Search:the war

The whispers of the underworld told us to give the music of Yakuza: Like a Dragon (Ryū ga Gotoku 7: Hikari to Yami no Yukue) the wax treatment, and so we’re honoured to present this Laced-exclusive Limited Edition vinyl. The complete soundtrack has been specially mastered and will be pressed to heavyweight vinyl.

Yakuza: Like a Dragon’s EDM and rock soundtrack threw up some mighty music moments: few boss battle themes go as hard as dubstep banger “War Maker” (aka “Cold-Blooded”) as your rag-tag team finally get to take on Mabuchi; or “Receive You The Hyperactive” kicking into gear as Majima flips down the stairs with Saejima in tow.

It took an entire family of talent to produce the OST, led by RGG Studio stalwarts Hidenori Shoji and Chihiro Aoki. Other contributors included, among others, Hyd Lunch (YasuyukiMatsuzaki& Hiroaki Watanabe), Yuri Fukuda, 83key (ShunsukeYasaki) and ZENTA; while karaoke songs were created by Shoji-san, Fukuda-san, Kiyo and ZENTA with lyrics by Ryosuke Horii and vocals by Kazuhiro Nakaya, Nobuhiko Okamoto and SumireUesaka (performing as Ichiban, Zhao and Saeko, respectively.)























u D1 Yume Mita Sugata E [ Full Spec Edition]
[v] D2 Akuma No Jigokunabe [ Full Spec Edition]
[w] D3 Harukaze [ Full Spec Edition]

The whispers of the underworld told us to give the music of Yakuza: Like a Dragon (Ryū ga Gotoku 7: Hikari to Yami no Yukue) the wax treatment, and so we’re honoured to present this Laced-exclusive Limited Edition vinyl. The complete soundtrack has been specially mastered and will be pressed to heavyweight vinyl.

Yakuza: Like a Dragon’s EDM and rock soundtrack threw up some mighty music moments: few boss battle themes go as hard as dubstep banger “War Maker” (aka “Cold-Blooded”) as your rag-tag team finally get to take on Mabuchi; or “Receive You The Hyperactive” kicking into gear as Majima flips down the stairs with Saejima in tow.

It took an entire family of talent to produce the OST, led by RGG Studio stalwarts Hidenori Shoji and Chihiro Aoki. Other contributors included, among others, Hyd Lunch (YasuyukiMatsuzaki& Hiroaki Watanabe), Yuri Fukuda, 83key (ShunsukeYasaki) and ZENTA; while karaoke songs were created by Shoji-san, Fukuda-san, Kiyo and ZENTA with lyrics by Ryosuke Horii and vocals by Kazuhiro Nakaya, Nobuhiko Okamoto and SumireUesaka (performing as Ichiban, Zhao and Saeko, respectively.)





















u D1 Yume Mita Sugata E Full Spec Edition
[v] D2 Akuma No Jigokunabe [ Full Spec Edition]
[w] D3 Harukaze [ Full Spec Edition]

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

Repress.

Back in 2015, Japanese DIY house pioneer Soichi Terada stepped back into the limelight courtesy of Rush Hour's 'Sounds From The Far East', a Hunee curated retrospective of material first released on his own Far East Recording label in the 1990s and early 2000s. Buoyed by the positive response and renewed interest in his work, Terada went back into studio to record his first new album of house music for over 25 years, Asakusa Light.

Developed over 18 months, Terada tried to recreate the mental and physical processes that led to the creation of his acclaimed earlier work. Those familiar with Terada’s celebrated, dancefloor-focused sound of the 1990s – a vibrant, atmospheric, and emotive take on deep house powered by the twin attractions of groove and melody – will find much to enjoy on Asakusa Light.

“I tried to recall my feelings 30 years ago, but when I tried it, I found it super difficult,” he explains. “I didn’t even know what I thought about myself five years ago, and the mental metabolic cycle seems to be faster than I thought. I tried different methods, including digging up my old MIDI data and composing by remembering old experiences. With the help of Rush Hour, I found some of the light from my heart that I had 30 years ago. I nicknamed the light I found in my heart, ‘Asakusa Light’.”

Produced using the very same synthesizers and drum machines that powered his 1990s work, the album is a joyous, colourful and life-affirming collection of timeless house music that not only recalls Terada’s own impeccable back catalogue, but also that of similarly celebrated contemporaries such as the Burrell Brothers or Ben Cenac (Dream 2 Science, Sha-Lor).

Terada, who has spent much of the last two decades writing video game music, has always had a gift for combining warm, undulating synthesizer basslines and perfectly programmed machine drums with stirring chords, smile-inducing melodies and mellow musical flourishes. It’s this immersive, sun-kissed and tuneful trademark style that takes centre stage on Asakusa Light, an album for the ages.

The set begins with the alien-sounding chords, soft-touch percussion and dawn-friendly warmth of ‘Silent Chord’ and ends on a high via the bouncing string stabs, starlight chords and thickset grooves of ‘Blinker’; in between, you’ll find a deluge of effortlessly feelgood music that’s the aural equivalent of a dopamine rush at sunrise.

There are subtle variations aplenty throughout the album – see the 8-bit lead lines and pulsing electronic textures of ‘Takusambient’, the vintage Tony Humphries flex of ‘Diving Into Minds’ and the effortlessly funky ‘Marimbau’ – but it’s the uniquely atmospheric, vivid and tactile nature of Terada’s loved-up sound that resonates. After well over 30 years in house music, the light in his heart is shining brighter than ever.

