No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.
The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.
Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe
With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.
It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.
Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.
Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.
With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.
At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.
Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.
Search:techno pop
- A1: Mon Amour Tu Bois Trop - 3 27
- A2: Les Chants De Maldoror (Kraut Koto) - 4 37
- A3: À Rebours (Hang Bôté) - 3 33
- A4: Intérieur Négro - 3 13
- A5: Vowel - 2 33
- B1: Hard Billy - 3 41
- B2: La Mort De Pierre - 2 38
- B3: Le Cirque De Consolation - 3 40
- B4: Il Pleut Des Hommes - 3 43
- B5: Dandelion (Piano Solo) - 2 15
- B6: Missing Love - 3 22
Léonie Pernet's second album Le Cirque de Consolation, to be released November 19th on InFiné & CryBaby, inhabits a world where borders dissolve and everyone makes their own unique and singular utopia. Hereby, the record questions the links between pop music, African cultures and electronic music, neo-classical music or the role of voice, whether human or synthetic. Sophomore albums can be a painful process for an artist - how refreshing it is to hear one so decidedly optimistic.
Textextext - (add your write up)
The sought after whirlwind of French Pop that exploded onto the scene with her debut "Crave", Leonie Pernet, returns with her second album, "Le Circque de Consolation", a sort of double negative of her first. While the yearning that sat at the center of "Crave"might not have been resolved, the young multi-instrumentalist and singer has found a new perspective - a more open and positive outlook on her own life and work. Perhaps telling, then, that the title was the first element of the album to exist: as it is and has always been a journey of personal (and collective) consolation first, a musical confrontation with the self.
"This record parallels my life's journey," confirms Léonie, "it reflects what has happened in my life since 'Crave' came out and how I feel today. There's still a lot of melancholy, but a lot more sunshine and light. In four years, I've become sober, which has saved me; I've worked a lot on my voice, which is a part of a desire to speak, to address my audience more directly, and also a more pronounced pop desire." In line with her new-found "openness", Leonie invites another musician into her creative process for the first time on "Le Cirque de Consolation": Jean Sylvain le Gouic, who lended his coproduction and perspective to her, while Leonie still plays almost all instruments herself with an astounding prowess.
Leonie's voice oozes with a new-found self-confidence and takes center stage amidst eclectic, distinctively fun and open-minded production. Sometimes she sings in English, mostly in French: "I worked a lot on my voice," confirms Léonie, "I didn't dare to sing before, neither live, nor on record, nor in the studio." Surrounding her astounding, intoxicating voice are forays into any direction imaginable: from harsh, experimental electronics to the more sombre, organic and quiet moments - and everywhere, there is the vision of Africa, (also Middle East) it's many sonic gifts and cultures.
Leonie has found a universal utopia that she craves for - a musical, cultural amalgamation that is decidedly non-western, political and poetic, rooted in self-discovery and the connection with other humans: African and oriental percussion, synthesizers, drum-machines; Léonie mixes genres and instruments with ease and precision. The French novelist and philosopher Édouard Glissant - whose work and writing had a big influence on Pernet - coined the term "Creolization ", the "bringing together of several cultures or at least several elements of distinct cultures, in one part of the world, resulting in new data, totally unpredictable in relation to the sum or the simple synthesis of these elements."
From "Hard Billy ", a techno-influenced rebellious anthem, to "Les Chants de Maldoror," a club and dance song propelled forward by feverish derboukas, to the deeply moving "A rebours" and its Afro-electronic rock. Léonie Pernet inhabits a world where borders dissolve and everyone makes their own unique and singular utopia. Hereby, the record questions the links between pop music, African cultures and electronic music (Intérieur Négro), neo-classical music (Le Cirque de consolation, Dandelion), or the place of the voice, whether human or synthetic as in the atmospheric "Vowel". Sophomore albums can be a painful process for an artist - how refreshing it is to hear one so decidedly optimistic.
Prince Madonna. Techno not Techno. Electronic experiments from a non-binary-sound-nerd-artsy-pop-sphere. A concept putting the works of art into focus: Every release is first published vinyl only under the alias "Prince Madonna". A few weeks later, only with the digital release, the artist behind "Prince Madonna" will be announced.
