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RESOUND NYC - Das neue Album von MOBY! Nach seinem gefeierten Album ”Reprise” (Mai 2021), auf dem unter anderem Kris Kristofferson, Mark Lanegan, Jim James und Skylar Grey zu hören waren, hat Moby nun 15 seiner legendärsten New Yorker Tracks aus den Jahren 1994 bis 2010 neu interpretiert und instrumentiert. Mobys 20. Studioalbum ist nicht nur eine Reflexion über die vielleicht entscheidendste Zeit in seinem Leben, sondern auch über sein einstiges Zuhause, New York City. Dort wurde er geboren, dort nahm seine Karriere ihren Anfang – im Punkrock und als DJ in Underground-Clubs.
»Bevor ich Punkrock für mich entdeckte, war ich im Classic Rock zu Hause«, sagt Moby. »Mein erstes Konzert war 1978 Yes im Madison Square Garden. Es war also mehr als verlockend, sich noch einmal mit meinen Liedern auseinanderzusetzen und zu gucken, ob sie einer traditionelleren, nicht-elektronischen, orchestralen Bearbeitung standhalten.« Begleitet wird Moby auf diesem Album von großartigen Künstlern wie Nicole Scherzinger, Gregory Porter, Ricky Wilson und Amythyst Kiah.

Mount Athos, known as the «Holy Mountain,» is a monastic peninsula in northeastern Greece, central to Eastern Orthodox monasticism for over a millennium. Its twenty monasteries house around 2,000 monks dedicated to prayer and worship, which songs have echoed across the Aegean Sea for centuries, heard only by visiting pilgrims, isolated from conventional time and global events.

After several years of research, and several visits to the retired community, we are happy to present our new project «Athos : Echoes from the Holy Mountain» dedicated to this liturgic music and repertoire that seems to be evolving outside the usual boundaries of time and space. Rooted in Byzantine chant, this a cappella tradition essential to monastic life featuring intricate yet serene melodies designed to facilitate prayer and contemplation, using a system of modes and scales to create a meditative atmosphere.

Trans-disciplinary, this effort of documentation also comprehends an artistic re-interpretation aspect inviting contemporary Greek and foreign artists to reflect on the subject.

A musical compilation which captures original field recordings from the 1960s and from today capturing the essence of liturgical music on Mount Athos, but also new compositions inspired by them by artists such as Holy Tongue (UK), Jay Glass Dubs (GR), Prins Emanuel & Inre Kresten Grupp (SWE), Jimi Tenor (FI), Gilb’r (FR), Daniel Paleodimos (GR), Esma & Murat Ertel (TUR) and Organza Ray (GR/US).

A trilingual book in English, Greek and French, featuring essays, articles, photographs and artistic comissions reflecting around the theme giving a voice to contributors such as , Stratos Kalafatis, Theodore Psychoyos, Tefra90, Father Damaskinos Ulkinuora, Prof. Thomas Apostolopoulos, Makar Tereshin, Phaedra Douzina-Bakalaki, Michelangelo Paganopoulos and Alberto Cameroni.

The release of the book and the record will be followed by a cycle of exhibitions and conferences, deploying FLEE’s year-long research on Mount Athos, as well as its numerous commissioned artworks.

Info: Appearing on The Voice in 2012. A semi-finalist on Sir Tom Jones team. Performed nationwide including multiple appearances at London Fashion Week, the alternate Effie White in the London production of Dreamgirls (Sonia Friedman Production). Ruth Brown has also been busy with a successful 2-night sold out show at The Other Palace, a regular for Sofar sounds. Ruth returns with her EP - A Moment Of Truth.

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.

LA threesome ASHRR aka lead vocalist Steven Davis and producer-musician-vocalists Josh Charles and Ethan Allen are back with a brilliant new album for Ralph Lawson's superb 20/20 Vision Recordings that finds them working by the old mantra of 'art for art's sake'. This effortlessly eclectic record collides electronic soul, post-punk, space disco and indie-dance and is rich in melancholic melody, hazy, late-summer moods and late-night dancing. The vocals bring an indie edge to jangling delights like 'Please Don't Stop The Rain' while 'What's Been Turning You On' is a laidback and languid groove for lazy sessions.