With I Will Make a Baby in this Damn Economy, Fat Tony embodies the kind of quixotic figure he would rap about; a singular entity who’s motivated, confident, and hungry; a perpetual-motion-machine locked in a staring contest with his country. It’s the latest album in his catalog produced entirely by L.A-based producer Taydex since 2020’s Wake Up. Later that same year Fat Tony released Exotica, and ever since he’s demonstrated he is in his own lane as a professional rapper with the mind of a magician, as quick to conjure an image as pull it out from under you, deftly manoeuvring through so many details and references a listener feels as if they have witnessed the work of an illusionist. He paints these canvases inside of songs that rarely spill past three minutes; they’re pocket-sized diaries replete with acute observations, character studies, microdoses of storytelling, and single-minded ruminations on a topic that bud, blossom, and fade before too long. Fat Tony & Taydex’s I Will Make a Baby in this Damn Economy cements Tony’s status as someone whose albums are not so much lyrically-lyrical as they are picaresque.
As with any Fat Tony project, the bars are tight as ever, but are so fluid for the 34-year-old it’s almost easy to take for granted the details, warmth, and humanity inside his free-associative tales of day-one friends who’ve passed, edgelord grifters who want to spit game, and nights on ketamine. Taydex’s production sprints through disparate yet simpatico styles, dipping its toes into Pi’erre Bourne-esque bass (see lead single “Spectacular”), house (“Loosen Up”), and even hyperpop. Meditations on loss and grief are woven throughout, but Tony throws a few curveballs as well: Consider “Alexis,” which sweetly reflects on a long-term platonic friendship. Taydex finds a Teddy Riley-indebted New Jack Swing groove just deep enough for the feeling to land and underlines the song’s sincere candor. This is the appeal of Fat Tony writ-large: his boisterous voice and genial personality invite you to the party, then you stick around to hear what he’s saying, which is frequently more introspective and complex than one assumes.
Written and recorded in Taydex’s new studio in North Hollywood, Tony says, “We had much more freedom and flexibility in making this album and you can hear it. It felt like a family project.” If the album is comfortable and loose, it is also dense and substantial. The album’s final two tracks contextualize the immediacy of what came before it—the mezcal with ices drank, Paul Wall swangin’ through to drop knowledge, the Polaris Prize-winning rapper Cadence Weapon providing a vibe check. “Make a Baby” accounts for Tony who’s seen everything, and knows he’s met the one to be a father with, and yet chooses to take his time to get it done. Taydex’s beat recalls turn-of-the-century R&B and the millennial promise of an endless good time. Sombre closer “Jasper, TX” is Tony coming to grips with the story of James Byrd, Jr., a Black man from East Texas dragged to his death by three white supremacists in 1998. These songs are not only trademarks of Tony’s fastidious rapping—they are deeply personal examples of his approach to artistry and life itself, where every decision is made in the shadow of history.
It’s here the mission statement of I Will Make a Baby in this Damn Economy comes into focus—you get the sense he means it, he’s ready for it, he’ll fight for it. He’s waiting to take the world at its word.

Lyon, France’s Meurtrières has not strayed far from their original goal of writing old-school, epic heavy metal with medieval overtones on their newest effort, Ronde De Nuit. If anything, the band (consisting of new vocalist Fiona, the guitar tandem of Flo Spector and Olivier, bassist Xavier and drummer Thomas) has taken what they started on their well-received 2020 self-titled EP and added new layers of complexity and depth. It is the natural transition for a band gaining more confidence in its songwriting abilities. Yet the noticeable change starts in the vocal spot. Out is the original frontwoman Fleur and in her place is Fiona. Meurtrières wasted little time introducing Fiona — the band started playing live shows and writing new material with her right after the release of the EP, thus, giving Meurtrières ample time to hone its new material. And Fiona fits the band’s hard-charging, gallant music like a glove, coming away with a stronghold of fiery, epic choruses — all sung in the Meurtrières’ native tongue. The lyrical subject matter on Ronde De Nuit still spans the medieval domain but with increased emphasis on paintings by Rembrandt (The Night Watch) and Johann Heinrich (Füssli). The band aimed to make the songs “pictorial,” reflecting imaginary portraits to draw in the listener. Except for “Aucun Homme, Aucun Dogme, Aucune Croix” (which is a known French medieval legend about a real woman), the songs on Ronde De Nuit are based on fantasy with a desired fate: All the depicted characters are doomed to tragedy, for in the world of Meurtrières, there is no such thing as crowned kings and queens and even glorious warriors. Artwork by Ivan Brun rounds out a package that perfectly ties in thematically with the desperate and dark themes of the lyrics. It is a fitting component to an album laced with stunning visuals and epic, old-school metal of the highest order!

Demon Records presents a brand new original story, part of the Doom’s Day story arc presented on
Translucent Purple and Blue Vinyl.
Hired assassin Doom is on a mission to save her own life before Death catches up with her. If she can find
the Doctor they might be able to help her – but where in Space and Time are they?
These four missions - The Steel Cascade, The Martian Dilemma, An Ood Halloween and Dark Space - take
Doom to a Mediterranean cruise ship in 1966, the planet Mars in the distant past, San Francisco in 1999,
and finally a desolate planet in a dying solar system.
Along the way she meets former TARDIS travellers Ian and Barbara, the mighty Ice Warriors, and Brian the
Ood. But when a mysterious stranger with silver hair and sunglasses turns up, will he be Doom’s salvation?
Written by Darren Jones and read by Sooz Kempner, Jaye Griffiths and Silas Carson, these four original
adventures form part of the multi-platform Doom's Day adventure to celebrate Doctor Who’s 60th
anniversary.
2 x 140g Translucent Purple & Blue vinyl LPs, in fully illustrated inner bags, are presented in an attractive
‘Doom-laden’ wide-spine outer sleeve.

FÜR FANS VON: Gamma Ray, Helloween, Edguy, Blind Guardian, Stratovarius, Rhapsody, Primal Fear Auf ins höllische Metal-Vergnügen: Nach ihren bisher vier erfolgreichen Alben ‚The Unity‘ (2017), ‚Rise‘ (2018), ,Pride‘ (2020) und ‚The Devil You Know – Live‘ (2021), europaweiten Tourneen als Headliner bzw. im Gefolge von Bands wie Sinner, Edguy, Axel Rudi Pell oder Rhapsody Of Fire,
umjubelten Shows beim ‚Masters Of Rock‘, ‚Knockout-Festival‘ oder auf dem, Bang Your Head‘ zeigen sich The Unity auf ihrer fünften
Veröffentlichung ‚The Hellish Joyride‘ spielfreudig und variantenreich wie nie zuvor. „

Wir waren immer schon stilistisch breit aufgestellt, aber mit‚The Hellish Joyride‘ dehnen wir die Grenzen des melodischen Power Metals nochmals ein Stück weiter aus“, erklärt Michael Ehré und verweist auf die zwölf abwechslungsreichen Songs des Albums, die von temporeich bis balladesk reichen. Zudem hat Neuzugang Tobias „Eggi“ Exxel (Bass, Edguy) frische Energie in die Band gebracht und verstärkt die Gamma Ray-Mitglieder Henjo Richter (Gitarre) und Michael Ehré (Schlagzeug), Sänger Gianba Manenti, Gitarrist Stef und Keyboarder Sascha Onnen unüberhörbar. Veröffentlicht wird die neue Scheibe am 25. August 2023 über Steamhammer/SPV, bereits eine Woche später startet die Europatournee mit Primal Fear. Als erste Vorabsingle inklusive „sportlichem“ Videoclip gibt es am 14. Juli 2023 den Song ‚Always Two Ways To Play‘, fünf Wochen später folgt die zweite Auskopplung ‘Saints And Sinners‘. Die Spritztour kann
beginnen!

The band’s upcoming 8th studio album will be full of the trademark blend of catchy pop melodies, witty lyrics, and infectious energy. Songs about hating your life, loving your life, Norwegian families, coconut crabs, 90s television shows, feeling like a loser, not trusting the government and Peppa pig. There is something for everyone.