As Madonna herself once told Prince: "It’s about the music, not the hype.“
On PM001, "Prince Madonna I." mixes smoke, sweat and ecstatic bodies and embeds this poisonous mixture with techno and groove. 'Nuff said, just tune in and find out who is behind "Prince Madonna I." with the digital release soon.
« Half of Tiger & Woods on a brillant release for SKYLAX RECORDS » If you ever wondered what it might be like to have a 707 or a Sampler instead of a pacemaker, you could always ask Valerio del Prete aka Delphi, who has been setting dancefloors around the world on fire for years. Delphi has displayed his mastery of acidized arpeggios and deep electronic tropes via an EP on Pigna, before linking up with Roman techno don dada Marco Passarani as the discotech duo Tiger & Woods. Several EPs and two albums of stripped back disco on Editainment and Running Back encapsulate their winning approach – reimagined loops from heady discotheques mixed through the axis of Rome, Chicago and Detroit. In 2016 he released the house/Italo/EBM stomper Blue Tuesday on a split 12” on Tiger & Woods own label T&W Records. For this new release, the brilliant producer (half of tiger & woods we repeat) kicks off the show with the very Italo-discoïde "donuts for dinner", nourished throughout by a monstrous kick and soaring synths. He poses as a worthy heir to the Italian masters of 80s pop who often used the B-side of their songs to experiment with their most adventurous ideas. Zequenz immediately made us think of an imaginary orgy between Ron Hardy and the members of Kraftwerk, this sound is incredibly sharp and would not have denoted on the decks of the legendary DJ. Which leads us straight to the most brawling track on the EP, the aptly named "Ron's lesson" and it is indeed a lesson. This crazy track (obviously dedicated to the legendary chicago DJ) seems to have come straight out of an imaginary session, we must remember how much at that time naivety and therefore distortion (!) Reigned over productions, giving an incredibly raw and edgy side on the dancefloor. Again, this song could have been released 30 years ago. And finally, to come full circle, the very graceful overheat joins the aesthetic of the first track in an elegant and dreamy way. Note that on the label's bandcamp, with the purchase of the vinyl, you can get 3 exclusive bonus tracks (Clutch play, Runinng in place, Sucker). The magic is here, CLEARLY.
„Sounds like Burial who listened to Psychic TV instead of UK Garage. For me the best Pudel Produk-te so far, I'm thrilled. And you know me, I find a lot of things good, but only super cool super cool, best Pudel Produkte ever. How did you find them, do they come from Mainz or the surrounding area or what? Top record, I would also like to have it on vinyl for grandpa's cupboard“.
// Superdefekt
„The record sounds great!
This is the MFOC record, you can't get more MFOC than this.
Every track is awesome !!!!! It's on rotation here :))))"
// Rvds
„The Masterpiece, can only be topped by the Volume 2!"
// Ralf Köster
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- A1: Noriko Miyamoto - Arrows & Eyes
- A2: Mishio Ogawa - Hikari No Ito Kin No Ito
- A3: Yoshio Ojima - Days Man
- B1: Mkwaju Ensemble - Tira-Rin
- B2: Rna Organism - Weimar 22
- B3: Naoki Asai - Yakan Hikou
- B4: Takami Hasegawa - Koneko To Watashi
- C1: Mammy - Mizu No Naka No Himitsu
- C2: Dip In The Pool - Hasu No Enishi
- C3: Wha Ha Ha - Akatere
- D1: D Day - Sweet Sultan
- D2: Perfect Mother - Dark Disco-Da Da Da Da Run
- D3: Neo Museum - Area
- D4: Sonoko - Wedding With God (A Nijinski) (A Nijinski)
LTD. COLORED VINYL
Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980–1988 hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed Japan Archival Series—Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 and Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream.
Sonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of Mkwaju Ensemble and Yoshio Ojima, to the leftfield techno-pop of Mishio Ogawa and Noriko Miyamoto (featuring members of YMO), and highlights from the groundbreaking Osaka underground label Vanity Records, these are blurry constellations defying collective categorization.
These tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like Warner Music and Nippon Columbia explored new sounds through traditional channels, it was possible for Vanity, Balcony and other indie labels, not to mention self–released artists like Ojima and Naoki Asai, to publish their work via affordable media such as cassettes, 7" vinyl, and flexi–discs.
Expertly curated by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. They are the sounds of transition and searching—a celebration of the freedom found in floating.
Note: The track “Days Man” by Yoshio Ojima is only available on the LP and Cassette versions.
Bestial Mouth’s creations in the last two years, the INSHROUDSS EP and the RESURRECTEDINBLACK LP, are the phoenix cries of the project’s rebirth under the guiding hand of vocalist Lynette Cerezo, melding noise and darkwave pop into a theatre of skin-shredding catharsis that brings the project’s post-punk roots to new levels of club-ready destruction—equal parts intensity and accessibility.
THOUSANDNEEDLES pierces that veil with warped reimaginings of both releases, from a diverse selection of artists in the dark underground. Each brings their own unique twist, whether it’s to a dance ritual of pounding EBM and industrialized techno, fog-shrouded darkwave dives, cosmic washes of synthpop bliss, or soul-smashing noise dredged from a sewer cathedral. Dance through the pain, and make new paths of your scars.
Echolocation is the debut album by Pamela Z, the pioneering Bay Area intermedia composer and performance artist. Written and recorded over three years, and self-released and distributed on cassette in 1988, Echolocation is genre-defying document of Z’s earliest experiments with live voice and delay, and the impetus of an artist’s three decade search for sounds yet unfelt.
Born and raised in Buffalo, New York, Z traded one snowy backdrop for another to attend the University of Colorado in Boulder at the tail end of the 70s, where she pursued a degree in music while taking local gigs covering Joni Mitchell and Malvina Reynolds b-sides on an acoustic guitar. While a host at KGNU, Z discovered a vast world of avant-garde music in the community radio station’s library, and was inspired to create towards, and alongside, the fringe sounds she pulled from the stacks and broadcast. This revelation intersected with a new era of accessible and affordable instruments and home recording technology, and a diversifying community of artists self-releasing music on cassette and finding an audience through underground publications.
Z moved again to San Francisco in 1984, legally changed her last name, and furthered her practice of vocal processing in live environments. A city simultaneously nurturing and stratifying the free spirit of the two decades prior, Z assumed an immediate role in the Bay Area’s interdisciplinary performance art scene, and began curating Z Programs, her own concert and event series.
Nottingham don Lukas Wigflex and "The Wizard" Tom Smith come correct with their Me & Meds project. Following on from their debut together on Wigflex, the follow up is just as inventive & playful.
2 years in the making- the studio skills of the pair shine through across the 3 tracks. The opener "Curtains Nine Tails" moves and warps over the first few minutes only to penetrate the listener with a crescendo of god-like basslines and tripped out vocals.
Faffhammer which gained big popularity when Lukas played it on that boat party at Love International is an atmospheric, wonked out euphoric number of the highest order.
The records finished off with the offside ramblings of another notorious Notts head - Des Hagenasty. This is his first outing on wax and it does not disappoint, backed by the analog wobbles and techno grit of Me & Meds, this one bites. The videos an eye opener too, just you wait!
0115 is alive.
