Cerca:the l bit

Die Ende der 90er Jahre gegründete Band Unwed Sailor aus Tulsa macht einen einzigartigen Bass-lastigen Instrumental-Pop mit Post-Rock-Elementen, der zwischen knallharter Härte und luftiger Melodik schwankt. Seit sie 2019 nach einer zehnjährigen Pause zurück sind, haben sie mit ihrer kreativen Energie und dem Mischen von Genres ihre bisher besten Werke rausgebracht, darunter "Mute The Charm" (2023), "Underwater Over There" (2024) und "Cruel Entertainment" (2025). Für ihr elftes Album, "High Remembrance", brachte Gründungsmitglied Johnathon Ford eine Reihe von zu Hause aufgenommenen Entwürfen, Demos und Hooks ins Studio, wo sie unter der Leitung der langjährigen Mitstreiter Matt Putman (Schlagzeug) und David Swatzell (Gitarre) unter dem Motto Nostalgie und dem bittersüßen Trost der Erinnerung zum Leben erweckt wurden. Auf den acht Tracks des Albums gibt's Anklänge an den alternativen Rock der Blütezeit, die AM-Radio-Attitüde der späten 70er Jahre und die ekstatische Unbekümmertheit der New Wave, neben anderen Einflüssen, die sich einer einfachen Kategorisierung entziehen. Die Lead-Single ,West Coast Prism" verbindet einen unvergesslichen melodischen Hook mit optimistischen Drums und einem klirrenden Arrangement, das sich in einen treibenden, farbenfrohen Refrain verwandelt. Getreu seinem Titel erinnert der Song an weißes Licht, das sich in ein Spektrum aufspaltet, während weitläufige Synthesizer und sanfte Backing Vocals eine Aura melancholischer Glückseligkeit schaffen. Ford nennt treffend ,eine tiefe Vorliebe für das Meer, das Surfen, die Redwoods und die felsige Küste von Oregon" als spirituellen Hintergrund für seine Umgebung. Inspiriert von der Art und Weise, wie Erinnerungen die persönliche Identität prägen, könnte ,Don't Let Go" mit seinem straffen Tempo, seinem knackigen Ton und seinen schwindelerregenden Gitarren ein verlorener Alternative-Radio-Ohrwurm sein, während die täuschend einfache Rhythmusgruppe und seine glitchige Elektronik ,The Longest Day" fest in der Gegenwart verankern. ,Cinnamon" stellt wunderschön arrangierte Akustikgitarren-Gegenmelodien in den Vordergrund, zusammen mit Schichten subtiler Details, Chorstimmen und entspannten, hohen Bassgitarrenklängen. Laut Ford ist der Song ,eine Hommage an die Country-Musik der 70er und 80er Jahre, die die Familienausflüge in die Wüste begleitete, als ich ein Kind war", wobei Townes Van Zandts ,Pancho and Lefty" ein besonders bedeutender Ankerpunkt ist. An diesem Punkt in der bewegten Karriere von Unwed Sailor findet Ford einige seiner stärksten Inspirationen darin, darüber nachzudenken, wo das Projekt begonnen hat, während er es ständig mit neuen Ideen, Arrangements und Genre-Einflüssen vorantreibt. ,Es geht darum, an den Dingen festzuhalten, die man am meisten liebt", sagt er, ,einschließlich sich selbst." Sein akkordbetontes Bassspiel zieht sich wie ein roter Faden durch die Alben der Band und verleiht jeder neuen Sammlung eine vertraute Ernsthaftigkeit und Wärme.

Joyce Manor are California pop-punk legends and I Used To Go To This Bar is this epochal band operating at the top of their game. They continue to deliver relentlessly satisfying rock music in a manner that makes it look simply effortless. The Torrance, California-hailing trio of Barry Johnson, Chase Knobbe, and Matt Ebert are at a point in their career where their position as one of the most beloved rock bands is a foregone conclusion. Their seventh album finds the group continuing to find rich new veins to tap in their short-and sweet songcraft without losing an ounce of bite that gained them such repute in the first place. I Used To Go To This Bar further situates Joyce Manor in the rich lineage of their influences and inspirations. Think AFI"s rapid-fire burn, Weezer"s indelible power-pop acumen, and the dusky emotionalism of The Smiths while further establishing them as leading lights in the current rock landscape. The fresh burst of inspiration that fuels I Used To Go To This Bar proves that Joyce Manor are far from content to rest on such laurels, moving forward with their sound and style in a way that reminds you of how they got to this point in the first place. Catch them live at Coachella 2026.