Tripped's second full length album has arrived, roughly one year after Unboxed (PRSPCT273) and is once again ready to take you on another journey through hard techno, industrial, acid, breaks & hardcore techno.

Tripped digs deeper into raw & analog techniques that will teleport you back to the wastelands of 90's warehouse raves.
While slowly building in Bpm and intensity, It features both emotional and kickheavy tracks ready to take on any dancefloor.
It also includes a Slave To Society remix of 'Tank', earlier released on MADINCH003.

While we once again recognise the artwork style from past releases (painted by himself) we notice another personal concept linked to the album . 'A Thing About Something' addresses mental health issues, anxieties & depression and aspires to keep fighting the daily struggles.

Colombia's 76B label returns for it's second release with head-honcho LIOR absolutely smashing it with the insanely catchy, bouncy reggae/acid techno crossover track 'Dancehall Vibes' with vocals from TAB K. She provides more vocal treats on the second track which treads more classic acid techno territory on CHRIS LIBERATOR & SAM DFL's 'Psychedelic Drug', whilst on the flip fellow Colombian ZYCO zips in to frenzied, pulsing super- techno on 'Jetpack Pilot'. Lastly, Lior's old neighbour and acid techno warrior ACID CHOCHI delivers a stomping acid groover on 'Work It, Girl!' completing the E.P.

Das 22-minütige Epos "Defeat", das mit dem Grammy-prämierten Produzenten Russell Elevado (D'Angelo, Kamasi Washington, The Roots) aufgenommen wurde, ist eine ungeschminkte Ode an Durchhaltevermögen und Hoffnung, an das "Auf-dem-Boden-Bleiben wie eine Fichte", wenn sich das Land unter uns zu verändern scheint. "Was ist aus uns geworden?" singt Avey Tare in einer unbändigen Hook und schreit die Frage auf eine Art und Weise, die verkündet, dass wir immer noch etwas mehr werden könnten. Das Zeitlupen-Finale des Songs wirkt wie eine Fantasie-Vision dessen, was kommen wird - ein ruhigerer Ort, an dem wir gemeinsam und nicht getrennt gedeihen können. Dies ist die wunderschöne und erlösende Saga von Animal Collective, verdichtet in einer unvergesslichen Komposition, ein Lied zum Festhalten, auch wenn die Welt sich immer schneller dreht.
An "Defeat" wirken die Gastmusiker Samara Lubelski (Violine), Leila Bordreuil (Cello) und Ben Chapoteau-Katz (Saxophon) mit.
"Defeat" wird am 25. August als limitierte 12" erscheinen und die B-Seite "The Challenge (Live Edit)" enthalten, die nur auf Vinyl erhältlich ist. "The Challenge" ist ein komplett improvisierter Track, der nur vor einem Live-Publikum gespielt wurde und als ungeprobtes Intro zum Song "Strung With Everything" entstand, während die Band letztes Jahr auf Tour war. Die Version der 12" wurde aus 11 verschiedenen Shows zwischen März und September 2022 zusammengeschnitten.

High Roller Records, reissue 2023, black vinyl, ltd 400, 425gsm heavy cardboard cover, insert, poster, Transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in 2018. Audio cleaning and mastering for vinyl by Patrick W. Engel at TEMPLE OF DISHARMONY in October 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels

High Roller Records, reissue 2023, red vinyl, ltd 400, 425gsm heavy cardboard cover, insert, poster, Transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in 2018. Audio cleaning and mastering for vinyl by Patrick W. Engel at TEMPLE OF DISHARMONY in October 2022. Cutting by SST Germany on Neumann machines for optimal quality on all levels

2023 Repress

Pumping, anthemic, dark vocal driven analogue Techno on the A side of this release from one of London's best kept secret's DARC MARC. Instant warehouse party classic! On the flip 2 typical Cluster driving analogue workouts complete this prime time techno release.

Monumentale Ausdrücke, inspiriert vom Rauschen des Ozeans!

Atmosphärischer Death/Doom Metal! Gothic Death/Doom Metal für die verlorenen Seelen, inspiriert von der Düsternis des UK Death/Doom, der Mystik des antiken griechischen Kults und der Depression des finnischen Death Metal der 90er! Der Kern von Asphodelus' Sound ist in erster Linie Death/Doom Metal mit einem kleinen Hauch von altgriechischem Black Metal, der in einigen Momenten durchscheint. Es gibt ein zerklüftetes Gefühl der frühen 90er Jahre und nichts davon wird mit Glanz oder dem Bedürfnis nach perfekten Takes dargeboten, was absolut dazu beiträgt, den 'Code' dessen zu knacken, was die frühesten Arbeiten ihrer 90er Inspirationen etwas Besonderes und Ernsthaftes waren.

Wenn Sie ein Fan dieser Art von Musik sind, schwimmen Sie zweifellos bereits zu dieser neuen utopischen Insel, um unter ihrer Majestät zu brüten und zu ertrinken, es ist eine Nische, die so selten mit einem geschmackvollen Eintrag gefüttert."Sculpting from Time" ist ein liebevoll gestaltetes und leidenschaftlich ausgeführtes Album. Asphodelus ist das Geistesprodukt dreier finnischer Herren. Jari Filppu trug die Hauptlast bei den Aufnahmen und übernahm Gesang, Bass und einige Gitarrenaufgaben.

Van Halen album boxed set featuring the first 6 studio albums with vocalist David Lee Roth Van Halen, Van Halen II, Women And Children First, Fair Warning, Diver Down and 1984.

In dem Moment, als die Nadel auf die neue A Giant Dog-Platte fällt, krümmt sich die eigene Vorstellung davon, wie eine A Giant Dog-Platte klingen soll, wie Raum und Zeit um ein Raumschiff, das mit Lichtgeschwindigkeit fliegt. Bite ist ein Konzeptalbum, in dem es um Charaktere geht, die sich in einer virtuellen Realität namens Avalonia bewegen und zugleich ist es das erste Album von A Giant Dog mit eigenen Songs seit Toy von 2017.

Sabrina Ellis, Andrew Cashen, Danny Blanchard, Graham Low und Andy Bauer - auf ihrem Höhepunkt als Musiker, fordern sie sich mit komplexeren Arrangements heraus und versetzten sich hinein in die Köpfe der Figuren, die dieses vermeintliche Paradies Avalonia bewohnen. "Wir mussten uns in den Hauptfiguren wiederfinden oder uns in die Hauptfiguren hineinversetzen. Wir entwickelten sie, lernten ihre Gedanken, Emotionen und Motivationen kennen und brachten diese dann in neun Songs zum Ausdruck", erklärt Ellis. Themen wie Sucht, Geschlechterfluidität, ethisches Leben in einer kapitalistischen Gesellschaft, körperliche Autonomie, Geiz, Trauer und Zustimmung sprudeln unter dem versprochenen Glück von Avalonia.

