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fabric Records proudly announces the latest edition in its esteemed mix series, *fabric presents Rødhåd*, a masterful journey through the dark, hypnotic depths of techno. Renowned for his innovative and atmospheric sound, Rødhåd crafts an experience that resonates deeply with both seasoned techno enthusiasts and new listeners alike.

The compilation begins its rollout with two powerful singles that set the tone for what’s to come. The first single, "Nightlife Experiences" featuring the visionary Theo Nasa, is set for release on August 28th. This track is an exploration of nocturnal energy, perfectly capturing the essence of late-night dance floors. Following this, on September 11th, Rødhåd will release "Inception Report," a track that delves into the cerebral side of techno, with layers of sound that intertwine to create an immersive auditory experience.

Featuring twenty-eight unheard tracks from established and upcoming artists in the techno sphere, the full compilation will be available on September 27th. The mix will showcase Rødhåd's unparalleled ability to blend raw sounds with evocative melodies, crafting a sonic landscape that is both intense and mesmerizing.

Puddu (Al Dente/Schema Records) with a solo release discography of 16 albums, among which stand out the three original volumes of the red-light soundtracks of Danish films ” The Golden Age Of Danish pornography", and also known for his collaborations with Edda Dell'Orso (Maestro Ennio Morricone's legendary vocalist,) Joe Bataan, Lonnie Jordan of L.A funk band War, and Gene Robinson Jr of Breakwater.

Alex Puddu will follow the previews singles Texas Blonde and Pullover Grigio releasing after the summer, for the first time a brand new album in Italian language, called ”Deliria” proposing a new sound that drags us into the Italian funk music of the late seventies and early 80s, and the new music from the italian indie pop and new disco scene, within names like, Nu Genea, Pellegrino. Viscardi & Il Duo Magnetico, Frah Quintale, Marco Castello and up to the electronic sounds, between adult oriented soul and disco that are part of the unmistakable style of Alex Puddu's writing and production.

Oxblood & Gold Vinyl. Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet. Eine spezielle farbige Vinyl-Edition wird auf "Oxblood"-Wachs (A/B-Seite) und "Gold"-Wachs (C/D-Seite) gepresst.

Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet.

On March 24, 2023 Rob Mazurek assembled his endlessly psychedelic and explorative large ensemble Exploding Star Orchestra under the dome of Chicago’s Adler Planetarium to perform material from their recently released album Lightning Dreamers along with a number of new pieces.

A digital projection flashed an ever-changing stream of vividly colored, abstract shapes derived from Mazurek’s paintings and animations over the audience’s heads, while the Orchestra, which on this night numbered eight musicians besides its leader, transformed the stylistically disparate pieces from Lightning Dreamers into an enveloping maelstrom. Electric pianists Angelica Sanchez and Craig Taborn pushed layers of plush texture back and forth over the intricate, tripartite grooves of bassist Ingebrigt Håker Flaten and two drummers, Chad Taylor and Gerald Cleaver. Mazurek’s trumpets and wordless cries, Tomeka Reid’s cello and Nicole Mitchell’s flute and voice periodically surfaced out of the flow, issuing sharp, energetic statements, while Damon Locks’ proclamations flickered in and out of the mix like an erratic signal from some interstellar radio announcer. Together, they reimagined the brooding sound of Miles Davis’ Bitches Brew as a force for transcendent uplift.

At one point, Mitchell put down her flute, spoke into Mazurek’s ear and pointed up to toward the dome. As he looked up, his own horn came down, and for a moment, the two of them gazed with undisguised awe at the spectacle that the Orchestra had unleashed. In a time when so many forces conspire to bring people down, this concert was an invitation to look up and out past the horizon.

With their third album on Heavy Psych Sounds Records, Alunah have wasted no time in a post-pandemic haze since their last release, balancing being on the European festival circuit alongside touring the UK. However, in a Birmingham rehearsal room away from the outside world, everyday life and online noise, their latest full length "Fever Dream" has been quietly brewing waiting to see the light of day. Forged from a period of extensive jamming and soul searching "Fever Dream" digs into the core of what makes Alunah tick, being in a room together making the music they want to hear. Recorded during the winter of 2024, the atmosphere of the historic Foel Studio allows groove to flow alongside riff, heft and melody in equal measure. The brooding progressive majesty of the title track, the eastern soundscape of "Sacred Grooves" and the doom and roll of "Far From Reality" each highlight the album's ability to surprise and deliver in equal measure throughout the emotive journey of its nine tracks. Let yourself fall deep into the "Fever Dream".

With their third album on Heavy Psych Sounds Records, Alunah have wasted no time in a post-pandemic haze since their last release, balancing being on the European festival circuit alongside touring the UK. However, in a Birmingham rehearsal room away from the outside world, everyday life and online noise, their latest full length "Fever Dream" has been quietly brewing waiting to see the light of day. Forged from a period of extensive jamming and soul searching "Fever Dream" digs into the core of what makes Alunah tick, being in a room together making the music they want to hear. Recorded during the winter of 2024, the atmosphere of the historic Foel Studio allows groove to flow alongside riff, heft and melody in equal measure. The brooding progressive majesty of the title track, the eastern soundscape of "Sacred Grooves" and the doom and roll of "Far From Reality" each highlight the album's ability to surprise and deliver in equal measure throughout the emotive journey of its nine tracks. Let yourself fall deep into the "Fever Dream".

Bringing a dance floor sensibility to the deeper end of the electronic spectrum, the Dutch duo Jordi van Achthoven and Micha Heyboer a.k.a. Tinlicker have courted the attention of global labels and tastemakers since breaking out in 2013. Prolific musicians with backgrounds in dubstep and pop production, their journey so far has seen them release on the likes of Mau5trap, Armada, Sotto Voce and Anjunadeep - with an a eclectic array of DJ support from Above & Beyond to Oliver Heldens, Tiësto to Yotto. Able to turn their hand to deep house, techno and electro, the pair have reworked the likes of Lane 8 and Deadmau5; their stunning update of Reflekt ‘Need To Feel Loved’ becoming a sought after mix among fellow DJs over the last 12 months. A showcase for their dynamic songwriting and forward thinking sound design, Tinlicker’s debut artist album ‘This Is Not Our Universe’ will be released on Anjunabeats this September.

