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The word Asapani is part of the artistic vocabulary of Paolo "Batà" Bianconcini, percussionist of the La Scimmia Records collective, founding member of the Circolo Psiconautico and part of the Neapolitan bands Parbleu, Funkin' Machine and Nu Genea. This ancient-sounding term is a creation of the artist, who defines it as a word of nature, but also the (italian) acronym of Listen to the Silence, Listen to the Peace, Listen to the Inner Nothingness. More than a simple term, an exhortation.

The music contained in Asapani was written and produced between 2022 and part of 2023 by Paolo “Batà” Bianconcini who together with the Circolo Psiconautico (Paolo Petrella on bass and synth, Pietro Santangelo on wind instruments and Roberto Porzio on synths) and takes shape from observation of time and the infinite possibility we have of blocking its fragments and making them our own and then sharing them in another form. The intent is to transport the listener outside of himself, through sound vibrations, during the span of four long tracks that melt into each other feeling like one singular body of work.

This album spans several genres, but at the same time is unique in its style. Spiritual jazz blended with primitive settings, achieving a sensation of sonic primitivism. The listener is projected into a circle of musicians who, sitting around a fireplace, are transported towards infinity by their internal vibrations.The research starts from the four elements of nature (water, fire, earth and air) and thus uniting and fusing with each other they make us question our existence, our depths.
As Batà himself explains, starting from the four fundamental elements in order to keep the search for the fifth element constant.

A location, Melizzano, on the western slopes of Monte Taburno, where the Batahaus stands, the physical and spiritual home of Batà, a magical place in which the Circolo Psiconautico meets, with the aim of navigating the waves of the unconscious and composing music which, through contamination and experimentation, captures the moods of the moment and projects images and colours from the inside out that speak to everyone. Like a real club, the Psiconauti come together to give each other the chance to explore together, create suggestions and get excited among friends.

2024 Repress

Introversion Created A Name For Himself With His Remarkable Debut With The First Record On The Label, The Record Is Still In Rotation Today, And Surely Will Be Part Of The Rave Scene For A Big Timespan, He Is Back With A Complete 12", Providing His Ravy Personal Sound Reminiscence To The 90's, Now More Than Ever The Artist Is Defining His Own Sound, Creating A New Window Following The Old And Good Roots.

"For his fourth full length album, we see the proficiency of instrumentalist and composer Prins Emanuel in full bloom as he turns head deep into the techniques he established on the preceding outing of Diagonal Musik. Here, he revisit what he refers to as a diagonal approach in composing; i.e. starting at one point and then moving to the farthest point in the process, as a way for him to connect the dots somewhere in the middle, or - like I previously described it for the liner notes of that album - “something akin to drawing only shadows and then finishing with the contours”.
And in the tradition of great sequels, this is a much larger and intricate production. While relying on the guitar as a formative backbone to many songs, the layering of brass and woodwinds houses these compositions in bold and sharply lit structures. Mallets and percussion adds an air of momentum but also grounds these tracks in earthy hues.
Thawed and gracious, Diagonal Musik II in essence creates a space that bridges the various paths of Prins Emanuel’s musical universe. At once post-minimalist and avant garde in nature while also peeking through the door at both IDM and folk music, the lingering sensation is that of a well balanced palate that doesn’t break under the presence of repetition. Enveloped in a fourth world approach to jazz and incorporating the more contemplative side of post punk or art pop, there is a story hidden in here that gives cause to the appropriation of these influences.
The inherent warmth of certain instruments play their part in this story. Emanuel often builds on the notion of ‘organic music’ but broadens the definition via subtle electronic enhancements that sit naturally alongside their acoustic counterparts. Take for instance the voice emulator sequence that opens “Kadens Tre” and is dashed on by guitar slides and flute drills to roll further down a hill of staccato percussion. A few tracks in, the lines are so blurred it becomes a natural state until the harsh and eerie sample loops of closing track “Östan Vind” finally breaks the spell. ”

2024 repress!

The dynamic NZ brother duo known from Mule Musiq, Rhythm Section and their own In Dust We Trust impresses with a superb collaborative EP of highly emotional music!

‘Emotional Intelligence’ fills the A-side seeing them team up saxophonist and fellow kiwi jazz legend Nathan Haines and South London’s own Dave Koor aka. Modified Man.
On the flip-side they join forces with Chicago’s Lee Pearson Jnr (he's known for his writing for Larry Heard), K. LaDawn on vocals and rising star Joe Armon-Jones on keys.

A blissful experience throughout and another demonstration of "Chaos In The CBD’s" with maturing, amazing production skills!

Hope, you enjoy.

DJ Support: Louie Vega, Kenny Dope, David Morales, Dimitri From Paris, Dave Lee, Simon Dunmore, Michael Gray, Brian Tappert, Melvo Baptist, Seamus Haji, Terry Hunter, DJ Spen, Hector Romero, Dr. Packer, Kenny Carpenter; Jellybean Benitez, Husky, Birdee, Derrick McKenzie.

Legendary Italian producer Gianni Bini Debuts on Groove Culture with 'The House Of Glass' LP. With an inimitable CV and discography that includes over a thousand production credits to his name, hundreds of singles under renowned pseudonyms including Bini & Martini, Fathers Of Sound, The Goodfellas, Subsystem and two Worldwide hits as Eclipse and House Of Glass, Gianni is one of the most revered producers of disco-house, defining each genre with a signature sound. Always looking to push the boundaries of what it means to make music, his latest project sees Gianni return to deliver an epic disco record that takes the sound back to its roots in every way possible. Backing up live drums, live bass, live guitars, live strings with catchy vocals and enough groove to level a discotheque, it’s this Disco-Pop energy that Gianni has captured and expertly delivered with 'The House Of Glass'LP.

Der Dark-Ambient-Pionier, die stygische Drone-Legende und das fast schon mythische Wesen LUSTMORD durchstößt mit "Much Unseen Is Also Here" einmal mehr den Schleier - die neueste Solo-Veröffentlichung des Künstlers in einer beeindruckenden, 40-jährigen kreativen Karriere an der Spitze der Industrial-Musik. Auf Drängen von Cosey Fanni Tutti und Chris Carter von Throbbing Gristle, Musik zu machen, die seine unverwechselbare Aura einfängt, übernahm Brian Williams 1980 Lustmord und begann mit Sounds zu arbeiten, weil die Musik, die er hören wollte, einfach nicht existierte. Lustmord veröffentlichte 1989 sein drittes Album "Heresy", das zu einem Meilenstein in der Industrial-Szene wurde und heute allgemein als Ursprung des Dark-Ambient-Genres gilt. 35 Jahre später führt Much Unseen Is Also Here" das Vermächtnis von Heresy" fort und knüpft an dessen fesselnden Erzählbogen an. "Much Unseen Is Also Here" besteht aus drei verschiedenen Teilen und ist dazu gedacht, in einer einzigen, ununterbrochenen Durchgang angehört zu werden; es entführt den Hörer in eine kompromisslose Parallelwelt, die nur in der Musik existiert, bevor es ihn am Ende für immer verändert wieder hinauswirft. Lustmord, der seit 1994 in L.A. lebt, hat auch als Komponist und Sounddesigner an der Musik für ikonische Film- und Fernsehproduktionen mitgewirkt, darunter "The Crow", "Strange Days", "From Dusk Till Dawn", "Underworld" und in jüngerer Zeit die FX-Serien "Fear The Walking Dead" und "First Reformed"von "Taxi Driver"-Autor Paul Schrader aus dem Jahr 2017. Immer noch entschlossen, die Grenzen von Sound, Genre und Medien zu erweitern, hat Lustmord auch zu den Soundlandschaften von Videospielen wie Assassin's Creed, League of Legends und, passenderweise, dem von H.R. Geiger inspirierten Survival-Horror-Spiel Scorn von 2022 beigetragen.