A brash, unapologetic blend of electronic, dance, punk, industrial, and pop music, No Lube So Rude exists at the intersection of the personal and the political, where the body serves not only as a sexual and spiritual vessel, but also as the front line in a battle for basic human rights. Peaches’ lyrics are bawdy and explicit here, laced with biting sarcasm and clever wordplay, but they’re also surprisingly vulnerable, offering up a candid look in the mirror from a post-menopausal queer icon reckoning with a society that’s come to expect silence, if not outright erasure. The result is a deliberately provocative exploration of identity, sexuality, and bodily autonomy from a trailblazer, a singular work of emotional and sonic alchemy that balances the poetic and the profane in equal measure as it transforms all the friction and frustration of modern life into joy and transcendence.

Dr. John Chowning (b. 1934) is a pioneering computer musician, composer and professor who, in 1967, discovered the FM synthesis algorithm. This breakthrough in electronic music allowed for simple, yet rich timbres described as sounding "real." With this discovery, Chowning composed singular, dramatic electronic music and changed the timbre of music forever.

Chowning utilized the potential of computers to synthesize sounds according to programmed instructions. The composer's use of his own FM algorithms, digital synthesis with computers and the new compositional concepts offered by a programmable musical structure combine to create some of the most original and unique electronic music ever created.

The compositions on this LP were realized between 1966 and 1981 and the music on this LP, with the exception of Stria, was originally released on CD in Germany (Wergo, 1988). The version of Stria included here contains a section not included on the Wergo CD. Thus, this version of Stria is complete. This is the first time these purely digital recordings have been released on an analog medium. The original dynamics of these groundbreaking compositions have been preserved on this LP. As a result, listeners are advised to increase volume with caution.

In 1975, John Chowning founded the CCRMA - Center For Computer Research In Music and Acoustics at Stanford University. Through Stanford, Chowning licensed his groundbreaking algorithms to Yamaha resulting in numerous new instruments including the iconic DX series of keyboards. In 1972, his composition Tureens which is included on this LP, was the first to create the illusion of continuous 360-degree space using four speakers.

Technical Notes:

All pieces on this LP are originally quadrophonic. The illusion of moving sound sources is thus projected from the surrounding environment given by four loud-speakers on the stereo-basis.

STRIA was composed using Chowning’s own program to compile the musical structure into note-lists and MUSIC 10 (by D. Poole/Tovar) to generate the sounds in software-synthesis. The original quadrophonic version utilized 12 bits, two different sampling rates being used to accommodate the enormous amount of data on the magnetic disc-packs available at that time. The original sound-data was processed by sampling-rate conversion and digital mixes to achieve the stereo version presented on this LP.

SABELITH and TURENAS were synthesized originally using Smiths’ SCORE and MUSIC 10. However, their format was changed from direct sound-samples to a command stream for a special purpose computer, the System Concepts Digital Synthesizer, designed by Peter Samson, one of the first large-scale digital synthesizers for real-time sound processing - one was designed for CCRMA in the late seventies. For this recording the sounds were recorded directly from the synthesizer computing the samples in real-time.

PHONÈ was realized with the System Concepts Digital Synthesizer using again Chowning’s own program to create the note list.

The master tape of this LP was made directly from the computer system at CCRMA which generated and stored the sound data in digital format. No analog recording was involved at any stage of the production and editing process.

In the pantheon of classic free jazz, Noah Howard's The Black Ark looms large. Recorded at Bell Sound Studios in New York City in 1969 – just prior to the alto saxophonist's relocation to Europe – the album was eventually released in 1972.

The Black Ark exhibits not only the power and imagination of Howard's playing, but also his breadth as a composer and bandleader. Listeners expecting unrelenting blasts of "energy music" might be surprised to find a cohesion atypical of free jazz; amidst the wild, impassioned solos, Howard weaves in Latin rhythms and fat-bottomed grooves.

