Buscar:suffering

Recorded in a little bedroom studio out in Durham, North Carolina, Amelia Meath and Nick Sanborn's debut LP as Sylvan Esso arrived in 2014 at the juncture of pop and experimental. Even now, years later, the LP remains an urgent and fitting introduction to a push-and-pull that would go on to inform the duo's sound - a thoughtful headiness that also wants you to get out on the dance floor. A blend of analog and digital, Meath and Sanborn were two unexpected puzzle pieces fitting together with singular ease, producing a ten-track LP that was both minimalist and shimmering, with dark undulations rippling beneath the synthy-surface and crystalline quality of Meath's voice. Before all of the international touring and festival headlining and critical acclaim, Sylvan Esso was just a shot-in-the dark of musical chemistry gone right. The original album bio for the self-titled presciently sets the stage for the thesis that has gone on to guide Meath and Sanborn's writing since then: "a collection of vivid addictions concerning suffering and love, darkness and deliverance" arriving as "a necessary pop balm, an album stuffed with songs that don't suffer the longstanding complications of that term." And so, even as the band continues to evolve and becomes amorphous, there's still that argument about what pop can be at its core. This is just the beginning of that conversation captured on tape.

Everything eventually turns to dust. Everyone knows this, but few want to acknowledge that our time on this mortal coil is fleeting, preferring to remain in stasis, in hopes that "the end" will pass them by. Chicago trio FACS (guitarist Brian Case, bassist Alianna Kalaba & drummer Noah Leger) have been perfecting their brand of intense, cathartic post-punk over the course of four ever-evolving albums, beginning with 2017's "Negative Houses" thru 2021's landmark "Present Tense', which saw the trio dig deep into the gaping maw of a black hole & pulling back whatever debris they could grasp onto. Their newest "Still Life In Decay" comes as an addendum to the last album - a "post-event review" if you will. "Still Life In Decay" starts with a squall of white noise before collapsing into the band already locked into "Constellation"s lumbering groove, with Case's guitar a ghostly presence, appearing & disappearing in washes of gauzy feedback throughout the track. FACS have never been more locked in as a unit, and "Still Life In Decay" is a decidedly more focused effort. The apocalyptic chaos that defined their previous album "Present Tense" is waved away in favor of an examination of events with cumbrous clarity. FACS are a heavy band, but they don't necessarily FEEL like one (see side two's "Still Life", where Case's fluttering, melodic guitar lines are buoyed by the insistent, underlying pulse of the bass & drums). As a rhythm section, Kalaba & Leger dance & twist around each other like a double helix, forming the DNA of what makes FACS special. Collectively they approach rhythm from outside the groove as opposed to inside it, creating a lattice where Case weaves guitar lines like creeping vines, which makes the moments on "Still Life In Decay" where the band DOES lock in even more powerful. When the guitar punctures the lock-step swing of "When You Say", it hits like a hammer. Case utilizes his lyrics like a person suffering from anterograde amnesia; repeating phrases & holding onto old memories in a desperate attempt to avoid the slide into oblivion. Freeform poetic missives touching on themes of resignation, cynicism, class warfare, and a search for identity & meaning in a crumbling society; A primal desire to hold onto anything in a post-pandemic barrage of sensory overload. The album is a decidedly local affair; recorded once again at Chicago's famed Electrical Audio by renowned engineer Sanford Parker & mixed at his Hypercube Studio in Chicago's Ravenswood neighborhood & mastered by Matthew Barnhart at Chicago Mastering Service.

Everything eventually turns to dust. Everyone knows this, but few want to acknowledge that our time on this mortal coil is fleeting, preferring to remain in stasis, in hopes that "the end" will pass them by. Chicago trio FACS (guitarist Brian Case, bassist Alianna Kalaba & drummer Noah Leger) have been perfecting their brand of intense, cathartic post-punk over the course of four ever-evolving albums, beginning with 2017's "Negative Houses" thru 2021's landmark "Present Tense', which saw the trio dig deep into the gaping maw of a black hole & pulling back whatever debris they could grasp onto. Their newest "Still Life In Decay" comes as an addendum to the last album - a "post-event review" if you will. "Still Life In Decay" starts with a squall of white noise before collapsing into the band already locked into "Constellation"s lumbering groove, with Case's guitar a ghostly presence, appearing & disappearing in washes of gauzy feedback throughout the track. FACS have never been more locked in as a unit, and "Still Life In Decay" is a decidedly more focused effort. The apocalyptic chaos that defined their previous album "Present Tense" is waved away in favor of an examination of events with cumbrous clarity. FACS are a heavy band, but they don't necessarily FEEL like one (see side two's "Still Life", where Case's fluttering, melodic guitar lines are buoyed by the insistent, underlying pulse of the bass & drums). As a rhythm section, Kalaba & Leger dance & twist around each other like a double helix, forming the DNA of what makes FACS special. Collectively they approach rhythm from outside the groove as opposed to inside it, creating a lattice where Case weaves guitar lines like creeping vines, which makes the moments on "Still Life In Decay" where the band DOES lock in even more powerful. When the guitar punctures the lock-step swing of "When You Say", it hits like a hammer. Case utilizes his lyrics like a person suffering from anterograde amnesia; repeating phrases & holding onto old memories in a desperate attempt to avoid the slide into oblivion. Freeform poetic missives touching on themes of resignation, cynicism, class warfare, and a search for identity & meaning in a crumbling society; A primal desire to hold onto anything in a post-pandemic barrage of sensory overload. The album is a decidedly local affair; recorded once again at Chicago's famed Electrical Audio by renowned engineer Sanford Parker & mixed at his Hypercube Studio in Chicago's Ravenswood neighborhood & mastered by Matthew Barnhart at Chicago Mastering Service.

