Gitarrensoli entladen. Die Kompositionen bedienen sich dabei einer großen modalen Palette und vielseitige Harmonien, die den Zuhörer immer wieder überraschen. Ein sehr hohen Grad an Detailverliebtheit der auch beim mehrmaligen Hören spannend bleibt. Als Inspirationen zu diesem Album diente der Band genretypische Größen wie Elder, King Buffalo, progressivere Bands wie Dream Theatre und Elemente aus der Filmmusik von Hans Zimmer. Das komplette Album wurde in nur 6 Tagen in der legendären Tonmeisterei eingespielt.

The Cherry Boppers are back with six fiery artifacts of promiscuous funk recorded in collaboration with the vocalist, also from Bilbao, Patricia Reckless, in this mini-album in 10-inch vinyl format. Pure rhythm from head to toes. As is well known, funk fuses what has historically been labelled soul, rhythm and blues, jazz and rock, and The Cherry Boppers (TCB) have undoubtedly created their own promiscuous formula based on a fine selection of styles that predate hip-hop. Active since 2004 and convinced advocates of jazz-funk and instrumental funk, there are very few examples of vocal tracks in their discography. However, in 2014 they released the EP "TCB meet Dr. Baltz" (Brixton Records-Soul Series) in which they successfully covered three classic rhythm and blues standards with lyrics in Spanish. Now, after five years of publishing drought, they repeat the experience with the stellar collaboration of the vocalist, also from Bilbao, Patricia Reckless, musically formed in the band "Bohemian Soul". The powerful and educated voice of Patricia Reckless blends perfectly, as one more instrument, into the compact rhythmic machinery of TCB, giving the 6 tracks of this mini-album (the 6-track EP thing doesn't quite fit) a structure, perhaps, more familiar to a non-specialized audience. But let's not get carried away, the textures, the silences, the "on the one!" beat, the breaks, the stately Hammond organ, the brilliant brass, the forceful bass lines, the precise percussion, the wah wah... are all 100% Cherry Boppers. "The Cherry Boppers meet Patricia Reckless" remains faithful to that analogue funk sound that makes the band proud of a long and vocational career in the genre. And it is also an album full of details, of paths and instrumental lines to be discovered on multiple listens.

Noël Avec Elvis by Elvis Presley, released 23 February 2024, includes the following tracks: "I Believe" and more.

This version of Noël Avec Elvis comes as a 1x7".

The vinyl is pressed as a transparent disc.

Noël Avec Elvis by Elvis Presley, released 23 February 2024, includes the following tracks: "I Believe" and more.

This version of Noël Avec Elvis comes as a 1x7".

The vinyl is pressed as a translucent, red disc.

Noël Avec Elvis by Elvis Presley, released 23 February 2024, includes the following tracks: "I Believe" and more.

This version of Noël Avec Elvis comes as a 1x7".

The vinyl is pressed as a translucent, yellow disc.

Noël Avec Elvis by Elvis Presley, released 23 February 2024, includes the following tracks: "I Believe" and more.

This version of Noël Avec Elvis comes as a 1x7".

The vinyl is pressed as a orange disc.

Noël Avec Elvis by Elvis Presley, released 22 February 2024, includes the following tracks: "I Believe" and more.

This version of Noël Avec Elvis comes as a 1x7".

The vinyl is pressed as a black disc.

The creative partnership between Tiga & HudsonMohawke expresses a mutual love of "hardcoreromance," a liminal state where the boundsbetween euphoria, melancholy and the raw powerof friendship disintegrate completely. Recorded inLos Angeles from 2019-2023, thesecommonalities ebbed and flowed through variousrecording sessions, culminating in their debutalbum - L"Ecstasy. Originally conceived as a hardcore rave projectfocusing on bleary-eyed 6am catharsis, thebreadth of the project expanded to encompasstheir shared love of the music surrounding the 90sravebiome, with chill-out quasi-IDM ambient - "ExitWarehouse at Dawn", "LMZNIN" - creating spacefor the album"s tentpole anthems - "IN ORDER 2,""VSOD," "Ascending into the Clouds" - to breathe.

Musique Infinie is the collaborative project of Manuel Oberholzer a.k.a. Feldermelder and Noémi Büchi.Their album »Earth«, released through the Hallow Ground label, is based on a spontaneously composed live score for Alexander Dovzhenko’s groundbreaking 1930 silent movie »Zemlya« (»Earth«) created for the 24th edition of the VIDEOEX festival for experimental film.

Frequently cited as a masterpiece of early 20th century filmmaking, the movie deals with the collectivisation of Ukraine’s agriculture. The Swiss duo complemented it with atmospherically rich electronic soundscapes that are both deeply immersive and highly evocative. As a stand-alone music release, the two-piece »Earth« album captures the essence of Büchi and Oberholzer’s collaboration that is marked by mutual trust and musical versatility that puts them in a state of »togetherness trance,« as they call it.

Oberholzer has been highly productive as a composer, musician, sound designer, and installation artist in recent years, releasing a slew of solo albums as well as a variety of collaboration records with artists such as Sara Oswald and Julian Sartorius. Büchi has recently debuted as a solo composer and sound artist working with electroacoustic techniques to create a »symphonic maximalism for the end of the world,« as she dubs it.

