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WEB WEB führen mit ihrem fünften Album WEB MAX II die Kollaboration mit Max Herre fort, die auf WEB MAX (2021) begann. Dabei ist ihnen mit diesem neuen Album weitaus mehr gelungen als lediglich die reine Weiterführung einer Serie. WEB MAX II ist musikalisch und emotional die wohl vielfältigste Destillation dessen, was die ursprünglich im Spiritual Jazz verwurzelte deutsche Jazz-Supergroup in den sieben Jahren ihres Bestehens hervorgebracht hat.

THIRTEEN WAH-DRENCHED ACID-FRIED HENDRIX-WORSHIPPING BLOWN-OUT FREE LOVE-FUELED BLACK ROCK JAMS THAT'LL CHANGE YOUR LIFE

[a] ROLLING LOVE [PART 2]











[m] RINGING BELLS (SWEET MUSIC) [PART 2]

LIMITED EDITION RED ON FOR THE DARKNESS VINYL. THIRTEEN WAH-DRENCHED ACID-FRIED HENDRIX-WORSHIPPING BLOWN-OUT FREE LOVE-FUELED BLACK ROCK JAMS THAT'LL CHANGE YOUR LIFE

[a] ROLLING LOVE [PART 2]











[m] RINGING BELLS (SWEET MUSIC) [PART 2]

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

2023 Black Vinyl Repress

Drexciya presents Grava 4. Earth has finally discovered Utopia. (Drexciya Home Universe) Earth scientist discovered the home planet of Drexciya on 2-14-2002. Within moments Dr. Blowfin was given the orders to initiate the seven dimensional cloaking-spheres to hide the other three planets from earths view. The star chart is authentic; you will be able to find the star by using the coordinations on the star chart. The planet Drexciya can be found in the international star vault in Switzerland & recorded in the astronomical compendium.

0*0: See ya!

Last summer the idea came up that the material of the Chillum Trio live act, which had been matured for years by then, would deserve a release on its own. The concept was to try to reproduce the experience of the live performances as close as possible, so a semi-mixed album was created, on which the seven tracks work separately, but the effect is best when listening to the record in its entirety. The musical world of Random Rituals is crazy dense and colorful, similar to Chillum Trio's previous releases, an exotic mix of contemporary electronics, world music and club sounds;s still, it has a unified character, which is due to the fact that it has grown from a live set that has been constantly developing over the years. Genre-wise, it is characterized by low-tempo, organic desert house, tropical acid drops, deep dub, hypnotic tribal beats and psychedelic episodes. Just like genres, eras and cultures are mixed as well: from the jazz-funk of the 70s, via tribal trance of the 90s to modern deep house, from Peru to Pakistan, from Sudan to Senegal: a real musical journey through space and time.


Géza Szekeres, the heart and soul of Chillum Trio, summed up the essence of the record as follows:
"Random Rituals shows me the paradox that recharges can be planned and ad-hoc at the same time. Rituals are characterized by a predictable scenario, but the effect can also be unexpected, so that events spin without a score. You don't walk into the ritual, but it comes to you, creating the same state that then fills you up."

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

DJ K-1's (Keith Tucker - AUX88) re-release for modern electro heads Direct Beat Classics label.
1) "K-1 Intro" -Fine metallic percussion and Jeep beats define the groove of this EP's introduction from the year of 1996 featuring Anthony 'Blaktony' Horton (vocals) on this legendary Keith Tucker production. K-1's hauntingly dark strings emerge as you are informed by its mission statement. Mental.

2) "K-1 Agenda" (Instrumental) - Purposely added to enhance variety and balance, this instrumental holds its own. Highlighting his production skill, 'DJ K-1' cuts loose in the minimal groove with traditional Detroit escapism that makes the EP the fine concept it is. Made to dream & jam.

3) "K-1 Agenda" (Vocal Mix) -Written and executed by longtime cohort, 'Blaktony' (AUX88, Alien FM) on vocals. The tune transforms into a classic global jam with android-like vocals planted between the hand-crafted Detroit electronic backdrops. A mainstay in electro bass crates since its release, this track is the description of a man on a mission to jam this world and beyond. Rubbery 'K-1' signature bass lines and strings ride the perfect beat.

4) "The Future I Can See" - K-1's laid back robotic lyrics describe a look into the future paired with thunderous beats and electro bounce. Visionary rocking, Tucker provides the weight to the project that would bare his signature flavor. Hot.

5) "The Future I Can See" (Instrumental) - Focused on an atmosphere of eerie and moody Detroit dark electro, the energetic bass line weaves amongst jamming drums. Imaginative and compelling material made for global dance floors. 100% Electro.

