Suche:the op

Wer Lacuna Coil kennt, weiss, dass jedes Album ihrer beeindruckenden Karriere mehr als nur einen typischen Bandsound liefer-te: Jedes Album ist ein reichhaltig strukturierter Soundtrack zur jeweiligen Epoche und zu einem bestimmten Ort. Bei "Sleepless Empire" ist dieser Ort düster, cineastisch und verströmt unverkennbar die Stimmung, die Lacuna Coil zu einem so gefeierten Eintrag in die Chronik der harten Musik gemacht haben. Ohne ihre spezielle Art von Gesang, Gitarrensound oder Schlagzeugarbeit wäre "Sleepless Empire" - der orchestrale Teil - ein cineastischer Soundtrack. Von den kolossalen Refrains des Album-Openers "The Siege" über das verrucht eingängige "I Wish You Were Dead" bis hin zum unbändig klassischen Feeling des Titeltracks von "Sleepless Empire" - die Souveränität von Lacu-na Coils neuestem Werk ist unüberhörbar, und doch hat es auch einige Überraschungen zu bieten. Sie erscheinen in Form zweier ganz besonderer Gastauftritte von niemand Geringerem als der New Years Day-Banshee Ash Costello auf ihrem Epos "In The Mean Time" und einem ohrenbetäubend überdrehten Beitrag von Lamb of God-Sänger Randy Blythe auf "Hosting the Sha-dow". Und wenn "Sleepless Empire" etwas Besonderes ist, dann ist es mehr als nur diese gesangliche Kreuzbefruchtung. Wie Sänger Andrea Ferro erklärt, liegt der Schlüssel zu Lacuna Coils ewig jugendlicher Ausstrahlung in ihrer Neugier und ihrer Fähigkeit, kreativ auf neue Inspirationen zu reagieren, ohne dabei die langjährigen Qualitäten aus den Augen zu verlieren, welche die Band zu dem machen, was sie ist - und er zählt Sleep Token, Spiritbox, Bad Omens und Bring Me The Horizon als Beispiele für andere Bands auf, die dasselbe tun, um die Szene und ihren eigenen Sound lebendig zu halten. Dieser unabhängige Geist ist der Schlüssel, um Lacuna Coils künstlerisches Vorrecht gegen das Gewicht der Erwartungen abzuwägen, und Ferro beschreibt mit Nachdruck, wie diese seltsamen Zeiten eine Fülle an Material hervorgebracht haben, die die gewichtigen Texte und die Stimmung von "Sleepless Empire" beeinflusst haben. Der Sound von Lacuna Coil ist düster, er spiegelt die Gesellschaft wider, in der wir leben - er ist ein Porträt unserer Zeit. Er zeugt von der Veränderung unserer Gesellschaft, dem "Sleepless Empire", in dem jeder immer am Handy ist, immer scrollt, immer et-was tut - von morgens bis abends, es hört einfach nie auf. Eine Philosophie, die sich in jedem Aspekt von "Sleepless Empire" widerspiegelt.