It took four years for The Lumineers to follow up their platinum-plus, multi-Grammy-nominated, self-titled debut. Cleopatra proves Schultz and Fraites - along with cellist/vocalist Neyla Pekarek- are neither taking their good fortune for granted, nor sitting back on their laurels. With the help of producer Simone Felice (The Felice Brothers, The Avett Brothers), the man Wesley calls "our shaman," the band ensconced themselves in Clubhouse, a recording studio high atop a hill in rural Rhinebeck, N.Y., not far from Woodstock. The Lumineers then set about trying to make musical sense of their three-year-plus roller coaster ride. Their skill at setting a visual story to music comes through amidst the delicate, deceptively simple acoustic soundscapes. This time, though, bassist Byron Isaac provides a firm, low-end on the apocalyptic opener "Sleep on the Floor," a ghostly tune about getting out of town before the "subways flood and the bridges break." It's a densely packed, cinematic song that echoes Bruce Springsteen's "Atlantic City" and John Steinbeck's East of Eden. Cleopatra also deals with what Wesley terms "the elephant in the room," the band's success and the way it can sometimes put a target on your back. The syncopated piano rolls in "Ophelia" , the organic sound of fingers squeaking on guitar strings in "Angela" and the Faustian bargain described in "My Eyes" consider the perils of getting what you wish for, with everyone knowing your name, and your songs. The band had total artistic freedom in writing and recording the album, so Wesley and Jer pushed the envelope. "We continue to make the kind of records we want to," says Wesley. "We believe in this music. It's a true labor of love. We just want to keep reaching more people with our songs." Given the evidence on The Lumineers' sophomore album Cleopatra, that shouldn't be a problem.

It took four years for The Lumineers to follow up their platinum-plus, multi-Grammy-nominated, self-titled debut. Cleopatra proves Schultz and Fraites - along with cellist/vocalist Neyla Pekarek- are neither taking their good fortune for granted, nor sitting back on their laurels. With the help of producer Simone Felice (The Felice Brothers, The Avett Brothers), the man Wesley calls "our shaman," the band ensconced themselves in Clubhouse, a recording studio high atop a hill in rural Rhinebeck, N.Y., not far from Woodstock. The Lumineers then set about trying to make musical sense of their three-year-plus roller coaster ride. Their skill at setting a visual story to music comes through amidst the delicate, deceptively simple acoustic soundscapes. This time, though, bassist Byron Isaac provides a firm, low-end on the apocalyptic opener "Sleep on the Floor," a ghostly tune about getting out of town before the "subways flood and the bridges break." It's a densely packed, cinematic song that echoes Bruce Springsteen's "Atlantic City" and John Steinbeck's East of Eden. Cleopatra also deals with what Wesley terms "the elephant in the room," the band's success and the way it can sometimes put a target on your back. The syncopated piano rolls in "Ophelia" , the organic sound of fingers squeaking on guitar strings in "Angela" and the Faustian bargain described in "My Eyes" consider the perils of getting what you wish for, with everyone knowing your name, and your songs. The band had total artistic freedom in writing and recording the album, so Wesley and Jer pushed the envelope. "We continue to make the kind of records we want to," says Wesley. "We believe in this music. It's a true labor of love. We just want to keep reaching more people with our songs." Given the evidence on The Lumineers' sophomore album Cleopatra, that shouldn't be a problem.

Inside Automatic Popular Music there are two people sitting in a room, their backs to each other. One plays a piano with no particular attention to detail and tuning of the instrument, and another, sitting behind him, claps his hands on his own legs. They do not see each other, they never look at each other, they can only listen to each other, look around. The room is large enough, it is daytime, there are four windows through which enough light enters to illuminate the objects and furniture with objects on them. October, the temperature is great and outside the window there are many people and all these people are dancing to the music of another record.

Automatic Popular Music was recorded and mixed by Nicola Ratti between July and December 2023. The tracks consist almost entirely of sounds generated by automatisms programmed on modular synthesisers. These are combined with tape loops on which fragments of both acoustic and digital pianos are engraved, generating tracks that are structured on repetitiveness in both their rhythmic and harmonic components. The adjective 'popular' is in this case the result of the other adjective 'automatic' since the machine has been entrusted with the task of generating the melodic patterns and harmonic structures of the tracks on the disc.

Automatic Popular Music is the first release by LL, a curatorial and editorial platform based in Milano and formed by artists and curators.

Composed, recorded and mixed by Nicola Ratti between July and December 2023. Mastered by Giuseppe Ielasi. Cover photo by Cédrick Eymenier.

Most of the writing of Naima Bock's second album, Below A Massive Dark Land, was a solitary affair. It may not sound like it - it's made up of strong, purposeful arrangements with a huge host of musicians, filled with cradling space and warm light. This will also come as a surprise to anyone who has seen Naima perform in the time since the release of her 2022 debut Giant Palm, which was undoubtedly a communal experience. But there's power in the solitary, too. Giant Palm was arranged with collaborator Joel Burton, but going this one alone in search of something that was truly hers, Naima found she was capable of more. "After me and Joel stopped working together", she remembers, "it was an impossibility to even fathom doing arrangements myself but then I started learning violin and it was possible". Finding that she could go it alone was incredibly powerful for Naima: "I think I needed it, to be able to feel proud of something". Beyond the writing process, however, the record is not a stark, stripped back affair. Below_ still has the majesty that made Giant Palm so remarkable. Having tugged the first record down from the skies and spreading it across the earth, Naima finds a newfound vocal power and confidence born from hundreds of hours on stage, and the music sounds fuller, more tangible, and no less enveloping. This can be heard on the album's lead singles: "Kaley" feels fresh and surprising in its rug-pull choppiness but is distinctly Naima in its swinging, jubilant choruses. The accompanying "Further Away" takes a different tack, drawing you in with its simplicity. Finally, the hazy, luxurious beauty of "Feed My Release" draws on the sepia-toned traditions of The Roches, John Prine and Loudon Wainwright III and imbues them with the kind of stark confessional songwriting of Mount Eerie. These are ambitious, rich arrangements that reach deeper and darker lyrically than Giant Palm. Below a Massive Dark Land was predominantly produced by Jack Osborne (Bingo Fury) and Joe Jones, and recorded at The Crypt in north London, with additional production and arrangement by Oliver Hamilton (caroline, Shovel Dance Collective) and Naima herself. Six of the tracks on Below_ were mixed by Jason Agel, with the remainder done by Osborne and Jones. The album was mastered by Kevin Tuffy.

