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Crash und Automation demonstrieren Mullers Beherrschung strenger, industrieller Klangwelten. Muller geht jedoch noch einen Schritt weiter, indem er Club-Elemente wie Nu-Disco-Tendenzen und Vocal-Samples einführt. Auf diese Weise greift er das Thema Körper und Maschine auf, das auch in den visuellen Inhalten der Filme behandelt wird. Crash ist eine Hommage an David Cronenbergs gleichnamigen Film von 1996. Sowohl Ashley als auch Cronenberg erforschen die Erotik von Autounfällen, ein Fetisch, der sowohl mechanisch als auch blutig wirkt. Diese gewalttätige Gegenüberstellung ist die eigentliche Inspiration für Muller. Body and Machine" aus Crash ist eine pulsierende Synthie-Hymne, die sowohl synthetische Echos als auch verspielte Highlights enthält. "Perverse Technology" ist eine groovige und disharmonische Nummer, während "Sharing a Smoke" eine düstere Strenge hat, man kann fast sehen, wie die Hände über Ledersitze gleiten, Glasscherben auf verschwitzte Körper prallen und Küsse mit offenem Mund im Scheinwerferlicht.

Legendary 2010’s indie band Crocodiles’ guitarist Charles Rowell’s new synthpop-meets-gothic rock project. Think Nick Cave crooning over Martin Rev’s minimal electronics or The Lords of the New Church-era Stiv Bators jamming with Wayne Hussey and Douglas Pearce.

After relocating from New York to France, Charles Rowell began stuffing his suitcase with various synths and samplers while taking cheap bus rides to bordering countries.

While living out of a hotel in north east Paris, he played his demos for Third Coming Records who quickly released the Bad Trip EP in 2020. Concerts became more frequent after the pandemic, with the release of Spellwound and a few have become infamous with guitars smashed to pieces, broken glasses, unruly audience front flipping onto the stage.

With Paris providing the background and a scene of friends such as avant-garde drag artist Tuna Mess and industrial techno veteran Poison Point who pushed his creativity even further, Crush Of Souls constant spirit is that it remains unpredictable and thrives on collaboration.
This is even more true with his upcoming album (A)Void Love.

Written over a period of intense insomnia that coincided with a run of shows playing guitar for Australian legend Harry Howard, Crush Of Soul’s main man Charles Rowell finally found rest after writing and recording the last song entitled World of Fear. Six months prior he had quit his job as a chef, traveled east to Prague for inspiration and returned ragged and sleepless.
Rowell’s insistence on keeping the instrumentation simple and clean came from an arduous two years of literal blood, sweat and tears. Every bit of drama, eastern excursion and sleep psychosis can be found within the walls of (A)Void Love.

Acoustic guitars and dramatic synths provide a cold wilderness for the various rhythms to inhabit; touches of minimal electronics, cold wave and synth pop can be found while the song writing remains classic for lovers of Echo & the Bunnymen and Nick Cave & the Bad Seeds.

There’s always been a thread of synth-punk, death rock and DIY noise running through all of Charles’ projects (Crocodiles, ISSUE, Flowers of Evil), however Crush Of Souls pushes harder and further into the darkness with the new album ‘(A)Void Love’.

Après le succès de Birdman (quatre Oscars dont ceux du meilleur film et du meilleur réalisateur), le réalisateur Alejandro G. Inarritu repousse les limites de l'art cinématographique avec ce western épique : The Revenant. Avec Leonardo DiCaprio (Titanic, Le Loup de Wall Street) et Tom Hardy (Mad Max: Fury Road, The Dark Knight Rises), tourné dans un Canada sauvage et glacé, à la lumière naturelle, The Revenant est une histoire de vengeance, de survie et de ténacité face à la fureur de l'homme et de la nature. Le film est en passe de devenir un grand favori de la critique, à l'aube de la saison des récompenses... Inarritu a choisi de sacrifier presque tout dialogue à un paysage sonore splendide et à une musique majestueuse. Un film de cette ampleur méritait un compositeur compréhensif de la création artistique pure et des passions déchaînées. Le Maître japonais Ryuichi Sakamoto (Furyo, Le Dernier Empereur - Oscar de la meilleure musique de film) a rempli le contrat haut la main. Avec son collaborateur Alva Noto (notamment au sein du Yellow Magic Orchestra), Sakamoto a créé une bande originale captivante qui sera assurément la bonne surprise de l'hiver. L'album contient également la musique additionnelle de Bryce Dessner (compositeur pour le Kronos Quartet et le LA Phil).