Everything eventually turns to dust. Everyone knows this, but few want to acknowledge that our time on this mortal coil is fleeting, preferring to remain in stasis, in hopes that "the end" will pass them by. Chicago trio FACS (guitarist Brian Case, bassist Alianna Kalaba & drummer Noah Leger) have been perfecting their brand of intense, cathartic post-punk over the course of four ever-evolving albums, beginning with 2017's "Negative Houses" thru 2021's landmark "Present Tense', which saw the trio dig deep into the gaping maw of a black hole & pulling back whatever debris they could grasp onto. Their newest "Still Life In Decay" comes as an addendum to the last album - a "post-event review" if you will. "Still Life In Decay" starts with a squall of white noise before collapsing into the band already locked into "Constellation"s lumbering groove, with Case's guitar a ghostly presence, appearing & disappearing in washes of gauzy feedback throughout the track. FACS have never been more locked in as a unit, and "Still Life In Decay" is a decidedly more focused effort. The apocalyptic chaos that defined their previous album "Present Tense" is waved away in favor of an examination of events with cumbrous clarity. FACS are a heavy band, but they don't necessarily FEEL like one (see side two's "Still Life", where Case's fluttering, melodic guitar lines are buoyed by the insistent, underlying pulse of the bass & drums). As a rhythm section, Kalaba & Leger dance & twist around each other like a double helix, forming the DNA of what makes FACS special. Collectively they approach rhythm from outside the groove as opposed to inside it, creating a lattice where Case weaves guitar lines like creeping vines, which makes the moments on "Still Life In Decay" where the band DOES lock in even more powerful. When the guitar punctures the lock-step swing of "When You Say", it hits like a hammer. Case utilizes his lyrics like a person suffering from anterograde amnesia; repeating phrases & holding onto old memories in a desperate attempt to avoid the slide into oblivion. Freeform poetic missives touching on themes of resignation, cynicism, class warfare, and a search for identity & meaning in a crumbling society; A primal desire to hold onto anything in a post-pandemic barrage of sensory overload. The album is a decidedly local affair; recorded once again at Chicago's famed Electrical Audio by renowned engineer Sanford Parker & mixed at his Hypercube Studio in Chicago's Ravenswood neighborhood & mastered by Matthew Barnhart at Chicago Mastering Service.

Requiem for Jazz is a 12-movement suite composed and arranged by Angel Bat Dawid, inspired in part by dialogue from Edward O. Bland’s 1959 film “The Cry of Jazz.”

The original form of the music was premiered at the 2019 edition of the Hyde Park Jazz Festival in Chicago, where Angel conducted a multigenerational fifteen-piece instrumental ensemble (all Black musicians from Chicago’s creative music community) alongside a four- person choir (featuring singers from Black Monument Ensemble), dancers, and visual artists in performance.

Angel mixed and post-produced recordings from the performance – adding interludes, vocals and additional sounds, as well as transcribing a piece from “The Cry of Jazz” film. The final movement of Requiem for Jazz features Marshall Allen and Knoel Scott of the Sun Ra Arkestra. Their contributions were recorded remotely at the historic Arkestral Institute of Sun Ra in Philadelphia in late 2020.

The final Requiem for Jazz work in album form is an immersive 24-track, double LP experience. The physical package is a deluxe, heavyweight gatefold jacket with liner notes by South African writer Nombuso Mathibela, artwork by Damon Locks, and a large fold out poster designed by Jeremiah Chiu, featuring poetry written by Angel Bat Dawid in dedication to all of her collaborators on the project. Additionally, there is a limited Thy Kingdom Come purple color vinyl edition of Requiem for Jazz available for the first pressing only.

Emotion Hospice is the debut LP by New York-based sound artist and writer Chaperone on Bedouin Records. Combining layers of doom electronics, dystopian ambient, and manipulated tape loops, Emotion Hospice reflects both the artist's suffering and recovery from addiction, as well as Philadelphia's history of socio-economic decay and misanthropy.

Emotion Hospice was recorded from 2016 to 2019, when Chaperone's David Coccagna lived and worked in his hometown of Philadelphia, a city notoriously known for its poverty, redlined city divisions, and fascist policing tactics. While exploring the sound of the city and the effects of its political and social climate, Coccagna also struggled with and managed to overcome a severe addiction to alcohol, tying further the misaligned nature of the self to the maladjusted world he grew up in that is reflected in the record itself.

Sonic thrills and their destruction is present throughout the record, as Coccagna experiments with the brutal manipulation of bossa nova, varying styles of jazz, hip hop, and rap, using 4-Track tape loops, shortwave radio frequencies, various apps on his iPad, and open source audio editing software. With Emotion Hospice, Chaperone liberates the inherent darkness of the cheerful and poppy music that he samples and transforms it into an extensive, doomy sound of a future that is dystopian, maladroit, suffering, but hopeful about human beings. The album was written and recorded entirely by Coccagna aside from the track featuring New York rapper and producer Andre Altrez, whose establishment of Girard Hall in Philadelphia was a beacon of DIY ethos that became legendary in the city in its own right.

Chaperone's Emotion Hospice is his first release on Bedouin Records. His cassette release Dead Pitbulls Slung On Tired Shoulders was his first outing for Bedouin's now defunct sub-label Bastakiya Tapes in 2017. This initial tape was the catalyst to a working relationship between Coccagna and label operator Salem Rashid as collaborators and colleagues.

Lovesick – everyone knows it, everyone hates it. Everyone feels alone. Everyone questions the previous relationship and what has been said during it. Everyone tries to numb the pain of this all-encompassing suffering with alcohol and drugs. Everyone calls at four in the morning and leaves embarrassing love confessions on the answering machine that will be never heard. Everyone feels alone and tries to find solace in casual acquaintances in bars, only to be turned away for being pushy. Everyone lays up for weeks stalking the likely reason this relationship ended, oh! It didn’t have to end, it was all so nice and this new one can’t be good and he/she won’t be good if the plans I’ve been making here for nights come true…oh how nice would this be! Oh it can’t be, maybe I just can’t be loved… maybe I just should…

Everybody knows it.

But from now on you never have to go through all that heartbreak alone again because we Herzschmerz Versicherungen have the solution! We are a band from Stuttgart, somehow only classified as dilletantic strange in the genre. We are at your side and take care of you when your heart hurts!

Book one of our numerous insurance packages today, or just listen to our songs – that helps too!

“Denn wenn du dir nicht sicher bist und deine Liebe bald zerbricht: Komm, schöner Mensch und kauf doch eine Versicherung bei mir, Bei Herzschmerz bin ich dann immer da, bei dir!”

Iassen Markov & Jannik Haller

The lyrics of the tracks of "IV:LETVM" revolve around death, war, forces of nature and superstition as well as rituals. This consistently heavy lyrical content is matched by the instrumental brutality of the nine tracks. The quartet from Giessen in Hesse presents itself on its new album exclusively martial, destructive, and evil. Song titles like 'War Dreams Of Itself', 'Lessons Of Darkness', 'Certain Death', 'Suffering' or 'Sadness' point the way ¬– no coincidence that the band’s official logo consists of an axe and a mace. DEPRAVATION cultivate a resounding style mix of black and death metal with a crust side to it, which is served fiercely and lingers bitterly. Exactly this is what the group is after since their first release "I:PRAEDICTVM" in 2012 succeeded by "II:MALEDICTVM" one year later. Following 2020's "III:ODOR MORTIS", "IV:LETVM" marks the second album for LIFEFORCE RECORDS. After more than ten active years, in which split records with ANCST and SLOWLY WE ROT were released, DEPRAVATION enter the scene without the pretense of following current trends or living up to any particular genre. "IV:LETVM" is the expression of diverse musical influences and above all one thing: relentlessly extreme. "IV:LETVM" was recorded at Red Tape Company by Simeon Lauber in Gießen. Nikita Kamprad (Der Weg Einer Freiheit/Ghost City Recordings) is responsible for mixing and mastering.