The return of Gaussian Curve - Gigi Masin, Jonny Nash and Marco Sterk’s much-loved trio are back for the first time since their 2016 sophomore album 'The Distance', presenting two new tracks entitled 'Winter Sun' and 'Fever Dream'.

Both tracks originate from recording sessions that took place in Amsterdam in 2016 for 'The Distance'. Despite not finding a place on the final album and being left as unfinished sketches for six years, the tracks represent an important part of the Gaussian Curve story which the band felt compelled to complete. Coinciding with the decision to perform a handful of live shows in 2022, they finally revisited the sketches, mixing and arranging them with the goal of giving them the full release that they deserve.

The trio’s trademark sound hits from first moments of 'Winter Sun'; a lush slow builder with all the classic GC ingredients; Nash’s airy and spacious guitar lines interplay with Masin’s warm rhodes, underpinned by Sterk’s subtle use of electronics and the minimal rhythm of a CR-78 drum machine.

On 'Fever Dream', the trio subtly expand their palette; a gently building 303 bass line and 808 rhythm form the foundations of the piece, with Masin’s vocals adding to a slow-burning intensity. Arguably a fuller sound hinting at new areas of exploration for the trio, but unmistakably Gaussian Curve.

Portland based act Dancing Plague has been a steady presence in the dark/cold electronic music scene for quite a few years now.

Since 2016 Conor Knowles’ solo project has been putting out one constant flow of independent releases on multiple formats such as vinyl LPs, EPs, tapes and CDs, creating one sonic palette rich with Ebm, goth, industrial and synth influences.

On their 5th studio album, Dancing Plague continues to flesh out and perfect their unique brand of crushing darkwave.

Elogium explores themes of loss, regret, rebirth and growth coupled with throbbing basslines, rave synths, and pounding drums. Knowles balances aggressive waves of electronics with enough pop sensibilities and catchy hooks to be inviting to those new to the genre.

His skills can be clearly appreciated on tracks like the first single Fading Forms which explores the somber feeling of the years passing you by. Knowles’ emotive baritone crooning paints a melancholic picture of the slow fading of time as you feel like you’re fading with it. The words fall like snow onto cold fields of pulsing 80s synths and pounding drum machine rhythms that bring forth nostalgic familiarity but feel fresh at the same time.

Fans of classic icons such as Depeche Mode, Ministry, Nine Inch Nails as well as contemporary torchbearers Cold Cave and Kontravoid do not sleep on this.
Plenty of disturbing beauty to be found in the depths of the underground

On his debut album "OK ROMANCE!", BLOWSOM has gained experience. He's more mature, and certainly stronger. He uses his new songs as a diary, this time recounting his break-up with the woman he thought was the love of his life, "NANCY".A true therapy, each track deals with the stages of reconstruction, where the acceptance of grief quickly transcends melancholy to draw out the strongest emotions; those that make you feel you've never experienced so intensely the joys and sorrows that build us up.The title track "OK ROMANCE!" is reminiscent of Radiohead's masterpiece "Ok computer".Where the legendary band criticize the growing grip of technology on humanity, BLOWSOM chooses to remind us that love is timeless.

London noise-rock quartet USA Nails have announced their upcoming album Feel Worse’, out March 22nd 2024. It’s the first album on their new label One Little Independent Records (home to anarcho-punk bands both old and new; Crass, Bad Breeding and more). The band have forged a considerable reputation since their formation in 2013 from their South London base, comprising of members of Kong, Future Of The Left, Blacklisters, Death Pedals and Silent Front.

‘Feel Worse’ explores schadenfreude; the pleasure derived from another person’s misfortune. With this, they use new material to attack austerity and UK authoritarianism, consumer culture (particularly the consumption of quick fix reality TV and hyper-capitalist agendas), youth culture and bullying, and more. They do so with their intense and unmistakable brand of abrasive, chaotic post-hardcore. There’s a raw and uncompromising energy to USA Nails, and ‘Feel Worse’ is their most powerful and vital album to date.

London noise-rock quartet USA Nails have announced their upcoming album Feel Worse’, out March 22nd 2024. It’s the first album on their new label One Little Independent Records (home to anarcho-punk bands both old and new; Crass, Bad Breeding and more). The band have forged a considerable reputation since their formation in 2013 from their South London base, comprising of members of Kong, Future Of The Left, Blacklisters, Death Pedals and Silent Front.

‘Feel Worse’ explores schadenfreude; the pleasure derived from another person’s misfortune. With this, they use new material to attack austerity and UK authoritarianism, consumer culture (particularly the consumption of quick fix reality TV and hyper-capitalist agendas), youth culture and bullying, and more. They do so with their intense and unmistakable brand of abrasive, chaotic post-hardcore. There’s a raw and uncompromising energy to USA Nails, and ‘Feel Worse’ is their most powerful and vital album to date.

Göteburg's finest Streetpunk&Rock'n Roll/ Express ist zurück und das gleich doppelt! Der internationale Erfolg ihres komplett in ihrer Heimatsprache eingesungenen, letzten Longplayers "Pa Svenska" (lange ausverkauft) hat die Band selbst überrascht?.scheinbar ist es doch kein Handicap, wenn man außerhalb von Skandinavien eher nicht der schwedischen Sprache mächtig ist, wenn die Musik alleine eine derart überzeugende Aussagekraft hat! Und so gibt es mit "Punk & Roll" gleich eine Doppel-LP mit insgesamt 24 brandneuen City-Saints Hymnen, wobei LP1 in Englisch und LP2 wiederum in schwedisch eingesungen wurde! Der Titel Punk & Roll wurde auch passend gewählt, denn während LP1 vermehrt eine scharfe Streetpunk-Kante aufweist, zielt LP2 eine Nuance mehr auf schweinegeilen RocknRoll mit Punk, Hardrock & Glam Versatzstücken angereichert! Grandiose Vielfalt, verdammt druckvolle Scheibe.