6) "Unreleased track" - A short newly added bonus cut from the original sessions, laced with experimentation in the Motor City Electro sound.

The Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop’s smoothest figures.

The first release from Microtonal Records, Residents of Aotearoa: Microtonal Showcase (ROAMS) EP, presents producers currently living in New Zealand and their interpretation of a warm, atmospheric and dark sound with a groove that provokes movement and thought.

Track A1: Astral Aura by Seb Selknam
A pure analog production from Seb Selknam - Astral Aura provides an instant groove from a warm bassline that sits in pure harmony with the kick to give structure to the melodic and atmospheric landscape you are led into. Minimal crisp percussion and echoing vocals add a familiar and human element to the journey as you slowly float through vista's unknown and aura's unseen. This is 08:22 of pure bliss.

Track A2: Bosun by HRZNTL
The last beat drops, the party ends, the taxi awaits. Bosun by HRZNTL is a reflective piece, the transition from pure adrenaline and the buzz of the rave into a lasting memory of a night spent with family and friends dancing at a castle in the hills of Barcelona. The track itself is built around a detuned dubby key which represents the emotions of ending an epic night, it is surrounded by dark and haunting stabs to add to the atmosphere and a bubbling synth which brings an optimistic reality that it's only day one at Sonar.

Track B1: Admiral Frick by Harvo x Patella
The first ever demo sent to Microtonal HQ, Admiral Frick by Harvo and Patella is pure energy. Taking elements of tribal percussion and combining it with acidic stabs, it is balanced perfectly with a wandering atmospheric pad. There are subtle shifts between four four and breakbeat, as it builds with syncopated snares and a beautiful unrecognisable monotonous vocal calling you deeper into mysteries of the jungle at night. Calmness descends to create space for a powerful sweeping drone like bass that drops you back into a hypnotic state of being. Your relationship with this track will be like an addiction, constantly seeking a hit.

Track B2: Introspection by Felipe Martinez
The epitome of a Microtonal Records track; warm, atmospheric, dark and with a groove. Introspection by Felipe Martinez is a microbreaks track that draws you in with a wide pulsating low end and irregular percussive stabs that float from left to right at the high end. A soft acid synth builds and explodes like a solar flare creating an outer planetary experience. The beautifully crafted breakdown gives you time to pause, observe and contemplate, creating space to process your mental state and explore your emotions from the past, present and future. Introspection; 10 minutes of self healing.

Going, Going, Going, Gone: The Rare Recordings of
Connie Cunningham and the Creeps Vol. 1
When Nick Kinsey moved into his farmhouse in New York's Hudson
Valley, he dreamed that he would stumble upon a trove of unreleased
music from some eccentric artist who'd previously lived there - If anyone
would be inclined to expect that kind of treasure, it would be the prolific
Kinsey, who in addition to his own music has produced and played on
Waxhatchee's St Cloud, toured with Kevin Morby, and drummed for AC
Newman, Hand Habits, and Cold War Kids, among many others
And with all those various styles and ideas swirling around his head, that
imaginary stash of songs appealed more and more. "I needed to create a fictional
character to get into the headspace necessary to finish this group of songs,"
Kinsey says. "I was able to escape my usual writing blocks and get away from any
need to sound 'cool' by pretending I was this fictional weirdo and failed session
musician." And after rounding out his compositions with some key collaborators,
the first volume of Connie Cunningham and the Creeps fulfilled Kinsey's dream in
the form of six brilliant, retro oddball pop planets circling one oddball songwriting
star.

Nach Veröffentlichung von drei Alben innerhalb von drei Jahren und einer anschließenden vierjährigen Pause sind Tomb Mold auf ihrem vierten Album "The Enduring Spirit" wiedergeboren worden, ein durch und durch unverfrorener Schritt in neue Gefilde. Doch bei all dem frenetischen Wagemut und kühner Erkundung ist "The Enduring Spirit" nie etwas anderes als unverkennbar TOMB MOLD!

Während neue Strukturen die TOMB MOLD Architektur um neue Einflüsse bereits auf dem im letzten Jahr selbst veröffentlichten Tape "Aperture of Body" erweiterten, insbesondere beim letzten Stück "Prestige of Rebirth", treten sie bei "The Enduring Spirit" deutlich in den Vordergrund. Die Zeit, in der Derrick Vella mit Dream Unending im Doom-Genre erschuf und ausbaute, ist zweifellos in Tomb Mold eingeflossen- ganz zu schweigen von Payson Power und Max Klebanoffs Erkundungen in ihrem eigenen Projekt, Daydream Plus.