Aesthetically, Ed Schrader’s Music Beat hates to tread water. At the same time, the Baltimore-based two-piece of vocalist Ed Schrader and bassist Devlin Rice won’t force their songs to fit a preconceived style. “The next album’s always gotta be different from the last one. We’re different people from record to record. So, writing authentically to ourselves will always bring our work to a place that we haven’t been to yet,” Rice said. Schrader added, “We’re terrified of turning into AC/DC. We never want to be married to one scene or time or sound. We want to be the Boba Fett of bands! Constantly altering the way in which we make records has been pretty key in that process.”
For Orchestra Hits, the band’s latest, that alteration was welcoming longtime musical comrade Dylan Going into the fold as a co-writer and co-producer. A songwriter in his own right, a guitar sideman for ESMB on their last two tours, and a collaborator with Rice in the noise riffage band Mandate, Going had both a unique vision and an intimate familiarity with the ESMB vibe.
“Dylan came to every show we’ve ever played in New York—no matter how weird it was,” Schrader said. “He’d be standing there ready to move an amp or feed us barbecued cactus after the gig and toss on some Golden Girls so we could decompress. It felt like family as soon as we began working, but I honestly had no idea how damn good he was at tossing out these hooks.”
According to Schrader, the songs “just poured out of us” over the course of a highly caffeinated three-day weekend in a tiny room in Devlin’s house while his cat, Sandy Goose, screamed continually. “It was like three kids hiding from the world to get into some lovely mischief,” they said. The lack of external pressure in the process gives Orchestra Hits an almost paradoxical vibe. For all of the album’s layers, that mix live and sequenced instruments, it never loses the raw energy of a small handful of friends in the same room plugging in, cranking up, and playing until they pass out.
Lyrically, the album finds Schrader, now 45, meditating on experiences in their youth to make sense of the present moment. “We are not into the garden,” Schrader wails on the relentless “Roman Candle,” a song about the sad debacle of Woodstock ’99, and a direct response to Joni Mitchell’s “Woodstock,” a utopian ode to hippie idealism. A 19-year-old Schrader, having snuck into Woodstock ’99 through a hole in the fence, was there the night members of the crowd used candles intended for a vigil for victims of the Columbine High School massacre to set fires all over the grounds. Even before the fires, Schrader remembered feeling disconnected from the music, the nostalgic cash grab, and the meatheads in the crowd. After watching a press tower collapse, they boarded a random shuttle bus and were dropped off near a Denny’s. “It was a far cry from the Garden of Eden,” Schrader said. “That experience defined what I didn’t want to be a part of, and yet America is more like Woodstock ’99 than ever.”
With percolating synthesizer arpeggios, and climbing bass grooves, “IDKS” is the album’s dance-floor slapper. “’IDKS’ is a funny one,” Schrader said. “We already had a pretty satisfying suite of songs when Dylan was packing up to head back to New York, but he missed the train because of a freak snowstorm. Realizing he’d be stuck in town another day, he says to me, ‘Here’s this other weird thing I have.’ It was ‘IDKS.’ The hooks were so good I felt like Homer Simpson at a free donut convention. I just dove right in, and we cranked that baby out in like 20 minutes.”
Lyrically, “IDKS” is a letter from the true self to public-facing self. “It’s an angry song,” Schrader said. “Because the public-facing self is always looking for an easy escape, but it forces the true self into a cage. I honestly thought my lyrics were corny and was about to change them, but Dylan was digging it just the way it was. So that’s what you hear.”
With the soaring “Daylight Commander,” the band went against all of their musty-basement-bred instincts. “I went full High School Musical with the vocals,” Schrader said. “At first it felt almost embarrassing, but I remember reading somewhere that Bowie recommended always floating a little bit above your comfort zone, and that’s what we did here.” The song is part exercise in absurdity and part pop Trojan horse. “If ever we had a ‘Shiny Happy People’ moment, I guess this is it,” Schrader said.