Göteburg's finest Streetpunk&Rock'n Roll/ Express ist zurück und das gleich doppelt! Der internationale Erfolg ihres komplett in ihrer Heimatsprache eingesungenen, letzten Longplayers "Pa Svenska" (lange ausverkauft) hat die Band selbst überrascht?.scheinbar ist es doch kein Handicap, wenn man außerhalb von Skandinavien eher nicht der schwedischen Sprache mächtig ist, wenn die Musik alleine eine derart überzeugende Aussagekraft hat! Und so gibt es mit "Punk & Roll" gleich eine Doppel-LP mit insgesamt 24 brandneuen City-Saints Hymnen, wobei LP1 in Englisch und LP2 wiederum in schwedisch eingesungen wurde! Der Titel Punk & Roll wurde auch passend gewählt, denn während LP1 vermehrt eine scharfe Streetpunk-Kante aufweist, zielt LP2 eine Nuance mehr auf schweinegeilen RocknRoll mit Punk, Hardrock & Glam Versatzstücken angereichert! Grandiose Vielfalt, verdammt druckvolle Scheibe.

Original released in 1979

Passion and perspective permeate the sound of this legendary record! Ryusei Tomoyose, a famous tenor saxophonist from Okinawa, pours his whole life into this, the only leader's work.



Ryusei Tomoyose is a tenor saxophonist from Okinawa. At the end of the 1960s, he studied under Sadao Watanabe in Tokyo, and after returning home, he devoted himself to nurturing young musicians and became a leader in the Okinawa jazz world. This work, recorded in 1979, is Tomoyose's first and only leader work. The title "Dana" is an exclamation in the Okinawan dialect that has the meanings of "ah" and "finally." Tomoyose was 43 years old at the time of recording, and had already had a career spanning more than 20 years. He is captivated by the vivid and lustrous tenor saxophone in songs such as the vibrant "Movement," the dignified exoticism of "Kirisame," and the motif of the sandy beaches of Yoron Island in "Merabi Samba." It is a valuable record of Okinawan jazz and a masterpiece that shows the depth of Japanese jazz.

Bei BRODEQUIN ist das, was man sieht, das, was man bekommt. Immerhin ist die Band nach einem französischen Foltergerät aus dem Mittelalter benannt. Natürlich haben BRODEQUIN ihre eigene Geschichte. Die Brüder Jamie und Mike Bailey headbangen seit 1998 zusammen, bevor ihr Debütalbum sie weit über ihre Heimatstadt Knoxville, Tennessee, hinaus katapultierte. Doch nachdem sie den Thron als einer der brutalsten Bands im gesamten Death Metal erobert hatten, verschwanden BRODEQUIN in den Schatten. Jetzt, nach 20 Jahren, sind BRODEQUIN mit 'Harbinger of Woe' zurück. Auch ihr lang erwartetes viertes Album enttäuscht nicht. Die Leadsingle "Of Pillars and Trees" ist klassisch BRODEQUIN. Die Riffs schleudern abgetrennte Gliedmaßen durch den Fleischwolf. Der neue Schlagzeuger Brennan Shackelford schlägt auf seine Becken mit brutaler, mörderischen Absicht ein. Die Death-Growls sind so fies, dass man meinen könnte, Jamie würde das Blut seiner Feinde durch einen Strohhalm saugen!
Endlich sind BRODEQUIN wieder da und holen sich ihre Krone zurück.

FFO: DEVOURMENT, MORTICIAN, DISGORGE, INTERNAL BLEEDING

Bei BRODEQUIN ist das, was man sieht, das, was man bekommt. Immerhin ist die Band nach einem französischen Foltergerät aus dem Mittelalter benannt. Natürlich haben BRODEQUIN ihre eigene Geschichte. Die Brüder Jamie und Mike Bailey headbangen seit 1998 zusammen, bevor ihr Debütalbum sie weit über ihre Heimatstadt Knoxville, Tennessee, hinaus katapultierte. Doch nachdem sie den Thron als einer der brutalsten Bands im gesamten Death Metal erobert hatten, verschwanden BRODEQUIN in den Schatten. Jetzt, nach 20 Jahren, sind BRODEQUIN mit 'Harbinger of Woe' zurück. Auch ihr lang erwartetes viertes Album enttäuscht nicht. Die Leadsingle "Of Pillars and Trees" ist klassisch BRODEQUIN. Die Riffs schleudern abgetrennte Gliedmaßen durch den Fleischwolf. Der neue Schlagzeuger Brennan Shackelford schlägt auf seine Becken mit brutaler, mörderischen Absicht ein. Die Death-Growls sind so fies, dass man meinen könnte, Jamie würde das Blut seiner Feinde durch einen Strohhalm saugen!

Nach mehr als einem Jahrzehnt veröffentlicht die Kultband Gossip ihr neues Album »Real Power« über Columbia Records. Für »Real Power« kamen Beth Ditto, Nathan Howdeshell und Hannah Blilie wieder zusammen und haben sich mit dem Starproduzenten Rick Rubin zusammengetan, der bereits für ihr Album »Music For Men« verantwortlich war. Das Ergebnis ist ein Comeback der Superlative, das die Kraft der Musik, die Freude am kreativen Ausdruck und die Kraft der Familie nach einem kollektiven und persönlichen Trauma feiert. Gossip haben mehr als 10 Millionen Platten verkauft. Sie wurden weltweit mit Gold und Platin ausgezeichnet, traten in zahllosen renommierten Fernsehsendungen auf und spielten ausverkaufte Konzerte in einigen der legendärsten Clubs der Welt. Sängerin Beth Ditto ist eine Ikone in Sachen LGBTQIA+, Feminismus und Mode.

This is The Wreckery album that never was but always should have been!

At the crest of the Australian post punk era, The Wreckery played atmospheric rock with film-noir swagger and renegade attitude, carving a loyal following. Critics quickly positioned them as successors to a darkly exciting avant-garde Melbourne tradition previously marked out by The Birthday Party.

Early recordings for Rampant Records (1985-87) showcased The Wreckery's fusion of swamp blues and noir-jazz, delivered with a deadpan, reckless, and romantic cut (check out the 'Ruling Energy' video!). Creative tensions saw the band implode as they were reaching their peak with the Laying Down Law album (Citadel Records, 1988). Yet another great and dangerous rock 'n' roll band who became a danger to themselves.

35 years later, the new album Fake is Forever delivers on unfulfilled promises, revealing The Wreckery on fire like never before. The DNA is still there – the signature sound of Charles Todd's baritone sax; the scathing lyrics and vocals of Hugo Race; the distorted angular guitars of Clayton-Jones; the eclecticism of multi-instrumentalist Robin Casinader; Nick Barker and former Plays With Marionettes drummer Frank Trobbiani fuse as the solid engine room of this iconic group. All the original edge with a new maturity and control.

The songs still emanate from the deep, dark end of the musical gene pool. The sarcastic, provocative lyrics of 'Smack Me Down', 'Get A Name' and 'Young People'; the musical fury of 'Stole it from Alpha Ray' and 'Evil Eye', the romantic melodrama of 'The Devil in You' and 'Whistle Clean', the deranged rock of 'Dragonfly' and 'Garbage Juice' – The Wreckery's range is as vast as it is ferocious. Whereas the band in the 80's were brash and angry this record finds the band conjuring quiet menace, sensual, intoxicating.