Dies wird in Songs wie "Different Than" deutlich, in dem Ellis singt: "My body can't explain the things my mind don't comprehend", als ob der gesellschaftliche Geschlechterdruck seine Protagonistin aus ihrer Haut herausquetscht. Die Songs auf Bite sind voller Bombast und erinnern abwechselnd an den raumfahrenden Opernrock des Electric Light Orchestra und die hohe Dramatik einer Ennio Morricone Filmmusik. Der erzählerische Bogen des Albums ist von epischer Tragweite, seine Charaktere stehen vor unmöglichen Unwahrscheinlichkeiten und sind mit dem sicheren Untergang konfrontiert, und ist so bequem vergleichbar mit der Sci-Fi-Grandezza von Thin Lizzy's Jailbreak wie auch mit der High Fantasy von Dio und Iron Maiden. Passenderweise sind A Giant Dog bis an die Zähne bewaffnet mit neuen Ideen zu dieser Erzählung gekommen, mit Synthesizern und Streichern, um das zu schaffen, was Ellis als orchestral beschreibt: symphonischen, futuristischen Punk. Um dies zu erreichen, verließen sie ihre Heimat Austin, Texas, in das La Cuve Studio in der Nähe von Angers, Frankreich.

Auf dem französischen Land legten A Giant Dog ihre Zukunftsvision vor einer ausgesprochen pastoralen Kulisse nieder. Auf den Wanderungen von Angers nach La Cuve, so Ellis, sahen sie "viele Dinge, und auch gar nichts. Schwäne auf dem Fluss. Romani, die in kleinen Anhängern leben, mit einer Hütte für ihren Hund an der Seite Ein Jongleur auf einem Einrad - ich verarsche dich nicht. Wir dachten, wir dürften nach dieser Reise nicht mehr nach Frankreich zurück, um ehrlich zu sein", fährt sie fort. "Fünf laute, stampfende, klatschende, randalierende Amerikaner, die im November 2022 drei Wochen lang durch die Straßen von Angers gelaufen sind." Diese Erfahrung war der Höhepunkt von zwei Jahren Planung und Schreiben, in denen das Universum von Avalonia Gestalt annahm. Die daraus resultierenden neun Songs besetzen nicht nur diesen Raum: Sie haben darin gelebt und sie wollen raus.

In dem Moment, als die Nadel auf die neue A Giant Dog-Platte fällt, krümmt sich die eigene Vorstellung davon, wie eine A Giant Dog-Platte klingen soll, wie Raum und Zeit um ein Raumschiff, das mit Lichtgeschwindigkeit fliegt. Bite ist ein Konzeptalbum, in dem es um Charaktere geht, die sich in einer virtuellen Realität namens Avalonia bewegen und zugleich ist es das erste Album von A Giant Dog mit eigenen Songs seit Toy von 2017.

Sabrina Ellis, Andrew Cashen, Danny Blanchard, Graham Low und Andy Bauer - auf ihrem Höhepunkt als Musiker, fordern sie sich mit komplexeren Arrangements heraus und versetzten sich hinein in die Köpfe der Figuren, die dieses vermeintliche Paradies Avalonia bewohnen. "Wir mussten uns in den Hauptfiguren wiederfinden oder uns in die Hauptfiguren hineinversetzen. Wir entwickelten sie, lernten ihre Gedanken, Emotionen und Motivationen kennen und brachten diese dann in neun Songs zum Ausdruck", erklärt Ellis. Themen wie Sucht, Geschlechterfluidität, ethisches Leben in einer kapitalistischen Gesellschaft, körperliche Autonomie, Geiz, Trauer und Zustimmung sprudeln unter dem versprochenen Glück von Avalonia.

Dies wird in Songs wie "Different Than" deutlich, in dem Ellis singt: "My body can't explain the things my mind don't comprehend", als ob der gesellschaftliche Geschlechterdruck seine Protagonistin aus ihrer Haut herausquetscht. Die Songs auf Bite sind voller Bombast und erinnern abwechselnd an den raumfahrenden Opernrock des Electric Light Orchestra und die hohe Dramatik einer Ennio Morricone Filmmusik. Der erzählerische Bogen des Albums ist von epischer Tragweite, seine Charaktere stehen vor unmöglichen Unwahrscheinlichkeiten und sind mit dem sicheren Untergang konfrontiert, und ist so bequem vergleichbar mit der Sci-Fi-Grandezza von Thin Lizzy's Jailbreak wie auch mit der High Fantasy von Dio und Iron Maiden. Passenderweise sind A Giant Dog bis an die Zähne bewaffnet mit neuen Ideen zu dieser Erzählung gekommen, mit Synthesizern und Streichern, um das zu schaffen, was Ellis als orchestral beschreibt: symphonischen, futuristischen Punk. Um dies zu erreichen, verließen sie ihre Heimat Austin, Texas, in das La Cuve Studio in der Nähe von Angers, Frankreich.

Auf dem französischen Land legten A Giant Dog ihre Zukunftsvision vor einer ausgesprochen pastoralen Kulisse nieder. Auf den Wanderungen von Angers nach La Cuve, so Ellis, sahen sie "viele Dinge, und auch gar nichts. Schwäne auf dem Fluss. Romani, die in kleinen Anhängern leben, mit einer Hütte für ihren Hund an der Seite Ein Jongleur auf einem Einrad - ich verarsche dich nicht. Wir dachten, wir dürften nach dieser Reise nicht mehr nach Frankreich zurück, um ehrlich zu sein", fährt sie fort. "Fünf laute, stampfende, klatschende, randalierende Amerikaner, die im November 2022 drei Wochen lang durch die Straßen von Angers gelaufen sind." Diese Erfahrung war der Höhepunkt von zwei Jahren Planung und Schreiben, in denen das Universum von Avalonia Gestalt annahm. Die daraus resultierenden neun Songs besetzen nicht nur diesen Raum: Sie haben darin gelebt und sie wollen raus.