The first side, consisting of "Domiabra" and “Ole Negro,” sets the album's tone. Both tracks sound as if they could have appeared on some of Blue Note's proto-spiritual jazz, groove-heavy releases – evoking the likes of Lou Donaldson or Horace Silver – before ceding the floor to the horn players' anarchic firepower.

As John Corbett writes in the liner notes, "Two players stand out. Bassist Norris Jones – who would soon consolidate his name into a one-word reversed amalgamation/permutation of the two, Sirone – is given ample room, largely unaccompanied; his corporal approach foreshadows later work with the Revolutionary Ensemble. But the secret weapon on The Black Ark is Arthur Doyle. Straight from basement rehearsal sessions with Milford Graves, whose ensemble he had joined and who remained a favorite of the drummer for decades, Doyle is a human flamethrower."

Trumpeter Earl Cross' guttural, vocal effects complement Doyle's take-no-prisoners approach, while the estimable combination of Muhammad Ali (Rashied's brother) on drums and Juma Sultan on congas adds an ever-shifting propulsion. The septet is rounded out by the enigmatic pianist Leslie Waldron, who anchors the group with imaginative accompaniment and occasional boppish flourishes.

Every bit worthy of its reputation as an "out-jazz" holy grail, The Black Ark only sounds better with age. It remains the ideal record to convert the remaining free-jazz skeptics.

KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

Our well received series of Golden Earring remastered and expanded editions continue with On The Double. The Red Bullet archive was turned inside out again by Wouter Bessels and he found the original first-generation quarter inch master tapes of this classic 1969 album. These particular tapes have never been used for any release before, as in the analogue days of mixing and mastering it was customary to run off a set of equalized tape copies - with compression and sometimes reverb added - for release on vinyl and cassette. Also, genuine stereo mixes of both ‘Dong-Dong-Di-Ki-Di-Gi-Dong’ and its B-side ‘Wake Up-Breakfast!’ were found.

As the On The Double album was mixed in glorious stereo, we've included these never-before released stereo mixes (instead of the original 1968 mono mixes), alongside the original stereo mixes of ‘Where Would I Be’/’It’s Alright, But I Admit It Could Be Better’, the single that came out after On The Double. All in all, this expanded release of On The Double contains everything released by Golden Earrings between the albums Miracle Mirror and Eight Miles High and, as it features all original stereo mixes, fills another important hole in the reissue programme of the band. On The Double (remastered and expanded) is now available as a individually numbered edition of 1000 copies on crystal clear vinyl. It contains an insert, printed inner sleeves with liner notes by acclaimed Golden Earring biographer & archivist Jeroen Ras and additional remastering notes and comes in a gatefold sleeve.

With Late Bloomer, Belgian-Cameroonian rapper, composer and multi-instrumentalist Kunde delivers a work that is both deeply personal and socially charged. The album forms a diptych with his previous release, Dandelion(2024). In Late Bloomer, Kunde pays tribute to his mother, who largely raised him and his sister on her own, using pivotal personal moments as a mirror through which he reveals the world from his perspective.

Composed and arranged entirely by Kunde and brought to life by his live band, Late Bloomer unfolds as a rich, layered universe where jazz, R&B, hip-hop, samba and touches of psychedelic rock intersect. Whereas his first album emerged mostly from the home studio, the new work is driven by live energy, collective interplay and a broader sonic scope. The album is further enriched by guest contributions from Helena Casella, Fred Gata, Okon and Tennishu (US), frontman of the Anderson .Paak-supported jazz-fusion band Butcher Brown.

Late Bloomer cements Kunde's reputation as a storyteller, composer and musical director. The album is both intimate and expansive, rooted in personal history while offering incisive reflections on the human condition. Like his inspirations, ranging from Coltrane and J Dilla to D'Angelo, Don Blackman and Arthur Verocai Kunde crafts a distinctive sound that is at once deeply personal and universally resonant.