KAU (previously KAU trio.) is an instrumental trio based in Brussels. Representing various European backgrounds, the Belgian capital and melting pot proves to be a never ending source of inspiration for the band. Taking influences from jazz, groove and dance music, their aim is simple but straightforward: to make your heads bob. The formula they use to do so has been the same since their early days: improvisation, never ending jam sessions and an open-mindedness towards various genres and styles. This gives their music an organic and vibrant feel. Furthermore, the three boys' long-lasting friendship is at the heart of it all, always relying on what brings them together: their love for music. The KAU cycle is bound to repeat itself and to birth something new - over and over again.

"The Cycle Repeats" is KAU's debut album, due on September 22 on SDBAN Ultra, the home of ECHT!, Black Flower, Glass Museum, STUFF. and more. It represents a milestone in the band's musical journey: it's their firm decision to present a strong and unified trio playing music that stands out through the combination of 80's synths, acoustic drums and electric bass. Moreover, the album succeeds in capturing the energy of their infectious and legendary live shows.

Highlights are album opener "Kampala", which has a throbbing bassline, jazzy synths and heavily modified arpeggiators at its core. The album's first single "Little Steps" starts with a strong hip hop groove, morphing into Herbie Hancock-style chords. "Amulet" is inspired by breakbeats, fast paced grooves and pentatonic bass lines. Both "Kautokeino" and "Alaska" are an invitation to travel to the utmost remote places of this earth, using intense sequencing and suffocating subbasses into an epic finish, probably demonstrating the trio in its most sincere form.

In short: with André Breidlid on drums, Matteo Genovese on bass and Jan Janzen on synths, KAU are a trio of childhood friends with a pan-European identity, whose music reflects the city they grew up in: unapologetic, richly diverse and with a spontaneous groove underlining it all. With their new album "The Cycle Repeats" they directly aim for your dancing shoes and souls.

REPENTANCE wurde 2018 vom ehemaligen SOIL- und DIRGE WITHIN-Gitarristen Shaun Glass aus Chicago, Illinois gegründet und ist eine primitive, aggressive Metal-Band. Im Frühjahr 2018 veröffentlichte die Band ihre ersten beiden Demo-Tracks, gefolgt von einem von der Kritik gefeierten Debütalbum ("God For A Day", 2020) und zahlreichen Shows mit hochkarätigen Acts wie TRIVIUM, DEVILDRIVER, JINJER, SKULL FIST, TOXIC HOLOCAUST, SACRED REICH und anderen.
"REUE kam ganz natürlich zusammen, was eine sehr reinigende Erfahrung war. An diesem Punkt in meinem Leben hatte ich gehofft, mit einer fast völlig neuen Gruppe von Menschen zu arbeiten und neue Musik zu machen -- und diese Crew war organisch eingesperrt. " Shaun Glas
Im September 2021 kündigten REPENTANCE ihren weltweiten Vertrag beim deutschen Label Noble Demon an und veröffentlichten ihre brandneue Single "Reborn". Ausgehend von der nächsten EP der Band und mit Corey Beaulieu vom mächtigen TRIVIUM an der Gitarre für ein Gast-Solo, war "Reborn" ein beeindruckender erster Blick auf das, was in naher Zukunft von REPENTANCE zu erwarten ist! Aber nicht nur mit einer neuen Single, sondern auch mit einer erneuerten Besetzung ist dieser Track der perfekte Einstieg in die Wiedergeburt des aggressiven, modernen Metal Sounds der Band. Die Ankunft der wilden Stimme von Adam Gilley setzt die Messlatte hoch und macht deutlich, dass es sich hier um eine wahrhaftige Reinigung des Sounds der Band auf allen Ebenen handelt.
Im Mai 2023 kehrt die Band mit einer weiteren Ohrfeige zurück, die in der Metal-Szene Wellen schlagen wird, indem sie die erste Single des kommenden Albums auf den Markt bringt, die Gesangsaufgaben von MILO SILVESTRO, dem neuen Sänger von FEAR FACTORY, beinhaltet!
Das neue Album "The Process of Human Demise" erscheint am 4. August 2023.

