Buscar:tex

Federsen inaugurates his new imprint Alt Dub this May with a split EP comprised of original cuts from himself and Hidden Sequence and a remix of each by the opposing artist.

Over the past decade and a half San Francisco based artist Federsen has been making his mark on the dub infused techno and house sound, delivering his vintage tape delay and analogue gear driven sound via the likes of Silent Season, Greyscale, Lempuyang and Ohm Series among others. Here though, Federsen opens a new chapter with the launch of his own imprint, Alt Dub, which kicks off here with music from himself and Federsen / Hidden Sequence - Positive Charge EP

Köln, Germany duo Hidden Sequence, whose music has found a home on the likes of Mosaic, Lempuyang and more.

Hidden Sequence’s ‘Switch’ leads the release and sees the duo smoothly blending an amalgamation of airy chord sequences, swelling pads, spiralling dub echoes and bumpy bass grooves with a shuffled, stripped back rhythm. Federsen’s ‘Polarity’ follows and dives into darker realms via expansive dub chords, intricately intertwined percussive reverberations, cascading bass flutters and crisp, minimalistic drums.

Opening the flip-side, Federsen interprets Hidden Sequence’s ‘Switch’, shifting the original’s ethereal aesthetic into a haze of billowing atmospherics, delayed percussion and vacillating low-end pulsations. The Hidden Sequence remix of ‘Polarity’ then rounds things out, upping the energy levels with a more upfront, robust rhythmic drive being intertwined with fragments of the original’s haunting textures and subtly unfurling feel.

Gracie Abrams veröffentlicht am 21.06.24 ihr mit Spannung erwartetes zweites Album „The Secret Of Us“. Nach zwei gefeierten EPs war das letzte Album ”Good Riddance” (2023) das erste musikalische Statement in voller Länge – Gracies Definition von vertonter Poesie und intimem Pop - mit lebensnahen Texten und ganz viel Tiefgang. Wie auch schon der Vorgänger ist „The Secret Of Us“ wieder von Aaron Dessner (The National) produziert. Schon als Achtjährige zu ersten eigenen Songideen inspiriert, gab Gracie Abrams ihr erstes musikalisches Lebenszeichen Ende 2019 von sich. Für ihre ersten beiden EPs „Minor“ und „This Is What It Feels Like“ als Rising Star gefeiert, verzeichnen viele ihrer bisherigen Songs (u.a. „I miss you, I’m sorry“, „21“ und „Feels Like“) Streamingzahlen in zwei- bis dreistelliger Millionenhöhe. Für ihr letztes Album „Good Riddance“ wurde Gracie Abrams für einen Grammy in der Kategorie „Best New Artist“ nominiert. Zuletzt war Gracie Abrams als gefeierter Support Act auf einigen Taylor Swift Konzerten zu sehen.

The "Birth" remixes breath new life into Madison Willing's debut album, as COIDO, Ehua, Sinistarr, Synkro, and Itoa each add their unique sonic signatures to the project. These reinterpretations expand on the album's emotional depth, infusing it with fresh rhythms, textures, and dynamic energy. By reshaping the original's cinematic qualities, the remixes amplify the contrast between light and dark, further exploring the interplay of beauty and discomfort. The result is a collection that not only complements the original album but also pushes its boundaries, inviting listeners into new worlds of sound.

Maria Callas was born to a Greek family in New York in 1923. Her vocal training took place in Athens, where her teacher was the coloratura soprano Elvira de Hidalgo, who had sung with Enrico Caruso and Feodor Chaliapin. After early performances in Greece, Callas’s international career was launched in 1947 when she performed the title role in Ponchielli’s La Gioconda at the Arena di Verona in Italy.

Her voice defied simple classification and her artistic range was extraordinary. In her early twenties she sang such heavy dramatic roles as Gioconda, Turandot, Brünnhilde and Isolde, but over the course of her career her most famous roles came to be: Bellini’s Norma and Amina (La sonnambula); Verdi’s Violetta (La traviata); Donizetti’s Lucia di Lammermoor and Anna Bolena, Cherubini’s Medea and Puccini’s Tosca. Though her timbre was not always conventionally beautiful, Callas’s musicianship and phrasing were in a class of their own. She brought characters to vivid life with her skill in colouring her tone and making insightful use of the text.