Both are prolific and versatile artists with a penchant for working conceptually, however their collaboration as Musique Infinie is an improvisational and thus by design an intuitive one.

Their sessions start with an exchange on emotions and thoughts rather than theoretical questions or aesthetic debates. When they get to work—often for several hours—they rarely talk.

They approached »Earth« the same way, improvising freely together and using only a few select samples from the film’s original score in the process. Their open-ended approach is marked by an aesthetic ambivalence that perfectly corresponds with the movie’s own inherent contradictions.

Dovzhenko approached his socio-political subject with poetic imagery and philosophical rigour, juxtaposing notions of traditionality with the depiction of modernity.

Büchi and Oberholzer accordingly work with motives that at o ce seem anthemic and elegiac, working with sounds and musical motives that evoke a sense of familiarity in one moment before transforming into something futuristic and uncanny in the next. Their score for »Zemlya« is not to be understood as a mere interpretation of the movie, but rather a re-narration or even re-negotiation of its aesthetic and emotional qualities under their very own terms. »Earth« is an album that concisely depicts what is at the core of the duo’s musical partnership

In 1994, UK ambient pioneers O Yuki Conjugate recorded their landmark Equator album. To mark the 30th anniversary of this musical milestone, many of the same personnel – Roger Horberry (co-founder of O Yuki Conjugate), Dan Mudford (ex-Sons of Silence and co-creator of the Shaun of the Dead soundtrack), Joe Lamb (ex-Sons of Silence) and Malcolm McGeorge – came together to make New Meridian, reflecting the range of influences they’ve picked up over the intervening years.

Generously described as “almost like normal music”, the eight tracks of New Meridian feature instrumentation ranging from classic analogue to actual wooden logs. The result takes you on a rain-drenched, open-top ride from Electronica Avenue to the drone caverns of Uranus, with various Fourth World ambi-dub diversions along the way. File under: duress.

In the beginning was a half-truth, the truth was of war and the half-truth was post-war. Fancying the pretensions of its cultural superiority, a continent chose to hide the truth behind ridiculous jargon and the soothing distance of offshored ?????????. Europe wished itself beyond war because it thought the privilege of peace a birthright, just as it refused to understand that post-war was a euphemism for interbellum. Then the truth has set us free.

The delusion was discarded and war was revealed as an inconceivable horror. Almost immediately it turned familiar and virtually comfortable. Novelty songs of drones gutting tanks became a laughing matter and the burning tanks, their crew inside, entertainment. Consequently, a plurality of people started to collectively dream of new stages of the righteous kind of carnage. This happened within weeks.

Our imagination has swollen to the point of loss of consciousness, compounded by the narrative form long in the sways of atrophy. All of this raises the question of to what degree were the years of peace culturally squandered. The art of the previous age prided itself on self-awareness, today we fail to even notice that we no longer recognize ourselves. But we have arrived where we started and our issues were not too complex for expression.

Since no art form generates action, the most appropriate art for a culture on the edge of extinction is one that simulates pain. In these times we shouldn't produce any other music, none but this, intended to prevent our silence from being misinterpreted.

The breakout debut album from pioneering synthwave artist Essenger is back on wax! This special
double vinyl edition features a whole LP with bonus content including the new song "Silence" in
collaboration with The Midnight, a selection of original instrumentals & remixes, updated artwork and
printed album lyrics.

Leute, bildet Gruppen! Und hört diese Musik dabei. Und davor. Und danach. Unbedingt. (Joachim Hentschel) Ja, Panik bestehen 2021 aus Andreas Spechtl, Stefan Pabst (Bass), Laura Landergott (Keyboards & Gitarre) und Sebastian Janata (Schlagzeug). Als Gast ist hier Rabea Erradi dabei, die offiziell nicht zur Besetzung gehört, als Saxophonistin für die neue Musik jedoch eine absolut tragende Rolle spielt. "Die Gruppe", das nach "Libertatia" von 2014 insgesamt sechste Album, ist zudem das erste überhaupt, das Andreas Spechtl ganz ohne fremde Hilfe produziert hat. Es ist ein Album voller Wunder und Schrecken, Rätsel und Leuchtfeuer, Gewebe und Löcher, fließender Geschichten und Slogans, die man sich auf die Stirn stempeln will. Vor allem: ein Werk, wie man es in der an Höhepunkten nun wirklich nicht geizigen Diskografie von Ja, Panik noch nicht gehört hat, nicht ansatzweise.