Hugo Race – vocals, guitars, keys

Ed Clayton-Jones - guitar, piano, synth, Mellotron, slide guitar , Solina string synth

Nick Barker – bass guitar and backing vocals

Charles Todd - the saxophones

Robin Casinader - Hammond organ, mellotron, mandolin and violin
Frank Trobbiani - the drums and percussion

Recorded by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne
Mixed by Hugo Race at Helixed
Mastered by Toto Strapporava at 3Faders Studio, Buenos Aires
Published by Peermusic

READ THE AIR is the new full-length record from MARBLED EYE, the four-piece punk band responsible for all of that noise coming out of Oakland for the last couple of years. The opening title track sets the album's tone immediately, guitars starting and stopping to match a staggered drum beat before guitarist and co-vocalist Chris Natividad's lyrics act as a mission statement for the album's recurring theme of self-reflection: "Searching / shaking / life simulating_ read the air / count me out."Engineered mostly by the band themselves, Read the Air's ten songs are both overdriven and ominous. Songs like single "In the Static" offer riffs worthy of a Marquee Moon or Entertainment! comparison, but the band still can't shake the dread of modern times. The song's refrain treats time like a threat, with Natividad's constant shout of "staring at the clock" acting as a haunted refrain. The combined playing of drummer Alex Shen and bass player Ronnie Portugal give songs like "Tonight" and "See It Too" an angular and driving edge. With additional recording from Toro Y Moi's Chaz Bear and mixing from Grace Coleman (Courtney Barnett, Spiritual Cramp), Marbled Eye have dialed in a record that feels destined to live in the noisy post-punk canon for years to come.Marbled Eye's new album Read the Air arrives this March via Summer Shade Records.

Much like the North Carolina wilds it reflects, Needlefall waxes and wanes from mysterious and unsettling to ecstatic and awe-inspiring, capturing the sacred dimensions of the natural world. Magic Tuber Stringband draw on a host of fellow travelers to realize Needlefall"s intricate arrangements, exemplifying the diversity of contemporary folk movements, placing their work in the tradition of modern innovators like Moondog, Harry Partch, Pauline Oliveros, and labelmate Sally Anne Morgan. The vast forests and mountains that inspire the band as a metaphor for living music traditions - ever-changing and yet still standing, shaped over time by human hands while equally shaping the human experience. Magic Tuber Stringband, from North Carolina, are Courtney Werner and Evan Morgan, accompanied by their regular bassist Mike DeVito. Morgan is an organizer within the local music community, and Werner is a dedicated naturalist involved in local land stewardship. Needlefall answers the question "what does a modern string band sound like?" with powerful new arrangements of traditional songs and transcendent originals. The album is teeming with life, translating abundant ecosystems into arcing melodies and shimmering, mystic drones. The band explains: "If you spend enough time out in the woods you inevitably see or hear things that are hard to explain. I"ve been in caves where it"s total darkness and you"re enveloped by the disorienting sound of dripping water. The natural sights and sounds in these places are often repetitive, percussive, expressive, sometimes unsettling - the way that water carves patterns into rock or tree trunks appear in endless rows."

Modern Baseball was formed in 2011 by friends and guitarists Jacob Ewald and Brendan Lukens, who were soon joined by Ian Farmer on bass and Sean Huber on drums. The band self-released their first EP The Nameless Ranger in 2011 while still in high school. Shortly after the members relocated to Philadelphia to attend college and quickly gained a strong following in the Philadelphia music community, teaming up with locals Marietta to release the Couples Therapy split in the spring of 2012. Modern Baseball released their debut full-length Sports later that year on Lame-O Records, which they self-recorded and produced. After spending the summer of 2013 touring heavily across the US, the band headed into Studio A in Philadelphia to self-record You're Going to Miss It All. Mixed by Jonathan Low at Minor Street Recordings, mastered by Will Yip and released through Run For Cover Records, You're Going to Miss It All features 12 tracks that showcase the band's signature witty indie-pop.

Much like the North Carolina wilds it reflects, Needlefall waxes and wanes from mysterious and unsettling to ecstatic and awe-inspiring, capturing the sacred dimensions of the natural world. Magic Tuber Stringband draw on a host of fellow travelers to realize Needlefall"s intricate arrangements, exemplifying the diversity of contemporary folk movements, placing their work in the tradition of modern innovators like Moondog, Harry Partch, Pauline Oliveros, and labelmate Sally Anne Morgan. The vast forests and mountains that inspire the band as a metaphor for living music traditions - ever-changing and yet still standing, shaped over time by human hands while equally shaping the human experience. Magic Tuber Stringband, from North Carolina, are Courtney Werner and Evan Morgan, accompanied by their regular bassist Mike DeVito. Morgan is an organizer within the local music community, and Werner is a dedicated naturalist involved in local land stewardship. Needlefall answers the question "what does a modern string band sound like?" with powerful new arrangements of traditional songs and transcendent originals. The album is teeming with life, translating abundant ecosystems into arcing melodies and shimmering, mystic drones. The band explains: "If you spend enough time out in the woods you inevitably see or hear things that are hard to explain. I"ve been in caves where it"s total darkness and you"re enveloped by the disorienting sound of dripping water. The natural sights and sounds in these places are often repetitive, percussive, expressive, sometimes unsettling - the way that water carves patterns into rock or tree trunks appear in endless rows."

The Left Side is the latest body of work from the Iggy Pop-endorsed teens since the release of their acclaimed second EP We Aren’t Getting Out But Tonight We Might in summer 2022. With Saul at the creative helm, The Left Side is a mature and cerebral body of work with Saul once again writing and producing the entire EP (with co-production by Ali Chant (Yard Act, Katy J Pearson, Dry Cleaning) on ‘Conman’ and ‘ITSA’). Written in Saul’s bedroom, the EP is a retrospective insight into the young band’s journey so far as they tie up their teenage years.

A coming of age saga, the EP acts as a vehicle for Saul to dive into the psyche behind emotional evolution, and to unpack the complexities of maturity and the ability to say goodbye to the past. These themes present themselves not only in the songs, but right down to the title of the EP itself - which refers to the fact that the left side of the brain is responsible for comprehension.

Summarising the EP, Saul says: “It’s the closest we have been to knowing what picture we want to paint. It’s another window into the musical space we wish to explore, yet I think we’re closer to having our sound. I think the project signifies the end of a section in our lives, moving out from the haze of the moment and reflecting on our teenage years and all its chaos with more understanding.”

L’objectif have drawn instant acclaim across their two EPs to date with support coming from key tastemakers at 6 Music (where previous single ‘Feeling Down’ was daytime playlisted after being premiered by the station’s Steve Lamacq) such as Amy Lamé, Tom Robinson, and of course Iggy Pop, BBC Radio 1’s Jack Saunders (who made the band his Next Wave featured artist and featured

‘Burn Me Out’ and ‘Do It Again’ as Daily Delivery) and Gemma Bradley, Radio X’s John Kennedy, Apple Music 1’s Matt Wilkinson, and Australian national broadcaster triple j. The effervescent young band have already received ‘ones to watch’ tips from national media outlets NME (First On), The Line Of Best Fit (On The Rise), The Observer (One to watch), The Sunday Times Culture (Breaking Act), and more.