Wer Lacuna Coil kennt, weiss, dass jedes Album ihrer beeindruckenden Karriere mehr als nur einen typischen Bandsound liefer-te: Jedes Album ist ein reichhaltig strukturierter Soundtrack zur jeweiligen Epoche und zu einem bestimmten Ort. Bei "Sleepless Empire" ist dieser Ort düster, cineastisch und verströmt unverkennbar die Stimmung, die Lacuna Coil zu einem so gefeierten Eintrag in die Chronik der harten Musik gemacht haben. Ohne ihre spezielle Art von Gesang, Gitarrensound oder Schlagzeugarbeit wäre "Sleepless Empire" - der orchestrale Teil - ein cineastischer Soundtrack. Von den kolossalen Refrains des Album-Openers "The Siege" über das verrucht eingängige "I Wish You Were Dead" bis hin zum unbändig klassischen Feeling des Titeltracks von "Sleepless Empire" - die Souveränität von Lacu-na Coils neuestem Werk ist unüberhörbar, und doch hat es auch einige Überraschungen zu bieten. Sie erscheinen in Form zweier ganz besonderer Gastauftritte von niemand Geringerem als der New Years Day-Banshee Ash Costello auf ihrem Epos "In The Mean Time" und einem ohrenbetäubend überdrehten Beitrag von Lamb of God-Sänger Randy Blythe auf "Hosting the Sha-dow". Und wenn "Sleepless Empire" etwas Besonderes ist, dann ist es mehr als nur diese gesangliche Kreuzbefruchtung. Wie Sänger Andrea Ferro erklärt, liegt der Schlüssel zu Lacuna Coils ewig jugendlicher Ausstrahlung in ihrer Neugier und ihrer Fähigkeit, kreativ auf neue Inspirationen zu reagieren, ohne dabei die langjährigen Qualitäten aus den Augen zu verlieren, welche die Band zu dem machen, was sie ist - und er zählt Sleep Token, Spiritbox, Bad Omens und Bring Me The Horizon als Beispiele für andere Bands auf, die dasselbe tun, um die Szene und ihren eigenen Sound lebendig zu halten. Dieser unabhängige Geist ist der Schlüssel, um Lacuna Coils künstlerisches Vorrecht gegen das Gewicht der Erwartungen abzuwägen, und Ferro beschreibt mit Nachdruck, wie diese seltsamen Zeiten eine Fülle an Material hervorgebracht haben, die die gewichtigen Texte und die Stimmung von "Sleepless Empire" beeinflusst haben. Der Sound von Lacuna Coil ist düster, er spiegelt die Gesellschaft wider, in der wir leben - er ist ein Porträt unserer Zeit. Er zeugt von der Veränderung unserer Gesellschaft, dem "Sleepless Empire", in dem jeder immer am Handy ist, immer scrollt, immer et-was tut - von morgens bis abends, es hört einfach nie auf. Eine Philosophie, die sich in jedem Aspekt von "Sleepless Empire" widerspiegelt. Sleepless Empire ist erhältlich als Ltd. Deluxe CD Box mit Symbolwürfel-Orakel, als Ltd. CD Digipak, als schwarze LP + LP-Booklet, als limitierte farbige LP + LP-Booklet sowie als digitales Album.

"Tchenbé !" The New Therapeutic Album from Dowdelin

This deeply introspective new opus tackles the personal and emotional challenges we all face at some point in our lives. Dowdelin explores themes of depression, life’s ups and downs and resilience, served up by Caribbean sounds and lyrics in Creole, French and English, at the confluence of jazz, electronic music and even the most percussive soul.

"Twilight" ist die kleine Schwester von "Daylight" und laut Produzent Hifi Sean und Sänger David McAlmont ihr bislang bestes Album. "Twilight" ist eine 12 Tracks umfassende Nachtfahrt von der Dämmerung bis zum Morgengrauen, mit allen Momenten dazwischen. Der Opener "The Comedown" ist eine Zusammenarbeit mit The Blessed Madonna, der Titeltrack eine Klangwand mit Chören und das herausragende "Sorry I Made You Cry" ein verzerrter, von Doo-Wop inspirierter Torch-Song.

- Sean: "Ich wollte, dass sich dieses Album so anfühlt, als wäre man in einer dunklen Gedankenwelt und würde gleichzeitig von seinem Lieblingsmenschen umarmt."

- David: "Ich weiß nur, dass wir uns vorgenommen haben, eine kleine Schwester für Daylight zu machen, und am Ende unser bisher bestes Album herausgebracht haben."

"Twilight" ist die kleine Schwester von "Daylight" und laut Produzent Hifi Sean und Sänger David McAlmont ihr bislang bestes Album. "Twilight" ist eine 12 Tracks umfassende Nachtfahrt von der Dämmerung bis zum Morgengrauen, mit allen Momenten dazwischen. Der Opener "The Comedown" ist eine Zusammenarbeit mit The Blessed Madonna, der Titeltrack eine Klangwand mit Chören und das herausragende "Sorry I Made You Cry" ein verzerrter, von Doo-Wop inspirierter Torch-Song.

