quête:techn

“Loves Love” jettisoned STÜM into 2024 and now “Beautiful Dancers” is here to take him ever higher.

As the second single off his forthcoming Essence Of Time EP, “Beautiful Dancers” is a blissful yet haunting take on techno. This track is total club rapture made up of ghostly vocal calls, static-like percussion and howling wind effects. A record of mixed emotions, pleasure and pain all blended up into 6 plus minutes.

Speaking on the tune, STÜM says “The songwriting process involved juxtaposing the organic with the synthetic weaving together contrasting sounds to mirror the duality of human emotion.”

Third in line is “Limbo”, a heaving acid hit full of hypnotic foreign instruments and vocals. This one gives off a massive street party feeling. From there we head to “Escape” a more dreamy and introspective bell-tone tune. A deliberate breather from STÜM before storming into the title track of the EP.

“Essence Of Time” is a shimmering rave piece. Dulcet piano intertwines with airy effects and hammering synths – another excellent example of STÜM’s ability to blend light and shade all at once.

Powerful duo Henri Bergmann and Wennink make their Crosstown Rebels debut with ‘Guardian Angel’. Stimming and Hardt Antoine take the single to darker territories on their remixes.

Magnetic husband-and-wife duo Henri Bergmann and Wennink blend Bergmann’s taste for melodic realms with Wennink’s etherealv vocals and experimental left-leaning sound. Focusing on supporting up-and-coming talent via her label Automatik, Bergmann has also recruited some of the most notable producers in melodic house and techno for remixes, including The Element, Hernan Cattaneo, and Betical, while the duo's compelling collaborative work has caught the attention of heavyweights like Afterlife - featuring on the label’s ‘Realm Of Consciousness Pt.VI’ VA. Now, following Bergmann’s recent Hï Ibiza appearance and ahead of forthcoming sets at the likes of Zamna Mexico City, KOKO and Amsterdam Dance Event, the London-based couple bring their talents to Damian Lazarus’ Crosstown Rebels with ‘Guardian Angel’. Set to captivate audiences, the enchanting vocal single lands this September with remixes from German house DJ/producer Stimming and fellow London-based eclectic talent Hardt Antoine.

Melancholic yet uplifting ‘Guardian Angel’ opens with richly textured choric percussion that rises to meet Wennink's angelic vocals to powerful emotive effect. Stimming’s remix enters second, reaching for intensity over a stripped-back rendition through the driving rhythm and ethereal SFX. Closing out the record, Hard Antoine's remix pulsates with darker basslines and sharper synths, leaning into the otherworldly and stretching the melody into satisfyingly strange sci-fi-esque planes.

Maelstrom returns to Central Processing Unit for the fourth time, and it's the one born Joan-Mael Péneau's lengthiest drop on the Sheffield label yet. The French artist has been a mainstay in the European electro game since the 2000s, and Malestrom brings that experience to bear on new LP The FM Tapes. He goes about this album with the assurance of a seasoned pro, combining his mastery of electro production techniques with a trademark guile to craft an expertly-paced eleven-track affair.

The first section of The FM Tapes sets out the album's stall with style and aplomb - listeners are in store for a rich feast of off-kilter machine-funk which will feature no shortage of intriguing detours. On opener 'Ondes Courtes' the mix throbs with all manner of strange electronic gristle: a distorted bass hum rattles the monitors; wisps of distortion float across the mix; eerily pretty keys wax and wane before giving way to a radar pulse.

'Ondes Courtes' is an ominous slouch of a scene-setter, and it lines things up perfectly for following cut 'Alt50ser' to lock in. This track's churning, gurgling mid-tempo rattle brings to mind the wacky insistence of Modeselektor. Maelstrom repeats the slow-fast one-two again directly afterwards - 'La Vie Sociale Des', a strange nugget that sounds like an early Eski instrumental stripped for parts and blasted into the cosmos, is an ideal prelude to the twitchy space-funk of 'My Digitone'.