Der in Texas aufgewachsene Singer-Songwriter und Big Thief-Gitarrist Buck Meek kündigt sein neues Album "Haunted Mountain" für den 25. August an. Seine erste Solo-Veröffentlichung bei 4AD folgt auf das 2021er Album "Two Saviors" und handelt von der Liebe...und etwas anderem. Etwas Größerem, etwas, dass Liebe nicht wirklich herausfordert, eher im direkten Kontrast dazu steht. Eine völlige Erfüllung der Seele. Meek gesteht ein, dass Liebeslieder für ihn die am schwersten zu schreibenden sind. Vielleicht holte sich Meek auch deshalb beim Schreiben Verstärkung in Form der Freundin und langjährigen Heldin Jolie Holland, die bei fünf von elf Songs des Albums Co-Autoren-Credits hat. Die ersten zwei Verse und der Chorus von "Haunted Mountain" stammen von der Texanerin, die diese als Liebeslied für Mount Shasta in Nord-Kalifornien geschrieben hat. Meek fügte den finalen Vers hinzu, in der gemeinsamen Suche nach dem Austausch mit der Natur. "It"s about being humbled by the thing you"re drawing power from only at which point an actual, fair relationship begins", erklärt er. Seit seinem selbstbetitelten Solo-Debüt sind Meeks Band-Kollegen die gleichen: Adam Brisbin (Gitarre), Austin Vaughn (Schlagzeug) und Mat Davidson (Pedel Steel, Bass). Für "Haunted Mountain" stießen noch Ken Woodward (Bass) und Meeks Bruder Dylan (Klavier, Synths) zu diesem eingeschworenen Haufen dazu. Davidson übernahm die Produktion, während Adrian Olsen, der auch die Sound Manipulation mit einem Modular Synthesizer übernahm, das Album innerhalb von zwei Wochen mixte. Der Ansatz war ein hi-fi-Album als Gegensatz zum lo-fi-Ansatz des Vorgängers zu erschaffen, während die Intimität erhalten bleiben sollte. Meek glaubt selbst daran, dass alle großen Liebeslieder noch nicht geschrieben wurden. Zwischen den Zeilen von "Haunted Mountain" hört man, dass Liebe in jeglicher Form die Erschaffung eines Zuhauses ist, von innen - für immer auf der Suche nach dem anderen.

Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Vibrant Forms II is widely considered to be one of the greatest achievements in the genre. As it turned out, Vibrant Forms II became one of the last records to be released on Mark Ernestus and Moritz von Oswald's classic label - a suitable swan song if there ever was one. And that's it, right

Well not quite.

If one would search for Fluxion - Vibrant Forms III, Discogs would come up empty and Google would treat it as a misspelling. Until now.
Konstantinos Soublis, aka Fluxion, and Subwax Bcn have decided to pick up the banner and release Vibrant Forms III as a CD as well as four individual 12" records under 2016. It contains everything you could hope for and more: The massive, booming basses, the clicks and hisses, the atmospheric thunderstorms, the opium smoke-scented streaks of reverb and dub echoes. The warmth. Yes, above all else the warmth: Sometimes moist and dripping as in Safe Harbour, sometimes blisteringly dry as in Variant. It's no easy task, giving cold, dead machines warm breaths. And no-one quite does it like Fluxion.

The Reissue of Vibrant Forms II was an act of cultural preservation. It reminded us about the legacy of the Basic Channel label family, in which Chain Reaction played an important part. Without this legacy, the contemporary body of electronic music would look different and make very different sounds. With the Release of Vibrant Forms III, Subwax Bcn takes it one step further. Fluxion's Vibrant Forms III album remind us of the timelessness of truly great music, never mind the genre.

Clear Vinyl

Aufgenommen in Berlin und aus der Ferne, zwischen 2020 und 2022, kehrt die Band mit ihrem 20. Studioalbum zurück, nach dem letztjährigen “Fire Doesen’t Grow on Trees“ dem zweiten Teil einer aufregenden neuen Phase für Anton Newcombe und seiner Band. Mit ihm im Studio waren Hakon Adalsteinsson (Gitarre), & Uri Rennert (Schlagzeug). Die Band ging 2022 auf Tour und absolvierte u.a. eine 34 Shows umfassende äußerst erfolgreiche Tournee in Nordamerika mit Mercury Rev und The Magic Castles. Eine neue Tour zur Unterstützung des neuen Albums steht im Januar 2023 in Großbritannien an und wird im Februar in Europa fortgesetzt. Ursprünglich war Newcombe stark von der psychedelischen Phase der Rolling Stones beeinflusst - der Name stammt vom Stones-Gitarristen Brian Jones in Verbindung mit einer Anspielung auf den Sektenführer Jim Jones -, aber seit den 2000er Jahren hat sich seine Arbeit in vielen ästhetische Dimensionen ausgeweitet und sich u.a. dem britischen Shoegaze-Genre der 1990er Jahre annähert und Einflüsse aus Weltmusik, insbesondere der Musik des Nahen Ostens und Brasiliens, miteinbezieht.

Aufgenommen in Berlin und auf Abstand zwischen 2020 und 2021, legt die Band ihr 19. abendfüllendes Studioalbum vor. Fire Doesn't Grow On Trees ist der Beginn einer aufregenden neuen Phase für Newcombe und seiner Band. Mit ihm im Studio und über Video/Mail haben Ricky Maymi (Gitarre), Ryan Carlson Van Kriedt (Keyboards), Hakon Adalsteinsson (Gitarre), Hallberg Dadi Hallbergsson (Bass) und Uri Rennert (Schlagzeug) an diesem Album gearbeitet. Die Band befindet im Frühling auf einer 34 Termine umfassenden Tournee in Nordamerika mit Mercury Rev, mit Festivalauftritten bei Levitation in Angers, Frankreich im Juni, Elevation in Graz, Österreich im Juli und NOX ORAE in der Schweiz im August, die Tourneen in Europa ist für September 2022 geplant plus einer weiteren im Februar 2023. Ursprünglich war Newcombe stark von der psychedelischen Phase der Rolling Stones beeinflusst - der Name stammt vom Stones-Gitarristen Brian Jones in Verbindung mit einer Anspielung auf den Sektenführer Jim Jones -, aber in den 2000er Jahren hat sich seine Arbeit in ästhetische Dimensionen ausgeweitet, die sich dem britischen Shoegazing-Genre der 1990er Jahre annähern und Einflüsse aus der Weltmusik, insbesondere aus dem Nahen Osten und Brasilien mit einbezieht. "The Real" ist der erste Vorbote des Albums.