-Boxset mit vier Alben featuring Drummer Neudi (u.a. Manilla Road, Trance, Griffin, Savage Grace…)

- Limited Edition mit handsignierter Autogrammkarte

Schon mit 8 Jahren entdeckte Andreas Neuderth, der seit Mitte der Achtziger nur noch den Spitzname NEUDI benutzt, sein Talent für das Schlagzeug. Sogar bereits schon etwas früher wurde er zum Fan harter
Rockklänge, die üblichen Verdächtigen wie Kiss, Status Quo und Rush. Mit 15 Jahren, im Jahr 1986, taucht sein Drumming erstmals auf einem Tape der Band SUDDEN DARKNESS auf, was 2026 zu einem Jubiläumsjahr für
den heute in Rheinhessen lebenden Musiker darstellt. Seine bekanntesten Stationen sind neben MANILLA ROAD (2011 bis zum Tod von Mark Shelton im Jahr 2018) und SAVAGE GRACE (2009/2010) aktuell TRANCE,
ROXXCALIBUR, ANGEL OF DAMNATION, IRONSWORD, JAMESON RAID und die Manilla Road-Nachfolgeband SENTRY. Das 1994er ECONOMIST Album „New Built Ghetto Status“ bezeichnet Neudi trotz all diesen genannten Namen als „eines der drei besten Alben, auf denen ich zu hören bin“. In der Tat darf man getrost sagen, dass es den Stil von ECONOMIST wohl nur einmal gibt. 1995 wurde die CD von Massacre/Intercord lizensiert, doch
mit dem progressiven Stil war man seiner Zeit einfach zu weit voraus.

Als Reissue, erstmals als Doppel LP mit dem unveröffentlichten zweiten Album „Mind Movies“ erschienen, erntete man nun endlich die verdient euphorischen Kritiken. VIRON (2004/2006 und 2008) war nach einer Zeit
der Experimente Neudis Rückkehr zum traditionellen Metal, den er als Fan auch zuvor nie verlassen hat. Die zwei hochgelobten Alben waren indirekt der Vorgänger der erfolgreicheren Band ROXXCALIBUR. SCROLLKEEPER
ist eine Band aus Texas, die für ihre EP „Wetico“ als Manilla Road-Fans mit Neudi zusammenarbeiten wollten. Neudi ist bekannt für sein „busy drumming“. Beeinflusst von Neil Peart (Rush), Randy Foxe (Manilla Road) oder Ian Paice (Deep Purple) bietet er nicht nur die genreübliche Rhythmusarbeit „im Hintergrund“, sondern bringt das Instrument teils auffällig in den Vordergrund. (Infotext von Michael Gresner, Januar 2026)

Following her acclaimed 2023 release Flood City Trax, a dreamy, lo-fi take on footwork inspired by the crumbling rust-belt city she calls home, Nondi returns to Planet Mu with her second self-titled album, Nondi…While Nondi… retains some of the hazy, nostalgic atmosphere of Flood City Trax, it pushes her sound in bold new directions. “I made this album to capture the sense of freedom I used to get from music when I was first discovering it all,” Nondi says. “It’s meant to be cute, fun, kinda weird and emotional — but most of all, it’s a presentation of some of the prettiest tracks I’ve made.” Though she hasn’t really experienced club culture where she lives, her impressionistic productions evoke the surreal, lingering sounds of a night out — the melodic haze that hums in your ears as you drift off to sleep. Lo-fi and melodic, yet fluid and free, her music carries a sense of flight and intuitive logic. Nondi’s influences range widely — Actress, Aphex Twin, footwork, and the stranger edges of dub techno are all felt, yet she hallucinates them through her own weathered, dreamlike lens. Her tracks often build from clashing loops that evolve and transform organically, or from familiar genre elements reshaped by her instinct for misty, heart-wrenching melody. Some moments stay closer to genre, like Broken Future 175, a drum-and-bass tear-out that dissolves into lush, blurred chords, or Just Hanging Out, a bruised and beautiful take on 2-step. Lead single Tree Festival feels like a blown-out fusion of rave energy and sped-up new-age bliss, while Death Juke drifts through off-beat vocal samples, pulsing drums and 8-bit FX, reminiscent of early Steve Reich reimagined through a Game Boy. Nondi… is a uniquely moving and exploratory album that expands her sonic world even further. Lo-fi yet luminous, playful yet profound.

8-page lyric / drawing booklet, glossy poster, download card (inc. mp3s), white inner paper bags, sticker on cover.

After 7 strange years of relative silence, and 13 years of being a band, Dog Chocolate have returned with ‘So Inspired, So Done In’. Their fourth album is their most focused, cohesive and song-y yet. They still sound like a bin full of wasps, but now the bin has double-cream or a Viennetta or something at the bottom. While many of the 16 songs on here barely make it past the 3-minute mark, each one is bursting with all the textures and colours of an office cupboard: full of old sweets, fluorescent markers, and multiple ways to fix paper together.