Impatiently returning to the golden age of Ecuadorian musica national, this second round of retrievals is more of a selectors’ affair: less reverent, more free-flowing, with more twists and turns. There is no let-up in musical quality, maintaining the same judicious, heart-piercing balance between emotional desolation and dignified endurance, the same bitter-sweet play between affective excess and musical sublimity.

This time around, the woman steal the show. Laura and Mercedes Suasti were child stars, with an exclusive Radio Quito contract. Unlike nearly all the men here, they lived long and prospered: Mercedes died last year, at the age of 93. Gladys Viera and Olga Gutierrez both came to Ecuador from Argentina. To start, Gladys plugged the scandalous new Monokini swimwear; Olga performed for visiting British royalty in 1962. Olga was glamorous but tough. She would make little of the amputation of one of her legs: ‘I don’t sing with my leg.’ She is accompanied on our opener by quintessentially reeling, sultry musica national: haunted-house organ, twinkling xylophone, Guillermo Rodriguez’ heart-plucking guitar-playing, and lilting, dance-to-keep-from-crying double-bass. ‘Sometimes I think that you will leave me with no memories,’ she sings, ‘that you hold only disappointments in store for me… In the future your love will search me out, full of regret. By then it will be too late, there will be no consolation, only disappointment awaiting you.’

Other highlights include the two contributions of Orquesta Nacional: Ponchito Al Hombro, like an off-the-wall forerunner of the Love Unlimited Orchestra, beamed into the tropics from an unknowable time and space; and the tone poem Atahualpa, a mystical yumbo invoking Quito’s most ancient inhabitants, the Kichwa. Also the tremulous, gypsy-flavoured violin-playing of Raul Emiliani, who arrived in Quito from Italy, suffering PTSD from the Second World War; the inscrutable, sardonic experimentalism of organist Lucho Munoz; and the mooing and whistling of Toro Barroso — school of Lee Perry — in which a muddy bull dashes home to his darling chola, fearless, full of desire.

Lavishly presented, with a full-size, full-colour booklet, with transporting art-work and expert notes. Luminous sound, by way of Abbey Road, D&M and Pallas.

In the two years since their last full length outing, Let There Be Nothing, JUDICATOR have returned from collective and personal turmoil brought on by both the Covid-19 pandemic and foundational lineup changes. The US power metal group are now primed and proud to release their triumphant sixth studio album, The Majesty of Decay, via Prosthetic Records. Refreshed and revitalized, JUDICATOR are eager to let this beastly album out of the gate and into your stereos. Whilst the album’s story remains somewhat shrouded in mystery, JUDICATOR utilizes compelling plot devices as a means to encourage fans to piece together the album’s meta-contextual threads. What we do know, however, is that The Majesty of Decay explores the subjects of love, family, and the transformation of suffering into something meaningful. JUDICATOR invites you to step into this world and contemplate how the story might relate to you. The album is a carefully constructed puzzle of mirrors and metaphor that cries out for Judicator fans everywhere to solve it. What began as a humble homage to their favorite band quickly grew into something that hads fans begging for more, and JUDICATOR is happy to oblige. The band has produced a catalog of music that spans multiple sub-genres and breaks conceptual boundaries. With this latest offering, The Majesty of Decay, JUDICATOR have delivered yet another thought provoking album that fits nicely into their discography.

It is recognized today that these tutelary pieces for four pianos are among the most powerful in contemporary music,their impact is almost unparalleled. After the historical version recorded forty years ago, this one, featuring four of the greatest European performers, is now regaining its full power. High level recordings too.

There was some for John Cage, then came Christian Wolff, and finally Morton Feldman, from this school in New York. Only Julius Eastman remained outside the game, the last figure, the most solitary and enigmatic - undoubtedly also one of the most powerful, and it is this power that is revealed through these recordings. In the 1970s and 1980s, Eastman was one of the very few African-Americans to gain recognition in the New York avant-garde music scene. He was politically committed, a figure of queer culture and a solar and solitary poet whose melancholy influenced his genius as well as his tragic destiny : suffering from various addictions, declared missing, actually homeless. During Winter of 1981-82, he got deported from his apartment by the police, who destroyed most of what he owned - including scores and recordings. He was found dead in 1990, on the streets of Buffalo, after years of vagrancy.

The Performers Nicolas Horvath, pianist and electroacoustic composer Nicolas Horvath is known for his boundariesless musical explorations - he has collaborated with leading contemporary composers from around the world, including Alvin Lucier, Alvin Curran and Valentyn Silvestrov - the recordings of his complete works for piano by Phil Glass made a lasting impression. He has collaborated recently with Lustmord on the Deconstruction of November by Dennis Johnson (Sub Rosa SR502: The Fall).

Melaine Dalibert, a French composer and pianist, fascinated by natural phenomena which are both expected and unpredictable, Dalibert has developed his own algorithmic procedures of composition which contain the notion of stretched time evoking Morton Feldman, minimal and introspective, adopting a unique concept of fractal series.

Stephane Ginsburgh, a tireless surveyor of the repertoire but also explorer of new music, collaborated with composers such as Philippe Boesmans, Jean-Luc Fafchamps, Stefan Prins, Frederic Rzewski and Matthew Shlomowitz of whom he premiered works, as well as with choreographers such as Anne Teresa De Keersmaeker (Rosas) and recorded Feldman, Duchamp and Satie for Sub Rosa and the complete set of Prokofiev piano sonatas for Cypres. Wilhem Latchoumia, he embraces both new music and the classical repertoire with success and charisma. His two last recordings for La Dolce Volta (Prokofiev and de Falla) have been highly acclaimed by critics with a FFFF in Télérama. Winner of the Hewlett-Packard Foundation and the Montsalvatge International Piano Competition, he brilliantly won the First Prize in the 2006 Orléans International Piano Competition.