Leute, bildet Gruppen! Und hört diese Musik dabei. Und davor. Und danach. Unbedingt. (Joachim Hentschel) Ja, Panik bestehen 2021 aus Andreas Spechtl, Stefan Pabst (Bass), Laura Landergott (Keyboards & Gitarre) und Sebastian Janata (Schlagzeug). Als Gast ist hier Rabea Erradi dabei, die offiziell nicht zur Besetzung gehört, als Saxophonistin für die neue Musik jedoch eine absolut tragende Rolle spielt. "Die Gruppe", das nach "Libertatia" von 2014 insgesamt sechste Album, ist zudem das erste überhaupt, das Andreas Spechtl ganz ohne fremde Hilfe produziert hat. Es ist ein Album voller Wunder und Schrecken, Rätsel und Leuchtfeuer, Gewebe und Löcher, fließender Geschichten und Slogans, die man sich auf die Stirn stempeln will. Vor allem: ein Werk, wie man es in der an Höhepunkten nun wirklich nicht geizigen Diskografie von Ja, Panik noch nicht gehört hat, nicht ansatzweise.

Vladislav Delay presents the fifth and last EP in his "Hide Behind The Silence" series. Intuitive and raw music, momentary and reflective, released on Ripatti's own label "Rajaton".

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Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.
Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

He's back - again! Years after the end of the Heisei era, the big G came back to film in 1999 with the first of a new era: GODZILLA 2000: MILLENNIUM. Directed by Takao Okawara (GODZILLA VS. DESTOROYAH), a new look Godzilla is still harassing Tokyo, with the Godzilla Prediction Network out there trying to figure out where he'll show up next. To make matters worse, the government's Crisis Control Intelligence care more about firing missiles, but everything changes when they discover a mysterious meteor has a UFO inside. All of this results in Orga, a kaiju made from Godzilla's DNA, and of course it's up to the Big G to kick its ass back to space. Scoring GODZILLA 2000 was Takayuki Hattori, who had previously composed 1994's GODZILLA VS. SPACEGODZILLA. Hattori's music is very much about mood; the composer brings a sense of lyricism to proceedings, but of course, he also knows how to get us excited for Godzilla's appearances. Hattori does that with a spectacular new theme for the Big G that perfectly captures the creature's grandeur and immense power. There's also a fantastic piece for the UFO that has a wonderfully primevil beat, and of course, Akira Ifukube's classic theme for Godzilla returns in a big way. A perfect start to the Millennium era! (Charlie Brigden)



Artwork by Matt Ryan Tobin

2X 140gram Eco-Vinyl

The debut album by one of the originators of American Nu Metal. Originally released in 1997, this album features the hit single "Loco". The album been certified gold by the RIAA in the US. It also features fan favorites like "Big Truck" and "Sway". This is first time on vinyl in a long while, coinciding with the band reuniting for several festivals and a bill with Mudvayne. There is also an autobiography coming out from the amazing lead singer Dez Fafara. Dez has continued as an artist and manager during Coal Chamber's hiatus most notably with the rocking DevilDriver. The album is on Kerrang's list of Greatest Nu-Metal Albums of All Time. It is also on Revolver's list of 20 Essential Nu-Metal Albums.

Alara Music is releasing the new album of OXY, the new stunning electronic project by Ivan Pavlov (COH) and Sasha Galianov (Shortparis).

OXY is a transient project combining talents of Ivan Pavlov, major electronic artist better known as CoH who has collaborated with Coil, and Sasha Galianov, the main force behind the electronic sound of the avant-garde performance collective Shortparis. The two once met at a festival where they performed a semi-improvised live set. The first performance sparked mutual interest in continuing joint experimentation, which, after a series of concerts, eventually led to this studio recording.

The name of the album is constructed of the two titles presented each on one side of the LP. The first side, AETHER, delivers a powerfully charged contemplative exploration, in which the two seem to carefully study the sound of each other's instruments. The search for balance between the analogue and the digital reveals a murky terrain of focused sonic pressure interwoven with potent silence filled with echoes. Towards the end, AETHER, amorphous in the beginning, gains structure and rhythm, as if preparing the listener to its more agitated sequel, GUST.

Side two, starting with trademark minimalistic patterns of CoH quickly picks up in intensity and wanders into the domains of digital heavy-metal, in which Sasha's menacing guitar riffs are meticulously disjointed in favour of power focus. Then GUST takes the listener through a minor apocalypse, past a few relieving joyful moments of temporal enlightenment, and towards a strange peace found in a disorienting, synth-framed collage of acoustic guitar sounds.

AETHER GUST is a record that requires listener's full attention, offering in return a captivating journey though peculiar landscapes at the intersection of the worlds of two adventurous music explorers, exchanging their sonic beliefs and passions. An intense journey through a landscape of contrasts, between the warmth of analogue sounds and the aridity of demanding electro, both minimalist and abundant. This journey, these intersections, but also this permanent encounter between analogue and digital, are magnified by the physical version of AETHER GUST: it comes as a bundle of both Vinyl + CD versions of the album, all in a 12" vinyl sleeve then nestled in a thick crafted carboard black embossed sheath.