96kHz - 48-bit HD Audio with digital booklet including original photography by Christopher Kayfield and liner notes by Shaun Brady.

Pianist Kevin Hays, bassist Ben Street, and drummer Billy Hart reunite for a second, scintillating trio date, BRIDGES, featuring original compositions by Hays and Hart with classics by Wayne Shorter, Bill Frisell, The Beatles, and Milton Nascimento.

Hays Street Hart, the trio of pianist Kevin Hays, bassist Ben Street, and legendary drummer Billy Hart, recorded their acclaimed 2021 debut, ALL THINGS ARE, under less than optimal conditions. The album began life as a performance in honor of Hart’s 80th birthday in December 2020, live-streamed from an empty Smoke Jazz Club in the final weeks of that grueling pandemic year. Despite those adversities, the music they created that night was spectacular enough to convince all involved that it should be released.

Two years later, the trio has reconvened, this time fully cognizant that they were going to record an album at Sear Sound Studios in NYC. The captivating BRIDGES brilliantly spotlights the unique chemistry and shared spirit of exploration that emerged fully formed on that initial impromptu session. The title succinctly hints at some of the reasons why Hays, Street and Hart work so well together: this is a trio that bridges generations, certainly, as well as a wealth of diverse experience and inspiration. But it also sums up a mutual desire to bring people together through music.

“In this world that seems to be crumbling beneath our feet,” Hays explains, “we sense the need to make allies where there might be adversaries. On the most intimate level, interpersonally and inter-psychically we set out to overcome any number of misunderstandings and adversarial situations.”

Not that there was any antagonism to overcome within the trio itself. More than anything, Hays Street Hart is a mutual admiration society of the highest order. The esteem in which the pianist and bassist hold Billy Hart likely goes without saying. The drummer was ordained in 2022 as an NEA Jazz Master, just one of the many honors he has chalked up over a breathtaking career. He began his career with an apprenticeship under the revered vocalist Shirley Horn and went on to make notable music with such luminaries as Miles Davis, McCoy Tyner, Herbie Hancock, Wes Montgomery, Jimmy Smith, Stan Getz, and as part of the quartet Quest featuring David Liebman and Richie Beirach.

But Hart is if anything, even more laudatory toward his younger bandmates. Street has been a member of the drummer’s stellar quartet for two decades, alongside pianist Ethan Iverson and saxophonist Mark Turner, a tenure that speaks for itself. As for Hays, Hart is quick to place the pianist in the exalted company of some of his iconic former collaborators.

“I’ve been lucky enough to have the chance to perform with Herbie Hancock and McCoy Tyner,” says Hart modestly. “Each generation presents their own equivalent, and Kevin is an example of the latest innovations. There was Herbie and McCoy, then it was Chick Corea and Keith Jarrett, and then you have what's coming next. I think Kevin is definitely part of that continuum.”

Though Hays sticks strictly to the piano on BRIDGES, he is also an accomplished singer whose vocal instincts fuel his inventive and lyrical melodicism. Street points to those facets as key to the connection between the pianist and Hart, who has enjoyed several meaningful collaborations with vocalists.

“It always seems to me that Kevin has the capacity to sing in his mind and then accompany himself on the piano,” Street describes. “That makes for such a nice connection with Billy, who has played with and learned from so many singers. I don't even feel like we're playing as a piano trio most of the time; it feels more like a quartet.”

Those qualities are especially clear on Hays’ “Butterfly,” which opens the album. Though it’s performed here as an instrumental, the pianist has composed lyrics for the piece, and its gorgeous, song-like quality shines through. Hays also contributed the breathtaking ballad “Song for Peace,” highlighted by Hart’s gentle, embracing brushwork and Street’s sturdy, stentorian tone. The pianist’s third original, “Row Row Row,” is constructed on a twelve-tone row, but as the playful title suggests, it has none of the more stringent qualities of the serialist composers.

Hart’s stunning “Irah,” originally recorded on his quartet’s self-titled 2006 debut, is dedicated to the composer’s mother and was recorded at Street’s suggestion. The bassist also brought guitarist Bill Frisell’s reflective “Throughout” to the date, imagining Frisell’s Americana influences would resonate with the similarly inclined Hays, who approaches the tune with a harp-like beauty. Hays’ love of pop and rock music is also reflected by the inclusion of The Beatles classic “With a Little Help from My Friends.”

The trio pays tribute to the late, great Wayne Shorter with “Capricorn,” originally released on the composer’s 1969 Blue Note album SUPER NOVA and later included on the Miles Davis Quintet set WATER BABIES. Hart called Shorter one of a kind. I think of the many times I heard him excel – with the Maynard Ferguson Big Band, with Art Blakey's Jazz Messengers, with Weather Report. And in each case, he was innovative.”

BRIDGES closes with the title track, a dazzling piece by the great Brazilian singer and songwriter Milton Nascimento, which Hays calls “one of my favorite compositions ever, by anybody.”

BRIDGES was recorded under ideal studio conditions by a now-established trio with a weeks-long European tour under their belts. Perhaps what’s most remarkable about the album is not that Hays, Street, and Hart play so masterfully together – with three artists of their caliber, who could expect any less? – but that this second outing maintains the bold spirit of inquisitiveness and spontaneity that its predecessor naturally possessed. Credit that to a trio perpetually determined to discover new bridges worth building.