The concept for and palette of Crystal Dorval aka White Poppy’s ‘Paradise Gardens’ trilogy first germinated in 2016 as a notion of “paradise music” combining new age, bedroom shoegaze, and bossa nova into “transcendental Tropicalia.” As she filled tapes of recordings exploring the idea, many of the songs gradually gravitated towards the hermetic dream pop her project is best known for, becoming the albums Paradise Gardens (2020) and Sound Of Blue (2023). Dorval describes these collections as a sort of “emotional purging or shadow work,” before arriving at “the state of inner paradise:” Ataraxia.

As the third, final, and most purist realisation of the original ‘Paradise Gardens’ vision, Ataraxia delivers. Nine instrumentals of nimble guitar, elevated bass, clean rhythm, and clear light, gliding like swans on a shimmering pond. There’s a sense throughout of playful tranquillity, of serenades at sunset, of kisses of blissful Muzak wafting along a boardwalk.

But behind the music is a patience, grace, and levity born of Dorval’s personal journey with spiritual healing that paralleled the trilogy. A process of transmuting pain into beauty, day by day, melody by melody, cleaving the darkness from the soul and re-entering one’s rightful home in the Garden.

Andreas Vollenweider erklomm den Loreley-Felsen. Nicht um hier die schöne Aussicht auf den Rhein zu genießen und sich von Lore Lay, der Zauberin, auf Grund ihrer Schönheit den Verstand rauben zu lassen, was dann - der Sage nach - unweigerlich zu seinem Tod geführt hätte. Eher hatte er vorgehabt, mit seinen "Friends" (Walter Keiser - drums, percussions und Pedro Haldemann - percussions) am Abend des 29. August 1982 auf der Bühne des wunderschönen Freilichttheaters ein atemberaubendes Konzert zu geben. 1982 - die außergewöhnliche Karriere des jungen Andreas Vollenweiders, damals 28 Jahre alt - nahm gerade so richtig Fahrt auf. Ein Jahr zuvor hatte er sein Album "Behind The Gardens - Behind The Wall - Under The Tree" veröffentlicht. Ein Mega-Erfolg, weltweit. Mit seinem unverkennbaren, eigenen Stil, seiner sehr farbigen, dynamischen Musik, auch geprägt durch die Vielfalt an exotischen Klangfarben, begeisterte Vollenweider in kurzer Zeit ein Millionenpublikum. So gelingt es ihm auch mit seinen Mitstreitern, diese Magie an dem Abend auf dem Loreleyfelsen zu entfachen und das Publikum in seinen musikalischen Bann zu ziehen. Die sagenumwobene Lore Lay konnte sich zurücklehnen, ihre Zauberkünste waren nicht gefragt. Das erledigte der Zeremonienmeister Vollenweider persönlich, zusammen mit seinen beiden "Gehilfen": Sie verzauberten (musikalisch) das Publikum. Kleines Novum am Rande: Dieser Rockpalast wurde aus welchen Gründen auch immer nie gesendet. Umso mehr erfreulich, dass es ihn jetzt in toller Aualität gibt. Einzigartiges live-Konzert des damaligen 28jährigen Andreas Vollenweider, aufgenommen vom WDR beim Loreley Open Air Festival am 29.08.1982.

crys cole returns to Black Truffle with Making Conversation, her third solo release for the label. After the intimate song-like constructions of Other Meetings (BT096), Making Conversation documents a different facet of cole’s work, presenting three rigorously conceptualised commissioned pieces, each of which extend her signature approach to highly amplified small sounds into new directions.