Thematically, a lot of ground is covered, with songs tackling subject matter as diverse as overheard conversations, healing fungal toenails, the Rogerian concept of the Actualising Tendency, bronze age living conditions, dreaming songs into being and human-plant relations. Work (and anti-work) is a recurring theme, as is artistic inspiration and burnout. Dog Chocolate revel in the mundane and incidental, to explore bigger, existential questions. Recorded and mixed by POZI’s Toby Burroughs and mastered by Sofia Lopes, ‘So Inspired, So Done In’ charts a long and confusing period in the band’s collective life, marked by major life changes, losses and shifts, colouring the band’s trademark frantic, daft and anxious energy with a contemplative glaze. Dog Chocolate continue to investigate their internal and external landscapes with playful curiosity, frustration, silliness and empathy.

Pre/history of the band: In the early 2000’s Andrew (vocals), Rob (guitar, vocals) and Matthew (guitar, vocals) played together as teenagers in South-East London-based maximalist, costumed surrealist punk band Yeborobo. They met drummer Jonathan playing with his instrument-swapping masked band Limn at art space Utrophia in Deptford. Later, when both bands had split, Dog Chocolate formed with a shared desire to make a band that was simpler than their theatrical past: small amps and light guitars, no more than 2 drums at any one time, a keyboard no longer than a ruler and a shared ethos… “it’s about giving a shit, but at the same time not giving a shit, but not ‘whatever’, not giving up never!”. The band floated the term “pencilcase punk” to describe their jumbled, colourful, dense and instant music.

Dog Chocolate built on this early scrappiness, bedding into their sound over several albums. Their first “Or” (2014) was a split with Ravioli Me Away, soon followed by “Snack Fans” (2016) and “Moody Balloon Baby” (2018). Along the way they played gigs with bands as wide ranging as Deerhoof, No Age, Dry Cleaning, Palm, Daniel Wakeford, Shopping and Pozi.

With a tendency to converse with each other both lyrically and musically cultivated over many years, the members of Dog Chocolate bounce off each other, respectfully disagree, try to make each other laugh and share some of their most vulnerable feelings with each other. ‘So Inspired, So Done In’ is their own unique offering during these unsteady times: a language of friendship translated into songs.

With over 20 albums under his belt, John Beltran returns to his much-loved Placid Angles project with one of his strongest albums to date. Years of experience have brought a deep focus and awareness of textures, space and emotion that reveal a producer at the top of his game.

From the sound of slowly moving mountains that is the title track "Canada" to the breakbeat-laden "Hero BK" and collaborations with Sophia Stel, Tom VR, and Yussh, it's easy to hear why this album is special.

Beltran notes, "Everything from the scenery to the people just made sense, so I decided to dedicate this record to them and that beautiful country." He adds, "I think you'll hear a little bit of all of the Placid records in this one. I encapsulated what the project has always been and will continue to be moving forward."

On "Canada", the past is present in a joyous way, a record full of emotion and ambience connecting nostalgia with the now.
"That's what Placid Angles is," Beltran says. "A peek back into that wonderful era of music."

Double Je is Hypnotique’s third release on Bordello A Parigi. Following the successes of La Pénombre and Solitude, the trio of Sergio Mesa (IAMNOTAROBOT), David and Maia Jornet have reconvened for a smouldering three tracker. Vocals scale soaring synthlines in the title piece. Melodies dip and swoop like birds in flight. A beat throbs as Maia’s lyrics sail ever higher in this tale of misguided romance and impossible answers. The instrumental version allows the track’s intricate synthwork to take centre stage. Drums snap that bit tighter, gentle pads lapping against the pulsating basslines and addictive hooks. Tempos drop on the flip, the B-Side being dedicated to “Dark.” Slender keys rise above a steady kick before a rumbling bass takes hold. Vocals take spoken word form, their message and mood shifting from resignation to resilience and then resolve as the track becomes ever more emboldened. A truly fantastic return from a uniquely talented group.