- Sean: "Ich wollte, dass sich dieses Album so anfühlt, als wäre man in einer dunklen Gedankenwelt und würde gleichzeitig von seinem Lieblingsmenschen umarmt."

- David: "Ich weiß nur, dass wir uns vorgenommen haben, eine kleine Schwester für Daylight zu machen, und am Ende unser bisher bestes Album herausgebracht haben."

Bartees Strange begann die Arbeit an "Horror" in seinem Homestudio. Eine Session mit Yves und Lawrence Rothman (Yves Tumor, Lady Gaga) lieferte das rhythmische und klangliche Rückgrat für große Teile des Albums. Nachdem Bartees Strange Jack Antonoff (Taylor Swift, Lana Del Rey...) kennengelernt hatte und die beiden schnell Freunde wurden, arbeitete Strange an Material für Antonoffs Band Bleachers und Antonoff an "Horror". Die beiden beendeten die Arbeit am Album gemeinsam, indem sie die Songs roh bearbeiteten, editierten, arrangierten und sie in Kleidung kleideten, die Angst einflößt. Während des gesamten Albums legt Strange eine schwierige Wahrheit nach der anderen ab. Auf den 12 neuen Tracks des Albums finden sich genreübergreifende Fäden der Musik, die sein Vater ihm nahegebracht hat - Parliament Funkadelic, Fleetwood Mac, Teddy Pendergrass und Neil Young - die mit Stranges Interesse an Hip-Hop, Country, Indie-Rock und House verschmelzen. Seit dem Release seines 4AD-Debüts "Farm to Table" (2022) spielte Bartees Strange neben eigenen Headline-Touren (und einem Auftritt beim letztjährigen Reeperbahn Festival) im Vorprogramm von Acts wie boygenius, Clairo, Dijon und The National. Während eine Tour zum neuen Album noch angekündigt werden wird, gibt es schon eine Reihe von Release-Shows in 2025 in New York, Los Angeles, Washington D.C. und London. Geboren in Ipswich, England, als Sohn eines Militärvaters und einer Opernsängerin, verlebte Bartees Strange eine Kindheit, die geprägt war von diversen Umzügen bevor er sich schließlich in Mustang, Oklahoma, niederließ. Später spielte Bartees Strange in Hardcore-Bands in Washington D.C. und Brooklyn, während er in der Regierung von Barack Obama und der Bewegung für Umweltschutz arbeitete. In letzter Zeit wurde seine Musik auf mehreren populären TV- und Film-Soundtracks verwendet, darunter bei The New Look von Apple TV und I Saw The TV Glow von A24-Studio.

half•alive ist eine amerikanische Indie-Pop / Rockband aus Long Beach, Kalifornien. Die Band wurde
2016 gegründet und besteht aus Leadsänger Josh Taylor, Schlagzeuger Brett Kramer und Bassist J. Tyler
Johnson. Mit der 2017 erschienenen EP 3 erweckten sie offziell das Leben und sorgten für einen spürbaren
Hype. Die mit RIAA-Gold ausgezeichnete Single „still feel.“ erreichte die Top 10 bei Alt Radio und wurde
weltweit 300 Millionen Mal gestreamt.
Ihr drittes Album ”Persona” zielt darauf ab, ein mutiges, zusammenhängendes und kompaktes Werk zu sein,
das Liebe, Wut, Sehnsucht, Krise und Entfremdung berührt. In 11 Tracks geht half•alive auch der Frage
nach, was es bedeutet, ein Mensch zu sein – wie sich Identität entwickelt und wie man von der Außenwelt
wahrgenommen wird. Die Band, die für ihre dynamische Optik und fesselnde Produktion bekannt ist, ließ
sich im Studio von Produzent Tommy King (HAIM, The 1975, Vampire Weekend) inspirieren. Am Ende
des Ganzen fordern sie dich heraus, die Frage zu beantworten: Schaust du oder siehst du?

Here it is, Decultivate's selftitled debut full-length, even if all tracks find their home on a single LP side (vinyl plays same both sides!). Nine oppressive chaotic hardcore songs in the best tradition of bands like Converge, Baptists or Gaza. Make Hardcore harsh again.