Mit dem Album-Opener "The Perfect Memory (Phantasm of Aura)" kommt das kantige, Dimensionen verschiebende Riffing der Band sofort zum Vorschein, während der Track durch verschiedene Stufen des progressiven Death Metal und einige der bisher extremsten Stücke der Band wandert. "Will Of Whispers" beginnt mit einer jazzartigen Fantasiesequenz, bevor es in ein blendendes weißes Lichtfeuer, geschmackvolle Gitarrenleads und zurück in ein verträumtes Serpentinenmuster kippt, das in seiner fast 7-minütigen Laufzeit ganze Universen umspannt.

Die hintere Hälfte des Albums setzt die Reise in das fort, was innerhalb der Death Metal-Normen möglich ist, und erreicht den Höhepunkt mit dem über 11-minütigen Albumschlussstück "The Enduring Spirit Of Calamity", einer jenseitigen Reise in einen Strudel, in dem alle Dinge in Raum und Zeit zusammenlaufen und den Baum des Lebens durch eine leuchtende himmlische Komposition bildlich greifbar machen.

Nach vier Jahren Pause war es für eine Band mit grenzenloser kreativer Energie, wie Tomb Mold es sind, eine Selbstverständlichkeit, den Umfang ihrer Vision zu erweitern - auf "The Enduring Spirit" haben sie ein Album mit einer cineastischen Umgebung geschaffen, die unbegrenzte Möglichkeiten der Erforschung bietet, sowohl für sie selbst als auch für den Hörer.

- Tomb Mold werden auf dem November 2023 Cover des Decibel Magazins zu sehen sein (erscheint Ende September)
- Beide früheren Tomb Mold-Alben gehören zu den 20 Buck Spin-Bestsellern aller Zeiten
- Artwork von Jesse Jacobi, der auch das Artwork von Planetary Clairvoyance gestaltet hat
- Aufgenommen von Sean Pearson (Tomb Mold, Dream Unending) und gemischt und gemastert von Arthur Rizk (Tomb Mold, Dream Unending, Kommand, Gravesend, Power Trip)
- Die Vinyl-Version enthält ein 4-Panel-Insert und ein riesiges 36x24-Zoll-Poster.

Für sein Album "Night After Night" hat Komponisten-Star James Newton Howard acht neue konzertante Suiten auf Basis der bekanntesten Melodien seiner poetischen Soundtracks aus seinen Filmen mit Regie-Star M. Night Shyamalan geschrieben. Ein All-Star-Ensemble klassischer Solist*Innen hat die so entstandenen neuen Stücke des mit dem Grammy ausgezeichneten Komponisten in den berühmten Londoner Air Studios aufgenommen: Pianist Jean-Yves Thibaudet, Geigerin Hilary Hahn, Cellistin Maya Beiser sowie ein Session-Orchester und der Chor "The New Voice" unter der Leitung von Gavin Greenaway. Zur Gestaltung seiner neuen Suiten hat James Newton Howard zentrale Motive und Themen aus seiner Filmmusik zu "The Sixth Sense" (1999), "Unbreakable" (2000), "Signs" (2002), "The Village" (2004), "Lady in the Water" (2006), "The Happening" (2008), "The Last Airbender" (2010) und "After Earth" (2013) verarbeitet. Das Klavier steht dabei immer im Mittelpunkt. Pianist Jean-Yves Thibaudet ist auf allen Stücken zu hören. Hilary Hahn spielt die Solo-Violine, wie bereits auf dem Originalsoundtrack von 2004, in der Suite zu "The Village". Auch Maya Beiser hat das Cello bereits in der Filmmusik von "The Happening" gespielt und tut dies nun ebenfalls in der gleichnamigen Suite. "Night After Night" feiert die einzigartige Zusammenarbeit zwischen dem berühmten Filmregisseur M. Night Shyamalan und dem Emmy- und Grammy-prämierten sowie neunfach Oscar-nominierten Komponisten James Newton Howard. Eine kreative Partnerschaft, die vor einem Vierteljahrhundert während der Produktion von "The Sixth Sense" begann. M. Night Shyamalan erinnert sich, wie er schon bei der ersten Begegnung das große "Potenzial und die Begeisterung", die aus ihrer Kollaboration erwuchs, spürte. In James Newton Howard fand der Ausnahme-Regisseur einen vertrauensvollen Partner, um die passende musikalische Sprache für seine übernatürlichen Thriller zu entwickeln. "Es gab keinen festen Plan", erinnert sich M. Night Shyamalan, "im Rückblick ist seine Fähigkeit, verschiedene Genres zu verbinden, das Wichtigste. Das interessiert mich. Es gibt den Aspekt des Thrills und des Schreckens in meinen Filmen, aber genauso wichtig ist die Emotionalität. Ein Komponist muss musikalisch sehr vielseitig sein, um all diese Facetten ausdrücken zu können, und einer der wenigen Komponisten, die das können, ist James.""Night ist ein unglaublich positiver Mensch", erklärt James Newton Howard, "er hat mich immer unterstützt, wenn ich verunsichert war oder an meiner Arbeit zweifelte. Das bedeutet mir sehr viel." "Das ist keine Fassade", erwidert M. Night Shyamalan, "es kommt wirklich aus meinem Glauben an dich."