Pilgrimage of the Soul is the 11th studio album in the 22-year career of Japanese experimental rock legends, MONO. Recorded and mixed - cautiously, anxiously, yet optimistically - during the height of the COVID- 19 pandemic in the summer of 2020, Pilgrimage of the Soul is aptly named as it not only represents the peaks and valleys where MONO are now as they enter their thirddecade, but also charts their long, steady journey to this time and place. Continuing the subtle but profound creative progression in the MONO canon that began with Nowhere Now Here (2019), Pilgrimage of the Soul is the most dynamic MONO album to date (and that's saying a lot). But where MONO's foundation was built on the well-established interplay of whisper quiet and devastatingly loud, Pilgrimage of the Soul crafts its magic with mesmerizing new electronic instrumentation and textures, and - perhaps most notably - faster tempos that are clearly influenced by disco and techno. It all galvanizes as the most unexpected MONO album to date - replete with surprises and as awash in splendor as anything this band has ever done. MONO began in Japan at the end of the 20th Century as a young band equally inspired by thepioneers of moody experimental rock (My Bloody Valentine, Mogwai) and iconic Classicalcomposers (Beethoven, Morricone) who came be fore them. They have evolved into one of the most inspiring and influential experimental rock bands in their own right. It is only fitting that their evolution has come at the glacial, methodical pace that their patient music demands. MONO is a band who puts serious value in nuance, and offers signi ficant rewards for the wait. "glacial, metallic, all-consuming post-rock" - Stereogum ,Stunning, eloquent, emotionally gut-busting" - Pop Matters "it's the kind of album that's best played start to finish (and best played loudly), and that can truly suck you in and transport you to another world if you do so." - Brooklyn Vegan
East Coast minimal wave institution Xeno & Oaklander’s seventh full-length further distills their iconic noir synth pop into a streamlined suite of gleaming, graceful retrofuturism. Inspired by ideas of synesthesia, scent, star worship, and obsolescent technologies, the duo of Liz Wendelbo and Sean McBride began conceiving the blueprint of Vi/deo while sequestered at their Southern Connecticut home studio during the pandemic. The context of isolation, streaming, and remote dreaming seeped into their chemistry, manifesting as both homage to and meditation on a certain cinematic strain of technicolor fantasy: the screen as stage, distance disguised as intimacy, where tragedy and glamor crossfade into one.
Opening with the precision synthetic melancholy of “Infinite Sadness,” the album marks a peak fluidity between the pair’s fusion of analog electronics and poetic melody, both refined and oblique, classic but contemporary. Wendelbo modeled her singing on “a young boy in a choir,” alternately holding notes and whispering them, with the lyrics clear, the voice elevated. McBride’s synthesizers serve as the perfect counterpart, tiered and polished, threading fluorescent architectures of a lost audio-visual age. Theirs is a... more
With her second full-length album, Zanias condenses her post-punk, techno and italo influences into a collection of simultaneously brooding and uplifting pop songs. ‘Unearthed’ explores the multiplicities of human connections, written at a time when connectedness was a resource more scarce than ever before. Field recordings from nature, vocal samples and an array of acoustic instruments are manipulated within a structure of catchy melodic synth maneuvers and driving rhythms, accompanied by her familiar and powerful voice conveying personal musings on hopeless desires and stoic acceptance. ‘Unearthed’ seeks the light and finds it within the exquisite pain of reckoning loneliness.
Green Gold Vnyl
With her second full-length album, Zanias condenses her post-punk, techno and italo influences into a collection of simultaneously brooding and uplifting pop songs. ‘Unearthed’ explores the multiplicities of human connections, written at a time when connectedness was a resource more scarce than ever before. Field recordings from nature, vocal samples and an array of acoustic instruments are manipulated within a structure of catchy melodic synth maneuvers and driving rhythms, accompanied by her familiar and powerful voice conveying personal musings on hopeless desires and stoic acceptance. ‘Unearthed’ seeks the light and finds it within the exquisite pain of reckoning loneliness.
Clear Gold Vnyl
With her second full-length album, Zanias condenses her post-punk, techno and italo influences into a collection of simultaneously brooding and uplifting pop songs. ‘Unearthed’ explores the multiplicities of human connections, written at a time when connectedness was a resource more scarce than ever before. Field recordings from nature, vocal samples and an array of acoustic instruments are manipulated within a structure of catchy melodic synth maneuvers and driving rhythms, accompanied by her familiar and powerful voice conveying personal musings on hopeless desires and stoic acceptance. ‘Unearthed’ seeks the light and finds it within the exquisite pain of reckoning loneliness.
LP + DVD
Factory Benelux presents a 180gm vinyl edition of The Invisible Girls, a collection of rare lost studio recordings by legendary new wave production duo Martin Hannett and Steve Hopkins (aka The Invisible Girls).
The album has been newly remastered by Peter Beckmann at TechnologyWorks and is pressed on 180gsm black vinyl. The outer sleeve is printed in black with a silver pantone. The inner bag includes detailed liner notes by Steve Hopkins, as well as archive TIG and Strawberry images.