Maelstrom's staying power in the electro world comes, in no small part, from his ability to apply his delightfully idiosyncratic choices to some of the genre's staple production tropes. On The FM Tapes, he marks himself out once more as a pleasingly unorthodox talent by taking tracks in unexpected directions to produce surprising - and often rather moving - results.

There are multiple cuts here which channel the more cerebral end of Richard D. James' AFX/Analord output: 'My Digitone' may be a quicksilver techno-electro number, but there's still something cinematic about the synth treatment here which softens the edges; 'Suede's minor-key oscillations bring other CPU veterans like Cygnus and Bochum Welt into view; 'Res 06', one of two Fasme collaborations on the record, is full of pathos even as the beat programming bangs and whirrs throughout.

While there's a deep emotional undercurrent to The FM Tapes, though, Maelstrom's commitment to bringing the thrills surfaces time and again. If 'Res 06' had Maelstrom and Fasme getting wistful, the album's other Fasme link-up 'Trempo' is one of the hardest club joints here, a piece of old-school Detroit energy replete with some great cascading drum production. Indeed, 'Trempo' comes in the middle of a run towards the album's end where Maelstrom takes the handbrake off - there's a wild-eyed sense of fun to 'The Operator' and 'Upside Down DX7' which has one thinking of the zany cut-and-thrust of KiNK's best work.

Maelstrom's latest drop for Sheffield's Central Processing Unit label is an album of leftfield electro numbers that bring both pounding beats and poignant production.

RIYL: KiNK, Modeselektor, Cygnus, Bochum Welt, AFX

Acid core and acid hard techno flavour. Once again Techno Sucks but techno rocks ! Acid Bomb !

Reissue

Carl Finlow has been turning out killer electro since forever and is the man behind the revered Random Factor alias. He started it back in 1994 and since he's brought us four full lengths on 20/20 Vision, with a new one dropping very soon. In the meantime, here's a reissue of one of his most in demand classic EPs that's back on wax after initially making waves way back in 2000. The cuts draw on electro-pop and lithe future disco a la Metro Area, from the sparkly 80s-vibed opener 'Old News', 'Richochet' - imagine dub techno rerouted through guitar-led funk - to the more heads down, deep and moody dancefloor delight 'Update' and the indelible melodies of closer 'Swing'. Timeless machine funk from one of its latter day masters.

The Danza Nativa label is fresh off the back of a fine fifth birthday celebratory compilation but wastes no time getting back to business. Alderaan is the man in charge with his second for the label and 'Transition' kicks off with some mad LFO business melting your mind. Psyk remixes it into a more paired back and spooky subterranean techno prowler. With 'Vortex' there is yet more nocturnal menace with ticking hi-hats seeing rhythm as squelchy, unsettling sounds peel off the beats. 'Futurismo' closes down with a gurgling lead line and distant sci-fi sounds that complete this most futuristic EP.

Acquit is a super under-the-radar label that has been making some great moves in recent times. DX 9's 'Incoming Signal' is further proof of that. It's a Detroit-referencing techno outing with the sort of chord work that gets you lost deep in through while the bulky drums lock you into an intergalactic trip. The G-Prod remix brings prickly and kinetic electro beats, while the Taho remix is awash with celestial synth work and cosmic melody. 'Decoded Signal 1' is a final original that has more kick and but still plenty of machine soul. This sweet 10" is limited to 200 copies so move fast.

A full grip journey through sonic planes . Through rhythmic heat pulling apart plate metal to outside the beyond . The Broken Gravitron Ep is a concept record whose artwork and tracks tell a story of a the famous fair ride breaking and flying into oblivion. With a slower tinkered out funk electro opener ‘Spun Light’ . Following tracks ‘Middle Man’ and ‘O Ring ‘ set a course thru acidic techno lines and heavy pressure drums . Finally ending in the grand gravity push n pull basslines of ‘ Oblivion Found ‘ . For fans of heavy exploration .