Repress!

Collaboration between French writer Ingrid Astier, actor Pierre Richard and JB Hanak from the band dDamage (Planet Mu, Tsunami-addiction).
JB Hanak is on guitar, bass, synth and rhythmic programming, consumed with a desire to reveal with each changing track a different facet of this imagined nocturnal universe. Ingrid Astier directs the actors as well as the writing of the lyrics, very much as would be found in the cinema.
And then, there is Pierre Richard. At one moment a dreamer, the next a cowboy, suddenly Mafioso and then a nocturnal animal. Thinker, lover, philosopher, astronaut or sandman. Pierre Richard is an actor, an actor of immense presence confined too often to comic roles. “Nuit Jour” offers him roles he has not had in the movies ... And it is breath-taking, both in its register and in a sense of deep renewal.

There are few things in life quite as mesmerising or outrageously euphoric as the nine-strong Umlauts army effervescing in fulsome force. Rebelling against labels, transcending borders of land and time - packed with twin vocalists equally competent in their skewering south-London drawl as they are in German, Italian or French - as in touch with the nostalgias of First-Generation post-punk or 80s pop as they are with the techniks of contemporary pop or big beat dance - the Umlauts are paragons of trans-europe excess, dripping with inarguable edge; shambling wildly from chaotic cool to bombastically exquisite order; invested with unhinging, socio-political bite, dancing in a rave of their own.

In der letzten Dekade hat sich das britische Independent-Synthpop-Duo EMPATHY TEST als einer der stärksten Geheimtipps der Synthpop-Welt erwiesen. Ihre Hymne "Losing Touch" hat mittlerweile über 6 Millionen Streams auf Spotify und viele weitere Follow-Up-Tracks haben ebenfalls die Millionen Streaming-Marke überschritten. Die sich selbst vermarktende Band ist in den letzten zehn Jahren bei Liveshows und Festivals immer weiter nach oben geklettert. Zum ersten Mal in der Bandgeschichte werden EMPATHY TEST nun ihre vier Backkatalog-Alben über SPKR Special Services und den AMPED-Vertrieb in Europa und Nordamerika regulär im traditionellen Handel wiederveröffentlichen.
Die vier Alben "Losing Touch" (2014), "Safe From Harm" (2017), "Monsters" (2020) und das 2022 erschienene Live-Album "Time To Be Alive" erscheinen auf CD und Vinyl.
In den letzten neun Jahren haben sich Empathy Test zu einer der bekanntesten und beliebtesten Bands in der alternativen elektronischen Musikszene entwickelt, mit begeisterten Hörern auf der ganzen Welt. Empathy Test veröffentlichen nicht nur kontinuierlich erstklassige Musik, sondern tourten auch als Support für Bands wie VNV Nation, Covenant, Mesh und Aesthetic Perfection und arbeiteten sich durch die Line-Ups der deutschen alternativen Musikfestivals wie Wave Gotik Treffen, Mera Luna, Amphi, Plage Noire und NCN, bevor sie nun ihre eigenen Headliner-Touren durch Deutschland, Großbritannien und die USA anführen. Die Band plant eine ausgedehnte Nordamerika-Tour mit über 30 Terminen im Oktober 2023, sowie eine 10 Jahre Jubiläums-Tour in Europa für das Frühjahr 2024.
Das Londoner Duo, bestehend aus den Kindheitsfreunden Isaac Howlett (Sänger, Songwriter) und Adam Relf (Komponist, Produzent), hat Musik geschrieben, die von der Presse als "wunderschön" und "opulent" (Clash Magazine) beschrieben wurde und "zeitlose Melancholie (Hymn) enthält. Ganz auf sich allein gestellt, haben EMPATHY TEST mittlerweile über 4000 Vinyls und 6000 CDs im Eigenvertrieb verkauft und damit das Maximum erreicht, was man im Selbstvertrieb erreichen kann. Nun schließen sie sich mit dem Independent-Vertrieb SPKR Media zusammen.