6OOA"s 2020 opus is reunmanaged by sound composer Twig Harper, whose unlimited brief takes this REMIX places no other remix record could dare to go. In the process, it affords the wizard of Six Organs, Ben Chasny, the chance to re-present the record in a form as insane as the world into which the record was - and is - headed. A soundtrack to California chaos, done two ways, sometimes at the same time! RIYL: Electronic, New Age, Modern Classical

France-based, prog-rock power trio LIZZARD are out to reclaim the creative, collaborative energy that has fueled them for over a decade. On `Mesh', the band's fifth full length album, LIZZARD capture the energetic, lightning-in-a-bottle optimism of the late `90s post-punk/art-rock scene and reinvigorate it as something empowering, inspiring and simmering with potential. Recorded by the band in the abandoned factory they use as their creative base and produced again by now long-time friend and collaborator Peter Junge, `Mesh' is LIZZARD unleashing the raw, spontaneous might of their pent up live sound through the production precision of their studio experience. As such, themes of duality and control, whether it's regaining it or letting it go, run right through the album. Resounding with Elwell's inimitable, thundering drums and a barrage of colossal riffs, `Black Sheep' explores the dichotomy of body and mind, of black and white, that we all wrestle with on a daily basis whilst the mellow polyrhythms and plaintive melodies of `Mad Hatters' ask pressing questions of the people who are supposedly in charge of society. Epic album closer `The Beholder' captures the reinvigorated LIZZARD at their bracing best; bittersweet guitar refrains are bolstered by Will Knox's signature driving basslines and crashing half-time grooves as frontman Ricou considers the great cycle of life from his own perspective. Testament to the band's formidable compositional prowess, `The Beholder' ends as it starts, a closed loop. With only Ricou's playful, pithy refrain of "What goes around, comes around" left ringing in our ears, LIZZARD masterfully frame `Mesh' as both a poignant conclusion to the last chapter and as a bright new beginning.

France-based, prog-rock power trio LIZZARD are out to reclaim the creative, collaborative energy that has fueled them for over a decade. On `Mesh', the band's fifth full length album, LIZZARD capture the energetic, lightning-in-a-bottle optimism of the late `90s post-punk/art-rock scene and reinvigorate it as something empowering, inspiring and simmering with potential. Recorded by the band in the abandoned factory they use as their creative base and produced again by now long-time friend and collaborator Peter Junge, `Mesh' is LIZZARD unleashing the raw, spontaneous might of their pent up live sound through the production precision of their studio experience. As such, themes of duality and control, whether it's regaining it or letting it go, run right through the album. Resounding with Elwell's inimitable, thundering drums and a barrage of colossal riffs, `Black Sheep' explores the dichotomy of body and mind, of black and white, that we all wrestle with on a daily basis whilst the mellow polyrhythms and plaintive melodies of `Mad Hatters' ask pressing questions of the people who are supposedly in charge of society. Epic album closer `The Beholder' captures the reinvigorated LIZZARD at their bracing best; bittersweet guitar refrains are bolstered by Will Knox's signature driving basslines and crashing half-time grooves as frontman Ricou considers the great cycle of life from his own perspective. Testament to the band's formidable compositional prowess, `The Beholder' ends as it starts, a closed loop. With only Ricou's playful, pithy refrain of "What goes around, comes around" left ringing in our ears, LIZZARD masterfully frame `Mesh' as both a poignant conclusion to the last chapter and as a bright new beginning.

Picture a time when you could have a good time all the time. It was an era when fast cars rolled under neon lights, yachts were a sensible housing decision and fighting for your right to party was a full time occupation. This mythical age had an equally flamboyant soundtrack to match, and it blared from boomboxes and dashboards in every time zone. It was the 1980s, and bands like Van Halen, Toto and Def Leppard personified a summertime sound built on big beats, bigger melodies and choruses so epic that singing along was the law, and places like Vegas, Hollywood, and Miami Beach became hedonistic epicenters of a global, sonic heatwave.

Second chapter for Raw Elegance and this time in larger 12" amount. Morningstar EP collects 4 cuts made for the dancefloor, straight from label founder MBM.
This new piece showcases deeper the artist's vision and enlightens the label path with its own very distinguish sound. Supported by some of the most established artists on the scene, this record firmly confirms to be a must-have.

Uruguayan Label as it is characterized, introduces the third conceptual 12” album that brings deep roots from Uruguayan culture once again. Unveiling truth bringing to light the hidden past known historical fact of Carlos Gardel "El Mago“ the most prominent figure in the history of Tango genre. One of the trailblazers of the video clip long before this term existed, promoter of the Radio broadcasting in Uruguay, and the first Movie shorts with sound from “el Río de la Plata”.

Gardel was one of the first artists to use “Lunfardo” and show it to the world in his lyrics, and long has been the debate of his nationality, but this time all is left clear.

This is how Lunfardo, brings 4 artists to represent this unique story divided into three nationalities Charlou from France with his track Les infernes tranquilleus, Fakk from Argentina with “Murmullo del chanta”, and the two Uruguayans “Cabanelas - Marivo” and Arturo with “ Bohemio”, the mystery will be unveiled...

This is the debut hardcore breakbeat album from Z-NEO. It has shown worldwide following and been super popular with the rave fans of old and new. These works showcase Z-NEO’s first vinyl release for Rave Radio Records.

The EP features 4 brand new breakbeat hardcore tracks. Each track is beautifully produced to great precision that doesn’t lose it’s authentic rave sound. Z-NEO has captured the early 90’s feeling fusing both light and dark riffs and patterns that both take you on a journey and make you stand still to full attention.

If you love The Prodigy, Altern 8, Slipmatt and underground breakbeat hardcore then you will 100% love this EP.

Blurb:
A confident, two track release, cut loud to a split 12” from Meat Beat Manifesto & ScanOne
Following on from featuring together on the Yellow Machines BLE-EP series.

Bleeps, Breaks, Space and Bass.