Limited new repress on blue vinyl. RIYL: Sharon Van Etten, Big Thief, Phoebe Bridgers, Angel Olsen, Neko Case, Bonnie “Prince” Billy, Bill Callahan, Steve Gunn, Kurt Vile, Cass McCombs, Jessica Pratt, Kevin Morby, Molly Burch Phosphorescent, Waxahatchee, boygenius. Recorded and mixed by Joshua Wells (Destroyer, Lightning Dust, ex-Black Mountain). Guest vocals from Bonnie “Prince” Billy on the “Don’t Slow Me Down” single. Guest pedal steel guitar from Paul Rigby (known mostly for his studio work with Neko Case) on 3 of the 10 tracks. Support thus far from FLOOD Mag, Stereogum, KEXP, KCRW, Popular TV (ex-Nylon writers), Pitchfork, Exclaim! & more. “Tonight” single synced for a Netflix series 13 Reasons Why in March 2017. Ashley Shadow winks at darkness, but she won’t lead you towards it. It’s easy to fall under the spell of Ashley’s haunting voice. The Vancouver, B.C. based songwriter forged her own identity as a songwriter with 2016’s eponymous self-titled debut. Her sophomore effort, Only the End, maintains the moody introspection that is ingrained in Pacific Northwest life, but now comes armed with a palpable hope complementing her signature melancholy. Ashley explains, “I wanted to make a more upbeat album, something you could play with some friends over. Some of the songs I wrote were initially bummers, but when we went to record them, we lightened them up.” Balancing a couple of jobs and navigating life and love in increasingly unstable times, the album was written over two years by Ashley at her apartment. Her confident vibrato above lightly, distorted guitars mirrors the album’s theme of resilience, if not triumph, over adversity. There is comfort in these warm songs that endorse the realism of contented acceptance, rather than the naïve search for non-existent utopias. While the songs were conceived in contemplative solitude, Ashley invited some very capable collaborators for their journey into the studio. Ashley’s first album saw her take center stage after more than a decade of gracing friends’ projects in a supporting role. The move to the front was a cautious one. “First record was, can I do a solo album? This time, I know what I’m doing. It’s way more clear.” "Don’t Slow Me Down" reunites Ashley with Bonnie “Prince” Billy for the first time on record when she sang vocals on Bonnie's Lie Down In Light album in 2018. The album also includes contributions from Paul Rigby (Neko Case), Colin Cowan (Elastic Stars), Joshua Wells (Black Mountain, Lightning Dust) and Ryan Beattie (Himalayan Bear). It’s clear to anyone listening. It’s Only the End. If only all endings were so glorious

In the past, Mapache recording sessions have been pretty laid-back
affairs, with friends coming and going, the sessions starting and stopping
at the band's discretion--as relaxed a process as the immaculately sunny
vibes that their four albums would suggest - But on their dynamic and
ambitious fifth album of cosmic-folk, Swinging Stars, Sam Blasucci and
Clay Finch decided to take a trip and hunker down somewhere
particularly special
"It's a pretty impactful place," Finch says of the Panoramic House, the artist
retreat where Swinging Stars was recorded. "It's kind of dramatic. It's a castle-y
building on a hill, way up overlooking the Bay."
Located in Stinson Beach in Marin County, California, the Panoramic House has
recently hosted acts like My Morning Jacket, the War on Drugs, and Cate Le Bon,
and was the ideal combination of scenic beauty and self-imposed confinement to
allow Mapache to settle in for their most cohesive album yet.
"That environment yields itself to a higher level of focus because everybody's
together for a week," says Finch, explaining that the band stayed there during the
process, sharing every bit of their time and energy on a shared vision. "We were
all captive. No one could escape," he laughs.
Swinging Stars, an album of calm, second-nature swagger, is the natural result of
a band that's existed in one form or another for its founders' entire adult lives.
Finch and Blasucci first met as students at La Canada High School, just north of
Los Angeles, where they both had a guitar class: "There wasn't much supervision
or anything," remembers Blasucci. "It was really nice. And we got to just play
guitars together."

Recorded over the course of a 4,000-mile cross-country roadtrip,
Canadian Taylor Ashton's new album is a sonic odyssey through the heart
of America, one that works its way geographically from coast to coast as
it meditates on the meaning of closeness and connection
The performances are warm and inviting, anchored by Ashton's deft guitar and
banjo work and rich, easygoing melodicism, and the recordings-- helmed by
producer Jacob Blumberg and captured with a broad range of collaborators
including Courtney Hartman, Big Thief's Buck Meek, Lake Street Dive's Rachael
Price, Vulfpeck's Theo Katzman, and Late Show bandleader Louis Cato-- are
alternately sparse and lush. From a blanket in Brooklyn's Prospect Park to a
spiritual vortex in Sedona, AZ, the settings are inextricable from the songs, and
the result is a moving collection that evokes both the gentle virtuosity of Nick
Drake and the buoyant wit of Paul Simon.

Megaforce Records and Exciter create a faithful, remastered, recreation
of the 40th Anniversary of the groundbreaking 'Heavy Metal Maniac'
release - pressed in gatefold packaging

Released in early 2023 in several different DIY packaging and colour
versions, this is a limited run for retail outlets: black vinyl, hand stickered
labels, and a red newsprint broadsheet wrap-around poster inside a red
tinted PVC outer sleeve
"A Sunshine Pop travelogue for the introvert." - Louder Than War 2023
"The record brims with buoyancy, hopefulness and, it goes without saying,
melodies..." - Shindig 2023.
"Pop music - just when you think it's burnt itself out and can no longer inspire or
move you, a record comes along to reaffirm your faith in its powers. It may well be
the finest Papernut Cambridge album yet." - Harmonic Distortion 2023

Limited - no repress

London-based DJ and producer Rommek releases on 47, showcasing his signature brand of seething, fragmented techno in this formidable label debut. "Arkho" opens the EP with rolling drums before a heavily distorted synth line pierces the atmosphere, evoking tension and unease before launching into a furious lead. On "Silverlock," broken drums skitter across a droning soundscape, while a glitched-out melody adds a dark tint. "Decipher" squirms with a similarly syncopated rhythm and ice cold textures, topped with crisp hi-hats. Closing track "Synthetic Dream" is threatening but never overly dark, stitching weighty drums between tactile, warped-out synth notes. A chilling cut that conveys Rommek's shadowy aesthetic all the way through.

Close your eyes and merge into Benedikt Frey’s 'Fastlane'. Imagine sitting in the driver’s seat of a an automobile, one with exceptional horsepower and torque, as you stare out the windshield at the red light, warping in fata-morgana a mile down the road. It’s a straight-away, a black top with two lanes, and against your better judgment you decide to floor the gas. No hesitation in your muscle, your ankle or the ball of your foot, which you now realize is some kind of universal pivot, the first point of contact fusing your body with the will of machine. In this moment you’re in awe that you, a human, an animal, grew from pond scum into something so advanced as to engineer this thing, a mechanical beast capable of overwhelming power and exhilaration. But you also feel a seductive dread, an outside force diverting you from caution toward a dangling carrot of curiosity, asking yourself, ‘How far can I take this thing?’ The dread, now a constant, is numbed, equalized by an adverse intoxicating gratification. You feel both sensations in real time, however, rather than take responsibility for yourself, friends, family and innocent bystanders, you cement your foot to the floor and lean your head back. Noise around you fades to mute. Smell the benzene-scented air, feel the wind on your face, the menacing vibration of the vessel you control beneath you and every grain of asphalt under its tires. This mile has now lasted an eternity and you’ve left your body for some objective view, as if watching climax of a film. Past the point of no return, you embrace abandon and lean into fate. The film becomes slow motion, a crawling pace so mesmerizing you convince yourself of an option to eject yourself from this madness, but as you finally let go of your last morsel of fear, you run the red light head-on into the nucleus of a fantastic glistening sculpture of torn metal, glass, oil, broken dreams and heartache. 'Fastlane' may be just drum machines and synthesizers if you’re timid, but listen harder and know the catastrophic reality of existence, a wreckage so gruesome we dare not rubberneck, but afterall it is our nature to stare.