Nachpressung in tief rotem Vinyl! Ein zentrales Album für die heutige Zeit: hell, frei, unnachgiebig, optimistisch. Brain Worms ist das bisher vollste und makelloseste Album von RVG. Auf "Brain Worms" wird deutlich, dass die Band in bester Form ist. Der Album-Opener 'Common Ground' gibt den Ton an für das, was kommen wird; ein glänzendes, mitreißendes, schlagkräftiges Album mit allen geliebten RVG-Merkmalen. Vagers Stimme ist ungefiltert und souverän wie immer, wenn sie ihre cleveren, nicht ganz ironischen Texte vorträgt. Hier fühlen sich diese Texte jedoch viel weniger resigniert und sehnsüchtig an, sondern viel mehr trotzig und fröhlich. Tambourine" ist der einzige Covid-Song, den Vager schrieb, als sie "versuchte, keine Covid-Songs zu schreiben", und es ist ein schmerzhaft ehrliches Porträt der Trauer inmitten der Isolation. Brain Worms" erzählt die nur allzu bekannte Geschichte eines Menschen, der in den Kaninchenbau des Internets fällt und Trost in Verschwörungen findet. Nothing Really Changes" ist ein Keyboarder-lastiges New-Wave-Ding, während das abschließende "Tropic of Cancer" mit Vagers selbstbewusstem neuen Manifest glänzt: Ich weiß, wie ich bin, und ich weiß, wie ich werde. Wenn du denkst, ich bin seltsam, hast du noch nichts gesehen. Bloxham, Nolte und Wallace erwecken Vagers Songwriting mit Bravour zum Leben. Aufgenommen in den Londoner Snap Studios mit James Trevascus (Nick Cave & Warren Ellis, PJ Harvey), strotzen alle zehn Tracks vor üppigen Klängen, klaren Absichten und der Magie einer Akustikgitarre, die einst Kate Bush gehörte und die ihr von Tears for Fears geschenkt wurde (die, so die Legende, "Everybody Wants to Rule the World" darauf geschrieben hat). Die vier Bandmitglieder - Leadsänger und Gitarrist Vager, Gitarrist Reuben Bloxham, Schlagzeuger Marc Nolte und Bassist Isabele Wallace - sind so selbstbewusst wie noch nie bei RVG. Sie haben ihre Einflüsse hinter sich gelassen, sich selbst vorangetrieben und neue Dinge ausprobiert. Und sie haben ein Album gemacht, das sie nach allem, was sie sagen, als ihr bestes bezeichnen können. Brain Worms" fühlt sich an wie die Antithese zu dem, was eine Post-Pandemic-Platte leicht sein könnte. Für eine Band, die bereits Musik über das Zurückgezogensein schrieb, "wir waren deprimiert und gingen auf unseren ersten beiden Alben nicht nach draußen", gab die erzwungene Isolation und die Zeit zum Nachdenken Vager Raum, über alles zu schreiben, was sie wollte. Und es stellte sich heraus, dass sie bereit war, über Akzeptanz zu schreiben. "Wenn wir nur ein weiteres Album machen könnten, wäre es dieses", sagt Vager. Rolling Stone: "Eine Visitenkarte für Außenseiter... dynamischer und vitaler Post-Punk" The Guardian: "Eine der vitalsten Bands der australischen Szene von heute.

Diese Split-LP wird auf dem Vinyl-Drehtisch einen bleibenden Eindruck hinterlassen: "LEAVE A TRACE" bietet zwei der aktuell besten europäischen Streetpunk, Oi! & Hardcore-Acts mit jeweils fünf neuen und exklusiven Songs. "This Means War" melden sich 5 Jahre nach ihrer letzten Scheibe "Heartstrings" (Pirate Press) zurück! Mit veränderter Besetzung (neu dazugestossen Tom (Ex Dead-Bleed) sowie Steve von Chron-Gen, neuem Label, neuen Songs, Ihren Style nennt die Band nach wie vor "Bleeding Punk" und mit Killersongs wie "We owe the night" oder "Raging Souls" kann man nur sagen: Was für eine gelungene Überraschung! Die Italienischen "No Restraints" dagegen machen wie üblich keine Gefangenen und bieten den optimalen Härtegrad mit ihrem Mix aus brachialen Sing-a-long Shoutern, Oi!-Core und einer perfekten Dosierung melody & "Direct Hit-Punches"....schon der Opener "Rough & tough" bedarf keiner weiteren Kommentierung. Ihren Stil-Mix und Songwriting haben sie dabei ein weiteres Mal mit feinen Nuancen perfektioniert, ihre lyrics hinterlassen deutliche Spuren im brüchigen Mauerwerk dieser verlogenen Gesellschaft. Oder um den Refrain von "Forever in disguise" zu zitieren": No chance to close your eyes....

Diese Split-LP wird auf dem Vinyl-Drehtisch einen bleibenden Eindruck hinterlassen: "LEAVE A TRACE" bietet zwei der aktuell besten europäischen Streetpunk, Oi! & Hardcore-Acts mit jeweils fünf neuen und exklusiven Songs. "This Means War" melden sich 5 Jahre nach ihrer letzten Scheibe "Heartstrings" (Pirate Press) zurück! Mit veränderter Besetzung (neu dazugestossen Tom (Ex Dead-Bleed) sowie Steve von Chron-Gen, neuem Label, neuen Songs, Ihren Style nennt die Band nach wie vor "Bleeding Punk" und mit Killersongs wie "We owe the night" oder "Raging Souls" kann man nur sagen: Was für eine gelungene Überraschung! Die Italienischen "No Restraints" dagegen machen wie üblich keine Gefangenen und bieten den optimalen Härtegrad mit ihrem Mix aus brachialen Sing-a-long Shoutern, Oi!-Core und einer perfekten Dosierung melody & "Direct Hit-Punches"....schon der Opener "Rough & tough" bedarf keiner weiteren Kommentierung. Ihren Stil-Mix und Songwriting haben sie dabei ein weiteres Mal mit feinen Nuancen perfektioniert, ihre lyrics hinterlassen deutliche Spuren im brüchigen Mauerwerk dieser verlogenen Gesellschaft. Oder um den Refrain von "Forever in disguise" zu zitieren": No chance to close your eyes.... Orangenes Vinyl!

This is The Wreckery album that never was but always should have been!

At the crest of the Australian post punk era, The Wreckery played atmospheric rock with film-noir swagger and renegade attitude, carving a loyal following. Critics quickly positioned them as successors to a darkly exciting avant-garde Melbourne tradition previously marked out by The Birthday Party.

Early recordings for Rampant Records (1985-87) showcased The Wreckery's fusion of swamp blues and noir-jazz, delivered with a deadpan, reckless, and romantic cut (check out the 'Ruling Energy' video!). Creative tensions saw the band implode as they were reaching their peak with the Laying Down Law album (Citadel Records, 1988). Yet another great and dangerous rock 'n' roll band who became a danger to themselves.

35 years later, the new album Fake is Forever delivers on unfulfilled promises, revealing The Wreckery on fire like never before. The DNA is still there – the signature sound of Charles Todd's baritone sax; the scathing lyrics and vocals of Hugo Race; the distorted angular guitars of Clayton-Jones; the eclecticism of multi-instrumentalist Robin Casinader; Nick Barker and former Plays With Marionettes drummer Frank Trobbiani fuse as the solid engine room of this iconic group. All the original edge with a new maturity and control.

The songs still emanate from the deep, dark end of the musical gene pool. The sarcastic, provocative lyrics of 'Smack Me Down', 'Get A Name' and 'Young People'; the musical fury of 'Stole it from Alpha Ray' and 'Evil Eye', the romantic melodrama of 'The Devil in You' and 'Whistle Clean', the deranged rock of 'Dragonfly' and 'Garbage Juice' – The Wreckery's range is as vast as it is ferocious. Whereas the band in the 80's were brash and angry this record finds the band conjuring quiet menace, sensual, intoxicating.