Meat Beat Manifesto's ‘Into The Sun’ kicks off pulsing techno and IDM spasms against evocative NASA samples, the track evolves into a frenzied and unstable tower of wonky jungle break edits and heavy sub sweeps threatening imminent collapse. Weaving the contrasting rhythms with a narrative of eerie analogue pads and incidental atmospherics, Jack Dangers delivers a striking and fresh piece reminiscent of mid 90s left field rave acts such early Plug, Bedouin Ascent, and Law & Auder crew, both in their worldly experimental stylings as well as their forward-leaning progressivism.

ScanOne’s track ‘Secondary Loop’ is a seven minute galactic adventure of a slightly less hectic pace, and a brighter array of scenery. With a firm thematic nod to that 89 / 90, pre-hardcore sound exemplified by the likes of 808 State, FSOL, and Orbital, the voyage is signposted by chunky, shuffling breaks, glowing invigorating rave pads and sparkling arpeggiated sequences, built for those peak dance moments, light and dark, sundown or sunrise.

Köhncke rides again with another 12“ having 2 sides that couldn‘t be more different: the A-Side, „Timecode“, is a clock-ticking electronic disco tease promising a joyous release by building up tremendous expectations over its course of 8 minutes – and of course not delivering the final dance floor orgasm since the night has to continue in mutual happiness and expectations on the floor. But well, surely lots of „pre-cum“ spreaded...

The „flip“, „The Answer Is Yes“, displays Köhncke‘s love with The Beatles or Prefab Sprout and the likes, in a masterly programmed digital simulation of the „played“ sound of the likes (Köhncke cannot play any „real instruments“ except for a bit of Barré-Punk-Guitar). It‘s a love metaphor about 2 photons in „entanglement“, which is a proven very psychedelic effect in quantum physics. The photons are „entangled“ and „know“ each other‘s „spin“ in immediacy, thus not bent to the speed of light, even if they are 100000 light years from each other - a theory that even Einstein considered absurd when the pioneers of quantum physics came up with this in the 1930s. So Justus put his fascination with quantum physics into a pop love song metaphor – how much more do you want?

Köhncke kommt zurück mit einer 12“ - 2 Seiten, wie sie unterschiedlicher nicht sein könnten: Die A-Seite, „Timecode“, ist eine tickende elektronische Disco-Versuchungs-Zeitbombe, die über ihre Laufzeit von über 8 Minuten extreme Erlösungsversprechen macht, sie aber selbstverständlich nicht in einem endfinalen Floor-Orgasmus auflöst, denn die Nacht soll ja weitergehen in gemeinsamer Glücklichkeit und Erwartung auf der Tanzfläche. Allerdings, eine Menge „pre-cum“ wird schon versprüht in dieser unwiderstehlichen Spannungserzeugung von Track.

Die „flipside“, „The Answer Is Yes“, stellt Köhnckes Liebe zu den Beatles oder Prefab Sprout etc. ins Licht, in einer meisterhaft programmierten digitalen Simulation des „gespielten“ Sounds der Großmeister (Köhncke kann keine „echten Instrumente“ spielen außer ein bißchen Baréegriff-Punk-Rhythmusgitarre, sein Instrument ist der Sequenzer). Es ist eine Liebesmetapher über zwei Photonen im Zustand der „Verschränkung“, was ein heute wissenschaftlich nachgewiesenes extrem psychedelisches Phänomen aus der Welt der Quantenmechanik ist: die Photonen sind „verschränkt“ und „kennen“ ihren aktuellen „Spin“ (Rotationsrichtung des Teilchens) unmittelbar, also nicht gebunden an die Lichtgeschwindigkeit. Auch wenn sie 100000 Lichtjahre voneneinander entfernt sind – eine Theorie, die sogar Einstein absurd fand („Spukhafte Fernwirkung“), als die Pioniere der Quantenphysik sie in den 1930er Jahren postulierten. Köhncke verewigt seine Faszination für Quantenphysik hier also in Form eine Retro-Pop-Lovesong-Methapher – was will man mehr?
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Secrets Of Sound sold out their first release in quick fashion and now they return with a second instalment in the Exotic Origins series, designed to take you a million light years away from your current reality and deep into the far depths of space with eight superbly cosmic explorations of ambient and downtempo magic. Italians Do It Better man Johnny Jewel kicks off with some sultry sax-laced sounds, David Lynch's musical partner Dean Hurley crushes on shimmering pads and Pye Corner Audio bring a little intergalactic tension. Elsewhere there are sugary synths from Legowelt, suspensory pads from TM Solver and plenty more to help you escape to another dimension. Add to that the fact it arrives on a random variety of different vinyl colours and comes with a download code, and you've got rather a nice package.

The multi-media project Kraftwerk was started in Düsseldorf, Germany 1970 by Ralf Hütter and Florian Schneider. They set up their electronic Kling Klang Studio where they conceived and produced all Kraftwerk albums.

Kraftwerk created the soundtrack for the digital age of the 21st century. AUTOBAHN 1974, RADIO-ACTIVITY 1975, TRANS EUROPE EXPRESS 1977, THE MAN-MACHINE 1978, COMPUTER WORLD 1981, TECHNO POP 1986, THE MIX 1991, TOUR DE FRANCE 2003. Their compositions, using innovative techniques, electronic sounds and synthetic voices combined with computerised rhythms, had a major musical influence on Electro, Hip Hop, Techno and Synth-Pop. 

Schwedens gefeierter Komponist, Produzent, DJ und Pianist Rasmus Faber stellt sein erstes Ambient/Neoklassik-Album vor: "Where Light Touches“ A NIMA Story" ist eine Audiointerpretation des hochgelobten Buches "NIMA" des Illustrators Ross Tran (RossDraws) aus L.A. Rasmus erschafft ein vollständig immersives Hörerlebnis im Atmos-Surround-Sound und malt atemberaubende Audiobilder mit zart-melodischen Farbtönen, voller atmosphärischer Gespräche zwischen gefühlvollen Klavieren, beruhigenden Streichern und anspruchsvoller elektronischer Musik, die anmutig durch dieses bezaubernde Werk fließen. Aufgenommen mit komplettem Orchester in Stockholm, wurden die Werke mit elektronischen Elementen aus Rasmus' reichhaltigem Erbe verschmolzen.