She is credited with changing the history of opera: by placing a perhaps unprecedented emphasis on musical integrity and dramatic truth, and by transforming perceptions – and reviving the fortunes – of the bel canto repertoire, particularly Bellini and Donizetti.

The 1950s marked the height of Callas’s career. Its base lay in the opera houses of Italy, and she became the prima donna assoluta of Milan’s legendary La Scala – notably in the productions
of Luchino Visconti – but her operatic appearances also encompassed London’s Royal Opera House, the New York Metropolitan Opera, Paris Opéra, the Vienna State Opera, and the opera houses of Chicago, Dallas, Houston, Lisbon, and, in the early 1950s, Mexico City, São Paolo and Rio de Janeiro.

From 1959, when she started a life-changing love affair with the Greek shipping magnate Aristotle Onassis, her performing career slowed down and her voice became more fragile. Her final stage performances came in 1965, when she was only 42.

There were many plans for a return to the stage – and for further complete recordings – but they never reached fruition, though in 1974 she gave a series of concerts in Europe, North America and Japan with the tenor Giuseppe di Stefano; he had partnered her frequently in the opera house and in the studio, not least in the 1953 La Scala Tosca under Victor de Sabata, considered a landmark in recording history. Callas died alone in her Paris apartment in September 1977.

Mike Dunn is a pivotal house artist who brought his own famously raw and stripped-back style combined with infectious hip hop elements. He is behind plenty of well-known anthems, most famously 'Dance You Mutha' and 'God Made Me Phunky', and founded Dance Mutha in 1988. It released music by MD Connection, Gershon Jackson and I-ROC-T, while Dunn also co-founded seminal acid labels Warehouse Records and Muzique Records which played a key role in the development of Chicago and acid house. Dunn has continued to produce over the ensuing four decades and has landed on the likes of Defected, Nu-Groove, Classic, Trax and many more. The relaunch of the Dance Mutha label has been inspired in part by Dunn's discovery of a raft of 'lost' unreleased masters from the late '80s and early '90s. It's these tracks that provide the jumping-off point with this new release. '43:31' is the first out of the blocks and brings prickly acid texture to raw analogue drums. Slapping hits add extra bite to this most stripped-back and effective slice of pure warehouse music. Then come the snappy snares and deep bass of 'Acid Feet (Phaze 1)'. This spare, impactful cut is riddled with shapeshifting acid and caustic synth textures that bring the rugged drums to life. Last of all, the excellent Time Machine' will indeed take you all the way back to the dark, delirious and delicious days of the earliest acid house with its wonky 303s burrowing deep into the night next to coarse claps and ice-cold hits.

Immerse yourself in an electrifying fusion of analog textures and experimental soundscapes. This record is a bold, underground exploration where Electro, Techno, and Experimental collide in an uplifting yet distorted sonic journey. Crafted with an unwavering commitment to authenticity, the tracks embody the raw, unpolished energy of analog gear, delivering a gritty, dynamic experience. The artists--Filmmaker, Hanniball III, DJ Nephil, Mule Driver, Porosty, and DJ Sigils--bring their uncompromising vision to the forefront, creating a soundscape that rejects mainstream conventions. This record isn't shaped by market trends or hype; it's a pure expression of underground artistry, designed to break boundaries and let creativity flow untethered. With each track, the listener is invited into a world where the unexpected thrives, and where the only rule is to push the limits of sound.

2025 Repress

With Moving Pressure 02, Rene Wise allows us to dip into a psychedelic undercurrent, yet maintaining a very grounded mentality. Its an effortlessly rolling type of minimalism, but lets be clear; its a type of minimalistic spirit backed up by a rich, kaleidoscopic sound design. MP02 is an immersive batch of mystical dance floor journeys which, in four steps, navigates the realms of gaseous sound design to more subaquatic dynamics, working with a palette of serpentine rhythms that pull us into his distinctive, subtly hypnotic world.