1st November saw the release of THE CURE's critically acclaimed album, 'SONGS OF A LOST WORLD,' the band’s first new studio record in 16 years and their first #1 album in the UK since 1992.

The night of the album's unveiling, The Cure performed it in full to 3000 fans at Troxy London and to more than a million on a free global stream.



The stunning live performance entitled 'SONGS OF A LIVE WORLD : TROXY LONDON MMXXlV’ will be released on the 14th Feb on vinyl on Fiction/Polydor, with all The Cure's royalties benefitting War Child and this will be opened up to Indie stores.



Initially formed in 1978, The Cure has sold over 30 million albums worldwide, headlined the Glastonbury festival four times and been inducted into the Rock And Roll Hall of Fame in 2019. They are considered to be one of the most influential bands to ever come out of the UK.



'SONGS OF A LOST WORLD' was written and arranged by Robert Smith, produced and mixed by Robert Smith & Paul Corkett and performed by The Cure - Robert Smith: Voice / guitar / 6string bass / keyboard, Simon Gallup: Bass, Jason Cooper: Drums / percussion, Roger O'Donnell: Keyboard, Reeves Gabrels: Guitar.

'SONGS OF A LIVE WORLD : TROXY LONDON MMXXlV’ includes Perry Bamonte: Guitar / 6string bass / keyboard.

Cahl Sel returns with the Blue EP, a second 4-track release for Reflective Records. These tracks have their origins in live hardware sets, performed around Nor Cal and now honed in the studio.

The title track "Blue" sets the tone with a hypnotic house cut, followed by a blissed-out JX-3P workout on A2 "Focus". The B-Side opens on a deeper, more techno-inspired “Panoptic”, with a bleepy SH-101 pulse and haunting FM melody. The final track closes out the EP with an introspective ambient vignette, “Wishbone”.

We're told that inspiration for this bumper new double album of super fresh techno from the young New Palm label came in 2023 when the artists met up on the LA River armed with "a couple of generators, a Klipsch system, turntables, and a modular rig, for a day into night of music centred around various forms of dub." The results are superb, with Charles Edward opening up with the sparse, laid-back dub of 'Bogus August', Lena Deen keeping it deft with the ambient soundscapes of 'Either Ore' and Berndt's 'Solstice' exploring widescreen minimalism dub, with plenty more to love in between.

Emmanuel Mario returns to Karaoke Kalk with his third album under his Astrobal moniker for the Berlin-based imprint. »L’uomo e la natura« (»Man and Nature«) sees the prolific drummer and producer, who has worked with artists such as Laetitia Sadier and label mate Pink Shabab, take a different musical route than before. The French electronic music composer pays homage to the spirit of library music while also making concessions to different strains of pop and even classical music. With only two of the ten songs putting words to the music, »L’uomo e la natura« is a masterful exercise in the evocation of atmospheres: expressing much while saying very little outright—show, don’t tell.

The album was born out of a desire to push the envelope. »I wanted to make music that was both pop and ambitious in its chord progressions as well as surprising in its construction,« explains the Paris-based artist. Taking inspiration from library music artists such as Alessandro Alessandroni or Bruno Nicolai as well as the more cosmic strains of electronic instrumental music, he strove »to create a soundtrack that would immediately bring to mind outer space.« The first of the three singles released ahead of the full album, »L’abeille pourpre,« captures this spirit with funky rhythms and an overjoyed interplay of different melodies, all tied together by wordless yet terminally catchy vocals.

The second single, »Miami 2064,« traverses through many different moods in its six-minute run-time: Starting off as neo-noir synth-wave piece, it then proceeds to pay its dues to the masters of the cosmic music tradition such as Tangerine Dream or, of course, Jean-Michel Jarre before slowly descending back to Earth with guitars and dreamy synthetic vocals, playfully punctuated by a plethora of wistful melodies. It is the perfect encapsulation of the open-ended approach Mario follows throughout the entire album, taking full creative licence in regards to songwriting and arrangements. »I wanted to surprise myself,« he shrugs. He succeeded.