Limited Edition of 1000 Opaque Light Blue 180 Gram Vinyl LP. Ghost on Ghost is Iron & Wine's fifth full length record and was originally released in 2013. The album found Sam Beam the bands principle member working once again with longtime associate Brian Deck (Modest Mouse, Califone). The record marks the last time the two would work together on a journey that began with the bands second record, Endless Numbered Days. It also marked a shift for the two from working in Chicago to setting up in New York City. The idea behind the move was to tap into the creative musical community New York had to offer. The line-up that helped bring Beam's vision for Ghost on Ghost to life included a who's who from the jazz community as well as the deep wells of outside art including Steve Bernstein (Sex Mob/Levon Helm Band), Rob Burger (Tin Hat Trio), Brian Blade, Curtis Fowlkes (The Jazz Passengers), Tony Garnier (Bob Dylan Band), Marika Hughes, Briggan Kraus, Maxim Moston, Tony Scherr (The Lounge Lizards), Doug Wieselman, Kenny Wolleson (Tom Watis/John Zorn) and Anja Wood. The level of talent on Ghost on Ghost far surpassed anything Beam ever imagined when he first began writing songs as Iron and Wine on his four-track. Upon completing the Ghost on Ghost Beam jokingly referred to the recording process as "a reward to myself" after years of chasing sounds by himself. Being able have the finest in musicians in New York City perform on the record, elevating these songs into places he never imagined Beam stated, "it was an honor -- really inspiring." Beam stated at the time that Ghost on Ghost takes it's inspiration from records like Nilsson Schmilsson, Ram, Mingus Moves and What's Going On. The record they all crafted is warm and inviting and was like anything up to that point in the Iron & Wine catalog.

"A Singular Blend of Dynamic Post-Pop & Electronic Production Featuring The Vibraphonist’s Remarkable Quartet Special Guests Gerald Clayton and Marquis Hill Named One Of Downbeat's 25 For The Future

“His music is fresh, it speaks to everyone. Never heard anyone play vibes like that before.” -Herbie Hancock

“Best vibes player I’ve heard...” -Quincy Jones

In discussing Elements of Light, his fifth album as a leader, the vibraphonist-composer Simon Moullier often returns to a specific term: unfolding.

“This is an important word — the unfolding of a song,” says Moullier, who was born in France and lives in New York. “It’s something I’m very attached to, and something I’m always working on.” As he explains, many of his essential influences —Wayne Shorter, Milton Nascimento, Toninho Horta, Radiohead’s Thom Yorke, Ravel, — have been masterful unfolders in their writing. Moullier admires the movement and design in their music and harmony, the way one section of a tune leads into the next, everything flowing in a natural, beautiful, inviting way. Even the most serious intellectual musical concepts are rendered with a directness, a simplicity that can captivate a general audience. “For me, no matter how complex an idea can get,” he says, “clarity is always key.”

That’s a mature, evolved outlook for a millennial jazz musician to embrace, and it’s shared among Moullier’s youthful quartet featuring pianist Lex Korten, bassist Rick Rosato and drummer Jongkuk “JK” Kim. What’s more, these musicians of astonishing technical facility interact with the selflessness and good taste that Moullier’s song-focused music requires; to say it another way, they use their virtuosity to make the bandleader’s compositions sound as human and affecting as possible — never to preen."

REISSUED!!! Received an 8.1 rating from Pitchfork. "Sadly, many will hear Chris Corsano & Bill Orcutt's latest LP, Made Out of Sound, as 'not-jazz,' though it would be more aptly described as 'not-not-jazz.' In a better world, it would warrant above-the-fold reviews in Downbeat, or an appearance on David Sanborn's late-night show (if someone would only give it back to him). More likely, we can hope for a haiku review on Byron Coley's Twitter timeline to sufficiently connect the various improvised terrains trodden by this long-time duo—but if you've been able to listen past the overmodulated icepick fidelity of Harry Pussy, it should surprise you not an iota that Orcutt's style is rooted as much in the fractal melodies of Trane and Taylor as it is in Delta syrup or Tin Pan Alley glitz. As for Corsano, well, it may seem daft to call this particular record 'jazz' (because duh, it has a drummer), but to me Corsano is beyond jazz, almost beyond music, his ambidextrous, octopoid technique grappling many stylistic levers and spraying a torrent of light from every direction. Corsano's ferocity has elevated many 'mere' improv records to transcendence, but here he's crafted his polyrhythms within more narrative channels, bringing to mind his 'mannered' playing in the lamented Flower-Corsano duo. It's not 'groove' playing precisely, but it follows many grooves simultaneously, much like Orcutt's own melodic musings—which is why they're so naturally lock-in-key here. Which maybe makes it all the more surprising that Made Out of Sound was in fact recorded in different rooms on different coasts at different times, and stitched together by Orcutt on his desktop. Corsano recorded the drums in Ithaca, NY, and (as Orcutt states), 'I didn't edit them at all. I overdubbed two guitar tracks, panned left/right. I'd listen to the drums a couple times, pick a tuning, then improvise a part, thinking of the first track as backing and the second as the 'lead', though those are pretty fluid terms. I was watching the waveforms as I was recording, so I could see when a crescendo was coming or when to bring it down.' Fluidity ties the tracks together. With a little more groove and a little less around-the-beat maneuvering, one could almost hear the boiling harmonic layers as Miles-oid in 'Man Carrying Thing,' but with new-found Sharrockian modalities, Corsano accentuating the tumbling nature of the falling notes. The Sharrock vein continues with 'How to Cook a Wolf,' its Blind Willie-esque melodic simplicity and repetition extrapolated 360-style in a repetitive descending riff that falls into Cippolina-isms (by way of Verlaine ) until the end crashes upon the shore. Much like Orcutt's last solo album, Odds Against Tomorrow, there's a gentler, almost pastoral flow to some tracks ('Some Tennessee Jar,' 'A Port in Air,' 'Thirteen Ways of Looking') that calls to mind the mixolydian swamplands of Lonnie Liston Smith—but unlike Odds , other tracks ('The Thing Itself') smash that same lyricism into overdriven, multi-dimensional melodic clumps that push several vector envelopes at once in an Interstellar Space vein. With the help of Corsano, Orcutt has managed to slither even further out of the noise/improv pigeonhole lazy listeners/writers keep trying to shove him into. Looking at the back cover of Made Out of Sound , we should not see Orcutt hurling a guitar into the air with post-punk bravado, Corsano toiling behind him in the engine room—we should witness an instrument levitating from his hands, rising on invisible major-key tendrils of melody, fired by percussion, spiraling into an invisible event horizon..."—Tom Carter

The 20th Anniversary Edition of Beyond Good & Evil and its official soundtrack offer a refreshed yet faithful rendition of the game's original music. Utilizing a full orchestra, we preserved the unique, intimate feel of the compositions, often created through improvised sessions. The soundtrack includes new tracks, some recorded with unconventional instruments, celebrating the creativity that made the 2003 original and the franchise special.