‘Lead You To Water’ marks a new chapter for Quinn Oulton, built around the foundations of 90s and 2000s RnB, whilst carving room for his unconventional production techniques and distinctive songwriting voice. Sitting somewhere in between Sampha, Mk.gee and Nick Hakim, a central thread to his approach on the project is simplicity – rather than relying overtly on production elements to embellish the sound of the songs, Quinn instead sought to create spacious pieces that stand on their own, stripping the core of his creativity down to voice and acoustic guitar.

Over the past year, the prolific multi-instrumentalist and songwriter has been refining his sound and production style. Collaborating with artists including Linden Jay, Reuben James and Col3trane, and relocating from his London base to LA and Berlin, he’s been on a creative drive, pushing his forward-thinking RnB to new places and amassing millions of streams in the process.

The South London-born and bred multi-instrumentalist, vocalist & producer has always been a musical explorer. With a foundation deeply rooted in jazz, he possesses a profound understanding of complex musical concepts which he translates seamlessly into the more mainstream genres of contemporary RnB and alt-pop. With Quinn’s music, you can expect to hear beautifully constructed, classic-sounding tracks with hidden layers for appreciators of depth and detail.


a A1 - When You're Near [ft. Rich]

Stockholm repper Patrik Eriksson is a proponent for deep and loopy techno, under his Dold moniker the DJ/producer delivers all manner of introverted compositions, moments designed for home and club that resonate with an evocative and redoubtable simplicity. His catalogue of releases on co-run label Arsenik are an ongoing dialogue with live partner Kuf and a selection of well-known peers, stripped down techno that conveys a cogent message with its straight talking approach.

The Revival Recordings (BAS 014) is another vinyl feather in Dold's cap, a five track release that takes the relay from his developing opus and sprints assuredly on. A1 Work Me pairs mercurial hi-hats with subaquatic squeaks, while its successor keeps tempo and switches its leitmotif for hollow, metallic repetitions. The temperature rises with Solid Solitude, the A3 banger that's likely to make its way into many a closing set towards the end of summer. The B side takes a darker turn with Insight (B1), a slower, more philosophical entry suggestive of breezy Scandinavian nights. B2 points its arrow in another direction still, more urban, more clubfloor, shuffling acid beats that tie the record and Dold's many-faceted influences together in a neat package. There's a bit of everything here, and a hint at both Dold's capacity as a producer and what might be yet to come. A promise of compelling techno from the north that's sure to put his star on the rise.

Absolute Überforderung, die einfach nur nervt. Am liebsten alles hinschmeißen und verkriechen. Doch SURALIN haben es geschafft, dem allgemeinen Fatigue-Syndrom zu entkommen. Sie haben mit "Nothing is the News" ein Album geschaffen, dass tief berührt, fesselt und gleichzeitig befreit. Der fünfte Longplayer des Chemnitzer Quartetts baut zunächst auf dem Sound seiner Vorgänger auf: ein feingesponnenes Netz aus diversen Indie- und Post-Whatever-Einflüssen, das trotz aller Komplexität ganz einfach und organisch wirkt. Die "Reduktion auf das Wesentliche", wie Bassist Matthias sagt, ist diesmal noch konsequenter ausgefallen. Live im Studio eingespielt und ohne instrumentale Overdubs oder zusätzliche Effekte beim Mix. "Das ist der pure Klang der Instrumente, unserer Pedals und des Aufnahmeraums." Im Ergebnis klingen SURALIN noch dringlicher als sonst, mit bewegender Tiefe. Auf dem treibenden Teppich von Schlagzeug und Bass können die beiden Gitarren ihr Mit- und Gegenspiel zwischen Melodie und Dissonanz entfalten. Die neun Songs beinhalten dabei erstaunlich viele arabeske Figuren sowie motorische Wiederholungen, die erhebliche Sogwirkung entfalten. Darin eingebettet ist der oft fragile Gesang von Alex, der den Zustand seiner Umwelt kommentiert. Laut Sänger Alex vereint der Albumtitel "Nothing is the News" die Gedanken, dass sich die Welt zwar ständig verändert, die Technologie weiterentwickelt und der Mensch sich drastisch vermehrt. Aber der Mensch als solches gleich bleibt. Macht, Unterwerfung, Ausgrenzung, Neid, Missgunst und Egoismus sind die vorherrschenden Themen." Trotz dieser Schwere wird in den Texten immer wieder deutlich, dass durch das eigene Verhalten Veränderungen möglich sind und der Wille zum Besseren überwiegt. Positive Verzweiflung. Außerdem sei der Titel auch eine Anspielung auf SURALIN selbst, die konsequent an der Leidenschaft zum Musik machen festhalten, so Alex.