The side-long title piece is a stereo version of an 8-channel sound installation exhibited in 2023 at the Tabakalera Art Center in Donostia / San Sebastian, Spain. The piece uses a multitude of instrumental, vocal, concrete and electronic sounds to evoke the soundscapes cole encountered during nocturnal listening session in Bali, Indonesia in 2018 and 2019. In this world of night sounds, she explains, she ‘observed the complex interplay between amphibian, lizard, bird and insect communication, domestic animals (roosters, dogs), man-made sounds (airplanes, vehicles, conversations and evening activities) and sounds that were difficult to place’. Drawing on field recordings as memory aids (but including none in the finished piece), cole’s piece uncannily reproduces the spatiality and pacing of environmental sound without attempting strictly to replicate it. We hear insect-like twittering and birdsong fragments, resonant thuds and distant roars, furtive crunches and taps, muffled breath and metallic scrapes. While at times it can be difficult to imagine the source of these sounds, at other points they are clearly instrumental or electronic in origin; in its placement and layering, though, the whole assemblage suggests the glorious, unthinking richness of a non-musical sound environment. Suggesting at once the electronic gardens of Rolf Julius and the little instrument expanses of classic AACM, the piece is a brilliant enactment of the Cagean drive to ‘imitate nature in her manner of operation’.

‘Valid ForeverrRrrRRrrr… (pt. 1)’ began as cole’s contribution to an Issue Project Room commission to realise a score from Alison Knowles and Annea Lockwood’s Women's Work, a 1975 collection of text and conceptual scores by women artists and composers. cole’s piece begins from Beth Anderson’s Valid for Life, a complex arrangement of the letter R in various typefaces. Where the composer suggests a realisation on a trio of acoustic instruments (playing rolls with velvet beaters), cole translates the piece into her characteristic sound and object language as a trio of rolling sounds on ‘two large similar paper things and one 5-pin bowling ball’. Rolling from one side of the stereo field to the other, the bowling ball’s uneven movement is the heart of this immersive textural array, created with the simplest materials, which generates phantom sensations of pitch and phasing effects solely through amplified friction.

On ‘Valid ForeverrRrrRRrrr… (pt. 2)’, cole makes a first foray in translating her signature approach into conventional instrumental sounds, here in the form of a transcription for MIDI percussion ensemble. The result is refreshingly puzzling, comparable perhaps only to the sparsest moments of Keiji Haino’s classic “C’est parfait…” Accompanied with extensive liner notes, photographic documentation and a download code, Making Conversation is an exciting next step in cole’s work, extending her signature concerns in new sonic and conceptual directions.

"‘Bursting Out’ 3LP breakout of Jethro Tull’s first live album ‘Bursting Out’, from ‘Bursting Out (The Inflated Edition)’ featuring tracks released months prior in the 3CD+3DVD expanded edition, newly remixed by the legendary Steven Wilson. This version will be released 20th September 2024.

This live album was recorded at various locations during the European Heavy Horses tour in May and June 1978. In addition to the original tracklisting, this 3LP features various Madison Square Garden live performances.

Jethro Tull’s Ian Anderson said: “A live extravaganza from the 70s Jethro Tull, this was recorded over several nights in different venues on a portable 8-track tape recorder and transferred to 2” multitrack when I got home after the tours. I had to listen all through to many shows and pick the best live versions. But much of it was, at least, from the concert in Bern, Switzerland where dear Claude Nobs came to introduce the band in his inimitable style. Also featuring on this box set collection is the live concert from Madison Square Gardens recorded a few months later and shown live on BBC TV in the UK. A scary experience for the band as it was, we were told, the first time a live rock concert had been the subject of a live satellite broadcast. The band lineup at this time was a fine-tuned machine and, although missing the unwell John Glascock for the MSG show, it serves as a fine testimony for the many wonderful shows we did in the 70s, before general touring fatigue and burn-out began a year or so later. Enjoy vintage Tull at its 70s best!”"