Clear Vinyl

Clear Vinyl. Limitiert auf 300 Exemplare. Classic Rock, Vintage Rock oder Retro-Rock. Wie auch immer man diese bluesige, gelegentlich psychedelische, von den großen Acts der späten Sixties und Seventies inspirierte Variante des Hardrocks nennen will: Die besten Vertreter des Sujets kommen seit jeher aus dem Norden Europas. Je weiter nördlich ihr Ursprung, desto besser sind sie - so scheint es. Und viel nördlicher als Tromso, die über 300 Kilometer jenseits des Polarkreises gelegene Heimatstadt der Norweger Pristine, geht es kaum _ Pristine sind eine der begeisterndsten und überzeugendsten Live-Bands des Genres. Die Gruppe hat bereits Hunderte von Konzerten absolviert - von intimen Club-Shows bis hin zu Slots im Rahmen der großen Festivals auf unserem Kontinent. Heidi freut sich darauf, nun mit dem neuen Pristine-Album THE LINES WE CROSS endlich wieder auf Tournee gehen zu können. "Wir hatten im letzten Jahr eine Handvoll kleinerer Shows in Norwegen gespielt, als dies für kurze Zeit wieder möglich war. Die Regierung hatte alle Restriktionen aufgehoben, bevor dann die Omikron-Welle kam und alles erneut vorbei war. Diese viel zu wenigen Abende waren wundervoll für uns, aber offenbar ebenso für die Fans. Man merkte förmlich, wie ausgehungert beide Seiten nach Live-Musik waren. Es fühlte sich fast so an wie damals, als wir die Band starteten und unsere ersten Konzerte gaben." Damals war 2006: Heidi besuchte das Musikkonservatorium in Tromso, wo sie Gesang studierte, als sie die erste Inkarnation von Pristine aus der Taufe hob. Nach einigen Jahren der Sound- und Mitglieder-Findung sowie zwei exklusiv in Norwegen veröffentlichten Alben startete die Band 2016 mit REBOOT international durch. Es folgten ausführliche Europa-Konzertreisen mit stilistisch ähnlich gesinnten Acts wie The Brew und Blues Pills. Bereits im Jahr darauf legten Pristine mit NINJA nach und 2019 konnten die Skandinavier dank ROAD BACK TO RUIN erstmals die deutschen Album-Charts knacken. Mit THE LINES WE CROSS kommt Anfang 2023 nun Album Nummer sechs auf uns zu.

Clear Vinyl. Limitiert auf 300 Exemplare. Classic Rock, Vintage Rock oder Retro-Rock. Wie auch immer man diese bluesige, gelegentlich psychedelische, von den großen Acts der späten Sixties und Seventies inspirierte Variante des Hardrocks nennen will: Die besten Vertreter des Sujets kommen seit jeher aus dem Norden Europas. Je weiter nördlich ihr Ursprung, desto besser sind sie - so scheint es. Und viel nördlicher als Tromso, die über 300 Kilometer jenseits des Polarkreises gelegene Heimatstadt der Norweger Pristine, geht es kaum _ Pristine sind eine der begeisterndsten und überzeugendsten Live-Bands des Genres. Die Gruppe hat bereits Hunderte von Konzerten absolviert - von intimen Club-Shows bis hin zu Slots im Rahmen der großen Festivals auf unserem Kontinent. Heidi freut sich darauf, nun mit dem neuen Pristine-Album THE LINES WE CROSS endlich wieder auf Tournee gehen zu können. "Wir hatten im letzten Jahr eine Handvoll kleinerer Shows in Norwegen gespielt, als dies für kurze Zeit wieder möglich war. Die Regierung hatte alle Restriktionen aufgehoben, bevor dann die Omikron-Welle kam und alles erneut vorbei war. Diese viel zu wenigen Abende waren wundervoll für uns, aber offenbar ebenso für die Fans. Man merkte förmlich, wie ausgehungert beide Seiten nach Live-Musik waren. Es fühlte sich fast so an wie damals, als wir die Band starteten und unsere ersten Konzerte gaben." Damals war 2006: Heidi besuchte das Musikkonservatorium in Tromso, wo sie Gesang studierte, als sie die erste Inkarnation von Pristine aus der Taufe hob. Nach einigen Jahren der Sound- und Mitglieder-Findung sowie zwei exklusiv in Norwegen veröffentlichten Alben startete die Band 2016 mit REBOOT international durch. Es folgten ausführliche Europa-Konzertreisen mit stilistisch ähnlich gesinnten Acts wie The Brew und Blues Pills. Bereits im Jahr darauf legten Pristine mit NINJA nach und 2019 konnten die Skandinavier dank ROAD BACK TO RUIN erstmals die deutschen Album-Charts knacken. Mit THE LINES WE CROSS kommt Anfang 2023 nun Album Nummer sechs auf uns zu.

Paxico Records is pleased to present Forgot About Her, the latest release by LA-based beat maker and producer Sleepyeyes.
“The record retains Sleepy’s trademark smoked out atmosphere but re-contextualizes it for the dance floor in a way that is wholly unique, but also brings to mind burgeoning lo-fi house contemporaries such as DJ Seinfeld, Ross From Friends, and Baltra.” –Earmilk
The results are something staunchly authentic. The recordings on Forgot About Her are honest and intimate as if sent from an old friend. Soft vignettes capture the emotional aftermath of separation. Eagerly alone, Sleepyeyes embraces his sound to hold the hazy memories one may feel from heartbreak’s closure. Its magnetic charm pulls us into a space where flaws become strengths and suffering becomes beauty. The site-specific titles and intimate home-recordings form its compelling and transformative qualities.
With Forgot About Her, Sleepyeyes shares the weight of letting go. It’s a slow-burning process pushed and pulled by tension and release, a movement for moving on.

Die deutsche Heavy Metal-Macht BRAINSTORM ist seit
mehr als drei Jahrzehnten in der Szene, und es ist
tatsächlich immer noch schwer, das Genre zu definieren,
das sie spielen. Power-Metal? Heavy Metal? Prog Metal?
All diese Kategorien wären richtig, obwohl BRAINSTORM
noch mehr bieten und man mittlerweile von ihnen sagen
kann, dass sie eine einzigartige Metalmischung
geschaffen haben.

