Buscar:the waves

Swansong wurde 2020 in Kuopio, Finnland, gegründet. Die Gründer der Band, die ehemalige Up Yours-Punk-Sängerin Jemiina und der Verjnuarmu-Gitarrist Topi Pitkänen, taten sich zusammen und begannen, gemeinsam Musik zu machen. Swansong bringt etwas Neues in die Metalszene und kombiniert Melodic Death, Heavy und Folk Metal, um nur einige zu nennen. Die kraftvollen Melodien mit knallharten Riffs lassen die 80er und 90er Jahre aufleben. Oldschool-Elemente erhalten durch weibliche Death-Growls und -Schreie einen neuen Twist.

Treten Sie ein in die Swansong-Welt - Geschichten mit Mitternachtskriegern, starken Jungfrauen und kaltem, frostigen Wind! Die Mitglieder der Band sind erfahrene Musiker von Bands wie Verjnuarmu, Tornado, Carnal Demise und Omniversum und die Songs sind seit dem Jahr 2020 in Arbeit.
Die finnischen Melodic-Death-Metal-Newcomer Swansong veröffentlichten am 25.02.2022 ihre erste EP Winter Maiden, produziert von Mathias "Vreth" Lillmåns (Finntroll, ...And Oceans, Dispyt). Swansong hat es sich zum Ziel gesetzt, weiterhin eine eigene Welt voller großartiger Melodien, Geschichten und visueller Elemente zu erschaffen, die bei den Hörern auf der ganzen Welt bereits auf große Resonanz gestoßen ist.

DJ Support:
Folamour, Mark Knight, Michael Gray, Melvo Baptist, Seamus Haji, Dr. Packer, Kevin McKay, Faze Action, Cj Mckintosh, Young Pulse, Moodena.

Salvo De Luca, a dedicated enthusiast of house and disco music who goes by the moniker DA LUKAS, has delivered a stellar 4-track EP of Funky-House/Disco-Boogie on Groove Culture. The EP's standout track, 'Satisfy Your Soul,' is currently making waves as one of the most played tunes in clubs globally, even finding its place in the latest set by French DJ Folamour for Boiler Room in Australia.

Additionally, the EP features a new project by Da Lukas named 'Supergood,' available exclusively on vinyl. This funk-infused cosmic delight promises to get you grooving to its unique and captivating vibes.

The YUM YUMS, Europe's ambassadors of power-pop are back with a brandnew album!!! Their sixth full-length is called "Poppin' Up Again" you you can be sure that whenever they have a new album poppin' up, it's gonna be a hit record!!! It's stacked with catchy hi-energy, guitar-driven power-pop songs, complete with sugary multi-layered harmonies and lyrics that seems to be stolen from some 12 year-old girl's diary. Like Joss Hutton once wrote in Bucketfull Of Brains Magazine, "Let's consider the three minute pop-song for a second or two: so simple in it's construction, so inscrutable in it's perfection, so many who have tried and failed! For me the YUM YUMS have been THE band to watch over the past few years, their perfect (yep, it's true) take on the "power-pop" thang is a source of constant pleasure and amuzement". A pretty good description that is, but what more can we say about the undisputed kings of pop? This time they deliver their idea of REAL POWER-POP, where the word power is written in capital letters and fill it up with a perfect dose of classic rock'n'roll. Putting together the essential ingrediences of the music of the RAMONES, the REAL KIDS, the PLIMSOULS, the DEVIL DOGS, the early SWEET and the OHIO EXPRESS, the 6t's and the 7t's, bubblegum, glam and punk, pop and r'n'r, they create their very own YUMMY sound. So, what we're talking about is extremely catchy pop-music with a fat, rockin' guitar sound, well executed vocal-lines, ridin'-on-the-waves drums and a crunchy punk feel to it. It simply makes you feel good!

Stone Temple Pilots roared on to the scene in 1992 with their raucous debut Core. A breakout success, the album peaked at No. 3 on the Billboard 200 chart, dominated radio waves with hits like "Sex Type Thing" and "Wicked Garden," and has been certified 8x platinum by the RIAA. The band also took home the 1994 Grammy Award for Best Hard Rock Performance for their smash single "Plush."

Although it faced initial criticisms for being derivative of other grunge bands, such as Pearl Jam and Alice in Chains, time has gained Core recognition as a classic of the 1990s alternative rock era and remains a pivotal album in the Stone Temple Pilot's discography. Critics praised the band's musicianship, Scott Weiland's charismatic vocals, and the album's songwriting.

Core showcases a diverse range of musical styles, blending elements of alternative rock, grunge, hard rock, and even psychedelic influences. The band's sound is characterized by powerful guitar riffs and a melodic bassline.