Produced by J Lloyd (Jungle 12M MLs) and James Skelly, What Can I Say After I'm Sorry? ushers in the start of the band's 5th album campaign. The album titled Gary is named after a 8 foot fibre glass gorilla was stolen from a Lanarkshire Garden Centre in early 2023, and since then there has been a campaign to locate him, his rear end was recently found, but his frontage is still missing! Cameo from Everton Football Manager Sean Dyche…



The band's 5th album comes after four top 5 albums in the UK. Blossoms’ 2016 debut topped the album charts for two consecutive weeks and went on to earn the band BRIT Award and Mercury Prize nominations, while 2018’s Cool Like You charted at Number 4 in the UK album chart, spawning the anthemic singles I Can’t Stand It, There’s A Reason Why (I Never Returned Your Calls) and How Long Will This Last? Their third studio album, 2020’s Foolish Loving Spaces was the band’s second UK Number 1 album and following the release of In Isolation/Live From The Plaza Theatre, Stockport in 2020

Mit "The Machine in the Ghost" erreichen HAUJOBB den beeindruckenden Meilenstein des zehnten Studioalbums. Auch ihr neuestes Werk unterscheidet sich von all seinen Vorgängern. Das derzeit in Leipzig residierende Duo verweigert sich weiterhin standhaft jeder Wiederholung. "The Machine in the Ghost" unterscheidet sich bereits durch die Verwendung von Feldaufnahmen, um die Sounds für dieses Album zu erzeugen. Um die gewünschten Effekte zu erzielen, haben HAUJOBB bewusst auf eine Mischung aus Software und Hardware gesetzt - letzteres in Form von mit Alltagsgegenständen erzeugten Tönen. Diese symbolische Anspielung auf eine Zeit, in der es weniger Software und mehr analoges Drehen an den Reglern gab, ergänzt das Thema von "The Machine in the Ghost" um einen Hauch von Retro-Feeling - ohne jede nostalgische Verklärung. Das Album dreht sich um die spannungsgeladene Beziehung zwischen analog und digital, Geist und Materie. Als sich HAUJOBB im ostwestfälischen Bielefeld zunächst zu einem Trio formierten, kamen ihre Haupteinflüsse noch aus der Vancouver-Schule des Industrial - und speziell SKINNY PUPPY sowie FRONT LINE ASSEMBLY. Dies ist auf ihrem ersten Album "Homes & Gardens" (1993) noch hörbar, doch schon bald wurden HAUJOBB selbst als Aushängeschilder eines modernen elektronischen Industrial-Sounds angesehen. Auf den folgenden Alben "Freeze Frame Reality" (1995) und "Solutions for a Small Planet" (1996) entfernten sich die Deutschen zunehmend von den kanadischen Einflüssen, indem sie damit begannen, IDM (Intelligent Dance Music) mit Industrial und EBM zu verschmelzen. Damit katapultierten sich die Deutschen mitten in die internationale Szene und verschafften sich sogar in den USA einen Kultstatus. Auch nachdem HAUJOBB zum Duo mutiert waren, blieben sie einflussreich und insbesondere ihr 2011 in Eigenregie veröffentlichtes Album "New World March" gilt als weitere Großtat. Mit "The Machine in the Ghost" schlagen HAUJOBB ein neues spannendes Kapitel in ihrer bemerkenswerten Karriere auf. Unmittelbar zu Beginn der nächsten industriellen und kreativen Revolution, die der rasante Aufstieg der künstlichen Intelligenz auszulösen verspricht, legen HAUJOBB ihre metaphorischen musikalischen Finger erneut direkt an den Puls der Zeit.