REPENTANCE wurde 2018 vom ehemaligen SOIL- und DIRGE WITHIN-Gitarristen Shaun Glass aus Chicago, Illinois gegründet und ist eine primitive, aggressive Metal-Band. Im Frühjahr 2018 veröffentlichte die Band ihre ersten beiden Demo-Tracks, gefolgt von einem von der Kritik gefeierten Debütalbum ("God For A Day", 2020) und zahlreichen Shows mit hochkarätigen Acts wie TRIVIUM, DEVILDRIVER, JINJER, SKULL FIST, TOXIC HOLOCAUST, SACRED REICH und anderen.
"REUE kam ganz natürlich zusammen, was eine sehr reinigende Erfahrung war. An diesem Punkt in meinem Leben hatte ich gehofft, mit einer fast völlig neuen Gruppe von Menschen zu arbeiten und neue Musik zu machen -- und diese Crew war organisch eingesperrt. " Shaun Glas
Im September 2021 kündigten REPENTANCE ihren weltweiten Vertrag beim deutschen Label Noble Demon an und veröffentlichten ihre brandneue Single "Reborn". Ausgehend von der nächsten EP der Band und mit Corey Beaulieu vom mächtigen TRIVIUM an der Gitarre für ein Gast-Solo, war "Reborn" ein beeindruckender erster Blick auf das, was in naher Zukunft von REPENTANCE zu erwarten ist! Aber nicht nur mit einer neuen Single, sondern auch mit einer erneuerten Besetzung ist dieser Track der perfekte Einstieg in die Wiedergeburt des aggressiven, modernen Metal Sounds der Band. Die Ankunft der wilden Stimme von Adam Gilley setzt die Messlatte hoch und macht deutlich, dass es sich hier um eine wahrhaftige Reinigung des Sounds der Band auf allen Ebenen handelt.
Im Mai 2023 kehrt die Band mit einer weiteren Ohrfeige zurück, die in der Metal-Szene Wellen schlagen wird, indem sie die erste Single des kommenden Albums auf den Markt bringt, die Gesangsaufgaben von MILO SILVESTRO, dem neuen Sänger von FEAR FACTORY, beinhaltet!
Das neue Album "The Process of Human Demise" erscheint am 4. August 2023.

Soundway presents Circus Underwater’s 1984 self-titled masterpiece. Remastered and extended to a double LP, this deluxe version includes six unreleased tracks unearthed from the original ¼” tapes, and presented with an insert, including never-before-seen photos and the fascinating story behind the music.

Featuring artwork from Grateful Dead collaborator, David Lundquist, the album encapsulates a unique moment in time. Echoing the story of a generation that grew up in the 50s and 60s where music was everything, two friends embark on a journey of experimentation which begins in the beatnik suburbs of Washington DC and travels to the heart of hippie San Francisco.

The result is an opus that fearlessly blurs the boundaries of genres and embraces diverse influences. Elements of prog, rock, ambient and wave music culminate in an odyssey that seamlessly bridges the gap between the spaced-out creativity of the 70s and electronic music of today

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

Als Carly Simon bei Jac Holzmans Elektra Records unterschrieb, war dies der Beginn einer Beziehung, die auf Vertrauen und gegenseitiger Bewunderung beruhte.