After 10 years of silence, Regimen Galáctico Totalitario is the new release of the Mexican producer Dellarge, reknown as well for his experimental noise project I.N.R.I. (Indústria Nacional del Ruido Infinito). In this mini-album, Dellarge presents his vision of nowadays evolution of EBM towards a futuristic blend of breakbeat, industrial, and electro creating the perfect soundtrack for a futuristic apocalypse. Presented in a ONE-OFF, truly limited edition of 300 copies lacquered pressed on 180 gr. high-quality solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

The Bony King of Nowhere is the artistic alias of Belgian artist Bram Vanparys. He made a mark in 2018 with the release of his critically acclaimed album Silent Days. The record received consistent 4- and 5-star press reviews and was hailed as his best album to date. It also earned Vanparys a Music Industry Award (BE) for 'best author-composer'. Silent Days revealed the full potential of the singer-songwriter and his commitment to never repeat himself and keep surpassing his creative abilities.

The new album, entitled Everybody Knows, has been a long time coming, partly due to Vanparys' aforementioned pledge to artistic evolution. The first two tracks he unveiled give a definite hint of what to expect from this album. 'Are You Still Alive' and 'Almost Invisible' carry the quality mark, known colour scheme and scent of The Bony King of Nowhere, but add many more hues and details. The new record showcases the new league Vanparys is playing in. Themes like rusted patterns in society, the obedience of the everyday man, the structural false ignorance of big shots, the toxicity of online communication and other very recognisable but not always pleasant subjects. Inspired by the observations of many sociologists, Vanparys dissects our society, the loneliest ever. This album is not just disconcerting though, in its strength lies a sense of hope and vigour.

The first singles promise a new album with lots of punch and energy, while Vanparys is unveiling the complete complexion of his voice whilst remaining vulnerable and honest. On the album, he is accompanied by multi-talent guitarist Vitja Pauwels (Naima Joris), pianist Hendrik Lasure (Tamino, Bombataz), drummer Simon Segers (Sylvie Kreusch, Stadt) and bass player Jasper Hautekiet.

While the songwriting legends, particularly Neil Young and Bob Dylan, have always kept Bram company, his latest compositions also draw inspiration from more contemporary artists. The influence of PJ Harvey, Blur and Nick Cave are unmistakable when you listen to his music. While staying true to his heartfelt songwriting style and captivating voice, The Bony King Of Nowhere embarks on a journey into uncharted musical and thematic realms.

The last time this band was on tour in support of 'Silent Days', they took a big leap forward while touring 75 shows across renowned venues and festivals in Belgium, The Netherlands, Germany, and France, with a packed Ancienne Belgique in Brussels as one of the highlights. Now the five-man-band, consisting of Jasper Hautekiet, Simon Segers, Thijs Troch (Nordmann), Gertjan Van Hellemont (Douglas Firs), will start this tour with shows in Ekko, Utrecht on March 6 and Ancienne Belgique, Brussels on March 8.4

The Bony King of Nowhere is the artistic alias of Belgian artist Bram Vanparys. He made a mark in 2018 with the release of his critically acclaimed album Silent Days. The record received consistent 4- and 5-star press reviews and was hailed as his best album to date. It also earned Vanparys a Music Industry Award (BE) for 'best author-composer'. Silent Days revealed the full potential of the singer-songwriter and his commitment to never repeat himself and keep surpassing his creative abilities.

The new album, entitled Everybody Knows, has been a long time coming, partly due to Vanparys' aforementioned pledge to artistic evolution. The first two tracks he unveiled give a definite hint of what to expect from this album. 'Are You Still Alive' and 'Almost Invisible' carry the quality mark, known colour scheme and scent of The Bony King of Nowhere, but add many more hues and details. The new record showcases the new league Vanparys is playing in. Themes like rusted patterns in society, the obedience of the everyday man, the structural false ignorance of big shots, the toxicity of online communication and other very recognisable but not always pleasant subjects. Inspired by the observations of many sociologists, Vanparys dissects our society, the loneliest ever. This album is not just disconcerting though, in its strength lies a sense of hope and vigour.

The first singles promise a new album with lots of punch and energy, while Vanparys is unveiling the complete complexion of his voice whilst remaining vulnerable and honest. On the album, he is accompanied by multi-talent guitarist Vitja Pauwels (Naima Joris), pianist Hendrik Lasure (Tamino, Bombataz), drummer Simon Segers (Sylvie Kreusch, Stadt) and bass player Jasper Hautekiet.

While the songwriting legends, particularly Neil Young and Bob Dylan, have always kept Bram company, his latest compositions also draw inspiration from more contemporary artists. The influence of PJ Harvey, Blur and Nick Cave are unmistakable when you listen to his music. While staying true to his heartfelt songwriting style and captivating voice, The Bony King Of Nowhere embarks on a journey into uncharted musical and thematic realms.

The last time this band was on tour in support of 'Silent Days', they took a big leap forward while touring 75 shows across renowned venues and festivals in Belgium, The Netherlands, Germany, and France, with a packed Ancienne Belgique in Brussels as one of the highlights. Now the five-man-band, consisting of Jasper Hautekiet, Simon Segers, Thijs Troch (Nordmann), Gertjan Van Hellemont (Douglas Firs), will start this tour with shows in Ekko, Utrecht on March 6 and Ancienne Belgique, Brussels on March 8.4

First time vinyl release for this classic LOW holiday recording.
Their attention to musical detail combined with the heavenly vocal harmonies of ALAN SPARHAWK and MIMI PARKER (R.I.P.) are perfectly attuned to both traditional carols like “Silent Night” and more contemporary tunes such as “Blue Christmas.”
Christmas contains a selection of seasonal songs, including four originals by the band, mostly recorded at Lowʼs 20º Below studio in Duluth, MN. “If You Were Born Today” and “Blue Christmas” were released as a 7-inch single in 1997 on the English Wurlitzer Jukebox label, while “Taking Down The Tree” is taken from a 1998 compilation of live recordings issue by the Dutch VPRO radio station.