Hugo Race – vocals, guitars, keys

Ed Clayton-Jones - guitar, piano, synth, Mellotron, slide guitar , Solina string synth

Nick Barker – bass guitar and backing vocals

Charles Todd - the saxophones

Robin Casinader - Hammond organ, mellotron, mandolin and violin
Frank Trobbiani - the drums and percussion

Recorded by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne
Mixed by Hugo Race at Helixed
Mastered by Toto Strapporava at 3Faders Studio, Buenos Aires
Published by Peermusic

"Das größte Problem, das die Kunst heutzutage hat, ist, dass sie nicht mehr weh tut", sagt GHØSTKID-Sänger und Provokateur Sebastian "Sushi" Biesler. "Vor allem hier in Deutschland haben die Leute so viel Angst davor, Grenzen zu überschreiten. Kunst zu machen, die zum Nachdenken und Fühlen anregt." So ist es nicht verwunderlich, dass Sushi und Co. mit dem zweiten Album von GHØSTKID, HOLLYWOOD SUICIDE, die Grenzen ihres Heimatlandes verlassen haben, um ihren energiegeladenen, hakenreichen Nu-Metalcore weiterzuentwickeln. Das Ergebnis ist ebenso aufrichtig wie musikalisch ambitioniert und klanglich makellos. GHØSTKID liefern Goth-Nu-Rock-Core, der die ohnehin schon hohe Messlatte, die GHØSTKID 2020 mit ihrem selbstbetitelten, von Pandemie überschatteten Century Media-Debüt gelegt haben, noch höher legen wird. Von den Trap-Metal-inspirierten Beats und dem erdrückenden Metalcore-Riffing, das den Titeltrack des Albums eröffnet, bis hin zu den beunruhigenden Melodien des elegischen Schlussstücks "Helena Drive" ist "HOLLYWOOD SUICIDE" ein perfekter Schnappschuss eines Künstlers, der aus seinen eigenen persönlichen Trümmern vor einem zerfallenden, mythischen kalifornischen Milieu kriecht. "HOLLYWOOD SUICIDE" ist erhältlich als: transparent-rote 180g LP

Erkundet das lebendige Erbe von Ansonia Records mit "Salsa Con Estilo", einer 2-LP-Compilation, die die Entwicklung der Salsamusik von ihren Wurzeln bis zum Höhepunkt nachzeichnet sowie eine Geschichte der New Yorker Salsa-Szene anhand der Musik aus dem Katalog des Labels bietet. Ansonia Records, ein wichtiges Familienunternehmen in der New Yorker Latino-Community, spielte eine bedeutende Rolle bei der Gestaltung der Latin-Musikszene. Unter der Leitung von Rafael "Ralph" Pérez veröffentlichte das Label vielfältige Klänge aus der Karibik und darüber hinaus, verpflichtete legendäre Musiker wie Arsenio Rodríguez und Myrta Silva. Die erste LP, "Roots of Salsa", stellt die tanzbarstenen Rhythmen und großen Refrains des Labels vor, die als Vorlage für viele folgende Salsa-Bands dienten. Die zweite LP, "Salsa Boom", endeckt versteckte Perlen des Salsa-Booms der 1970er Jahre vor, in dem sich Ansonia Records gegen größere Konkurrenten behaupten konnte."Salsa Con Estilo" ist nicht nur eine musikalische Reise durch die Entwicklung der Salsa, sondern auch ein Zeugnis des nachhaltigen Einflusses von Ansonia Records auf die New Yorker Salsa-Szene, die ihren Namen für immer in die Annalen der lateinamerikanischen Musikgeschichte eingetragen hat.

Carpool have long since achieved and outgrown their initial goal of playing that city’s 200 capacity Bug Jar venue, their hometown is still embedded in their DNA. This record is a wonderful homage to where they’re from – and also serves as a warning to the rest of the world what Rochester has already known for years. Recorded with Jay Zubricky (Every Time I Die, Pentimento and Marigold, among others)My Life In Subtitles is an album with a cohesive thematic and musical narrative. “The way I like to listen to music is to put on an album and listen to it start to finish. I like albums that take me on a journey and that show me what those songwriters were feeling while making you feel the same way,” said Colasanto.

Epischer, gewaltiger Doom mit Anspielungen auf Candlemass, Bolt Thrower, My Dying Bride und Iron Maiden! Die US-Doom-Crew Stygian Crown aus Los Angeles kehrt mit ihrem lang erwarteten zweiten Album 'Funeral For A King' auf dem etablierten Label Cruz Del Sur zurück, einer beeindruckenden LP, die auf der Grundlage von epischem Doom- und Death Metal basiert. Der Nachfolger ihres vielbeachteten Debüts aus dem Jahr 2020 bleibt dabei der weitläufigen Doom-Vorlage der Band treu, die auch Elemente des klassischen Metal und Death Metal enthält, aber driftet gelegentlich auch in traditionelles Metal-Territorium ab. Das Album wurde in fünf verschiedenen Studios von Los Angeles bis Melbourne, Australien, aufgenommen. Neben dem CD-Jewelcase gibt es auch eine schwarze Vinyl inkl. Download uns Poster.

Rock Hard:
"...Für den Zweitling hat der Fünfer seine selbst proklamierten, allerdings bereits auf dem Vorgänger höchstens marginal heraushörbaren Death-Metal-Einflüsse noch weiter zurückgestellt. Hier regieren Doom- und Epic Metal in Reinstform. Einen charmanten Farbtupfer setzen die im kurzen Intro ´Let Thy Snares Be Planted´ sowie dem anschließenden Longtrack ´The Bargain´ zum Zuge kommenden Streichinstrumente, die dezent und nicht selbstzweckhaft eingesetzt werden, während der Fokus auf den schweren Gitarren und der fantastischen Arbeit von Sängerin Melissa Pinion verweilt. Was für ein Auftakt ins Doom-Jahr 2024!"

After his first two one-off singles "Black Pegasus" and "Day Without You" introduced DJ Swagger's massive songwriting abilities and love for recording instruments, his first album on Kommerz Records, "Chemistry Forever", showcases his background in UK-leaning elec- tronic music as well as new tendencies towards neo soul, indie pop and jazz. Welcome DJ Swagger to the Kommerz Records stage and prepare for the album to drop on March 22nd.
The 25-year-old from West Germany's Bielefeld is pretty much the archetype of a so-called Wunderkind. At his young age the producer, DJ, multi instrumentalist and songwriter released more than 40 vinyl records including two solo albums and endless rave tracks since turn- ing 16. As of most recently and even though coming from an electronic music background DJ Swagger's creative agenda ventured more and more into classic songwriting and taking over the role of lead vocalist of his one-man-band. His third solo album "Chemistry Forever" show- cases this transformation from UK-influenced electronica towards neo soul and indie without losing its listeners at any point. His subtle melancholic vocal performance and the just as subtle, yet constant pop appeal make this equation solve itself magically. From electro, 2 step and breakbeat over hip-hop, indie and R&B to a final bebop (!) madness - "Chemistry Forever" is a trip for music lovers while each and every song has heavy potential to be listened to on repeat.
Besides his own vocal performances DJ Swagger also invited rappers TripSixVivo (London), Vitus04 (Bielefeld), Kaba (Paris) and poet Dainell Aiken (NYC) for mesmerizing guest perfomances. Additional production work came from Hamburg dance producer Speckman and jazz outfit Jonas Gersema Trio.
Aaaand since we called him a Wunderkind: Be aware that he's not only a next level musician, but studied graphic designer, illustrator and most likely many more things. Just an example: Most recently he sold self-made perfumed candles through his D.I.Y. label and fashion brand Goddess Music. He obviously designed everything around the album, directed the music videos and merch drops are to be expected.
For us, brothers Lukas and Jonathan, the love story goes way back though. In the midst of the long gone lo-fi house hysteria (2017-2018) we discovered the Bielefeld native's dance floor productions, which fused hip-hop braggadocio with pumping electronic music. We kept following up on his ever evolving musical journey into new genres and felt super honored when he reached out to release his upcoming projects via Kommerz.