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.

Vocals: Phill Most Chill

Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.

Produced by DJ Snafu

DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.

Scratches: DJ Grazzhoppa

DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!

2024 Repress

In the frontline of new generation techno, Kenji Hina aka Alarico sets the precedent of density and rhythmic essence with his Tokyo Rythms Trilogy and leads the way ahead of the curve. Each district gives an insight in his imaginary vision of what the depths of Tokyo is about techno wise. An example of the past and the future with clearly a framework in which no rules exist, he's pushing fundamental elements to new extremes.

CACOPHONY was formed in 1986 by guitarists Marty Friedman and Jason Becker and
signed to Shrapnel Records. They released two studio albums 'Speed Metal Symphony'
(1987) and 'Go Off!' (1988) and remained active until 1989.
CACOPHONY both albums showcase unique performances of highly technical playing,
typical of the 1980s shred era, with songs featuring fast tempos, melodic solos, exotic
neoclassical scales and dual guitar harmonizations. Several tracks were entirely
instrumental, which prominently demonstrated Marty Friedman and Jason Becker's
renowned technical skills.
'Go Off !' is their second and final studio album . Both Marty Friedman and Jason Becker
released their own solo albums : 'Dragon's Kiss' and 'Perpetual Burn', respectively in 1988,
before the release of 'Go Off!’. Marty Friedman later joined the thrash metal band
Megadeth in 1990, remaining with them for nine years as well as releasing several more
solo albums, while Jason Becker enjoyed a short stint in David Lee Roth's solo band from
1989 to 1991.

THE OMEGA SWARM, eine atmosphärische Death-Metal-Band aus Deutschland, begann im Jahr 2022, sehr bescheiden, sehr zurückgezogen. T., der bereits vier großartige Alben mit Sulphur Aeon veröffentlicht hat, hatte keinen vollwertigen Live-Act im Sinn, als er frühe Demos komponierte und das Skelett seiner - damals noch namenlosen - neuen Kreatur formte. Im Herzen ein wahrer Schöpfer, umarmt T. die akribische Arbeit an Riffs, Tönen, Klängen, den abenteuerlichen Geist des Aufbaus und der Verwirklichung von Ideen, das Experimentieren mit seinen geliebten Gitarren und Synthesizern, um erstaunliche Vibes und Songs zu produzieren, die bedeutungsvoll und doch extrem, melodisch und doch hart sind und sich in THE OMEGA SWARMs Debütalbum vereinen, einer Platte, einem Zeugnis, das der Essenz der Kunst selbst gewidmet ist.

So bodenständig T. auch ist, er ist nicht der Typ Mensch, der sich an eine Klangformel hält, er sucht nach "etwas mehr", "etwas anderem". Nachdem Sulphur Aeon mit dem monumentalen "Seven Crowns and Seven Seals" von 2023 vorerst abgeschlossen haben, was sie ausdrücken wollten, sind THE OMEGA SWARM jetzt sein Hauptaugenmerk, und das Line-up der Band, das von Sänger Christian Schettler (bekannt durch seine Arbeit bei den Labelkollegen Wound) und Schlagzeuger Max Scheefeldt (ex Misanthrope Monarch) komplettiert wird, passt perfekt zusammen. Musikalisch entstanden THE OMEGA SWARM aus T.s Experimenten mit rhythmischen Mustern, übereinanderliegenden Synthesizern, ausgefeilten Leads und etwas technischeren Riffingstrukturen.