Sylvain Chauveau's debut album "Le livre noir du capitalisme" is a melancholic milestone – and a precursor of what later would become the Modern Classical genre. With his release in 2000, Chauveau created a landmark of contemporary electronic music, parallel to the first releases of Jóhann Jóhannsson and Max Richter.

Inspired by John Cage's reflections on silence and Mark Hollis' solo album of the same name, on "Le livre noir du capitalisme" Chauveau assembles contemplative, repetitive piano and string arrangements with electronic sound layers and discreet field recordings to create an other-worldly but seductive Musique Noir. Midway between ambient, jazz and post-rock, Chauveau lays out a new paradigm of electro-acoustic music that functions as much atmospherically as compositionally, and whose parameters keep the boundaries between academic and non-academic music dissolved to this day.

Originally released on the small French experimental label Noise Museum in 2000, the album got reissued by Type Records in 2008 with the English title “The Black Book of Capitalism”. Being out of print for a while, Sonic Pieces now rereleases the classic with its original French title, plus new remastering by Loop-O and in an ultra-limited, handmade edition with black bookcloth cover on both CD and vinyl.

Die chilenischen Death-Rocker Hellman präsentieren ihr erdrückendes Debütalbum 'Born, Suffering, Death'! Absolute Empfehlung für Fans von Motörhead, Entombed, Pantera, Anthrax, Wratchild America, Nailbomb oder Sepultura!

The Sex featuring members of Mercenary God and No Suicide. A mixture of different elements with a rock substrate for an uncategorized result. Another Post-Punk gem from the 80's Italian North-Eastern scene.

My adventure buddies? The silent, enigmatic Patti, former singer of the mysterious No Suicide, and the young, faithful Chris, a passionate Police fan, we met on the battlefield and he immediately became my brother. For him, learning to play the bass was a way to get close to Sting, in other words, just one step below Paradise. Patti instead played keyboards as an extension of her mysterious and glacial presence, so still and distant that the audience sometimes wondered if she was real. And then there was my fixation for the drum machine, a futuristic device which could transform the drumming sweat into an invisible, yet physical, dreamlike pulsation. A particular combination of characters and a special astral conjunction, that’s what you need to get a nucleus source of sonic emotions, and in some ways this is what we were. You could clearly feel it during the concerts. When at the end of ‘81 My Mercenary God lost their drummer and had to disband, I felt clearly that the music had already changed.

Our old 70’s rock ‘n’ roll sound was no longer representative of the day. We were like some sort of yesterday’s newspaper. Thus I Sex was born (later The Sex). According to Freudian thought that sees sexual instinct as the driving force behind every (creative or destructive) human act. And in fact we immediately started creating, destroying, assembling and deconstructing our sound. Suddenly “tomorrow became now”. It was an outburst of creative independence in the form of homemade cassettes put together with makeshift tools, at least until the arrival of the legendary 4 track recorder. I was 19 years old, Chris was only 17. Nothing more than kids after all. Yet we were already veterans, veterans of a lost war. Wise, naive, disillusioned dreamers, everything and the opposite of everything. But, above all, we were totally devoted to our creative delirium up to the point of losing touch with reality, crossing limits, breaking down barriers and almost bordering on madness. Perhaps we were just too involved, especially if in relationship with what we could receive in return. We always spread our energies as if there was no future. We unconsciously felt that we had to live in the moment, now or never, and in retrospect it really was like that, and this is why these songs exist now. Songs created with the intent to tell an inner universe that is, now as then, far from any convention.

Alex Deforce & Charlotte Jacobs are overtaking emptyness in shades of silence. Language has something to say here. Voices combined in poetic levels of belgitude. Poetry rewriting days and nights.

Legendary Hip Hop Producer and Emcee Large Pro aka The Large Professor returns with his highly anticipated 3rd instrumental album, BEATZ VOLUME 3. Back with his traditional signature Boomp Bap sound, LP brings you more well-crafted soulful BEATZ that you can rhyme to, DJ with, skateboard, or even dance to! This album features 10 bangers that are sure to make DJs want doubles to back spin!

Large Professor states:
"Beatz Vol. 3 was made to lift the spirits. From the youthful "Let It Fly" to the ghetto love story sounds of "Rooftop Love", all of the Beatz on this project were made to make the listener feel good. After learning more about my family history, I had to dedicate the song "Ancestors" to my predecessors who are in the "Friendly Skies". Overall, I want to keep that original Boomp Bap style of hip hop alive for my generation, and the real ones to follow."