Martin ‘Zero’ Hannett is the legendary Manchester producer famous for his work with Joy Division, Buzzcocks, New Order, Magazine and Happy Mondays. Steve Hopkins was his musical partner in The Invisible Girls, a floating studio collective which shaped epochal records by John Cooper Clarke, Pauline Murray, Nico and several others.
The first five tracks on the album are a selection of previously unreleased demos (‘moods’) recorded at the famous Strawberry Studios between 1980 and 1987. “These were the beginnings of Martin’s Invisible Girls world domination plan,” ace arranger Hopkins explains. “The idea was to assemble a roster of key instrumental players, produce tracks to be fronted by different singers/stars - and get some hits!”
Also included are 3 Hannett solo pieces recorded in 1978 and 1979, with the deluxe package rounded off by a DVD featuring a remarkable 13 minute trio improvisation by Hannett, Hopkins and Vini Reilly of The Durutti Column, recorded for television in January 1980.
Praise for FBN 65: ‘This store room grab conjures Manchester’s scarred wastelands, jazz-funky library music and ambient disquiet. Blade Runner via the Arndale Centre. A strange wayward collection, just like the thought processes of Hannett’s brain’ (Mojo)
‘Lovingly annotated, these effortlessly melodic backdrops offer a glimpse into what could have been as a post-punk one-stop-shop Chic’ (Q); ‘Captivating’ (Classic Pop); ‘The Nelson Riddle of narcotic rock’ (The Wire)
Pilgrimage of the Soul is the 11th studio album in the 22-year career of Japanese experimental rock legends, MONO. Recorded and mixed - cautiously, anxiously, yet optimistically - during the height of the COVID- 19 pandemic in the summer of 2020, Pilgrimage of the Soul is aptly named as it not only represents the peaks and valleys where MONO are now as they enter their thirddecade, but also charts their long, steady journey to this time and place. Continuing the subtle but profound creative progression in the MONO canon that began with Nowhere Now Here (2019), Pilgrimage of the Soul is the most dynamic MONO album to date (and that's saying a lot). But where MONO's foundation was built on the well-established interplay of whisper quiet and devastatingly loud, Pilgrimage of the Soul crafts its magic with mesmerizing new electronic instrumentation and textures, and - perhaps most notably - faster tempos that are clearly influenced by disco and techno. It all galvanizes as the most unexpected MONO album to date - replete with surprises and as awash in splendor as anything this band has ever done. MONO began in Japan at the end of the 20th Century as a young band equally inspired by thepioneers of moody experimental rock (My Bloody Valentine, Mogwai) and iconic Classicalcomposers (Beethoven, Morricone) who came be fore them. They have evolved into one of the most inspiring and influential experimental rock bands in their own right. It is only fitting that their evolution has come at the glacial, methodical pace that their patient music demands. MONO is a band who puts serious value in nuance, and offers signi ficant rewards for the wait. "glacial, metallic, all-consuming post-rock" - Stereogum ,Stunning, eloquent, emotionally gut-busting" - Pop Matters "it's the kind of album that's best played start to finish (and best played loudly), and that can truly suck you in and transport you to another world if you do so." - Brooklyn Vegan
Work on 'Fragile' began last August at the height of lockdown. Grill locked himself in the recording studio where he found himself experimenting with new sounds and technologies and was able to learn more about the techniques involved in mixing, production and arrangement. "The aim was to write a physical album maintaining an energy throughout and utilising sounds and structures I'm interested in. Using limitation was a big part of the process to push what I used as far as possible. Reading about Robin Guthrie's breakdown of Cocteau Twins minimal setups across different albums and how Prince distorted the Linn Drum Machine were also inspirations."
Musically, 'Fragile' is a more dance-centric record than 2020's 'Ride', with eleven blistering tracks aimed straight for the dancefloor. From the lush, pulsing synths and blistering beats of 'Another Time', to the hazy, sun-soaked 'Wildflower', Grill seeks to create dance music that is endlessly catchy and hugely uplifting. He draws heavily on a Euro-dance influence in his search for pop perfection with melody instrinsic to each track. The Italo disco sound of Giorgio Moroder is never too far away, climaxing with the pumping 'Crash' while the emotive dance of New Order is echoed in 'Wandering Sky' and 'Romance'.