Forest Green Vinyl. Als uneheliches Kind von Elvis und Lux Interior hat der israelische Gitarrist Charlie Megira während seiner viel zu kurzen 44 Reisen um die Sonne ein berauschendes Amalgam aus 50er-Jahre-Trash-Rock, Surf-Tremolo und hallgetränktem Goth gebraut. In 15 Jahren nahm er sieben Alben auf, die hauptsächlich auf CD-R veröffentlicht wurden, die meisten davon sind heute unlesbar oder liegen auf einer Mülldeponie. Nur mit einer Eko-Gitarre, einem schwarzen Smoking und seiner charakteristischen Sonnenbrille bewaffnet, war Charlie Megira ein Künstler, der sich in Luft auflöste, während wir alle auf unsere Telefone starrten. Auf seinem Debütalbum "Da Abtomatic Meisterzinger Mambo Chic" aus dem Jahr 2000 kanalisiert Megira den Optimismus der amerikanischen Nachkriegszeit, narkoleptischen Surf und den Soundtrack von Twin Peaks zu einem ganz eigenen Lo-Fi-Meisterwerk. "Mambo Chic", das sowohl auf Hebräisch als auch auf Englisch gesungen wird, bewegt sich in einem bedächtigen Tempo, unbekümmert um den Verkehr der modernen Welt und eingehüllt in eine Decke aus Tascam-4-Spur-Rauschen. Auf "Tomorrow's Gone" gelingt Megira das Kunststück, so weit in der Vergangenheit zu sein, dass er irgendwie in der Zukunft lebt und darauf wartet, dass der Rest von uns ankommt.

With two critically acclaimed albums and a swathe of award-winning production turns under their belt, Ana Frango Elétrico present their most confident and accomplished work to date: Me Chama De Gato Que Eu Sou Sua / Call Me They That I’m Yours. Gesturing to a tradition of Brazilian boogie music, but bouncing with modern pop ebullience, the album sees the Rio artist evolve from a captivating upstart into a surefooted scene leader in full stride.

At just 25, the prolific artist and producer has already garnered worldwide admirers. Ana’s sophomore Little Electric Chicken Heart was nominated at the 2020 Latin Grammys. Since then, standalone singles have received the WME ‘Best Music Producer’ Award, recognising Ana’s deep passion for music production – a passion which has led to collaborations with nascent Brazilian stars Dora Morelenbaum, Illy and Sophia Chablau. Most recently, Ana was hailed for their co-production of Bala Desejo’s 2022 Latin Grammy-winning album Sim Sim Sim.

The new album finds Ana at their most assured and full voiced. Album opener “Electric Fish”, with funky bass and shimmering backing vocals, sets a buoyant tone. “Boy of Stranger Things” is its bombastic counterpart. It’s the grooviest Ana has ever sounded. And the most brazen. Lyrically, where Ana was once oblique on personal matters, they are now forthright – lucidly exploring their gender identity, citing accessible cultural references, and often singing in English.

“I started this album in 2021 with the intention of showing, in means of sound, understandings and feelings about queer love, subjectively exposing myself,” the non-binary artist states – before qualifying that though “feeling was its driving force, the album is really about musical production.”

“There’s so many references to different decades,” Ana explains. “Seventies drums with eighties processing … Going back, getting beyond … Testing the limits of organic sounds”. Characteristically playful, on Me Chama, Ana takes vivid and rewarding detours through funk-inflected R&B (“Dela”) and art pop (“Dr. Sabe Tudo”). “Nuvem Vermelha” is a cinematic chanson with lush strings that recalls Arthur Verocai. Then, “Coisa Maluca” loafs with the indie insouciance of Canadian slacker Mac Demarco. Later, “Let's Go Before Again”, is a full-on drum machine workout evocative of Stereolab.

“Even if people don't find my own references here, they'll find theirs,” observes Ana. “Maybe that’s this record’s biggest goal.”

Brimheim ist die Band der dänisch-färöischen Musikerin Helena Heinesen Rebensdorff und RATKING der Nachfolger ihres Debütalbums CAN'T HATE MYSELF, das als eines der besten dänischen Alben 2022 zahlreiche Musikpreise gewann und Brinheim Festivalauftritte von The Great Escape (UK) über Eurosonic (NL) bis Reeperbahn (DE) einbrachte. Der Indie-Pop von Brimheim verschmelzt organische und elektronische Elemente, vermischt Genres und Stile und hat ein Gespür für Melodien, während Helena mit bewegendem Gesang und meisterhafter Darbietung den dunklen Ecken ihrer Texte zarte Schönheit verleiht.

Singer/Songwriter Vince Freeman veröffentlicht nach einem beachtlichen Werdegang sein Debütalbum: 'Best UK Male Solo Artist' bei den UK Indy Awards 2008, legendäre Teilnahme an 'The Voice' 2012, Bühnenauftritte mit Ed Sheeran, Eric Clapton und Paul Weller, Vokalist bei Lost Frequencies und Fedde Le Grand. 'Scars, Ghosts & Glory' entstand mit dem befreundeten Musiker Ian Dench (EMF), wurde von Paul Visser (GoldCrush) produziert und strotzt nur so vor kraftvollen Ohrwürmern. Die erste Single und Opener 'Powers' ist eine Gospel-durchdrungene Hymne voller Dankbarkeit, Positivität und Optimismus und zeigt Freemans gefühlvolle Stimme als auch seinen Glauben an die Kraft des Liedes.

Singer/Songwriter Vince Freeman veröffentlicht nach einem beachtlichen Werdegang sein Debütalbum: 'Best UK Male Solo Artist' bei den UK Indy Awards 2008, legendäre Teilnahme an 'The Voice' 2012, Bühnenauftritte mit Ed Sheeran, Eric Clapton und Paul Weller, Vokalist bei Lost Frequencies und Fedde Le Grand. 'Scars, Ghosts & Glory' entstand mit dem befreundeten Musiker Ian Dench (EMF), wurde von Paul Visser (GoldCrush) produziert und strotzt nur so vor kraftvollen Ohrwürmern. Die erste Single und Opener 'Powers' ist eine Gospel-durchdrungene Hymne voller Dankbarkeit, Positivität und Optimismus und zeigt Freemans gefühlvolle Stimme als auch seinen Glauben an die Kraft des Liedes.

Die französische Sängerin, Multi-Instrumentalistin und Produzentin Halo Maud veröffentlicht ihr neues Album 'Celebrate'. Die zwölf Tracks bieten eine nahtlose Mischung aus Französisch und Englisch, analoger Elektronik, kratzigen Gitarren, verspielten Drums und Dream Pop-Elementen, aufgenommen zwischen Paris und Los Angeles.