»L’uomo e la natura« rewards multiple listens not only emotionally, but also intellectually. »I also wanted to talk about politics and ecology, because it’s impossible not to,« Mario notes. Some of the track titles express this more openly than others and the two title tracks sung by Mario and Nina Savary use French and Italian lyrics, respectively. However, as a whole the album leaves things open to interpretation. Does »The End of Capitalism« sound elegiac or triumphant? And what do you actually make of this musical vision of the Floridian metropolis, whose mere existence is threatened by climate change already today, four decades from now? Mario doesn’t necessarily answer these questions—he doesn’t tell, he shows.

Jesse Hackett returns with another unclassifiable co-mingling of genres, this time made in collaboration with Durban-based gqom trio Phelimuncasi. The group met up in Nyege Nyege's Kampala studio last year, spending three days engineering a sequence of tracks that turned the acts' respective sounds inside out, stretching urgent vocals over mutating backdrops of time stretched electronic drums, saturated noise and unstable synths.We last heard from Hackett on last year's chilling 'Shadow Swamps', a chilly, surrealist blast of disembodied folk and vintage electronics that added a cinematic twist to industrial music. Phelimuncasi meanwhile followed their acclaimed debut with the enormous 'Ama Gogela', asserting their dominance with tight, dancefloor-fwd, hook-led jams produced by some of the scene's most important beatmakers. In collaboration, both Metal Preyers and Phelimuncasi materialized a few worlds outside their comfort zones, with the Durban trio's words frothing from Hackett's marshy productions like echoes from another universe.Opening track 'Gidigidi ka Makhelwane' erupts in a fizz of beatbox percussion that loops noisily alongside Makan Nana, Khera and Malathon's stirring vocals, delivered in their local isiZulu tongue. Hackett's process is relatively restrained, offering Phelimuncasi the space to work their rousing magic unimpeded and adding punctuation where necessary. But when he takes more of a destructive role, it's just as impressive: on 'Gqom slowgen Chant', he corrupts his rhythm into a ritualistic pulse, letting the trio's words melt into metallic clicks and nauseous atmospheres.Elsewhere on 'Mgiligi wableka', Phelimuncasi's words create a rousing rhythm against a low-n-slow gqom thud from Hackett, and on 'Coffin Roller' he brings to mind '80s video nasty soundtracks, toying with analog synth sequences against Makan Nana, Khera and Malathon's distant chants. 'Like A Corpse' might be the album's most hollowed-out banger, turning the beat into a chopped 'n screwed drag that scrapes clamorously against Phelimuncasi's gurgling raps. Needless to say, there's nothing else like this.Jesse Hackett returns with another unclassifiable co-mingling of genres, this time made in collaboration with Durban-based gqom trio Phelimuncasi. The group met up in Nyege Nyege's Kampala studio last year, spending three days engineering a sequence of tracks that turned the acts' respective sounds inside out, stretching urgent vocals over mutating backdrops of time stretched electronic drums, saturated noise and unstable synths.We last heard from Hackett on last year's chilling 'Shadow Swamps', a chilly, surrealist blast of disembodied folk and vintage electronics that added a cinematic twist to industrial music. Phelimuncasi meanwhile followed their acclaimed debut with the enormous 'Ama Gogela', asserting their dominance with tight, dancefloor-fwd, hook-led jams produced by some of the scene's most important beatmakers. In collaboration, both Metal Preyers and Phelimuncasi materialized a few worlds outside their comfort zones, with the Durban trio's words frothing from Hackett's marshy productions like echoes from another universe.Opening track 'Gidigidi ka Makhelwane' erupts in a fizz of beatbox percussion that loops noisily alongside Makan Nana, Khera and Malathon's stirring vocals, delivered in their local isiZulu tongue. Hackett's process is relatively restrained, offering Phelimuncasi the space to work their rousing magic unimpeded and adding punctuation where necessary. But when he takes more of a destructive role, it's just as impressive: on 'Gqom slowgen Chant', he corrupts his rhythm into a ritualistic pulse, letting the trio's words melt into metallic clicks and nauseous atmospheres.Elsewhere on 'Mgiligi wableka', Phelimuncasi's words create a rousing rhythm against a low-n-slow gqom thud from Hackett, and on 'Coffin Roller' he brings to mind '80s video nasty soundtracks, toying with analog synth sequences against Makan Nana, Khera and Malathon's distant chants. 'Like A Corpse' might be the album's most hollowed-out banger, turning the beat into a chopped 'n screwed drag that scrapes clamorously against Phelimuncasi's gurgling raps. Needless to say, there's nothing else like this.