Naglfar have an high quality of their recordings, this is the fifth album by those Swedes, and are here again be able to keep up to their high recording standards of the previous albums and if their music would still reek of hatred, evil and suffering. Naglfar is one of those bands that can effortlessly mix raw energy of black metal that we know from their first albums with the elements of melodic death metal introduced in their later releases. This mix makes their songs memorable to a point that you can recognize them from the first riffs. Traditionally of course, intensity mixes with atmospheric slower parts, melodic touches intertwine with ultra fast brutality, and in all that, solos, parts of keyboards or piano are thrown into as if into a twister of sickening sound. Musically, the whole band shows us solid compositional skills, supported by technical instrumentality and respectable experience. Christopher Olivius spits out wicked lyrics, he sang with such passion and malice, that vocals added an extra level of brutality, vocals are very strong and solid. Harvest is an inspired, interesting and originally diverse piece of work. This album comes out in deluxe gatefold edition on vinyl,

Repress in soon. Recorded in a little bedroom studio out in Durham, North Carolina, Amelia Meath and Nick Sanborn's debut LP as Sylvan Esso arrived in 2014 at the juncture of pop and experimental. Even now, years later, the LP remains an urgent and fitting introduction to a push-and-pull that would go on to inform the duo's sound - a thoughtful headiness that also wants you to get out on the dance floor. A blend of analog and digital, Meath and Sanborn were two unexpected puzzle pieces fitting together with singular ease, producing a ten-track LP that was both minimalist and shimmering, with dark undulations rippling beneath the synthy-surface and crystalline quality of Meath's voice. Before all of the international touring and festival headlining and critical acclaim, Sylvan Esso was just a shot-in-the dark of musical chemistry gone right. The original album bio for the self-titled presciently sets the stage for the thesis that has gone on to guide Meath and Sanborn's writing since then: "a collection of vivid addictions concerning suffering and love, darkness and deliverance" arriving as "a necessary pop balm, an album stuffed with songs that don't suffer the longstanding complications of that term." And so, even as the band continues to evolve and becomes amorphous, there's still that argument about what pop can be at its core. This is just the beginning of that conversation captured on tape

Repressed.

Workforce presents his debut album ‘Set & Setting’ on his own imprint Must Make Music. This body of work marks a significant new chapter for Jack as he continues to re-establish himself as a solo producer, DJ and label owner after 16 years as one half of the celebrated Drum & Bass duo Spectrasoul.

As an album, ‘Set & Setting’ is an absolute focussing of the Workforce sound. It’s the coming together of his influences and human experience to form the basis of the work - frenetically varied in both sound and feel, but held together by an overarching aesthetic and sonic palette.

'Set & Setting’, a phrase I’ve co-opted from the context of psychedelics, refers to the physical, mental, social, and environmental context that an individual brings to an experience.

The making of the music was the codifying of my ‘reality’. Experiencing the music is the decoding; altered by ‘Set’ and ‘Setting’.” Workforce

Employing a vast array of advanced vocal and instrumental techniques, Broken Gargoyles is arguably Galas" most intellectually, sonically and viscerally formidable work to date. The album finds the visionary artist deftly probing the weaving, warping transformation on the nervous systems of her post-traumatic soldiers and dying diseas ed. Composed in 2020 during the beginning of the Covid-19 pandemic, the first presentation of Broken Gargoyles featured verses by German poet Georg Heym, "Das Fieberspital" and "Die Dämonen der Stadt." The work was finalized in 2020 in collaboration with the artist and sound designer Daniel Neumann. In "Das Fieberspital" Heym describes the horrific state of people suffering from yellow fever who live in paralyzing fear of death and swirling delirium owing to their brutal treatment and isolation in medical wards in early 20th-century Germany. "Die Dämonen der Stadt" also addresses such grim portents of World War I; in this poem, the god Baal observes (like a gargoyle) a town from a rooftop of a city block at nighttime and lets a street burn down during dawn. The final incarnation of the work was played as a sound installation at the Kapellen Leprosarium (Leper"s Sanctuary) in Hanover, Germany

Dillon's fourth LP, 6abotage, captures today's zeitgeist like few others. A work of sore desperation but also reassuring devotion.

Her fourth, and perhaps boldest, album project, 6abotage, marks Dillon's first full-length since 2017's Kind. Described by Dillon herself as "a love letter, a cry for help and a consequence, all in one", 6abotage is the unapologetic manifestation of Dillon's latest artistic excursion with artist and producer Alexis Troy. Together Dillon and Troy have created a lyrically and sonically captivating and genre-bending body of work. The unmistakable soreness of Dillon's voice surrounded by and embedded within Troy's decisive and, at times, almost cinematic production defeat all genre stereotypes. Written, produced and recorded in complete isolation, 6abotage reflects today's zeitgeist. It is sore and desperate but also reassuring and devoted.
6abotage is a successful protest. A successful protest against stereotypes and preconceptions. A protest against excessive suffering. A protest for self-love. A protest for patience and vulnerability. A protest for forgiveness and growth.

In the ever-changing landscape of society and the world at large, we've
found ourselves lost in a world that has become less and less
recognizable - As our defining truths, values, and foundations have
become shaken, we find ourselves in a constant state of re-evaluation,
suffering, and duress
As the world continues to change in ways that are both terrifying and inevitable,
we seek to move forward and look towards a better world. This album represents
the mourning of the losses that we have endured these last couple of years, and a
celebration of the victories and hopes of what is to come. As we leave this world
behind, we look towards a better one.
We had the great honor and privilege of recording this album with seasoned
veteran Billy Anderson at the Hallowed Halls in Portland, Oregon in the summer of
2021.

In the ever-changing landscape of society and the world at large, we've
found ourselves lost in a world that has become less and less
recognizable - As our defining truths, values, and foundations have
become shaken, we find ourselves in a constant state of re-evaluation,
suffering, and duress
As the world continues to change in ways that are both terrifying and inevitable,
we seek to move forward and look towards a better world. This album represents
the mourning of the losses that we have endured these last couple of years, and a
celebration of the victories and hopes of what is to come. As we leave this world
behind, we look towards a better one.
We had the great honor and privilege of recording this album with seasoned
veteran Billy Anderson at the Hallowed Halls in Portland, Oregon in the summer of
2021.

Wah Wah 45s are proud to present a new set of remixes, as well as originals released on vinyl for the very first time, from Afrobeat supergroupEparapo. Having come togetherduring the unprecedented events of the pandemic and the Black Lives Matter movement, and despite being a project born from the privations of lockdown, their music is ultimately an expression of hope, resilience & resurgence.

The word "eparapo" means "join forces" in Yoruba, the language of Afrobeat. It's also the title of a track by the late, greatTony Allen- drummer for Afrobeat legendFela Kutiand lifelong friend and mentor of our very own "Afrobeat Ambassador",Dele Sosimi. Not only did Tony help to invent Afrobeat, he always looked for ways to push the boundaries, never content with recreating what had gone before but constantly expanding and developing the genre. This project hopes to pay homage to his legacy, and that of Fela Kuti himself. Its aim is to innovate, fuse and diversify while still retaining the essence of the music.

The force behind Eparapo is bassist, composer & producerSuman Joshi.He has been a member of Dele Sosimi's Afrobeat Orchestra for nearly a decade and has performed on stage with the likes of Tony Allen, Seun Kuti, Ginger Baker & Laura Mvula. He is also bassist with UK jazz ensemble Collocutor and fusion project Cubafrobeat.

Featured vocalist on both original tracks, and remixes, is the aforementioned Dele Sosimi - keyboard player and musical director for Fela's Egypt 80 as well as Wah Wah 45s recording artist on both his solo material and the recent collaboration with house music producer, Medlar.