Irlam's dastardly duo are back with another bonza bucket of bass, breaks and badness as they fire up Studio Krust for another high octane session.
Sure to top the Fairground charts and further enrage the Hell's Angels, 'Synthetic Stupidity' sees the pair unleash their full force unabashed, as they hit a purple patch full of new found and frankly quite surprising productivity (rumours of a European-wide sputnik shortage are the likely catalyst).

Fractionally distilling their many collective years of dance music experience into 12 refined pieces of advanced club kinetics that skirt between the syncopated intricacies of breakbeat science and maxed-out 4/4 propulsion.
More hyped-up vox & frantic sampling, more tension, tons of one-finger keyboard melodies, and - as usual - moments of sonic tomfoolery to flummox the assumers.
With their drug debts paid off and a forced clarity of mind, 'Synthetic Stupidity' is a more expansive, deeper and unhurried project; allowing Bosco and Metrodome the space and time to truly deliver the zenith of their sound.

This, is DJ ABSOLUTELY SHIT!!!

ARCHIVE veröffentlichen am 27. Februar 2026 ihr 13. Studioalbum Glass Minds über ihr eigenes Label Dangervisit / PIAS. Nach dem monumentalen Triple-Album Call to Arms & Angels (2022), das europaweit Top-10-Erfolge feierte und in einem triumphalen Konzert in der Pariser Accor Arena mündete, kehrt die Band mit einem Werk zurück, das intime Tiefe und epische Weite meisterhaft verbindet.

Musikalisch schlägt Glass Minds eine Brücke zwischen minimalistisch-introspektiven Klangwelten und treibenden, genreübergreifenden Arrangements – von hypnotischem Electro-Pop (Wake Up Strange) über motorische Gitarren-Power (Look At Us) bis hin zu tiefen Ambient-Atmosphären. Ergänzt wird das Album durch starke Gäste: Rapper Jimmy Collins verleiht „Heads Are Gonna Roll“ eine schneidende Intensität, während Lisa Mottram auf Songs wie „Glass Minds“ oder „The Love The Light“ ihre hypnotische Stimme einbringt.

Glass Minds markiert eine neue Schaffensphase in den drei Jahrzehnten von Archive. Von der Melancholie eines „So Far From Losing You“ bis hin zur Euphorie von „Shine Out Power“ demonstriert das Kollektiv seine ungebrochene Innovationskraft. Begleitend startet im Frühjahr 2026 eine große Europatournee mit Konzerten u. a. in Amsterdam, Paris, Hamburg und London.

Inspiriert von den schattigen Cabarets und verrauchten Jazzclubs des Weimarer Berlins der späten 1920erJahre, präsentiert Bryan Ferry mit seinem Orchester auf „Bitter-Sweet“ sein Solo- und Roxy-MusicRepertoire in neuem Gewand – mit einer raffnierten Jazz-Sensibilität. Das Album besticht durch elegante
Bläserarrangements, gedämpfte Trompete, Klarinettenklänge und eine Atmosphäre urbaner Melancholie,
die Klassiker wie „Alphaville“, „Reason or Rhyme“ und „While My Heart Is Still Beating“ neu interpretiert.
Ferry selbst steuert auf acht Titeln den Gesang bei, während die übrigen Stücke als instrumentale Neuinterpretationen präsentiert werden, arrangiert mit dem Können von Colin Good und gespielt von einem
Ensemble erfahrener Jazzmusiker. Das Konzept des Albums entstand aus Ferrys Tätigkeit als Musikberater
für die gefeierte deutsche Fernsehserie „Babylon Berlin“, in der einige Titel ursprünglich verwendet wurden
und die filmisches Drama mit authentischem Jazz verbindet. Perfekt für langjährige Fans, Jazzliebhaber
und Sammler: „Bitter-Sweet“ bietet eine neue Perspektive auf Ferrys Songwriting und ist damit ein herausragendes Album zum Ausstellen, Entdecken und Verschenken.
Das Album erscheint erstmals seit 2012 wieder als limitierte rote LP und CD.
Tauchen Sie ein in eine Welt, in der klassischer Art-Pop auf die wilden 20er Jahre trifft. „The Jazz Age“
interpretiert Bryan Ferrys Roxy Music- und Solo-Katalog als elegante Jazz-Instrumentals neu, präsentiert
vom Bryan Ferry Orchestra. Von „Virginia Plain“ und „Do the Strand“ bis hin zu „Love Is the Drug“ und
„Avalon“ – jeder Titel erstrahlt in authentischen Arrangements im Stil der 20er Jahre mit Banjo, Klarinette,
gedämpfter Trompete, Baritonsaxophon und Kontrabass, komponiert vom renommierten Arrangeur Colin Good. Britische Jazz-Größen wie der Trompeter Enrico Tomasso und der Saxophonist Alan Barnes erwecken
diese zeitlosen Melodien zum Leben, während die Mono-Produktion den Charme alter 78er-Schallplatten
heraufbeschwört. Ferry selbst verzichtet auf den Gesang und fungiert als Dirigent und Produzent. Dieses
innovative Projekt entstand aus seiner Liebe zum Jazz und seiner Neugier, wie seine Songs ohne Gesang
klingen würden. Perfekt für langjährige Fans, Jazzliebhaber und designorientierte Sammler: „The Jazz
Age“ bietet eine neue Perspektive auf Ferrys Werk und ist damit ein herausragendes Sammlerstück zum
Entdecken, Ausstellen und Verschenken.
Das Album erscheint erstmals seit 2012 wieder als limitierte Edition auf waldgrünem Vinyl (1LP) und
als CD.