Watch out! You are holding the 125th (one-hundred-and-twenty fifth!) album on Tramp Records in your hands! We are honored to celebrate this impressive anniversary with the tenth volume in the Praise Poems series. This time, too, we go on a journey to discover previously unheard regions of jazz, folk and AOR from the 1970s and 80s.

Praise Poems Vol.10 presents sixteen (almost) forgotten rare groove gems, all released between the years 1970 and 1984. One of the many highlights is the opening track: "Fields of Laughter" by Color Me Blu - originally released on an acetate only of which two copies exist worldwide. But there is much, much more to discover. This brandnew volume features a wide range of genres, from AOR (Whiz Kids, Ross Miller, and another previously unreleased track by Harve & Charee) to Latin-Rock a'la Santana (Color Me Blue, Tribal Sinfonia, and Apple) to Soul-Jazz (Ernie Lewis Trio, Joe Bozzi Quintet or Dutch saxophonist Frits Kaatee). Right at the end, one track in particular stands out: the wonderful "It's Good Not To Forget" by George Melvin and his quintet - a fabulously dreamy, thoughtful instrumental piece in the style of Ramsey Lewis with catchy tune potential.

Not many compilation series make it to a tenth edition. And if they do, then you often notice that the quality of the songs goes in the opposite direction to the increasing number of series: namely decreasing. Not so with Praise Poems Vol. 10, which the creators prove in an impressive new way. They have found tracks that were originally either a) pressed by the musicians themselves in very small editions or b) released by small, regional labels. It is understandable that neither the musicians nor these small labels had the necessary knowledge or budget to market their albums or singles professionally. The majority of the bands therefore did not manage to reach a large audience - although they certainly had the potential for the big stage.

"Praise Poems 10 - A journey into soulful jazz and funk from the 1970s" makes these almost 50-year-old treasures accessible to a new audience. We hope that you enjoy discovering your personal favorite song(s) and we are already looking forward to many more releases!