Zur Feier ihrer Zusammenarbeit hat Jac eine Sammlung von Tracks aus Carlys ersten drei Elektra-Alben zusammengestellt, die seiner Meinung nach ihre Zusammenarbeit und den Bogen ihrer Partnerschaft am besten repräsentieren. Mit Erinnerungen von Jac und Carly, herausgegeben von Ted Olson, erforscht diese "Sammelalbum"-Sammlung die Art und Weise, wie ein junges Talent und ein erfolgreicher Labelboss zusammenwirkten, um einen Sound zu schaffen, der die Singer/Songwriter-Bewegung definierte, die mit dem Feminismus der frühen 1970er Jahre zusammenfiel.

There's a buzz building around Australia’s Featherstone and his debut EP for the UK's Gated cements his reputation for acidic, emotive electro. These four tracks see the Adelaide-based artist with one eye on the dancefloor and one on pulling as much soul as he can from his gear. This is glassy-eyed stuff, deeply melodic but punchy as hell, with all four tracks hitting hard

Today, Anjimile Chithambo, better known as Anjimile, announces his new album, The King, out September 8th, his first full-length since 2020’s breakthrough Giver Taker. To herald the announcement, he shares lead single, ‘The King’, accompanied by a visualiser by Daniela Yohannes, whose striking painting takes centre stage on the album cover.

Highlighting the artistic shift from Giver Taker to now, ‘The King’ opens with a lofty, melodic choir, an intro that belies the song’s motives. Suddenly, sinister arpeggios interrupt the reverie, and the voices grow darkly serious. Deeply steeped in the confusion, grief, and rage of being Black in America, ‘The King’ pushes back against the tired adage, “what doesn’t kill you makes you stronger,” hissing, “What don ’t kill you almost killed you// What don’t fill you//pains you// drains you.”

“If Giver Taker was an album of prayers, The King is an album of curses.” In his second album, Anjimile continues exploring what it means to be a Black trans person in America. The brutally honest reflection of 2020’s deadly summer is less reminiscent of the pink cloud of early sobriety and more rooted in the reality of seeing brutality with clear eyes. Drawing from influences ranging from religion, Phillip Glass, and lived experiences, the album is a grand step forward for Anjimile. Nearly every sound you hear on The King comes from two instruments: an acoustic guitar and Anjimile’s own voice. Other than a few beautiful contributions from Justine
Bowe, Brad Allen Williams, Sam Gendel, and James Krivchenia (Big Thief), the album is the result of a year in LA working intimately with Grammy and Juno winner Shawn Everett.

Today, Anjimile Chithambo, better known as Anjimile, announces his new album, The King, out September 8th, his first full-length since 2020’s breakthrough Giver Taker. To herald the announcement, he shares lead single, ‘The King’, accompanied by a visualiser by Daniela Yohannes, whose striking painting takes centre stage on the album cover.

Highlighting the artistic shift from Giver Taker to now, ‘The King’ opens with a lofty, melodic choir, an intro that belies the song’s motives. Suddenly, sinister arpeggios interrupt the reverie, and the voices grow darkly serious. Deeply steeped in the confusion, grief, and rage of being Black in America, ‘The King’ pushes back against the tired adage, “what doesn’t kill you makes you stronger,” hissing, “What don ’t kill you almost killed you// What don’t fill you//pains you// drains you.”

“If Giver Taker was an album of prayers, The King is an album of curses.” In his second album, Anjimile continues exploring what it means to be a Black trans person in America. The brutally honest reflection of 2020’s deadly summer is less reminiscent of the pink cloud of early sobriety and more rooted in the reality of seeing brutality with clear eyes. Drawing from influences ranging from religion, Phillip Glass, and lived experiences, the album is a grand step forward for Anjimile. Nearly every sound you hear on The King comes from two instruments: an acoustic guitar and Anjimile’s own voice. Other than a few beautiful contributions from Justine
Bowe, Brad Allen Williams, Sam Gendel, and James Krivchenia (Big Thief), the album is the result of a year in LA working intimately with Grammy and Juno winner Shawn Everett.