Inspiriert von den schattigen Cabarets und verrauchten Jazzclubs des Weimarer Berlins der späten 1920erJahre, präsentiert Bryan Ferry mit seinem Orchester auf „Bitter-Sweet“ sein Solo- und Roxy-MusicRepertoire in neuem Gewand – mit einer raffnierten Jazz-Sensibilität. Das Album besticht durch elegante
Bläserarrangements, gedämpfte Trompete, Klarinettenklänge und eine Atmosphäre urbaner Melancholie,
die Klassiker wie „Alphaville“, „Reason or Rhyme“ und „While My Heart Is Still Beating“ neu interpretiert.
Ferry selbst steuert auf acht Titeln den Gesang bei, während die übrigen Stücke als instrumentale Neuinterpretationen präsentiert werden, arrangiert mit dem Können von Colin Good und gespielt von einem
Ensemble erfahrener Jazzmusiker. Das Konzept des Albums entstand aus Ferrys Tätigkeit als Musikberater
für die gefeierte deutsche Fernsehserie „Babylon Berlin“, in der einige Titel ursprünglich verwendet wurden
und die filmisches Drama mit authentischem Jazz verbindet. Perfekt für langjährige Fans, Jazzliebhaber
und Sammler: „Bitter-Sweet“ bietet eine neue Perspektive auf Ferrys Songwriting und ist damit ein herausragendes Album zum Ausstellen, Entdecken und Verschenken.
Das Album erscheint erstmals seit 2012 wieder als limitierte rote LP und CD.
Tauchen Sie ein in eine Welt, in der klassischer Art-Pop auf die wilden 20er Jahre trifft. „The Jazz Age“
interpretiert Bryan Ferrys Roxy Music- und Solo-Katalog als elegante Jazz-Instrumentals neu, präsentiert
vom Bryan Ferry Orchestra. Von „Virginia Plain“ und „Do the Strand“ bis hin zu „Love Is the Drug“ und
„Avalon“ – jeder Titel erstrahlt in authentischen Arrangements im Stil der 20er Jahre mit Banjo, Klarinette,
gedämpfter Trompete, Baritonsaxophon und Kontrabass, komponiert vom renommierten Arrangeur Colin Good. Britische Jazz-Größen wie der Trompeter Enrico Tomasso und der Saxophonist Alan Barnes erwecken
diese zeitlosen Melodien zum Leben, während die Mono-Produktion den Charme alter 78er-Schallplatten
heraufbeschwört. Ferry selbst verzichtet auf den Gesang und fungiert als Dirigent und Produzent. Dieses
innovative Projekt entstand aus seiner Liebe zum Jazz und seiner Neugier, wie seine Songs ohne Gesang
klingen würden. Perfekt für langjährige Fans, Jazzliebhaber und designorientierte Sammler: „The Jazz
Age“ bietet eine neue Perspektive auf Ferrys Werk und ist damit ein herausragendes Sammlerstück zum
Entdecken, Ausstellen und Verschenken.
Das Album erscheint erstmals seit 2012 wieder als limitierte Edition auf waldgrünem Vinyl (1LP) und
als CD.