“Beyond Good & Evil – 20th Anniversary Edition and its official soundtrack are a true labor of love that give a beautiful new sheen to the notes and melodies of the game, yet always staying true to the emotions that resonated with the fans back then. While we had the means to work with a full-fledged orchestra this time around, we made sure to keep the quirky, intimate feel of the compositions that were, more often than not, the results of improvised jams and family reunions around an iron anvil or a toy ukulele. This soundtrack is an ode to a sort of colorful, artisanal and unbridled creativity, completed here with new tracks (including parts recorded on a broken guitar with an unconventional tuning), and the perfect celebration of all the little things that made the 2003 original and this franchise so special.”

-Christophe Héral

The principles of pleasure radiate a knowing, carnal heat throughout the genre-fluid sound of LSDXOXO. His decade of dedication to the sensibility of underground club culture has brought forth club classics interwoven with pop music hooks and subversive, tongue-in-cheek lyrics.

After four years of what LSDXOXO, real name RJ Glasgow, calls a period of “healing and self-discovery,” he is consolidating his multiplicitous sound with one compelling masterstroke: the debut album DOGMA, to be released on his own imprint F.A.G. DOGMA marks a complete paradigmatic shift: it is a poetic and fantastical performance, a route for deep escapism through an expanded musical palette including piano and guitar, and a deeply personal confessional through a fresh approach to songcrafting.

Within DOGMA, RJ meditates on the interlinked qualities of fame, infamy, lust and submission, as he rediscovers a pure, unadulterated approach to music-making, all the while adopting a futurist approach to pop music appreciation. RJ’s unmistakable signatures—the smutty dancefloor caller, the maker of irresistible bangers, the latter-day electroclash and DnB nostalgist—take on even more shades and intricacies. Despite his widespread acclaim as a collaborator with and songwriter for other artists, RJ strips DOGMA down almost exclusively to himself, carving out intentional space as a chameleonic vocalist and performer. He breathes life into the album with private thoughts, external fears and a red thread through personal themes that crystallise the album’s narrative from front to back.

The album’s promo single “Bloodlust” offers angsty, intimate indie-tronica, and musings on the intoxicating nature of love and infatuation. The lead single “Ghost” reaches beyond RJ’s Philadelphia origins to find itself in the deep south, in a sultry fever dream of coquettish R&B featuring backing vocals from close collaborator Kelela. Elsewhere on the album futuristic love, pensive pop earworms, evocative vintage dance styles and sleazy club tracks intermingle. While the DOGMA era will eventually explore remixes and reworks, the album is RJ’s purest embrace of himself and his artistry.

RJ first garnered attention as LSDXOXO in New York City with his on-the-pulse Soundcloud edits and then as part of the cult GHE20GOTH1K collective. His DJ sets and productions quickly earned him acclaim across globally-linked underground scenes. His decision to shift from sampled vocals to picking up the pen and microphone pushed his reach out to the stratosphere; his association with XL Recordings via the Dedicated 2 Disrespect EP in 2021 was a turning point for the burgeoning superstar.

This multiplicity of the LSDXOXO sound has led to enviable co-signs. These include being selected as the opening DJ for Beyoncé’s German Renaissance tour dates, remixing Lady Gaga, Pink Pantheress and Shygirl and producing five tracks for Kelela's highly acclaimed 2023 album for Warp Records, Raven. His fully-realised live show has also taken to the stage, serving fierce charisma to huge audiences at festivals including Primavera, Nuits Sonores and Rewire.

Mystic, member of the legendary rap collective Digital Underground, is releasing her 3rd album Dreaming In Cursive: The Girl Who Loved Sparklers on Vinyl. She is most known for her classic Cuts For Luck and Scars for Freedom which was released on vinyl last year. This new album find a return to her roots working with long time collaborator Walt Liquor to create the sonic landscape she's most known for. There was a crowd-sourcing campaign to create the visuals for this project that was successful and from it came three visuals that will be the foundation for a short film released this summer called A Black Love Trilogy. This project is the healing balm the world needs in these trying times.
GRAMMY-nominated rapper, singer, and Bay Area legend Mystic (affectionately known as the “DU Goddess of Digital Underground”) has returned to bless the world with a new album like only she can. "Dreaming In Cursive: The Girl Who Loved Sparklers" is Mystic’s first new release from her label, Beautifull Soundworks, and is produced by herself and Walt Liquor. With song and voice that resonates with the beauty of unadulterated womanhood, Mystic’s new album is what she coined, “Healed Black woman music.” As a seasoned veteran in the music business, Mystic reminds us of her ability to seamlessly weave together harmonies and vivid lyrics that invoke thoughts of love, community, and healing. Always on time with her offerings, this new project warms the soul as only Mystic can—a perfect reminder to long-time fans of their love for her and a welcoming invitation to music lovers around the world looking for high-quality, meaningful, and banging music at once.
Quote: “I am known for moving in between the intersections of trauma and healing--the beauty and the pain. My healing journey and life journey have brought me to a place where the art reflects my level of healing and the knowledge, wisdom, and joy I passionately pursue. My fans have healed and grown with me, and I look forward to the joy and conversations this album will encourage.”

Nigerian electronic musician and violist Ibukun Sunday debuts on Phantom Limb with Harmony / Balance, a brooding, introspective take on Afro-ambient music that follows two acclaimed digital-only albums for Phantom Limb imprint Spirituals.