Octave One return with Never On Sunday Vol.2, an EP with new remixes from Orbital and Giorgia Angiuli next to three standout recent tracks.

The Detroit duo’s Never On Sunday alias was born in the nineties with a view to making a mix of downtempo, deeper and more thoughtful electronic sounds. After just two EPs, it lay dormant until last year when the new EP The Bearer on their own 430 West label brought it back to life to a great reception. Then came the Octave One Presents Never On Sunday album this year that collected together a wealth of originals and remixes which are now coming on 12".

First up is legendary brotherly duo Orbital - a UK antecedent to the Burden brothers who have been crafting pioneering electronic sounds for decades. Their remix of ‘Price We Pay’ feat. Karina Mia is deep house excellence. It has a bouncy groove, elastic bassline and simmering vocals that send shivers down the spine and the sci-fi synths twinkle up top. Italian multi-instrumentalist Giorgia Angiuli has long been innovating in the techno world, drawing on her classical background to craft standout sounds for the likes of Kevin Saunderson’s KMS label. Her remix is six uplifting minutes of synth arpeggios, soulful techno drums and epic breakdowns that will captivate any dance floor.

The b-side features three cuts from the Never On Sunday (Deluxe) album and opens up with 'Lifelike', a slow, pulsing dub with mysterious melodies and sinewy synths reflecting light like stars in a night sky. A textured bassline arrives to bring a real sense of tension to the melodic beauty. 'Soon After' is another cosmic cut that rides on hammering bass beneath lush synths capes and rays of hope that pierce the darkness. The blissful 'Mona' closes down with heavenly and expansive pads that shimmer and shine as rich bell sounds and choral pads bring a warm sense of atmosphere.

Never On Sunday Vol.2 is another package of deeply emotional electronic sounds.

Remastered with extra tracks - extra disc also includes Sound Sun Pleasure LP. Features the original space nymph cover art, which only appeared in cropped and washedout reproductions on an early 60s version. Cosmic Myth Records is dedicated to issuing remastered and fully authorized out of print titles from Sun Ra's independent Saturn Records catalog. Sun Ra's Jazz in Silhouette was enshrined in the Penguin Jazz Guide's "Core Collection" as an album that "will someday be recognized as one of the most important post-war jazz records." Jazz in Silhouette is the quintessential record of Sun Ra's late 1950s Chicago period. Recorded and issued in 1959, it marks a coda for the bandleader's bebop/hard-bop stage, as his interstellar traveller persona began to transform the band (and the music). It also charts the future, showcasing the brilliant tenor sax stylings of John Gilmore, and introduces the iconic playing of Arkestra mainstays Marshall Allen, Pat Patrick, and Ronnie Boykins. Many of the early works on these recordings would remain staples in Arkestra set lists for the rest of Sun Ra's life. This expanded edition includes the complete, contemporaneous Sound Sun Pleasure, rare stereo mixes, and bonus tracks.

The life-affirming energy at the heart of Sven Väth‘s recent album Catharsis is revisited, reanimated, and remixed by some of the most exciting names around, closing the circle on a superlative burst of
recent work that has not only given us the epic original LP, but also the extraordinary compilation What I Used To Play.

Roman Flügel, Benjamin Damage, Robert Hood, Planetary Assault Systems, Mano Le Tough… do we need to go on? This hand-picked list of luminaries have answered the call and certainly don’t disappoint, each fusing their signature sound with Sven‘s DNA to create a wild, uncompromising companion piece to the original album.

True to form, the running order is very much rooted on the dance floor, Silvi‘s Dream, revisited by Damiano von Erckert, explodes like a Balearic sunrise. Dreamy strings with a touch of Detroit create a lovely atmosphere while the beautiful piano sound goes right into your heart and appears as if you could feel the warm sun on your skin. Roman Flügel’s acidic rework of What I Used To Play is a homage to the 80s and the early sound of electronic music which creates nostalgic feelings and offers a greatly produced retro soundscape à la Kraftwerk. Staying close to the original, but with the perfect amount of spin, it’s a symbiotic interplay of synthetic bass pads, and a tiny bell melody. Robag Wruhme’s cranking minimal funk takes us down The Worm-hole. A concise interference sound builds
up sustained tension, tangled but structured, deep and yet driving. Robag took over the deep and dirty rhythms of the original perfectly and delivers a versatile piece. This opening salvo oozes quality and
sets things up perfectly for the electrified celebration of hi-octane technology come.

Jonathan Kaspar‘s growling interpretation of We Are provides a melancholic atmosphere with fascinating percussion parts. Zaps shoot through the air like small laser pistols while we let ourselves
be carried away by the bass, the frisky vocal stutter effect is the icing on the cake. Speeding things up, the euphoric trance that engulfs Krystal Klear’s epic version of Feiern. Expansive strings increase up
to ecstasy and guide us to a love-filled unity. This remix is sure to be an excellent peak-time smasher for the open-air season. On to a wild ride of pure techno with Benjamin Damage, who delivers a dry and uncompromising Berlin Techno version of Mystic Voices. Harder pace but the string synthesizer harmony brings light to an otherwise gloomy environment. Next up is Luke Slater’s PAS Deep Heet Mix to add a retro nineties vibe to proceedings on Nyx. Entering a rough space with gigantic clap impacts, we are blessed with straightforward Techno. Shimmering and spooling, this groove hits the
mark. Then, as if it was ever in doubt, Sven‘s lofty place in the techno firmament is underlined by a peak-time contribution by non-less than Detroit legend Robert Hood. Unmistakable, you must recognize the signature Robert Hood drive on Butoh. Chord stabs fulfill the Detroit feeling with offtaking string elements and high-energy vocal transformations. It’s a warm embrace that triggers emotions. Planetary Assault Systems then blasts things ever deeper into the cosmos on a second outing of Nyx. Reduced and to the point but of course, true to form, with powerful tribal percussion parts and intensive cutting hi-hats.

From there on in, the collection gradually re-enters the atmosphere, burning with a phosphorescent, melancholy glow. Harald Björk extrapolates Being In Love into a hypnotic groove for the early hours. A playful and atmospheric electronica interpretation to soothe our souls due to disharmonious synth pads and a dreamy deformation of the original melody. Mano Le Tough harnesses the ethno-rhythms
and brooding energy of Catharsis into a low-slung, tribal stomper. Anomalous organ parts ring out and link up with a trance-like sequence, summer feelings arouse as you feel like you can almost smell Ibizan air. The collection comes full circle with a second equally seductive interpretation of Silvi‘s Dream by Florian Hollerith. Stripped-down and hypnotic, the homage to Sven's girlfriend Silvi is extended as a reverence to Sven himself. Sven's profound vocal clearly infuse time and space and leave a forever-lasting memory of love.