Large Professor is a founding member of the Hip Hop group Main Source. In 1991 their classic debut album "Breaking Atoms" introduced the world to NAS, who was featured on the track "Live at the Barbeque". LP's debut solo album "The LP" (PSP006) was finally released in 2009 featuring hits like "IJuswannachill", "Mad Scientist" & More.

Some of Large Pro's production and remix credits include tracks for NAS, Eric B. & Rakim, A Tribe Called Quest, Slick Rick, Pete Rock & CL Smooth, Tragedy Khadafi, Mobb Deep, Busta Rhymes, Big Daddy Kane, Lord Finesse, Akinyele, Masta Ace, Czarface, Cormega and many more. Recent production credits: RawWattage "Eyez" (2020), "Pressure" Soundtrack (2020), The Lox/Westside Gunn & Benny "Think of the Lox" (2021), Al Skratch "Be Original" (2021), Neek The Exotic ft. Large Pro "XtraExotic" (album) (2021), K.McGyver Hemisphere (2021), Papoose "Represent" (2021), Papoose "Cold Winter" (2021) and the "All The Streets are Silent" Motion Picture Soundtrack (2021).

Legendary Hip Hop Producer and Emcee Large Pro aka The Large Professor returns with his highly anticipated 3rd instrumental album, BEATZ VOLUME 3. Back with his traditional signature Boomp Bap sound, LP brings you more well-crafted soulful BEATZ that you can rhyme to, DJ with, skateboard, or even dance to! This album features 10 bangers that are sure to make DJs want doubles to back spin!

Large Professor states:
"Beatz Vol. 3 was made to lift the spirits. From the youthful "Let It Fly" to the ghetto love story sounds of "Rooftop Love", all of the Beatz on this project were made to make the listener feel good. After learning more about my family history, I had to dedicate the song "Ancestors" to my predecessors who are in the "Friendly Skies". Overall, I want to keep that original Boomp Bap style of hip hop alive for my generation, and the real ones to follow."

Large Professor is a founding member of the Hip Hop group Main Source. In 1991 their classic debut album "Breaking Atoms" introduced the world to NAS, who was featured on the track "Live at the Barbeque". LP's debut solo album "The LP" (PSP006) was finally released in 2009 featuring hits like "IJuswannachill", "Mad Scientist" & More.

Some of Large Pro's production and remix credits include tracks for NAS, Eric B. & Rakim, A Tribe Called Quest, Slick Rick, Pete Rock & CL Smooth, Tragedy Khadafi, Mobb Deep, Busta Rhymes, Big Daddy Kane, Lord Finesse, Akinyele, Masta Ace, Czarface, Cormega and many more. Recent production credits: RawWattage "Eyez" (2020), "Pressure" Soundtrack (2020), The Lox/Westside Gunn & Benny "Think of the Lox" (2021), Al Skratch "Be Original" (2021), Neek The Exotic ft. Large Pro "XtraExotic" (album) (2021), K.McGyver Hemisphere (2021), Papoose "Represent" (2021), Papoose "Cold Winter" (2021) and the "All The Streets are Silent" Motion Picture Soundtrack (2021).

"January 14, 2022 — (Hollywood, CA) —GRAMMY® Award-winning duo Bob Moses announced the upcoming release of their highly anticipated third album, The Silence in Between. Released on April 29th, The Silence in Between will mark the Los Angeles-based band’s first release since signing to Astralwerks in a unique global partnership with Domino Recording Co. In celebration of the album announcement, Bob Moses have also shared their exhilarating new single “Love Brand New.”

One of the most anthemic moments on The Silence in Between, “Love Brand New” finds Vancouver-bred musicians/producers Tom Howie and Jimmy Vallance tapping into their deep-rooted love for ’90s alt-rock and left-of-center dance music. Written with Michel Zitron and John Martin (a Swedish production duo known for their work with the likes of Avicii and Swedish House Mafia), the track encompasses a glorious collision of moody guitar tones, mercurial textures, and wildly propulsive beats as Bob Moses channel the dizzying euphoria of new romance."

The Tables Will Turn EP marks the comeback of Senegalese singer Faada Freddy after a long recording silence since the release in 2016 of a first album The Gospel Journey, punctuated by some 300 concerts worldwide.
Tables Will Turn confirms an uncompromising musical approach where the only resources are human "My music is 100% organic and 0% technological" summarizes Faada to evoke a device, already proven on Gospel Journey that solicits the mouth and body to imitate the sound of instruments.

Soundtrack of the documentary program for Japanese art history, “Japan: Its Heart and Form” which was aired on NHK educational channel from 1987 to 1988. Akira Mitake worked on it, and after the dissolution of Ippudo, he produced music for the media and provided music to many artists, mainly pop music. It’s an electronic work that expresses the silence, space, romance reminiscent of Japanese spirit. The entire contents has a mysterious atmosphere, “Yasha” and “Keisetsu” are particularly captivating, evoking the beauty of Japan. Truly amazing piece left by the talent behind Masami Tsuchiya, who can be interpreted as ambient music.