As Jess Sylvester finished his Hardly Art debut as Marinero in the fall of 2020, he realized it was time for a change. Sylvester grew up in Marin County, on the doorstep of San Francisco. It was a nurturing community for a high-school punk with a pompadour and, later, for a sober songwriter with a proclivity for moody psychedelia. But he wanted to be challenged and inspired by a new setting and scenario around strangers who prompted him to approach his music in unexpected ways. So in September 2020, as the world continued to reel in lockdown, Sylvester headed several hours south to Los Angeles, a city that, despite the relative proximity, the film buff knew largely from classic and cult films situated there. When he arrived, he kept digging into that cinematic past-Robert Altman's The Long Goodbye, with John Williams' classic theme, or classic 90s movies about East LA, many featuring Edward James Olmos. They shaped his understanding of his new town just as it began to open. This is one pillar of the multivalent and endlessly lush La La La, Marinero's new album about sobriety, identity, and fantasy that is playfully named both for the city that helped shape it and the sophisticated pop it contains. Sylvester wrote about characters outside of himself, whether considering the heroine reckoning with her own version of keeping clean or the screenwriters whose work was deemed communist simply as a political convenience. He linked those songs with motivational anthems about self-acceptance and playful numbers about flirting through food, shaping a 12-song set rich with humor, empathy, and encouragement. Sure, La La La is a continuation of the slippery genre play Sylvester started with 2021's Hella Love, 2019's Trópico de Cáncer, or even before that. But it also feels like a fresh beginning for Marinero, as Sylvester realizes how boundless this project can be. He began to think about the music of his childhood, how his mother is from San Francisco with Mexican roots, and how he'd heard so much salsa growing up as an impetuous teenager. So he wrote "Taquero," a red-hot salsa tune that uses tacos and their trappings as a source of endless metaphors for come-ons. And then there was the Ray Barreto or Santana-inspired "Pocha Pachanga," with organ gliding and percussion pulsing beneath his yearning vocals, warped as if by desert winds. In Los Angeles, he found a wealth of players who spoke this music like language itself (including Chicano Batman's Eduardo Arenas), all ready to play with and push these familiar forms. Sylvester has also been sober for 21 years, since a cross-country sojourn to attend college in Boston ended in a chemical haze. Today, he sees friends facing the same decisions he made two decades ago, and he brings bits of that experience to bear in songs that feel like self-help anthems. Recorded with a musical hero (and labelmate) of his, Chris Cohen, "Sea Changes" feels like sunshine breaking through dark clouds, as Sylvester acknowledges the newfound confidence and clarity in a friend who has stepped away from destructive habits. In the past, Sylvester has been intractably linked to his identity as a Mexican-American, born to parents from Mexico and Irish- American descent who settled in San Francisco. That can be limiting, of course, tying him to notions of sound and style that aren't always correct. On La La La, he simultaneously steps into and out of those preconceptions, singing tracks above salsa in joyous Spanish or pondering the dynamics of the Hollywood Ten and blacklists above mysterious lap steel and teasing trumpet. His identity, then, should now be clear: He is a Californian, making music shaped by the diversity of encounters and experiences that are a central part of that state's fabric. Never before has he presented himself so fully and unabashedly on tape as with La La La, an album Sylvester built with new inspirations to deliver new charms.

"Langt Fra Jorden" ("Lejos De La Tierra", in Spanish, for the book) is the result of the dialogue between the Spanish photographer and artist Irene Zottola and the Danish musician and artist øjeRum initiated by IIKKI, between June 2024 and November 2024.

øjeRum is Copenhagen based musician and collage artist Paw Grabowski. In his øjeRum guise, he plucks and strums his treated acoustic instruments, sounding at times like church bells, at times like angelic harp, at time like drones, and suspends the listener in the magic of his melodies.
With a deep back-catalogue of releases since 2014 - spanning labels such as eilean rec., Room40, Line, Opal Tapes and many more - he continues exploring his minimal, textural and deeply personal style of ambient music.

Irene Zottola is a Spanish photographer and artist who explores the limits of analog photography to generate a world of dreamlike and poetic character, often accompanying her images with text.
She has been self-taught in Madrid in the laboratory of the Slow Photo collective since 2016. In 2017 she is a finalist in the Rfotofolio Grant.
Her work has been exhibited in Spain, Italy and Morocco. She has published with editorials such as La Bella Varsovia and Lumen (Spain) and magazines such as She shoots film (Australia), Fisheyemagazine (France) and Vostmagazine (Korea).
In 2021 she received one of the Grants to Creation granted by VEGAP with which she began a new project in Paris and was part of the artistic residence ART(e)gileak of the BBK with a participatory photography project. She is one of the 33 authors of the Mission Region project organized by the Community of Madrid and is part of the platform of the National Image Centre in Spain. Winner in 2020 of the V Edition of the Photochannel Contest, she has published with Ediciones Anómalas her first photobook, "Icarus", which has been a finalist in PhotoEspaña and in Les Photobook Awards of Les Rencontres d'Arles 2022.
"Lejos De La Tierra’’ is her second book.

Fine Art Book, Ltd. to 500 copies:
Hardcover book printed on Munken Print Cream 115g/m2 // 80 pages, 17cm x 23cm, 42 photos // Logo and slot embossed // Hot gold stamping // Visible seam and cutting cover pages // Hand-numbered, hand-stamped.