The rest of the group comprises of bandleader ofAfrik Bawantuand percussionist for Ibibio Sound Machine and Keleketla,Afla Sackey; highly rated UK jazz vocalistSahra Gure; saxophonist, composer, producer and bandleader of the renowned forward thinking jazz outfit Collocutor,Tamar Obsorn; keyboard player, producer and front man for Lokkhi Terra and Cubafrobeat,Kishon Khan; one of the UK's finest and most in demand trumpeters,Graeme Flowers, who has played with Quincy Jones, Gregory Porter and many more; trombonist for Bellowhead and mainstay of Dele's Afrobeat Orchestra,Justin Thurgur; and finally drummer for Steamdown and Sons of Kemet, as well as the man behind the Nache project,Eddie Wakili Hick.

From London To Lagoswas inspired by a talk given by writerRoberto Savianoat the Hay Book Festival in 2016, just before the Brexit referendum. In it he described the UK as the "most corrupt country in the world". This was a reminder of how the leaders of so-called developed countries, conveniently suffering from colonial amnesia, still point disparagingly at the rest of the world and talk of "endemic corruption" and "Banana Republics". All the while the ill-gotten gains of organised crime syndicates, corrupt multinationals and military juntas across the globe are funnelled through financial centres such as London. Same trouble, different methods, greater scale. Of course the best way to divert the population from all this is to find distractions such as populist leaders who declare their countries "world beating" and scapegoats such as refugees, immigrants and other members of the underclasses. It has always been thus but it doesn't always have to be so.

This track was once more recorded remotely during lockdown and features an all star lineup of world class musicians from the UK Afrobeat and jazz scenes. Members of the Dele Sosimi Afrobeat Orchestra, Keleketla, Sons of Kemet and beyond have come together to create this powerhouse of a band. They encapsulate the meaning of "eparapo" and "join forces'' to fight a common enemy in the shape of corrupt and divisive ideologies.

Its remix comes fromWheelUP- the moniker of West London broken beat revivalist Danny Wheeler, who here delivers something of a smoother straight up Afro flavoured house workout that's sure to be heard across dance floors and festivals this summer. The Tru Thoughts signed artist adds gliding synths and tight drums that ride the original's hypnotic melody perfectly and make for a future club classic.

Black Lives Matterwas obviously inspired by the movement of the same name and was the first track to be released by Eparapo in late 2020. Dele's voice tell the story slave ships leaving West Africa in the fifteenth century, the brutal conditions that were experienced on board, and the continued suffering of the African diaspora today. As always, half of the artist's income for this song will be donated to the NAACP - a civil rights organisation in the United States, created for the advancement of black people by means of following judicial policies.


The remix here comes from Birmingham based producer signed to Jalapeno Records,Sam Redmore. Sam's love for breaks and beats comes into play well here, subtly chopping up the original to create a bass worrying version that still sends that very important message of justice and equality - Black Lives Matter!

a 01: From London to Lagos (WheelUP Remix) feat. Dele Sosimi

[c] 03: Black Lives Matter (Sam Redmore Remix) [feat. Dele Sosimi]

Levitation Orchestra are the next progression of London's vibrant jazz scene. A vibrant collective with a balanced, workshop-orientated approach to composition, members include Axel Kaner-Lindstrom (Cykada), Xvngo (Nihilism, SEED Ensemble), and Maria Zofia Osuchowska (Alabaster dePlume). Their alternative instrumental line-up, spiritual jazz-informed groove, hard-hitting spoken word verses and highly original compositions are taken to the next level with their forthcoming album, Illusions & Realities.

Widely-loved electronic maestro Gigi Masin returns with ‘Vahinè' – a mini album of beautiful and distinct music that is unmistakably his, sounding better than ever.

Masin always pours his heart into composing, but here it takes on a potent new level of heavy emotion – as it’s a tribute to his late wife, who sadly passed away last year.

“There is a Tahitian dance called ‘Aparima’. It consists of graceful, sinuous and fascinating movements, which tell you stories and legends about love or tradition. The ‘Vahinè' are now dancing, the Tahitian females, with smiles and gestures that could be symbolic or descriptive but are always gentle, harmonious, charming. I was watching this documentary, it was almost 4 in the morning, but I couldn't sleep; I was in front of the television for hours, my wife had passed away the day before, and I was watching hands and arms swaying.

I told myself that maybe it’s so, at the end of the road it’s possible to realize dreams, and I’m sure that she is finally able to dance like never before, and is able to move without any impediment, with no suffering, free to make all the movements that she couldn't make for so long, turning to me with a smile and a wink. So, in the clouds, you will discover and see an extraordinary 'Vahinè', because she will move and dance and smile until the end of time.”
Gigi Masin

A future-retro dreamscape where stripes of early evening sun pour through partially closed venetian blinds; kalimba, piano and steel pans meet on the incredibly evocative ‘Marilene (Somewhere in Texas)’.

The Balearic/Italo house heart of ‘Barumini’ throbs throughout a celestial epiphany, whilst ‘Shadye’ is a sun blinded ambient mirage where angelic voices and electric guitar intertwine, before more heavenly music ensues on the trance-like ‘Malvina’.

A heart-wrenchingly beautiful evocation of transitioning to the other side, ‘Valerie Crossing’ is Gigi’s compelling and inspirational take on death, with a vivid evocation of something spiritual, existential and metaphysical. His exemplary approach shows decease not as a cause for despair, but a philosophical and poetic exploration of where souls go, when they leave their earthly bodies.

Masin closes with ‘Vahinè' – a twitchy, levitational piece of sublime deep techno, which transmits high strength vibrations of powerful emotions. On both this track, and the album of the same name, there’ s no pseudo intellectual ambient posturing with cod academic angles tagged on; This is music of real substance, coming from a real place. It’s saturated with feelings, but turns mourning into affecting art, and even a beacon of hope.

Phoxjaw return with their second studio album ‘notverynicecream’, to be released November 11th via Hassle Records.

Written mostly in various states of lockdown, the album addresses themes of depression, addiction, nihilism, nostalgia and suffering, served in a sugary cone. The most eclectic and schizophrenic Phoxjaw release to date, combining progressive and punishing sonics, with hyper glossy pop influences whilst still retaining the organic noisey elements that Phoxjaw have made a signature.

Phoxjaw return with their second studio album ‘notverynicecream’, to be released November 11th via Hassle Records.

Written mostly in various states of lockdown, the album addresses themes of depression, addiction, nihilism, nostalgia and suffering, served in a sugary cone. The most eclectic and schizophrenic Phoxjaw release to date, combining progressive and punishing sonics, with hyper glossy pop influences whilst still retaining the organic noisey elements that Phoxjaw have made a signature.