A1 Silo Cybin opens the release with the artists unmistakable kick drum pattern, the heartbeat of his sound. Theres a trippy, swampy energy here, enhanced by robotic vocals and broken claps that weave polyrhythms into the track. The minimalist core pulses with playful energy, while detailed textural elements softly emerge like a waves bubbling foam. Up next we have Complicated, which offers a more minimalist composition, yet injected with rich rhythmic structures. Small circular modulations swirl in the background, filling the air with a delicate yet persistent energy, while his signature vocal snippets further enhance the groove. On the B side, Rough Escorts taps into a brighter psychedelic dimension, conjuring the ethos and trademark of Moving Pressure as a whole. Listen closely a fine connection to Wises previous work on MP01 shines through, maintaining the sonic coherence of the project while pushing further into a lush space. B2 Bleep Police, dives into dystopian bleep territory. Here, the artist strips techno down to its essence, intertwining bleeps with percussion into a hyper rhythmic whole.

A living organism composed of intricately layered sonic structures. A variegated interplay of texture and rhythm. Multi dimensional sound. Welcome to Moving Pressure 02.

Die legendäre, 2003 im schwedischen Borlänge gegründete Metal-Band meldet sich fünf Jahre nach ihrem Chart-Erfolg "Worship Or Die" mit einem brandneuen Studioalbum zurück.
Die Band entschied sich, das Album "The End Of It All" zu nennen, als Reflexion darüber, wie es in der Welt heute aussieht und auch, um irgendwie zu sagen, dass dies vielleicht das letzte Album in der Karriere der ASTRAL DOORS sein könnte.
Nils Patrik Johanssons Texte und Gesangsmelodien sind über jeden Zweifel erhaben, so wie es bei den ASTRAL DOORS schon immer der Fall war. Darüber hinaus beweisen die beiden Songwriter Johan Lindstedt und Joachim Nordlund einmal mehr, dass sie genau das richtige Gespür dafür haben, wie eingängiger Heavy Metal heutzutage zu klingen hat.

The Butcher Sisters sind eine deutsche Crossover-Band, die für ihre einzigartige Mischung aus Metal, Hip-Hop und elektronischen Elementen bekannt ist. Gegründet in Köln, haben sie sich schnell einen Namen in der deutschen Musikszene gemacht, indem sie harte Gitarrenriffs, aƽressive Rap-Parts und eingängige Beats kombinieren. Ihre energiegeladenen Live-Shows und provokanten Texte ziehen eine stetig wachsende Fangemeinde an.
Die Band hebt sich durch ihren kreativen Stil und ihre rebellische Attitüde von der Masse ab und genießt mittlerweile Kultstatus in der Crossover-Szene.

The Butcher Sisters sind eine deutsche Crossover-Band, die für ihre einzigartige Mischung aus Metal, Hip-Hop und elektronischen Elementen bekannt ist. Gegründet in Köln, haben sie sich schnell einen Namen in der deutschen Musikszene gemacht, indem sie harte Gitarrenriffs, aƽressive Rap-Parts und eingängige Beats kombinieren. Ihre energiegeladenen Live-Shows und provokanten Texte ziehen eine stetig wachsende Fangemeinde an.
Die Band hebt sich durch ihren kreativen Stil und ihre rebellische Attitüde von der Masse ab und genießt mittlerweile Kultstatus in der Crossover-Szene.

Prehistoric Sounds is the third studio album by the Australian punk rock group The Saints, released in 1978. This was the final album to feature founding lead guitarist, Ed Kuepper, who left the band shortly after the release. The record was described by AllMusic as ""the textbook by which to make a great rock record where horns play as much of a role as guitar"". In 2010, Prehistoric Sounds was listed in the top 50 100 Best Australian Albums. The album features two cover versions of the soul classics ""Security"" by Otis Redding, and ""Save Me"" by Aretha Franklin. Prehistoric Sounds is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl and includes an insert.