Reissue of Veik's `From Madness To Nomadness' EP out now. Limited to 300 copies on 10" black in clear vinyl. Originally released on cassette in 2016, `From Madness to Nomadness' is the debut EP from Caen, France-based group Veik and is now being reissued on vinyl for the first time, with a limited 10" release courtesy of Fuzz Club Records. Introducing listeners to the trio's motorik, synthesised post-punk, the EP is a compilation of four tracks taken from a two-day recording session in the summer of 2016, recorded and mixed by Hugo Lamy of fellow Caen experimental duo Glass. The cover and the title of the EP are openly inspired by the `Telepathic Music' works by the French conceptual artist Robert Filiou, outlining the band's multi-disciplinary approach to music from the off. At the time drummer/vocalist Boris Collet told a local media outlet that "we wish to assume links with other artistic disciplines like photography". Concerning the reference to Robert Filiou, he added: "It is not so much the visual aspect that is important as the philosophy and the vision of the economy that he develops. The result should not be pompous or falsely intellectualizing. It is just that it seems relevant to build bridges between different fields (artistic or not). Bringing a bit of philosophy, architecture, images, sociology or geography into music can't hurt. It's not pretending to be anything else than what it is, it's still music, but I think there is a gesture and an intention to assume, no matter how you qualify it (creative, political, reflective). You have to allow yourself to do it."

It contains all the signatures of her best lyricism: delicate and precise phrasings, moments that flicker between beauty and banality, meaning that forms through the accretion of observations, memories, and unexpected adages. This is an album that is at once post-theistic and devoted to a relationship with the divine, each song blinking in and out of "the fragile plane," a place Krieger describes as "a middle ground in the universe," both abstract and peaceful, where time, bodies, and names don't exist.

Krieger initially collaborated with Luke Temple and Jeremy Harris to record her vocals and guitar to tape at Panoramic Studios in West Marin, CA. As the album continued to form, Krieger envisioned instruments - like the French and English horn (Nancy Ranger and Priscilla Reinhart), electric guitar (Jacob Drab), and pedal steel (Kevin Copeland) - as characters which would walk in and out of the soundscape. What emerged from conversations with composer Sammy Weissberg, are brass parts that have a dark, almost surreal logic: horns arise to emphasize a word or phrase, fall out completely, only to rush back with dissonant orchestrations that gesture simultaneously toward deterioration and generation.

While Krieger takes inspiration from Elliot Smith's honesty, Judee Sill's cosmic reaching, and Joni Mitchell's sharp noticing, the dream-like association, harmonic dissonance, and angular melodic ascensions in each song are singularly and delightfully Krieger's.

"I Keep My Feet on the Fragile Plane" is a daring collection of songs by an artist who scries with both the cold glass eye of truth and the beating heart of empathy; who portrays life in all its twisted complexities.

Anchored by the powerhouse precision drumming of Felix Lehrmann and the resounding groove of electric bassist Thomas Stieger, augmented by kaleidoscopic contributions from Raphael Meinhart on vibes, marimba, MalletKAT Pro and synth and pyrotechnic shredding from six-string marvel Arto Makela, this potent collection of intelligent high- energy music conjures up favorable comparisons to everyone from Philip Glass and Frank Zappa to Joe Zawinul, Allan Holdsworth, King Crimson and Tribal Tech.

And while those varied influences may seep into the fabric of the ten
compositions here, the members of Marriage Material apply their own personal touch to the material, which they've come to define as "cinematic jazz."