Cold Blow proudly presents Bonus Beats: Rare & Unreleased Finnish Electro 1990–2002, a landmark compilation capturing Finland's underground electro scene from the late 1990s and early 2000s. This double-LP features 9 rare and 3 previously unreleased tracks from pioneering Finnish artists, showcasing a distinctly Nordic approach to the genre. With contributions from notable names such as Jori Hulkkonen, Mr. Velcro Fastener, Mono Junk, and the late Mika Vainio, this release highlights the experimental and DIY ethos that defined Finland's electronic music scene during this period.

Carefully curated by Erkko Lehtinen, a key figure in Finland's electro scene as a DJ and promoter, the compilation explores a broad sonic palette, spanning early techno influences, robotic allure, and dark, bass-heavy tracks. Standout contributions include Decepticons and Dr. Robotnik's unreleased dark electro cuts, with the latter veering into minimal wave territory. Feng Shui feat. Monsieur delivers a striking collaboration that fuses a trance-like lead with raw, industrial beats, uniting members of Huoratron, Nu Science, Polytron, and Op:l Bastards. Keeping alive the legacy of Perttu Häkkinen (aka Randy Barracuda), this release wouldn't be complete without Imatran Voima's bass-driven anthem from their debut EP. Also featured are Spektor's retro synth experiments, Tero's Commodore 64-based creations, Brothomstates' (later a Warp signee) futuristic soundscapes, and a rare cover of Kraftwerk's The Model by the anonymous duo Markus & Kristian. Erkko's extensive liner notes provide additional insight into this culturally and musically significant era. Available in double-LP, this collection is a must-have for electronic music aficionados and vinyl collectors.










j 10: Feng Shui - Hao Hao (I`m Back) feat. Monsieur

The music of Green Cosmos makes us realize that our never- ending quest for love can find fulfillment. You take a long, slow breath and feel the magic of transcendent wisdom. There is not one note too many, and everything gets to the heart of the matter. A saxophone that sails ahead on a world- map of sound, driven by the beat of Kalimba and drums, sometimes fraternizing with a bass that‘s now insistent and then shy, and closely listens to a reassuringly omniscient piano until the music merges into a unit that‘s greater than its parts and sees us through the night.

The influence of the UK’s Steel City on electronic music is well documented and undisputed and continues to push the envelope with key figures such as Winston Hazel (Forgemasters, The Step), DJ Parrot/Crooked Man, Richard Benson (RAC, SWAG, Altern 8), Chris Duckenfield (RAC, Popular Peoples Front, SWAG, All Ears Distribution), a thriving underground club scene and the likes of Synaptic Voyager reinforcing the city’s rich musical legacy.

Matt White and Paul Baines have been making off-kilter, emotive, late night electronic jams since meeting in the early 90’s and while life took them on different paths for a while, they have recently blown the thick layer of dust from their synths and drum machines and got busy in the studio to create some amazing new music which draws influence from that classic UK techno sound which played such an important part in the development of dance music culture around the world. With recent releases on Frame Of Mind, Acquit and Telomere Plastic the duo are clearly on a roll, wearing the heritage of their city on their sleeve and delivering what can only be described as heartfelt, authentic machine music made with love and soul.

From the opening beats of lead track Dawn Till Dusk we are drawn in to another place which feels comfortably familiar yet organic, fluid and loose in a way that tugs on the heartstrings. A million miles from cookie-cutter tech house, this is two guys in a bedroom studio, digging deep on hardware machines to create a sound to get completely lost in. Lonely Promontory takes things deeper still with immersive pads, taught electro beats and blissed-out melodic lines which give just hint of optimism and recall those beloved sounds of B12, Redcell and Likemind.

Flipping over we have Stellar Engine which goes a littler heavier on the beats and bass whilst still retaining a floating quality, once again highlighting the hardware jam workflow that Synaptic Voyager utilise in their studio. Once Exposed takes us back to those heady days of the early 90’s when techno, house and ambient electronics combined to create a heady blend of deep atmospherics and driving beats which could work on both dance floors and car stereos alike. Rounding off the EP we have Cognitive Network which goes for a straighter four on the floor techno groove and a killer bassline to lose yourself in. These recordings were delivered to the label in unedited long form (some tracks totalling 15 minutes or more in length!) which Jimpster lovingly edited into the versions which you hear on this release.