Based in Lagos, Ibukun Sunday has expertly positioned himself between the rarely-married cultures of ambient and West African musics. He entwines his compositions with field recordings from his native Nigeria and deeply considered philosophies of existence, humanity, and society. The themes of Harmony / Balance derive from Swami and Hare Krishna founder A. C. Bhaktivedanta and his work Bhagavad-Gita Eng: “As It Is”, a script on the duality of human nature. In Bhaktivedanta’s text, two cousins - warriors from the sacred Hindu text the Mahābhārata - and their armies are pitted against each other. The humility, self control, and devotion of one cousin against the arrogance, envy, and pursuit of power of the other. Bhaktivedanta writes that from this battle we see the necessity to cultivate and nurture our love and faith, but to simultaneously understand our selfishness and hubris. Appropriately, in Ibukun Sunday’s music, a heavy, apocalyptic dread contrasts fascinatingly with passages of light. The static-spiked, corrosive sound design of Harmony / Balance conjures darkness, but its skipping rhythmic patterns and melodic contours are made of beautifully vibrant colours.



Though Sunday excels in the kind of drawn-out elegance also found in the work of Kali Malone, William Basinski or Fennesz, and also in a magisterial repetition akin to Terry Riley or Manuel Göttsching, his unique practice, classical training, and core culture shine through in a pure and singular way. Scattered throughout Harmony / Balance are unexpected melodic antiphonies closely aligned with African music, interspersed between huge, spacious drones and field recordings.



Lead track “Arrayed On The Battlefield” evokes mythical and deific wars with hissing, buzzing synthesis that could be dystopian if not for a levitational, sunlit harmonic structure. It rolls and shimmers, transcendent frequencies alive with rhythm. Later, “Enemy Of My Enemy” employs shimmering, meditative chord pads and blissful negative space, while towards the end of the record, “To Fight With” could have been taken from a Denis Villeneuve sci-fi - the fizzing, fiery distortion at its peak gradually, carefully yields a rumbling, distant thunder as it closes. Throughout the record, Sunday’s education as a classical viola player is also evident. A honed musicality and developed ear for harmonic resonances lend the work a measured eloquence, even amidst deep, spiritual intuitiveness. This intensely personal and powerfully expressive creativity is key to the grace with which he crosses divides.


Ibukun Sunday is a solo electronic musician and violist based in Lagos, Nigeria. He has released two albums with Phantom Limb’s digital-only imprint Spirituals, which enjoyed rightful acclaim as unique and powerful works of experimental ambient music. He also performed at Phantom Limb’s 5th anniversary celebrations in 2023, playing alongside Richard Skelton at St. John’s on Bethnal Green in London, UK.

We welcome Torn back to Samurai Music for a full length return trip.
Immortal ventures back into the abyssal realms that Ivans music inhabits with 13 meticulously crafted solo works. Meditative, brooding and hypnotic, it's a hauntingly immersive journey that shines a light on his singular vision and artistry.
From the outset, Torn descends into the subterranean with unmatched precision. Each track on Immortal is an intricate colage of raw, sinewy textures and eerie melodies,meticulously woven to create an intensely intoxicating experience.
Standout pieces like the title track 'Immortal', 'Into The Abyss', Unending Rails' and'Glacier' display the inimitable Torn style in its full glory. Immaculate rhythms and layered atmospherics, forever evoking a sense of inexorable momentum
What sets Immortal apart is its ability to maintain a cohesive narrative while exploring diverse sonic and rhythmic territories. Torn seamlessly transitions from the minimalist, almost meditative ambience of tracks like Reckless and I Dare to the more aggressive, beat-driven attacks of Inner Battle and Invisible Turmoil. Each piece contributes to the overarching foreboding atmospheric journey.
For aficionados of deep, shadowy atmospheric drum and bass, Torn's Immortal is indispensable, a tenebrous soundscape that is equal parts innovative, disquieting and enthralling.

Monument is one of Portico Quartet’s most accessible, direct records to date. If Terrain addressed the darker side of how Duncan Bellamy and Jack Wyllie made sense of the pandemic, then Monument resonates as an ode to better times. If not quite a dance record, it nonetheless pulses with an energy, radiance and a scalpel sharp focus. Jack Wyllie explains: “It’s possibly our most direct album to date. It’s melodic, structured and there’s an economy to it that is very efficient. There’s not much searching or wastage within the music itself, it is all finalised ideas, precisely sculpted and presented as a polished artefact.” Bellamy expands “Monument sits somewhere between our albums Portico Quartet and Art in the Age of Automation. It has perhaps a more overtly electronic edge to its sound – there are more synthesisers and electronic elements than we have used before and the music is often streamlined and rhythmic”.

Combining the signature soundscapes of Scorn with tartareous textures, the current album "The Only Place" reaches a psychedelic groove, based on what Harris calls "Pushing an original idea further" with his own shades of light and dark and celestial electricity of what SCORN is. These 10 tracks add elements unheard in Scorn since Evanescense and Gyral - ethereal ambiences and floating, near-melodic-but-not-quite moments, a signature of Harris' abilities to generate feelings in a lost world of his own creation. Mick Harris is one of the world's greatest compositional treasures. Starting his career as the energy dynamo behind the drum kit of the UK's Napalm Death, he made the term Blastbeat a household reference, wrote the band's music on his mother's one string guitar, and joined the Guinness Book of World Records for composing the world's shortest song. In the decades succeeding, he has re-inventedmusic several more times, from the wild abstract jazz of Painkiller with John Zorn and Bill Laswell, to the drowning ambience of his Lull project, all while continuing to build a world that he can truly call his own - the dark post-dub of SCORN. "Reaching 54 this year - this won't stop the challenge, driving me more so now than ever" - says Mick Harris, commenting on the recent phase in his creativity. The pandemic isolation and lockdown pushed the work of the maestro more than anything else could have. In 2021, his output is ever-increasing, releasing the newest collabs with Justin K. Broadrick and the single "Distortion", featuring one of the most outstanding voices of hip-hop - Kool Keith - his closest collaborator, Ohm Resistance founder - Submerged. Commenting on the release of "Distortion", Mick Harris said to mxdwn: "I enjoy collabs - they bring something different to the swim." Working on his own and collaborating with everyone from Sleaford Mods' James Williamson, on the previous SCORN release or with Kool Keith and Submerged on "Distortion", Mick Harris never had problems with putting energy into beats and sound landscapes, combining various surreal elements with three basic elements that always push Harris further, that are extremely crucial for both Mick Harris and SCORN as a project - frustration, anger and anxiety. 2024 vinyl version on orange coloured vinyl!