16)- return with their heaviest and most devastating record to date, Into Dust. The new album, a collection of cautionary tales of survival and redemption, is set to an amalgamation of sludge, punk, metal, hardcore, and stoner riffs, that could only be built through 30 years of commitment to their dark sonic craft, which -(16)- continues to improve upon. From the frantic opening of "Misfortune Teller" to the undeniable pounding and swagger of "Scrape the Rocks", Into Dust lives up to its name, as -(16)- beat the listener into submission through the lowest of ends and the sour, palpable malaise prevalent throughout the album's dozen tracks. "There's a story arc in the lyrics that start with an eviction notice served amid the ruins of Hurricane Irma in the Florida Keys, to running aground metaphorically and drowning in midlife, bearing witness to the modern suffering of hunger and poverty on the Mexico California border," guitarist and vocalist Bobby Ferry says. The negativity persists on tracks aptly titled "Null and Eternal Void", and the dizzying, pill-induced "The Floor Wins". Elsewhere, "Born on a Bar Stool" sends the listener off with a sobering album closer; ending on a foggy and rainy jazz-tinged San Francisco night, with an anti-drinking drinking song, proclaiming "Raise your glass all things pass".

12 of the heaviest early tracks by the master of rebetika music. Markos Vamvakaris sings from the hash dens of the Greek ports of the 1930s - mournful, poetic, bitter music of love and long nights. Rebetika is the sound of Greece and Asia Minor clashing amid civil war, mass population exchange, and the anarchy of the late 19th and early 20th centuries. Poetic, mournful, and bitter, rebetika music was born in the hash dens (tekes) of Mediterranean ports, its verses whispered in Greek prisons before spilling out to the greater population in the 1930s, propelled in no small part by a series of remarkable recordings by Markos Vamvakaris. Markos, as he’s known to this day, sang heady, drugged out songs of love, pain and yearning at brothels, bars and hash dens in the port of Piraeus. He arrived as a youth in 1917, working as a skinner in a tannery. By the time he picked up the bouzouki around 1924, he was fully taken by the life of the manges, the lowest rungs of the Greek social ladder. They lived by their own code and in total opposition to the rest of the population, and rebetika was their music. On these twelve early tracks, recorded in Athens between 1932 and 1936, Markos was already a master of the bouzouki. His forceful, clean playing compliments his hoarse voice and his stunning rhythmic sensibility, the result of his years as a champion zebekiko dancer. Tracks build and spiral outward, his open-note drones and melodic lines drawing calls of ecstasy and encouragement from his fellow musicians. Translations of songs like “Hash-Smoking Mortissa” and “In The Dark Last Night” provide a glimpse into the life and language of the manges - Ottoman cafe music, the calls of displaced Greeks of Smyrna, the chaos and suffering of port life, it all comes through Markos’ songs. These recordings, incredibly rare and expertly remastered, mark the height of rebetika, the brief period between the music’s emergence on the recording scene in the early 1930s and government censorship of all lyrics starting in 1936. During the Axis occupation there was no rebetika recording, and though Markos had some hits in the years after the war, he never again attained this level. These are the dizzying, entrancing, and heaviest works of one of the great artists of the 20th century. Pressed on 160gm vinyl, includes full size 8 page booklet with historical notes, rare photos, and lyric translations.

Life is full of thorns, full of suffering that changes us forever.

‘Rosebud Queen’ is an ode to the resiliency of the spirit. How do you keep the spirit from dying when it’s been void of beauty for too long?
This album is a collection of light, a hope for your spirit to find beauty in life's suffering, and an offer to connect my soul to yours.

Das vierte Album der Band ist abwechslungsreich, oft überraschend, unverbraucht und frisch, dazu kommt ein perfekt passender und knallender Finnvox-Sound. ELVENKING gelang ein durch und durch überzeugendes Album, das wohl den Wendepunkt zum eigenständigen und einmaligen Sound der Italiener markieren mag. Bei drei verschiedenen Vinylfarben ist für jeden etwas dabei.
Mit dem Release vervollständigt "The Scythe" das Jubiläums-Triumvirat mit "Heathenreel" und "The Winter Wake".

“Home” is a tough thing to pinpoint for someone who’s constantly in motion. Scout Gillett knows this well, but since relocating from Kansas City in 2017, she’s found one in Brooklyn’s DIY scene, playing in multiple live bands and even starting her own booking company to organize local shows. Her intrepid nature results from a childhood spent running barefoot through rural Missouri and coming of age in Kansas City’s punk scene. Her debut solo album no roof no floor is a bold and spirited yet warm, intimate meditation on trust, surrender, and what makes a home.

Following the sudden overdose of a lover in 2018 and the onset of the 2020 quarantine, Scout returned to Missouri in search of reprieve. Instead, she was dismayed to find that her hometown was suffering; friends and family members were caught in the grips of drug and alcohol addiction. Overcome by grief and helplessness, she retreated inward, channeling her fears and frustrations, as she always had, into songwriting. The resulting songs were more vulnerable than any of her prior work

As three souls plunge down from the heavens, death and destruction can be felt hanging in the air like a foul stench. Red clouds swirl around a black sun that never sets and an erratic clock ticks off-tempo, moving faster and slower before rewinding and starting anew.

“Let me paint you a picture…” vocalist Mikey Arthur sings, welcoming listeners with a dramatic opening scene. It takes a skillful guide to navigate the darkest depths of hell. And, as The Gloom In The Corner depict in their second full-length album Trinity, death is merely the beginning of the series of chilling adventures

Purposefully aligning their song count with unlucky number thirteen – a reoccurring symbol in the ever-unfolding Gloom Cinematic Universe or GCU – it comes as little surprise to longtime fans that each of the Australian quartet’s enticing tracks intertwine to form an interlocking tale; this time centered around the appropriately labeled unholy trinity.

Comprised of previously deceased characters Rachel Barker, Ethan Hardy, and Clara Carne, the group’s bloody battle is woven throughout the album as the anti-heroes determinedly claw their way back to Earth from the Rabbit Hole dimension, slashing, shooting, and extinguishing anyone who dares to oppose their quest. Yet, for the Girl of Glass, Ronin, and Queen of Misanthropy, there is clearly more to the story than what can be contained within a single package.

Projecting a wide and complex web of lore, plot twists, and tongue and cheek humor, frontman Mikey Arthur, guitarist Matt Stevens, bassist Paul Musolino, and drummer Nic Haberle, have been producing highly detailed concept releases since their formation. And, consistently filling in more missing pieces of the puzzle with every body of work, the band equate each new record to a fresh season of The Umbrella Academy dropping on the streaming service of your choice. Because, just as a great TV series captivates viewers with its music and storytelling, the quartet’s work provides a complete experience designed to allow fans to check in with their favorite characters, all the while enjoying a cinematic new soundtrack.