Die wohl einzigen offensichtlichen Parallelen zu Sulphur Aeon sind die Betonung einer dichten, fesselnden Atmosphäre, epische Elemente und eine übergreifende Dunkelheit sowie die Erkenntnis nach der Fertigstellung der ersten Aufnahmen, dass auch THE OMEGA SWARM die Qualität besitzen, mehr als nur ein 'Schlafzimmerprojekt' zu sein.
Aufgenommen in den Studios von Feire Records und s/w records, gemischt und produziert von Langzeitpartner Simon Werner, wurde V. Santura (Triptykon, Dark Fortress) für das Mastering angeheuert und sorgte für den letzten Schliff von "Crimson Demise", einem Album, das stolz und mühelos zwischen Death und Black Metal changiert und von einer herausragenden Gesangsleistung abgerundet wird, bei der Chris eine ähnliche Bandbreite an Growls, Screams und cleanen Parts erreicht wie Peter Tägtgren in seinen besten Zeiten.

Vom Konzept her verzichtet die Gruppe auf uralte Lovecraft'sche Schrecken und wendet sich stattdessen geradlinigen apokalyptischen Themen zu. Ob Viren, bösartige Bakterien, verrückte Diktatoren, Klimawandel, religiöse und politische Ideologien, korrupte Technologie, Terrorismus oder Krieg, die Menschheit hat sich selbst für den Untergang gezeichnet - in leuchtenden Neonfarben, damit selbst eine außerirdische Spezies, die Galaxien entfernt ist, erkennen kann, was für Narren wir wirklich sind. "Die Menschheit kann sich nicht auf eine gemeinsame Wahrheit einigen, geschweige denn auf eine Strategie zur Lösung ihrer mannigfaltigen Probleme", erklärt Chris, "und bildet somit überhaupt keine Einheit. Der einzige gemeinsame Nenner, der uns alle eint, ist unsere Zerstörungswut, die irgendwann die gesamte Existenz der Menschheit gefährden könnte. Die Utopie wurde durch dystopische Szenarien ersetzt. Welche Formen des negativen menschlichen Verhaltens uns und die Gesellschaft derzeit beeinflussen und letztlich in eine zukünftige Endzeit führen, ist Teil des lyrischen Konzepts von THE OMEGA SWARM."
Aber keine Angst, bevor die Weltuntergangsuhr zum letzten Mal schlägt, soll euch das Vergnügen vergönnt sein, ein abwechslungsreiches, intensives und fesselndes Stück Metal zu erleben, das das neu formierte Trio aus dem Schlafzimmer auf die Bühne bringen will!

Ein Album wie eine Nacht in Paris: Eli & Fur zwischen Introspektion und Euphorie.

Das in London gegründete und in LA lebende Duo Eli & Fur gehört zur Speerspitze der modernen House- und Techno-Szene. Ihr zweites Album 'Dreamscapes' entfaltet sich in den introspektiven und doch transformativen Räumen, die zwischen der Dämmerung und dem Morgengrauen lebendig werden. In diesem nächtlichen Zwischenspiel wird der Schleier zwischen dem Selbst und der Umgebung dünn und die Zeit steht plötzlich still. Wenn die Außenwelt verblasst, stellt sich ein Gefühl von Trost und Zuflucht ein, das dem Gewöhnlichen den Weg zum Außergewöhnlichen öffnet. 'Dreamscapes' ist ein elektrisierendes Werk, das das komplizierte Zusammenspiel von Gedanken und Emotionen anregt. Es ist eine Hommage an die kathartischen Grübeleien unserer einsamsten Wanderungen durch alle Ecken der Nacht und die Blitze dazwischen, mit 15 Tracks.