Contradictory accounts of Miles Davis’ creation of the soundtrack to Louis Malle’s film noir Ascenseur pour l'Échafaud have all become part of its legend. Rarely has a soundtrack been so decisive. Nearly seventy years on, beyond the myth, this taut, feverish recording, imbued with extreme dramatic tension, remains one of the Miles’ finest records. The basic outline remains: Jean-Paul Rappeneau suggested to Malle asking Miles Davis to create the film's soundtrack who agreed to record the music after attending a private screening. Davis was performing at the Club Saint-Germain in Paris in November 1957 and on December 4, he brought his four sidemen to the recording studio without having had them prepare anything. Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room, and, once the plot was explained, the band improvised without any precomposed theme, while edited loops of the musically relevant film sequences were projected in the background. Bassist Pierre Michelot recalled in 1988 that “Miles just asked us to play two chords, D minor and C7, 4 bars of each, ad lib.” Typically, Miles planned very little but know exactly what he wanted. François Leterrier, the film’s Second Assistant Director picks up the story: “The session started at around ten o’clock and went on until dawn. The screen in the auditorium was showing the scenes for which Miles had devised some harmonies, and they were edited into a loop. And that’s what makes this music unique: it was entirely improvised in conditions that went back to the days of silent films, while watching frames shot in black and white by cinematographer Henri Decaë: tracking shots of Jeanne Moreau wandering down the Champs-Elysées at night, passing in front of lit window displays or going into bars, while looking for her lover/murderer alias Maurice Ronet … All of us there in the dark auditorium were aware that something extraordinary was taking place, something that had definitely never happened before. … In the small hours we all met up again at the Pied de Cochon in Les Halles, and Louis was looking at Miles with the disbelieving eyes of a child … as if he couldn’t believe the gift he’d just received. Even in his wildest dreams he had probably never imagined what his film would be like once it had been as if illuminated by the trumpet of Miles, incisive or wrapped softly in cotton.” The music was released on 10” by Fontana and received the Grand Prix from France’s Académie Charles Cros. It was released in the USA on Columbia as the A-side of the 12” LP Jazz Track, which received a 1960 Grammy nomination for Best Jazz Performance, Solo or Small Group. This beautiful re-issue of the original recording is pressed on 180g vinyl at GZ, and packaged in a deluxe gatefold tip-on jacket with Boris Vian’s original liner notes and Jean-Pierre Leloir’s iconic studio photo of Miles and Jeanne Moreau, and an essay on the circumstances that led to this out-of-the ordinary music by Franck Bergerot.

Die norwegischen Death Metal-Könige BLOOD RED THRONE feiern ihr 26-jähriges Bestehen und sind mit ihrem 11. und bisher stärksten Album "Nonagon" zurück!

BLOOD RED THRONE wurde von Daniel "Død" Olaisen (Gitarre) gegründet, als er in den 90er Jahren bei Satyricon spielte. Der ursprüngliche Schlagzeuger, Freddy "the Shred" Bolsø, kehrte 2013 zurück und Ivan "Meathook" Gujic (Gitarre) ist seit 2010 dabei. Stian "Clammy Hackett" Gundersen (Bass) kam 2018 hinzu. Sindre Wathne Johnsen schließlich übernahm 2023 die Vocals.

Brown/ Black Marbled Vinyl

Die norwegischen Death Metal-Könige BLOOD RED THRONE feiern ihr 26-jähriges Bestehen und sind mit ihrem 11. und bisher stärksten Album "Nonagon" zurück!

BLOOD RED THRONE wurde von Daniel "Død" Olaisen (Gitarre) gegründet, als er in den 90er Jahren bei Satyricon spielte. Der ursprüngliche Schlagzeuger, Freddy "the Shred" Bolsø, kehrte 2013 zurück und Ivan "Meathook" Gujic (Gitarre) ist seit 2010 dabei. Stian "Clammy Hackett" Gundersen (Bass) kam 2018 hinzu. Sindre Wathne Johnsen schließlich übernahm 2023 die Vocals.

After her stunning collaborations with Vincent Royer (for Mode Records), Jim O"Rourke and Christoph Heemann (both for Oren Ambarchi"s Black Truffle Records) Brunhild Ferrari returns to the scene with this new solo album. Extérieur-jour is comprised of two previously unreleased compositions, one being the title track the album is named after and the other "Le Piano Englouti (version original)." Extérieur-jour translates to "Outside Day," and indicates an instruction for a film scene, a piece of cinéma pour l"oreille, a movie for the ears. It was recorded at Luc Ferrari"s Atelier Post Billig in January and February 2014. "Le Piano Englouti" ("The Sunken Piano"), another electroacoustic composition which was realized over a period of fourteen years between 1996 and 2010, also brings forth cinematic elements with sound sources recorded in places as diverse as a Greek island by the noisy Agean Sea, a Pachinko place and a quiet island in Japan. It comes across as a meditation on the loss and reappearance of memory and silence. The graphics for the album sleeve were created by the late Wolfgang Meyer Tormin, artist and composer and also father of Brunhild Ferrari. The album was mastered for vinyl from the original source by Jim O"Rourke.