By accident or design, it somehow leaves us with the reassuring sense that, although this specific part of the journey may be drawing to a close, the mission of the man behind it all most definitely isn't.

written & produced by: Sven Väth & Gregor Tresher

Das Drängen der Fans war so groß, dass Big Time Rush sich dazu entschieden haben, ihr neues Album digital schon früher als geplant zu veröffentlichen. Am 02. Juni 2023 erschien mit "Another Life" ihr erstes Studioalbum seit 10 Jahren. Nun folgt am 18.08. auch die CD und LP dazu!

Die Band um Kendall Schmidt, James Maslow, Logan Henderson und Carlos PenaVega wurde 2009 durch den Start der Nickelodeon-Fernsehserie Big Time Rush über Nacht zur Sensation. In ihrem Mittelpunkt: die Hollywood-Abenteuer von vier Eishockeyspielern aus
Minnesota, nachdem diese ausgewählt wurden, eine Boyband zu gründen. Die Serie war ein durchschlagender Erfolg und katapultierte die gleichnamige Band ins reale Leben, wo sie drei Studioalben veröffentlichte und weltweit Konzerte gab. Nach einer fast siebenjährigen Pause veranstalteten Big Time Rush 2020 eine überraschende virtuelle Reunion, um das 10-jährige Jubiläum ihres Hits "Worldwide" zu feiern.

Die Wiedervereinigung führte zu einer Massenhysterie unter ihren Fans und wurde zu einem globalen Medien-Spektakel. Im Jahr darauf wurden alle Staffeln der Serie auf Netflix eingestellt, und die Band ging erneut viral. Die Resonanz übertraf alle Erwartungen und bewies die Macht ihrer treuen Fangemeinde. Es folgten neue Musik und ausverkaufte Tourneen.

Earthly Measures' second vinyl release of the year sees them team up with the talented & mystical producer & multi-instrumentalist Sidirum - bringing you Balearic & Downtempo flavours from Argentina - sounds that haven’t always been associated with his style. An EP that fills you with euphoria & nostalgia, trying to find those sounds that can take you to another time just by listening to them - as he puts it, "rhythms from the past".

For Sidirum this release is about the beauty of chance. Samples that he has found from near & far over many years of producing finally find a home. 'Donde' in particular is a special track, he says "it is the track where I found my voice again. I have not used it in a song for almost 10 years." 'Ex-Plane' is heavily influenced by his love for Reggae, which runs throughout the whole track. 'Total Interior' is a perfect dance-floor ready track - with the help of multi-instrumentalist Pedro Alvide, the track builds a musical progression that dives into perfect sunset vibes with uplifting energy - ready for a peak time festival set.

After a number of other releases, 'Iris' is an EP where Sidirum feels that he has finally found himself again musically. In a way it's a summary of the places he’s been in the past, intertwined with his ideas in the present, making for a truly unique & pleasant listening experience.

Nick The Record - This is ruddy bloody gorgeous!!!!!!!!!!!!!!! Only problem is choosing a favourite tune

Dom Servini - Gorgeous White Island moments on here! Beautiful.

GK Machine - Nice reggae vibes on Ex-Plane...Total Interior and Donde up my street too

Bill Brewster - V nice esp. total interior

Paul Cottam - In my head now

Jaye Ward - wow!! what a release! super deep very left of the field. deep AF brilliant thing indeed

Oscar Arroyo - Nice one.

Thomas Jackson - I like Donde!

DeYarmond Edison war der Vorläufer von Bon Iver und Megafaun. Im Sommer 2005 verließen vier Freunde Wisconsin in Richtung North Carolina mit einem einzigen Ziel: der Folk-Rock-Flaute zu entkommen. Während eines Jahres intensiver Konzentration, des Studiums und der Verletzlichkeit taten sie genau das, indem sie an den ekstatischen Rand des New Weird America vordrangen und von allem ein bisschen ausprobierten - Grindcore und Gospel, Free Jazz und Phasenstücke, Bluegrass und Blues - und es in DeYarmond Edison packten. Der Rest ist Geschichte_ Ein Mitglied ging nach Hause, um das zu gründen, was später Bon Iver werden sollte, während drei vor Ort blieben, um Megafaun zu gründen. Epoch ist die Geschichte von DeYarmond Edison: Brad Cook, Phil Cook, Justin Vernon und Joe Westerlund, erzählt wie nie zuvor. Die Sammlung umfasst fünf LPs, vier CDs, Dutzende von ungehörten Aufnahmen und ungesehene Fotos. Begleitet wird sie von einer ausführlichen Biografie des Schriftstellers Grayson Haver Currin, der auch als ausführender Produzent der Sammlung fungiert. Alles in allem fängt Epoch die Zeit ein, bevor aus diesen vier Freunden zwei andere, aufsehenerregende Bands wurden. Es ist eine Geschichte über Gemeinschaft, Visionen, Familie und ein Quartett, das zu gut sein wollte, um zu bestehen. Es gibt Momente des Experimentierens, subtile Wendungen im Fuzz von "Epoch" und eine stampfende Herangehensweise beim Covern von "All Tomorrow's Parties", die den Grundstein dafür legten, wie Bon Iver und Megafaun die akustische Musik ein wenig umkrempeln würden. Aber ein Großteil von Epoch unterstreicht die einzigartige Sichtweise der Gruppe auf amerikanisches Songwriting, auf das Nehmen von Patchworks, das Finden der Akkorde und das Singen aus vollem Herzen. "Trials, Troubles and Tribulations" ist ein Beispiel dafür. Am bekanntesten ist es als Duett von Justin Vernon und Sharon Van Etten, das hier in ausufernder Last-Waltz-Manier wieder zum Leben erweckt wird, mit Vocals von Megafaun, Justin Vernon, Frazy Ford und Fight the Big Bull. Jede Platte ist gleichermaßen ein Crash-Kurs in allem, was dieses spezielle Stück Musikgeschichte ausmacht: Fotos aus Hinterhöfen und Kellern; Essays, die bestimmte Aufnahmen beschreiben; Farbpaletten, die Zeit und Ort widerspiegeln. Mit über sieben Stunden und 55.000 Wörtern ist Epoch eine maximalistische Sammlung. Aber man muss kein Komplettist sein, um zu verstehen, was es bedeutet, sich mit seinen besten Freunden zusammenzukauern und Dinge zu erschaffen, für diese Dinge zu träumen, zu lernen, zu kämpfen und zu wachsen.