Mit "The Machine in the Ghost" erreichen HAUJOBB den beeindruckenden Meilenstein des zehnten Studioalbums. Auch ihr neuestes Werk unterscheidet sich von all seinen Vorgängern. Das derzeit in Leipzig residierende Duo verweigert sich weiterhin standhaft jeder Wiederholung. "The Machine in the Ghost" unterscheidet sich bereits durch die Verwendung von Feldaufnahmen, um die Sounds für dieses Album zu erzeugen. Um die gewünschten Effekte zu erzielen, haben HAUJOBB bewusst auf eine Mischung aus Software und Hardware gesetzt - letzteres in Form von mit Alltagsgegenständen erzeugten Tönen. Diese symbolische Anspielung auf eine Zeit, in der es weniger Software und mehr analoges Drehen an den Reglern gab, ergänzt das Thema von "The Machine in the Ghost" um einen Hauch von Retro-Feeling - ohne jede nostalgische Verklärung. Das Album dreht sich um die spannungsgeladene Beziehung zwischen analog und digital, Geist und Materie. Als sich HAUJOBB im ostwestfälischen Bielefeld zunächst zu einem Trio formierten, kamen ihre Haupteinflüsse noch aus der Vancouver-Schule des Industrial - und speziell SKINNY PUPPY sowie FRONT LINE ASSEMBLY. Dies ist auf ihrem ersten Album "Homes & Gardens" (1993) noch hörbar, doch schon bald wurden HAUJOBB selbst als Aushängeschilder eines modernen elektronischen Industrial-Sounds angesehen. Auf den folgenden Alben "Freeze Frame Reality" (1995) und "Solutions for a Small Planet" (1996) entfernten sich die Deutschen zunehmend von den kanadischen Einflüssen, indem sie damit begannen, IDM (Intelligent Dance Music) mit Industrial und EBM zu verschmelzen. Damit katapultierten sich die Deutschen mitten in die internationale Szene und verschafften sich sogar in den USA einen Kultstatus. Auch nachdem HAUJOBB zum Duo mutiert waren, blieben sie einflussreich und insbesondere ihr 2011 in Eigenregie veröffentlichtes Album "New World March" gilt als weitere Großtat. Mit "The Machine in the Ghost" schlagen HAUJOBB ein neues spannendes Kapitel in ihrer bemerkenswerten Karriere auf. Unmittelbar zu Beginn der nächsten industriellen und kreativen Revolution, die der rasante Aufstieg der künstlichen Intelligenz auszulösen verspricht, legen HAUJOBB ihre metaphorischen musikalischen Finger erneut direkt an den Puls der Zeit.

Produced by J Lloyd (Jungle 12M MLs) and James Skelly, What Can I Say After I'm Sorry? ushers in the start of the band's 5th album campaign. The album titled Gary is named after a 8 foot fibre glass gorilla was stolen from a Lanarkshire Garden Centre in early 2023, and since then there has been a campaign to locate him, his rear end was recently found, but his frontage is still missing! Cameo from Everton Football Manager Sean Dyche…



The band's 5th album comes after four top 5 albums in the UK. Blossoms’ 2016 debut topped the album charts for two consecutive weeks and went on to earn the band BRIT Award and Mercury Prize nominations, while 2018’s Cool Like You charted at Number 4 in the UK album chart, spawning the anthemic singles I Can’t Stand It, There’s A Reason Why (I Never Returned Your Calls) and How Long Will This Last? Their third studio album, 2020’s Foolish Loving Spaces was the band’s second UK Number 1 album and following the release of In Isolation/Live From The Plaza Theatre, Stockport in 2020

"Natural Palace is real wave, where the city lights have dimmers and adjust to the vision of the night. They get bright before an afterparty, can ease some shade for a cooldown celebration or spark the shine upon your day. It all started as a distant dream between four friends with a love for '90s dance, '80s AOR and '70s downtown. The dream started to become a fever during a self-imposed recording lock-in. Now, the doors of the Natural Palace are ready to be opened as a post-pan band with songs that could be welcomed on the mid-level of a three-story German dance emporium and in the back rooms of laundromats on future retro nights.

RIYL: Throwing on ""Dewdrops in the Garden"" at the first signs of spring, smoke machines with extra fog juice, hanging out with Howard Jones in a HoJo lobby, Black Box dance parties with Neneh Cherry on top."

REPRESS

The second LP compendium of Emahoy Tsege Mariam Gebru's early solo piano works, recorded throughout the 1960s - finally available again. Emahoy Tsege Mariam Gebru is a true original - her compositions and unique playing style live somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church, and Ethiopian traditional music. It is some of the most moving piano music you will ever hear! These original compositions, performed by Emahoy Tsege Mariam Gebru herself on solo piano, were originally self-released in Germany in small editions as fundraisers for orphanages, support organizations for widows of war victims, and other philanthropic causes. We are humbled and proud to present this album in collaboration with the EMAHOY TSEGE MARIAM MUSIC PUBLISHER and Foundation, and to assist in continuing her life-long mission of using music as a vessel to care for those who have been abandoned by society, or harmed by strife. Black vinyl LP comes in black inner-sleeves and heavy cardstock jacket with color printing and gold-foil stamping, and song notes by the composer herself. Restored and remastered by Timothy Stollenwerk.