Dieses neueste Werk, das über das traditionelle Hörerlebnis hinausgeht, bestätigt Eli & Furs unvergleichliche Fähigkeit, verschiedene musikalische Elemente mit universell verbindenden Themen in Einklang zu bringen. 'Dreamscapes' ist mehr als ein Album, es ist ein Gefühl. Es ist das durchschlagende Gefühl einer Nacht in Paris, die man in Erinnerungen an die Sterne schwelgt. Es ist die Aufregung und die Beklemmung, wenn man sich fragt, was einen am nächsten Horizont erwartet. Es ist die anhaltende Euphorie, wenn man jemanden vermisst, den man liebt, und es ist eine Solo-Taxifahrt nach einer durchzechten Nacht, bei der man dem Sonnenaufgang hinterherjagt, während das erste Licht der Morgendämmerung naht.

- Ltd. Col. 2LP: (White Vinyl)

Mit ihrem neuen Album „Sad Girl“ schlägt TSHA ein neues Kapitel auf, in dem sie ihren Tracks ihren eigenen stimmlichen Stempel aufdrückt und sich den Genres nähert, die sie schon immer ausprobieren wollte, anstatt die Anerkennung ihrer Kolleg:innen zu suchen. TSHA zeigt nicht nur die euphorischen oder melancholischen Seiten ihres Charakters, sondern stellt sie alle zur Schau. Es ist ein Werk, das zeigt, dass es in Ordnung ist, traurig zu sein, und dass man darin sogar schwelgen kann - schließlich kann man die Höhen nicht ohne die Tiefen haben.

Es ist das zweite Album des aufstrebenden britischen Stars und folgt auf das Debütalbum, „Capricorn Sun“, aus dem Jahr 2022, das auf einem hellen, melodischen House-Fundament aufbaute und britische Garage- und Rave-Einflüsse einbrachte. Das Album wurde vom DJ Mag und BBC Radio1 Dance zu ihrem jeweiligen Album des Jahres gekürt, während das Music Tech Mag TSHA zur Produzentin des Jahres kürte, was für eine weibliche Produzentin, deren Produktionsfähigkeiten oft übersehen werden, sehr viel bedeutet.

Während sie Freude an Hedonismus und Eskapismus findet, ist „Sad Girl“ auch ein Album, das schwierige Gefühle anspricht. Das Zwischenspiel, „Lonely Girl“, erzählt von ihrer isolierten Kindheit in der überwiegend weißen Stadt Fareham in der Nähe von Portsmouth, in der sie sich Märchen im Stil von „Secret Garden“ ausdachte. „Green“ entstand nach einem Streit mit ihrem Partner, wo sie offen über toxische Positivität singt (auf dem Album singt sie zum ersten Mal). TSHA mag in den DJ-Videos, die sie in den sozialen Medien postet, Selbstvertrauen ausstrahlen und von einem Ohr zum anderen grinsen, aber sie hat auch offen über ihre Probleme mit ihrem psychischen Wohlbefinden gesprochen.

Mit dem Albumtitel lässt sie ihre Teenagerjahre Revue passieren. Er ist eine Anspielung auf emo-mäßige MSN-Screennamen und Hotmail-Adressen - und man kann es in den Anflügen von 00er-Jahre-R&B, rauem Elektro und hymnischem Techno hören, die an die Bittersüße und die Angst des frühen Erwachsenseins erinnern. Zwischen den Momenten der Stille und des Nachdenkens ist es im Kern eine Dance-Platte: heiße Club-Stomper reiben sich an hypnotischen Floorfillern und MTV-tauglichem Pop.

Vibrations and frequencies of Chicago, Detroit and West London permeate "IF IT AINT DEEP" the new 6 track "mini-LP" from RIC MIRANDA. Diverse flavors of Detroit Techno, Broken Beat, and Deep House highlight the many genres and musical movements that have influenced RIC's musical career.