Das portugiesisch-deutsche Duo Splitterzelle hat sich von den hypnotischen, loopbasierten Space-Rock-Jams ihrer früheren Arbeiten entfernt. Auf
dem selbstbetitelten Album verfolgen Pedro Pestana (10 000 Russos, Tren Go! Sound System) und Sidney Jaffe (Arcane Allies, Burnpilot, Parse,
Ornamental) einen wesentlich produktiveren Ansatz, der hauptsächlich von Drum-Machine und Synthies angetrieben wird. Stampfende Subbässe und
dunkle elektronische Texturen stehen hier im Vordergrund und bilden einen Mittelweg zwischen clubtauglicher Industrial-Techno-Schwere und
dröhnendem psychedelischem Lärm.
Nach der Zusammenarbeit ihrer Soloprojekte auf dem 2021 erschienenen Tren Go! Sound System & Ornamental 'Assessment' LP und einigen
Tourneen in Portugal und Deutschland, erkannten Sidney und Pedro bald, dass eine neue Band im Entstehen begriffen war und machten ihre
Partnerschaft 2023 mit der Gründung von Splitterzelle offiziell. Angefangen als Gitarren- und Schlagzeug-Duo, erlaubten ihnen die gemeinsame Zeit
und vielleicht auch die geografischen Umstände, in verschiedenen Ländern zu leben, die Freiheit, radikal unterschiedliche kreative Ansätze zwischen
dem Live-Session-Album „The Drumhard Sessions Vol. 1“ von 2024 und der Vollgas-Elektronik der kommenden „Splitterzelle“-LP zu erkunden.

M.I.T.A. makes his debut on FJAAK's CROWD label with the highly anticipated Night Owl EP, a fresh offering that sees the producer delving deep into his signature sound, blending intricate rhythms, atmospheric textures and hard-hitting beats to create an immersive journey through the nocturnal world. The Night Owl EP unfolds across four meticulously crafted tracks, opening with the title track listeners are plunged into a brooding soundscape characterized by pulsating basslines and haunting melodies, embodying the enigmatic energy of the night. 'Ego Bash' follows, delivering a high-octane groove infused with relentless percussion and electrifying dynamics, a track destined to ignite the dance floor. On the flip side, 'Broadcast Chatter' takes a more experimental route, weaving intricate sonic details and hypnotic loops into a piece that commands attention with its depth and complexity. Rounding out the EP is 'Venus of Intensity', a visceral and emotive closing track that builds to a crescendo of raw power, leaving listeners in awe of M.I.T.A.'s ability to balance intensity with elegance. With Night Owl, M.I.T.A. cements his place as one of the most exciting names in the Italian contemporary electronic scene. This EP not only highlights his skillful production but also his artistic vision - whether experienced in the dark corners of a club or through headphones on a late-night drive, Night Owl promises to leave a lasting impression.

The Gentle Spring are a new group, formed by Michael Hiscock, Emilie Guillaumot and Jérémie Orsel. Michael has an illustrious pop history, having been a founder member of The Field Mice, possibly the most beloved band on Sarah Records in the 1990s. And with The Gentle Spring, it seems that history is repeating itself…

When Michael and his friend Bobby Wratten formed The Field Mice, the two of them very quickly created a set of songs whose emotional honesty, raw guitars and perfect pop melodies pierced the hearts of a generation of indiepop fans, kids who were unmoved by the posturing of mainstream indie, and who didn’t want to spend time in fields dancing at 24-hour raves. The Field Mice were the band who defined the meaning and the spirit of Sarah Records. Defiantly in love with pop, defiantly un-macho, defiantly…sensitive. And now, remarkably, Michael has done it again. With his new musical partner Emilie, The Gentle Spring have created a fresh new iteration of indiepop music. Once again, the songs are unafraid of raw emotions, brutally honest and is still in love with big pop melodies.

They are still….sensitive. But life is seen through a different lens now. There is wisdom, there is experience, and there is the ability to look back at the world with a mixture of regret and joy. These are very adult songs, and the arrangements reflect this. Rich acoustic guitars and Emilie’s haunting keyboard have replaced hectic drum machines and urgent distortion. And there is a third element to this music. Jérémie Orsel’s sophisticated guitar adds textures and melodies that give these songs a real depth, while maintaining an enigmatic distance, never quite overwhelming the vocal line. So things are clearer now.