From a visual perspective, 'Fragile' is inspired by gothic, renaissance art and architecture. The album artwork is a photograph Grill took on Château d'If, a fortress and former prison located on the Île d'If, the smallest island in the Frioul archipelago, a short distance from Marseille in southeastern France.
LP pressed exclusively for National Album Day 2021 on gold vinyl in
single-pocket jacket with custom dust sleeve and digital download
coupon.
Through ‘Titanic Rising’, Weyes Blood, aka Natalie Mering, has
designed her own universe to soulfully navigate life’s mysteries.
Manoeuvring through a space time continuum, she plays the role of
melodic, sometimes melancholic, anthropologist.
Tellingly, Mering classifies ‘Titanic Rising’ - written and recorded during
the first half of 2018, after three albums and years of touring - as The
Kinks meeting WWII or Bob Seger meets Enya. The latter captures the
album’s wilful expansiveness (“You can tell there’s not a guy pulling the
strings in Enya’s studio,” she notes, admiringly). The former relays her
imperative to connect with listeners. “The clarity of Bob Seger is
unmistakable. I’m a big fan of conversational songwriting,” she adds. “I
just try to do that in a way that uses abstract imagery as well.”
The Weyes Blood frontwoman grew up singing in gospel and madrigal
choirs. (Listen closely to ‘Titanic Rising’ and you’ll also hear the jazz of
Hoagy Carmichael mingle with the artful mysticism of Alejandro
Jodorowsky and the monomyth of scholar Joseph Campbell.)
‘Something To Believe’, a confessional that makes judicious use of the
slide guitar, touches on that cosmological upbringing. “Belief is
something all humans need. Shared myths are part of our psychology
and survival,” she says. “Now we have a weird mishmash of capitalism
and movies and science. There have been moments where I felt very
existential and lost.”
As a kid, she filled that void with ‘Titanic’. (Yes, the movie.) “It was
engineered for little girls and had its own mythology,” she explains.
Mering also noticed that the blockbuster romance actually offered a story
about loss born of man’s hubris. “It’s so symbolic that The Titanic would
crash into an iceberg, and now that iceberg is melting, sinking
civilization.” Today, this hubris also extends to the relentless adoption of
technology, at the expense of both happiness and attention spans.
But Weyes Blood isn’t one to stew. Her observations play out in an
ethereal saunter: far more meditative than cynical. To Mering, listening
and thinking are concurrent experiences. “There are complicated
influences mixed in with more relatable nostalgic melodies,” she says.
“In my mind my music feels so big, a true production. I’m not a huge,
popular artist, but I feel like one when I’m in the studio. But it’s never
taking away from the music. I’m just making a bigger space for myself.”
- A1: Lighthouse (Feat Zara Kershaw)
- A2: Fall Awake
- A3: How You Went So Long
- A4: Swans (Feat Sigrun Stella)
- B1: Dhalia
- B2: The Current (Feat Drs)
- B3: They're Here
- B4: Water In Your Veins
- C1: Caliban
- C2: I Will Wave To You
- C3: Nebula (Feat Fred V)
- D1: Belorama
- D2: Follow The River (Feat Lily Budiasa)
- D3: We Shine Amongst The Lights
- E1: Akasha
- E2: All Underwater (Feat Lily Budiasa)
- E3: Light & Dark
- F1: Okusha
- F2: The Map Of My Inside World
- F3: Into Oblivion
”Neon Dust describes the essence of a world just beyond reach, one we often glimpse but can’t sustain. An Ocean in which we rarely dip our feet. When writing this album, I felt in tune with something special, an energy I hadn’t previously known. I was submerged and engulfed in its creation. For me, it’s a journey beyond; into that dancing,
shimmering glow of neon dust.” - Etherwood Melodic master and drum & bass extraordinaire Etherwood makes his album
debut on Hospital Records with his fourth long player, ‘Neon Dust’, following on from the successes of his Med School works ‘In Stillness’, ‘Blue Leaves’, and ‘Etherwood’.