nehan is a Japanese free improvisation & avant-garde rock quintet formed in August 2022. Their performances are initiated by a 9hz brain wave emitted from a testee who has been brought into a deep meditative state via either hypnosis or acupuncture - a very relaxed but very alert state. nehan doesn"t begin until the testee has gotten into the state of "nothingness." It is only then that the improvisation can begin. The role of improvisation has been key to all the musical projects of Masaki Batoh. In 2010, as Batoh was winding down the activity of his long-standing "heavy chamber folk" group, Ghost, he became involved in the design of a machine to generate sonic data based on brain waves. An acupuncturist as well as a musician by trade, his interest was spurred by the rhythms of the body and the brain, and a desire to access the "pulses" of brain waves to initiate improvisations. Following the release of Brain Pulse Music, Batoh toured Japan, the US and Europe, making demonstrations of his process using a local volunteer and guest performers, when available. Today, nehan arrive at their performance space prepared with a Brain Pulse testee, bringing a wide array of instruments including gongs, timpani, tabla and other drums and percussion, Crumhorn, bagpipes, mellotron, oscillators and additional sound effects. Their performance is a transformative electro-acoustic display that passes through the prism of music styles, from east to west, from traditional folk and classical to rock, jazz, and avant electronic. While nehan"s performance presentation invokes a sense of ritual, they understand their process as being far removed from any type of spiritual endeavor - it has nothing to do with eastern thinking or any kind of religious ceremony - this is an action of improvisation, occurring in reality between the five musicians on stage, in response to the brain waves of an individual. For the personnel of nehan, Masaki Batoh asked players with whom he had good previous experiences in improvisation: Futoshi Okano (Ghost, Acid Mothers Temple, The Silence), Haruo Kondo (Espvall & Batoh) and Junzo Tateiwa (Ghost), along with female Brain Pulse testee Gozen on oscillators. The performance here, recorded live in August of 2022 at GOK SOUND in Tokyo, demonstrates their communal dedication to the improvisation. The players act as listeners and musicians simultaneously, inspired to make extended pieces of music out of the "nothingness" of brain waves. The possibilities of nehans"s chosen approach are almost infinite; an evening with nehan is only the beginning of their journey.

FAZI are a post-punk band based in the ancient Chinese city of Xi'an. However, there is much more to their story than meets the eye_ With five immersive full-length records and a brief stint on peak-time commercial TV already establishing the four-piece at the forefront of a truly pioneering wave of alternative music in China, the Euro-pean re-release of their latest offering, `Folding Story', represents an incredible new beginning for a band who have already spent years honing their craft - transforming timeless traditions of love, life and death into a perpetual dance of fre- netic, krautrock energy and sprawling, shoegaze panoramas. Fittingly, `Folding Story' is itself a cyclic experience of rebirth, renewal and a return to origin. Album opener `Invisible Water' is a contemplative start as frontman Peng Liu's yearning vocals reach out across synthesisers reminiscent of sonar and the hypnotic lapping of water on an un- known shore. Described by Peng as an "artistic conception of amniotic fluid in the mother's body", this motif returns at the end of the album's final track, `Way to Atman', this time as a gentle tide washing away the ash of a spent funeral pyre. Just as the album and its protagonist is born at the beginning and dies at the end, by deliberately opening and closing `Folding Story' with the sounds of water, Fazi invite listeners to flow through the record on a never ending loop, to listen to a story without pause, one that rises from a whisper to a roar only to subside as quickly as it arrived. First released in 2022 on pioneering Chinese record label Space Circle, `Folding Story' is a collection of 10 tracks that serve as stories themselves as well as part of a universal narrative in constant flow. A phenomenal accomplishment, its forthcoming re-release in Europe via Pelagic Records will ensure that Fazi continue to blow as many minds and ruffle as many feathers as possible. Gatefold sleeve, silver offset ink, printed on special all-black cardboard. FFO Joy Division, Suicide, Savages, Cabaret Voltaire, Iceage, Gilla Band, Fontän

The new album The Commune Of Nightmares by noise artist David Wallraf is a tapeloop-based musical game of cadavre exquis, a technique developed by surrealist artists.

David Wallraf is a noise artist and theorist living in Hamburg. His artistic work deals with the repressed and uncanny sonic residues of quotidian life, crafting soundtracks for the creeping disaster we inhabit. His works have been released on numerous international tape labels. A recent interest of his is the live scoring of silent films, including works by Luis Buñuel, Maya Deren and Jean Genet. His PhD thesis Grenzen des Hörens. Noise und die Akustik des Politischen (Limits of Hearing.Noise and the Acoustics of the Political) has been published in German, an English translation is in progress.

The Commune of Nightmares stems from the idea that nightmares are the logical reverse of 'capitalist realism': an uncanny undercurrent of daily experiences and an algorithmic haunting of dreams that at the same time is a shared – communal – experience of everybody. All songs are based on tapeloops that were cut arbitrarily from a stash of cassettes, some of which found on the street, others from a stockpile of 4 track tapes recorded in the late 90s and early 2000s – a musical game of cadavre exquis played with random strangers and former versions of DW.

Credits:

All music composed and recorded by David Wallraf in Hamburg-Wilhelmsburg, first half of 2023