But feelings are just as strong. The pain of unrequited love that made Field Mice songs so poignant hasn’t gone away. In some ways, the thought of roads not taken is more profound when experienced in retrospect. I Can’t Have You As A Friend entertains this notion, still moved by the allure of a different life, but shuddering with fear at what might have happened. Also still haunted by the past, The Girl Who Ran Away conjures up the ghost of a previous failed relationship, which threatens to undermine happiness in the present. In Severed Hearts, sung by Emilie, there is the stark recognition that some endings really are final: sometimes there can be no reconciliations. But the song cleverly moves on from this: it acknowledges that, even after the worst emotional loss, you have to pick yourself, you will move on. It’s sophisticated and it’s mature – but it will still break your heart. Sugartown is another song that plays this trick on you. It insists that there will always be lightness and shade. It warns you against complacency, but does it so kindly that you feel like you’ve been embraced. When Michael’s and Emilie’s vocals combine in the final chorus, telling us that we don’t live in Sugartown, you know they are right – and yet the sweetness of the singing makes you feel that – just for a moment – you do.the band perform as a trio and have already found a keen audience in France, where they are based. During a short tour of the UK in January, to coincide with this release, British audiences will get their first opportunities to see The Gentle Spring play these new songs live

With his Electric Blues All-Stars, Kai Strauss has made a name for himself all over Europe with dynamic, driving live shows and award-winning CDs, featuring an individual style that’s based on the urban blues tradition, but taking in big chunks of soulful and funky grooves. And this band knows how to rock the house!
For “Wailin’ In Vienna”, Kai has realized his long-standing plan to record an old-school blues album, going back to his roots and beyond. And the results are nothing short of spectacular, with 15 self-composed songs that cover lot of traditional ground: swinging R&B, 50’s Chicago blues, instrumental shuffles, even some bluesy jazz, a minor-key cha-cha and a tribute to Bill Doggett and his guitarist Billy Butler.
Although the shadows of T-Bone, the three Kings and others loom large over the proceedings, Kai Strauss never fails being his own man. Of course it helps when you can realize such a project with a team comprising some of the best players in this style: Dani Gugolz and Peter Müller have been a steadily swinging rhythm team for 35 years. Pianists Dave Ruosch and Andreas Sobczyk combine tasteful chordal work with cascading treble runs. Sax Gordon has been a first-call R&B horn man for decades. Gerry Lülik’s is one of Austria’s foremost bluesharp players. Pianist Christian Dozzler, who came up in Vienna but has long made his home in Texas, can be heard with the likes of Anson Funderburgh when not doing his own thing. Finally, the two guitar greats heard alongside Kai hardly need much introduction: Rusty Zinn and Alex Schultz have been among the top tier of traditional blues string-benders since the 1990’s. Here, they are mostly heard in a supporting role for their friend and colleague, but ready to step out in style when called upon.

Come Ahead ist das 12. Album von Primal Scream. 11 neue Songs, mit denen Bobby Gillespie sich darauf
vorbereitet, einige der persönlichsten Songs der Bandkarriere zu veröffentlichen.
Der Songwriting-Prozess für Come Ahead begann 2019. Zu diesem Zeitpunkt hatte Bobby Gillespie noch
keine Ahnung, ob er noch einmal ein Album von Primal Scream machen würde. Zum ersten Mal kamen
die Texte vor der Musik. Die Geschichte kam zuerst. Bobby schrieb allein, mit einer Akustikgitarre. Die
Ideen flossen schnell, in langen Inspirationsschüben. Dieser Prozess, zusammen mit der Ermutigung durch
Produzent David Holmes, bot einen neuen Einstieg. In Zusammenarbeit mit Holmes und Primal ScreamGitarrist Andrew Innes wurden die Come Ahead-Sessions in Belfast, London und Los Angeles durchgeführt.
„Ich bin sehr aufgeregt über dieses Album, so als würde man seine erste Platte machen. Wenn es ein
Gesamtthema für Come Ahead gäbe, wäre es vielleicht ein Konflikt, ob innerlich oder äußerlich. Der Titel
ist ein Begriff aus Glasgow. Wenn jemand droht, mit dir zu kämpfen, sagst du: ‚Komm schon!‘ Es erinnert
an den unbezwingbaren Geist der Glasgower, und das Album selbst vermittelt diese aggressive Haltung und
Zuversicht. Sie haben da oben ein Wort dafür: gallus. ‚Come Ahead‘ ist auch ein ziemlich frecher Titel.“
Bobby Gillespie

Das sechste Studioalbum der schottischen Band Franz Ferdinand!