The tree of good and evil knows no morality in this garden. You took a bite of the forbidden fruit -- but nothing happened. But you do feel the taste of the apple on your tongue, an abundance of amazing and fresh flavor. You look around the garden and see others partaking in whatever pursuit their heart desires. Joy, pain, love, wonder and death. Everywhere you look is a new presence, a new moment of bliss, dystopia and truth. You realize that this garden is your playground, and your destiny can be shaped like clay. Play in the garden, laugh in the garden, fight, die and love in the garden.

Anna Erhard returns with her third Album Botanical Garden, on which she expertly deconstructs social mores with her trademark lightness of touch, seeking out the funny side of life's everyday's frustrations with a breeziness and genuine warmth. Available on 180g black Vinyl Side A 170 Botanical Garden B.M.G. Academy Spa Package Side B Hot Family Stash Not Rick Teeth on the King

Balancing glitch-pop and contemporary piano, the Belgian pianist explores the edges of her voice, language and twisted electronica



The Belgian pianist and producer maya dhondt releases a new album titled 'wow, x', marking her debut solo album under her own name. Navigating between bedroom glitch-pop and contemporary piano, she presents sounds of alienating beauty.



The album ‘wow, x’ will be released on September 13 on vinyl and all digital platforms via VIERNULVIER Records.



“I find beauty in the uncomfortable and disorienting" - maya dhont



The first single, 'desire,' is a mutated synth-pop track that gets under the skin. The song centralizes longing for something you don't know (yet). Perhaps it's the smell of damp earth, which can be both pleasant and unsettling? The single is now available on all streaming platforms and comes with a schizophrenic video by Sakis Brönnimann.



The first release show is scheduled for Saturday, October 5, at De Koer, Ghent.

More shows will be announced soon.



A postmodern cramp, that's how one could describe the music of pianist and producer maya dhondt. Her music is an intuitive and a never ending exploration that has the potential to be and become a multitude of things at once.



On her first solo album under her own name, 'wow, x,' she presents 10 varied tracks in which she creates equally idiosyncratic sound worlds. She takes the liberty to endlessly experiment with vocals, piano, and a mix of distorted lo-fi electronic sounds with an open mind. The result is sometimes synthetic and weird, sometimes compellingly beautiful, and always captivating, drawing you into its underlying melody. These intelligently crafted productions are connected by a penchant for alienating beauty: like a warm, but damp cave where it’s pleasant to linger just a little longer. Her original sound moves within a sonic spectrum reminiscent of contemporary artists such as Lolina, Astrid Sonne, claire rousay, aya or Carla Dal Forno.



"What I create never stands alone, it can be many things at once"



If the world were a sculpture garden, maya dhondt eagerly picks from it to draw inspiration from both visual and literary passages as well as personal experiences. Her highly personal bedroom productions are grounded firmly in the world due to philosophical references and politically charged messages. And the world she lives in is being questioned on 'wow, x', as the title refers to "What Or Why?". This is evident in the single 'desire': "What is the thing that matters / to exist / or to know you’re existing?" What does one choose in life: to live in the moment or to live to remember that moment?



In the lyrics on 'wow, x', maya dhondt plays - at times childishly - with language and its boundaries. On 'tip toe tip,' banal wordplay leads to an unexpected confession, and the seemingly simple phrases in 'untitled' conceal hidden life lessons. dhondt's world of words is multilayered and multilingual: Dutch ('kleine cijfers, groot verlies'), English ('desire'), and French ('untitled') are at her disposal. And on the fierce track that is 'minimalinvasiv,' not only she turns to hardstyle, but also to German - a language dear to her due to her Swiss heritage.