"Natural Palace is real wave, where the city lights have dimmers and adjust to the vision of the night. They get bright before an afterparty, can ease some shade for a cooldown celebration or spark the shine upon your day. It all started as a distant dream between four friends with a love for '90s dance, '80s AOR and '70s downtown. The dream started to become a fever during a self-imposed recording lock-in. Now, the doors of the Natural Palace are ready to be opened as a post-pan band with songs that could be welcomed on the mid-level of a three-story German dance emporium and in the back rooms of laundromats on future retro nights.

RIYL: Throwing on ""Dewdrops in the Garden"" at the first signs of spring, smoke machines with extra fog juice, hanging out with Howard Jones in a HoJo lobby, Black Box dance parties with Neneh Cherry on top."

Blending death growls with ethereal soundscapes and elements of progressive rock, Crimson Veil have been stunning audiences with their unique take on metal. The group of multi-instrumentalists emerge as a new project from their previous band, Birdeatsbaby, who worked with the likes of Paul Reeve (Muse fame) and John Fryer (Depeche Mode, Nine Inch Nails…). Their music was featured in ‘Close to Me’ (Channel 4 thriller starring Connie Nielson and Christopher Eccleston) and was reviewed by magazines such as Orkus and Prog. Stepping further into the heavy world of alternative metal, these accomplished musicians now embark upon a new chapter with a suitably esoteric name, Crimson Veil. Their debut album promises to engulf the senses with a dark visual aesthetic and a musical style that will challenge your preconceptions of metal. Lead singer, Mishkin Fitzgerald, having had most of her musical training at church, was strongly influenced by hymns, classical music and later on, all things rock and metal. Mishkin met guitarist and bassist, Garry Mitchell, when the two were studying music at University in Brighton. A thriving musical partnership was formed, with a mutual love for dark and progressive music. Later joined by infamous Hana Piranha on violin, cello and harp and renowned drummer Anna Mylee, the band have forged a musical path that’s a unique combination of their past and current passions. For their world debut, the four-piece from the UK joined Lordi as part of their Unliving Pictour Show. Dressed as deities of light and darkness, the band transform the stage into a sinister scene of flowers, thorns and animal skulls. Described as “ritualistic, even shamanic” their live performances are a blend of fragile beauty and fierce energy that pulls the audience into an unearthly world of their design, the world of Crimson Veil.

HOUSE OF COMMANDO, produziert von Oli Rüger & Tobi Wehner und gemastered von Howie Weinberg (bekannt für seine Arbeit mit Nirvana und U2), knüpft nahtlos an das erfolgreiche Debütalbum RED LIGHT HABITS von BIRD'S VIEW an.
Die deutschen Alternative-Rocker BIRD'S VIEW veröffentlichen ihr mit Spannung erwartetes zweites Studioalbum "House of Commando". Der Sound ist dabei eine einzigartige Kombination aus dem Punk von REFUSED, der Intensität von RED FANG und der Atmosphäre der FOO FIGHTERS.
Nachdem BIRD'S VIEW mit ihrem Debüt einen ersten kleinen Erfolg verbuchen konnten und mittlerweile von Wizzard Promotion vertreten werden, haben sie seit dem Release unter anderem mit SOULFLY, SKID ROW & GREEN LUNG getourt. Mit HOUSE OF COMMANDO machen sie nun einen weiteren Schritt in Richtung Rock-Olymp.
Die 11 neuen Tracks auf HOUSE OF COMMANDO hinterlassen bereits beim ersten Hören einen nachhaltigen Eindruck. Zu den Highlights des Albums gehören Stücke wie "Vienna", "Pin Drop“ und "Come Back Home"

The concept for and palette of Crystal Dorval aka White Poppy’s ‘Paradise Gardens’ trilogy first germinated in 2016 as a notion of “paradise music” combining new age, bedroom shoegaze, and bossa nova into “transcendental Tropicalia.” As she filled tapes of recordings exploring the idea, many of the songs gradually gravitated towards the hermetic dream pop her project is best known for, becoming the albums Paradise Gardens (2020) and Sound Of Blue (2023). Dorval describes these collections as a sort of “emotional purging or shadow work,” before arriving at “the state of inner paradise:” Ataraxia.

As the third, final, and most purist realisation of the original ‘Paradise Gardens’ vision, Ataraxia delivers. Nine instrumentals of nimble guitar, elevated bass, clean rhythm, and clear light, gliding like swans on a shimmering pond. There’s a sense throughout of playful tranquillity, of serenades at sunset, of kisses of blissful Muzak wafting along a boardwalk.

But behind the music is a patience, grace, and levity born of Dorval’s personal journey with spiritual healing that paralleled the trilogy. A process of transmuting pain into beauty, day by day, melody by melody, cleaving the darkness from the soul and re-entering one’s rightful home in the Garden.

First re-press since the initial 2019 release of critically acclaimed album featuring Yeah Yeah Yeahs' lead vocalist Karen O, and Danger Mouse, one of the most influential artist/producers of the 21st Century.

Debuting in March 2019, Lux Prima was hailed by Pitchfork as a “dreamy and poignant collaboration.” It featured the single “Woman,” which was accompanied by a memorable Spike Jonze-directed live performance on The Late Show with Stephen Colbert. The single was also nominated for the Best Rock Performance Grammy.

The new package includes the original artwork plus a 16 page booklet highlighting their interactive exhibition “An Encounter with Lux Prima”, held at Los Angeles’ Marciano Arts Foundation featuring a 360 degree soundscape of the album mixed at famed Skywalker Ranch.

Die vier Berliner der Band BONSAI KITTEN machen, was sie wollen. Das ist auch der Grundtenor ihres 2017er Albums MINDCRAFT. Der Sound ist kompakt und huldigt energischem Riot-Rock. Das treibende Schlagzeug und die kühnen Gitarren-Riffs werden jetzt durch eine drängende dreisaitige Bass-Gitarre ergänzt, perfekt abgerundet durch Tiger Lilly Marleens schöne Stimme und scharfe Zunge. Diese Band hat Spaß! Das zeigen auch die schweisstreibenden Liveshows, die BONSAI KITTEN jedes Jahr quer durch Europa führen. Wer also denkt, Gitarren-Musik sei tot, kann jetzt aufatmen, denn BONSAI KITTEN hauchen dem Genre frisches Leben ein. Nun wieder erhältlich, Vinyl klassisch schwarz.