Across twenty tracks, expect signature liquid drum & bass and Etherwood’s own vocal performances with a fusion of folk, rock, indie-pop, techno, downtempo and ambient delights. Alongside his vast range of musical inspiration, Etherwood’s creativity is evoked through his free spirited mindset, exploring the world in his converted van, dedicated to mindfulness and meditation.
With frequent radio support from top-end tastemakers including Annie Mac, MistaJam and Charlie Tee, as well as countless club spins from the likes of Netsky, Sub Focus, Makoto, Degs and Lens, Etherwood’s hugely popular sound takes another step forward in 2021 with his most recent body of work. From topping the iTunes Electronic chart with his second album ‘Blue Leaves’ to performing his very own live session at the prestigious Maida Vale studios, you’ll also be able to find Etherwood at Hospitality Weekend In The Woods, Sundown Festival 2021, ADE Hospitality and Hospitality Bristol this yea
Summer was conceived as an entry point for Sonae to access and wrestle with difficult themes, to engage with them authentically, artfully, personally. It was also the starting point for a collaborative audio-visual project with video artist Jennifer Trees (the confronting multimedia installation that premiers in September 2021 at Stadtgarten, Cologne).
Summer articulates these ideas using the unique musical and sonic language that Sonae has been developing across previous releases. The expressive textures and tender melodics of 2015’s Far Away is Right Around the Corner; the atmospheric noise and brute unease of 2018’s I Started Wearing Black; the vicious edges of her 2019 remix-tape Music For People Who Shave Their Heads. Summer is haunted by blistered cellos and spectral string drones, the elegant and emotive movement around diatonic harmonies that echo the classicism and bucolic themes of Vivaldi’s The Four Seasons (1775). Like Vivaldi, Sonae’s work is programmatic, presenting a progressive, intensifying narrative and suggesting aural phenomena of the natural world - buzzing insects, breaking rocks, waves crashing, dust and heat rising - and characterising the seasonal spirit as capricious, volatile and punishing. In these ways, Summer is related to pastoral traditions of European classicism, evoking the aura of doomed and dust-blown gothic grandiosity. It also has feet firmly planted within the lean, sound worlds of underground techno - pulsating four-on-the-floor beats with deep, vibrational sine-wave sub kicks; elegantly bleak, distorted atmospherics that straddle the uncanny space between corrosion and euphoria. The result is a visceral and poetic listening experience. Original, highly affecting, fully engaging body, mind and soul. (…)
Sonae’s music evokes imagination, provokes emotion, and disrupts and defies expectations. She explores the edges and intensities of experience, creating audible and embodied sensations that suggest the physical, atmospheric, and psychological effects of global warming on a living organism. We feel the fatigue, the slowness, sweatiness, dizziness, the sensations of uncomfortable warmth and burning; the atmospheres are hazy, dark and heavy, articulations are brutish and tactile, crunchy and sharp; there is restlessness and resignation, desolation and awe.
Summer is not a warning. It is not an explanation or an argument. It offers no answers. Summer simply holds up a mirror and asks us to experience and behold both the beauty and the brutality of our present reality. It is a work of protest, grief and hope, and it functions as a space for the listener to reckon with these truths and sensations for themselves. (Leah Kardos, London, June 2021)
Sonae (Sonia Güttler) is a German electronic producer and DJ, based in Cologne. Her acclaimed debut album was released in 2015 with Monika Enterprise (Berlin) followed on the same label with her second album in 2018 : ‘’I Started Wearing Black’’. Her Third album ‘’Music For People Who Shave Their Heads’’ has been released in 2019 with bit-phalanx (London).
Sonae plays live solo and with the label collective Monika Werkstatt at places like Institut Für Zukunft (Leipzig), Meakusma Festival (Eupen), Ausland (Berlin), Pop Kultur Festival (Berlin), Fusion Festival (Germany), Uh-Fest (Budapest), Cafe Oto (London), 23rpm Festival (London) The Cube (Bristol) and more on the same bill with Squarepusher, Plaid, Darkstar, Kyoka, Frank Bretschneider, Tim Exile.




