In The Human Fear geht es um das Menschsein und die Ängste, die uns dazu machen, aber man hätte es auch kühn nennen können. Kühn auf eine Art, wie wir es gerne sind. Es ist ihr sechstes Album, das sie mit dem Produzenten Mark Ralph hauptsächlich in Schottland aufgenommen haben, mit ein paar Overdubs in London und Paris. Bob Hardy und Alex Kapranos gründeten die Band 2002, Julian Corrie und Dino Bardot kamen 2016 dazu und Audrey Tait 2021. Dies ist die erste vollständige LP mit Dino und Audrey, obwohl sie auf den letzten Singles mitgewirkt haben und mit der Band ausgiebig getourt sind. Unsere Ängste definieren unsere Menschlichkeit. Wir finden unseren Charakter und unsere Persönlichkeit, wenn wir unsere Reaktion auf sie verstehen. Was sie auslöst. Es ist nicht unbedingt die Angst selbst, die uns menschlich macht, sondern das, was wir mit ihr machen oder was wir zulassen, dass sie mit uns macht. Was wir nicht wählen können und was wir können. Unsere Ängste sagen uns, wie wir menschlich sind. Jeder Song hängt an einer anderen Angst. Es geht darum, in den Abgrund zu blicken und dann zu sagen:
"Scheiß drauf... ich kann genauso gut noch einen trinken, bevor ich hineinfalle." Es gibt klangliche Überraschungen und verschiedene Perspektiven auf dem Album, aber wenn man die Band kennt, weiß man, dass sie es gemacht hat. Die es genossen haben, es zu machen. OK, einige der Themen können ein wenig düsterer werden, aber es gab Licht und Freude beim Zusammenstellen.
Das Album beginnt mit dem Track "Audacious" der als Vorabsingle den Ton für das Album angibt. Die zweite Single, die im November erscheinen wird, ist "Night Or Da"y, die sowohl in den Texten als auch in der Musik die Spannung zwischen Angst und Spaß darstellt. Das klangvolle Synthie-Stück "Hooked" zeigt eine andere Seite des Albums und wird unser Fokus-Track bei der Veröffentlichung sein. Das Album wird Mitte September zusammen mit einer Reihe von Live-Terminen in Großbritannien und Europa angekündigt und am 10. Januar 2025 veröffentlicht. Die Band wird außerdem im Oktober und November für Live-Shows nach Mexiko und Südamerika reisen.

KOREA, SEOUL-based DJ/PRODUCER CHIMAN is known for releasing many DEEP HOUSE tracks in the past and for his remixes with foreign artists. This track, which was recently produced under the in­uence of ORGANIC BAND SOUNDS and JAZZ, is his experiment showing a different approach, texture, and new attempt than his previous tracks. Chill and warm sound recorded as the 6th series of SAMBO RECORDS!

Suicide AFTR 7 is a musical partnership forged across two continents. This cross-Atlantic collaboration was founded in Barcelona by New York’s Neud Photo and London’s Antic.Distributed by Runas, a new label also based in Barcelona. New beat and Proto-Wave influences permeate the 12”.

Lean, mean, and evocative, "Soft Geometry" sets the stage with its blend of classic analogue textures and a sound palette that evokes the darker, more hypnotic side of electronic music. Throaty samples whisper through a synthesizer smoke, sodden bass lines throb against scaling crystalline chords.

The standout track, "Interplay", is an instant classic. Lyrics are distant, words ring, “Distant shadows," as snapping snares and warming pulses pull the listener closer drawing you deeper into its hypnotic world. Across the four offerings, a brooding dance floor looms; a
shadowy square of bodies shrouded in fog, pierced by strobe. This track will stick with you long after the music fades, a perfect blend of light and shade. It's the undeniable dancefloor moment on the EP, forever playful, forever bumpin.

"Last Word" pulses with a cold, hypnotic groove, driven by a deep 808 groove that'll get you moving. Think hypnotic rhythms, driving basslines, and a touch of electro grit. Slow, ethereal strings and shimmering synth stabs create an atmosphere of tension, punctuated
by film noir samples.

A sinister seam runs through the entire EP, coming to the surface for “Blind Spot.” Terse percussive patterns and eclipsed synthlines are stalked by vocals stripped of emotion, the mantra of “We are your enemy” encircling to a close.