Das Bristoler Jazz-Kollektiv Ishmael Ensemble verdeutlicht mit "Visions Of Light", dem Nachfolger ihres gefeierten Debüts "A State Of Flow" (2019, "Album Of The Month" Mojo, The Guardian), wie zwischenmenschliche Beziehungen unter den Musikern atemberaubend ehrgeizige und emotional eindrucksvolle Kompositionen entstehen lassen können. Unter Leitung des Saxofonisten Pete Cunningham hat sich das Ensemble als explosive neue Kraft im UK Jazz profiliert, deren cineastischen Tracks Dub und elektronisches Feingefühl aus der vitalen Bristoler Szene kombinieren. Cunninghams Aufstieg als gefragter Produzent führte zu Remixen für Techno-Legende Carl Craig und das legendäre Blue Note-Label.

Nous'klaer Audio presents Martinou - Chiral, the follow full-length up to his 2021 album Rift. This time nine tracks across two vinyls. An album flowing 'in a way' like Rift, but it's different: More outspoken, heavier sound design and it peaks on a blissful note. ''Open up the blinds and take me there. We'll break the surface tension. We'll dive in. I'm locked in your devotion. You give an inclination to our demise. It will be our exit. To bliss, we'll be its guardian. Once there was love. Clear as glassy water. No ripples, no waves. I followed while you led. Our arrival was warm. Hot, even. Stunning to a startling degree. Hands intwined, frolicking towards the blue. Hours passed, and white heat cede to an orange hue. We cooled down. Red. We rallied. Black. It began. Into the deep darkness we ran. White sand, it has a tendency to get everywhere. Salt water will only dehydrate you more. Shriveled and dry. Scratchy and coarse. More. And then we were lost. Fingers once locked grew distant. Morning, dear. Where have you gone? We looked. A glimpse from afar. Red. We rallied. Shall we share a bottle of wine? Black, lost again. Afternoon, friend. Where were you? Red. Alone. Black. We rallied. Shall we try somewhere new? Sand and salt. Evening, sir. Reservation for one? Reservations a plenty, I say. Evening, miss. Dining alone? Aren't we all? Dining, miss, not dying. Oh, yes, alone. Black. Sand and salt. I found you. No. No. Wait, do I know you? You feel like a dream. Don't touch me. Move along, sir. Who are you? Leave. Who are you? Where did you go? Keep moving. I am, I will. Time to move on. I'm moving! Leave. Don't touch me. Leave. Why are you? Exit. Purple. Orange. Yellow. White. Blue. Morning, dear. Shall we have breakfast? I think I'll sleep some more. But it's our last day. I know. See you downstairs when you're ready. OK. I open up the blinds. A bird breaks the surface tension. Locked in. To Devotion? No. Demise. An inclination. Reverie. Take me there. Where? Exit (To Bliss) '' Text by Gregory Markus

The story of Existence dates back to 2016 when a group of young Stockholm hardcore heads wanted to get into some good old Cro-Mags worship. After some changes in personnel, the current line-up of deranged idiots has been paving the way for a violent future since early 2017. They currently share members with several other bands, including Blood Sermon and Speedway and are all active in the local DIY community in different ways, for example running Alive and Well Fest. With an EP under their belt in 2018, several tours across Europe and beyond, as well as appearances on such stages as Outbreak, the sound began to evolve leading up to the masterpiece that is the debut LP, ‘Go to Heaven’. Clocking in at nearly 40 minutes we don't think anyone can truly be prepared for this insanely epic body of work. From Slayer, to Merauder, to H8000, to Arkangel to Integrity, this is a masterclass in metallic hardcore songwriting by the strong beating heart of Stockholm HC. Songs that take you on a journey from a classic metallic breakdown riff to acoustic guitar sections to sword samples needed a hand that was not afraid of the complexity, leading to Jonah Falco of Fucked Up on mixing duties giving this the depth that it deserved. At times introspective, and at other times classic brute force, the themes of the lyrics are well summed up with the painted artwork by Nora Löwenberg of a face behind shattered glass, exploring the multifaceted nature of humanity and the ever changing place of the self in today’s global world. So if this all sounds like your kind of hardcore, then listening to this LP will truly be… heaven.