For those just joining the GCU, as well as those looking for a quick refresh, 2016 debut album Fear Me introduced listeners to main protagonists Julian “Jay” Hardy, a Section 13 agent consumed by anger over his girlfriend Rachel’s death, and Jay’s gloom (later known as Sherlock Adaliah Bones), a demonic entity who at times takes over Jay’s body as a host vessel. 2017 EP Homecoming tells the tale of Jay’s brother Ethan, a war veteran suffering from PTSD, who upon discovering his brother’s struggle, kills himself as part of a Dante-style rescue mission to bring Rachel back to life. In 2019 EP Flesh and Bones, we’re introduced to Clara Carne, a past witness to one of Jay and Sherlock’s crimes, who instead of taking revenge, began a twisted love story with Sherlock, only to be murdered by his forced hand. And 2020’s Ultima Pluvia EP where we finally learn of Sherlock’s past as an ancient warlord under the tyrannical King Baphicho, and see Sherlock and Jay’s deaths ushered in by Section 13 opponent and New Order leader Elias DeGraver and his gloom Atticus Encey.

After 2016’s Fear Me, the band admit that their original intention was to jump straight into the events of Trinity before pivoting to create Homecoming, Flesh and Bones, and Ultima Pluvia. However, upon reflection, primary storywriter Mikey Arthur believes that pushing the timeline back actually provided greater opportunity for the group to properly flesh out the songs and plotlines for their sophomore studio record.

Indeed, while Trinity re-introduces the three central “heroes” of this new arc, it’s important to understand that while familiar, the characters are not carbon copies of who they were earlier in the story. And neither is the band who brought them to life.

Fully embracing the weird and whacky has never been a struggle for The Gloom In The Corner. Rather, it’s together with this attitude that the group come away with special moments such as the fascinating old and new dynamic between neighboring tracks “Red Clouds” – a song whose initial version predates the formation of The Gloom In The Corner as an official band – and “Gravity” in which a demo intended for future material was adjusted to fit the sonic drop.

Mirroring this evolution in the band’s musical approach, a sense of growth can also be seen projected in the characters and story that the quartet chronicle across the thirteen tracks.

Classifying their individual sound as an intricate form of “cinema or theater-core” due to the depth and breadth of their musical approach, features, samples, symphonic elements, and conceptual nature, The Gloom In The Corner continue to prove that they’re more than just a simple concept band.

In fact, similar to character theme music in movies and video games, the group seamlessly play off their diverse sonic story in a variety of ways. Continuing to breathe new life into older staples from their catalog, the quartet reworked their infamous “Oxymøron” breakdown from Fear Me into an impactful moment in Trinity’s “Nor Hell A Fury” and sprinkled audio easter eggs of this sort all throughout their new music for fans to discover.

Listeners are also brought further into the world of the GCU with the help of what The Gloom In The Corner call their “casting process.” Like picking actors for a musical, the band meticulously selected eleven different vocal features and several additional voice actors to bring the album and characters to life. Described as a 50/50 split between notable talents such as Ryo Kinoshita (Crystal Lake), Joe Badolato (Fit For An Autopsy), and Lauren Babic (Red Handed Denial), as well as talented friends and family like Elijah Witt (Cane Hill) and Mikey’s sister Amelia Duffield, each featured artist brought their own touch and realistic spark to the characters they portrayed.

For in the end, as much as Trinity and it’s cast live within the confines of their own supernatural worlds, themes such as falling out of love (Gatekeeper), battling depression (Obliteration Imminent), and standing behind women’s empowerment (Nor Hell A Fury), are ones that many can relate to or understand. And, while most individuals may avoid drowning their woes by way of transforming into full-on egotistical murderers like the Queen and King of Misanthropy and the gang, The Gloom In The Corner have illustrated that time and time again, life’s a little more fun when you can crack a smile. Taking a page from the trinity’s playbook: try to avoid the end of the world. But if you can’t…at least spend it with a killer soundtrack.

Das vierte Album der Band ist abwechslungsreich, oft überraschend, unverbraucht und frisch, dazu kommt ein perfekt passender und knallender Finnvox-Sound. ELVENKING gelang ein durch und durch überzeugendes Album, das wohl den Wendepunkt zum eigenständigen und einmaligen Sound der Italiener markieren mag. Bei drei verschiedenen Vinylfarben ist für jeden etwas dabei.
Mit dem Release vervollständigt "The Scythe" das Jubiläums-Triumvirat mit "Heathenreel" und "The Winter Wake".

„All The Colours“ was a concept that came about from Andy Ash bringing together his music and visual art in an attempt to try and identify the common ground between the two. In both mediums, Andy attempts to convey the full range of human identity – at first you see and hear euphoria and playfulness, but look a little closer and you will also notice anger, sadness and tension. On this album, Andy approaches house music as the vehicle to convey many different feelings. These tracks are designed to be played on the dancefloor and bring people together – this is what house music has always been about!

The whole album was made over a two-year period in Andy’s home studio using a mixture of analogue hardware and samples. During this period, Andy was suffering with some significant mental health problems and this album represents his attempts to channel this energy into something productive. This is also the first time Andy has worked with vocalists, bringing a new dimension to his music. Whether it is the old school inspired „The sound“ which features vocalist Erik Rico, or the deep and moody „I’m Here“ featuring Liverpool vocalist Amber Kuti, this album brings many different shades of house music to the table! A real statement!

Before 2020, Ocean Alley could have broken. The six-piece had spent two years touring relentlessly off-the-back of their breakthrough record Chiaroscuro, spending months on the road and away from their loved ones, on the brink of burnout. Then the world shut down. And although there was a universal experience of suffering and isolation during ex-tensive lockdowns, Ocean Alley found themselves gifted with a forced break - where time slowed down and they could be with their loved ones, while also finding space to recon-nect with themselves. This luxury of time allowed experimentation in new ways for the band, who since inception had always felt their way through the music with communal jam sessions. It was uncharted territory for the group who for the first time operated as a bedroom band - particularly frontman Baden Donegal who revealed that a number of tracks on their upcoming fourth album Low Altitude Living started as “shitty GarageBand demos” he recorded solo at the beginning of lockdown. When comparing the creative process of their three previous full-lengths - the ARIA-nominated Lonely Diamond (2020), their Gold-certified breakthrough Chiaroscuro (2018) and self-assured debut Lost Tropics (2016) - this in itself was the big-gest difference.y

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red