The album strikes a balance between heavy, grunge-infused tracks and more introspective, melodic compositions. Songs such as "Sex Type Thing" and "Wicked Garden" exemplify the band's heavier, hard rock side, while tracks like "Plush" and "Creep" showcase their ability to craft emotionally charged, radio-friendly ballads. The album's eclectic mix of styles contributed to its widespread appeal and longevity in the alternative rock scene.

The top-notch Analogue Productions reissue earmarks are all here: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Acclaimed guitar duo Loren Connors and Alan Licht celebrate their 30-year collaboration with release of their eighth album - At The Top Of The Stairs. Across the decades, their improvisations turned increasingly abstract and atonal, while still maintaining complex, ethereal arrangements. The harmonious blend of Licht's meticulously crafted feedback and harmonic patterns with Connors' ghostly blue tones remains the core sound of this partnership. At The Top Of The Stairs was recorded live in 2018. Across two side-long pieces, the duo ascends slowly, through layers of atmospheric tension punctuated by thunderous waves of Connors' effects. For fifty years, Connors's adaptation of acoustic Delta blues has transmuted into miniature gray scale compositions and howling riffs. His collaborators include Oren Ambarchi, Keiji Haino, and Kim Gordon. Rock/experimental musician Alan Licht was a member of the bands Love Child, Run On, and Lee Ranaldo & the Dust, and has released a range of acclaimed rock and experimental albums. He is an author with books published by Rizzoli, W.W. Norton, Faber & Faber and Blank Forms.

DIY tape manoeuvres, sending esoteric dub waves down from the magnetic north.

Straight from the studio in Glasgow. Everything done in-house. Hand stamped body. Printed the covers etc

Weirdo dubs from ambient to drone with experimental electronic cuts that occupy some frighteningly smoked out alleyway between the club and the cemetery. With a sweet spot of obscure but inclusive dub, with the kind of ambient bits that sound like ancient mythology.

NT is Nail aka Neil Holliday, one half of Bent and a master of UK tech house. But here he shows a different side across six majestically Balearic groovers. That draw on everything he has done before to send you out to sea on gentle waves of shining synth goodness, downtempo bliss and dreamy, chubby, soft focus drums. 'Beside Boa Linn' is a soothing summer sound to kick off then 'Going Out To Feel It' is a spiritual house cut for sundown, and 'Don't Hide Away' is slow motion disco brilliance. The trip continues with the star-gazing 'Evening Fixture', Eddie C style guitar licks of 'Walk In Romance' and romantic lullaby 'Dreams On Hold.'

Revision of new beats on the horizon
Every 20 years or so, certain musical movements come full circle. Young musicians are inspired by genres dating back two decades, channelling them through their modern sensibility. The legendary J Dilla’s Donuts album was released in 2006 and instantly marked a starting point for the work of musicians worldwide, laying the foundations especially for the beat scene in Los Angeles. A whole young generation of musicians brought up on the new, instrumental and abstract hip-hop has carried jazz into a new era. The four London-based musicians who make up Uniri have gone one step further by abandoning the idea of a jazz band and "bedroom production" in favour of collective composing, creating a new look at the new-beat aesthetics, framing it as a road novel set in an unspecified time and space.

Uniri translates as ‘one unified dream’ and is the key driving motto of the project conceived by Chiminyo (Cykada, Maisha), the band's founder and head honcho. The project materialised in his private studio, where he invited fellow jazz musicians Amane Tsuganami (Jorja Smith, Maisha), Al Macsween (Nubya Garcia, Gary Bartz, Kefaya) and Luke Wynter (Nubyan Twist, Golden Mean) to spontaneously compose together. Hence, despite this being the band's first album, it wouldn't be right to call them rookies. The result of Uniri's collaborative work is the psychedelic, rhythmic album Infinite Reflections, packed with cosmic and warm synths, which neatly balances hip-hop beat and jazz composition. It's safe to say this music is even more appealing when played live, although it's equally suited to the club dancefloor.

UK Jazz has become a permanent fixture in the London landscape, but also across Europe and the US. Today, the musicians who shape the new wave of jazz are drawing on more and more genres, reducing solo improvisation for the benefit of composition and increasingly drawing on influences from the beat scene. Among such formations are the British NOK Cultural Ensemble, the Polish Błoto, the Belgian ECHT!, and the Dutch Comité Hypnotisé. Uniri is part of this emerging yet already international trend, creating an entirely fresh aesthetic that echoes artists such as Flying Lotus, Samiyam, Dorian Concept, Ras G and Nosaj Things oriented around the Californian 'new beats generation' scene.

The title Infinite Reflections alludes to a phenomenon observable on the open sea or during intercontinental flights. Gazing at the horizon blurs the boundary between the ocean and the sky, forming an infinite palette of blue shades. This inspiration sparked an elusive musical narrative, navigating between a sea voyage and an astral journey, destination unknown.

Jamwax presents the resurrection of a hard-hitting space synth masterpiece that's set to ignite your senses and shake the very foundations of sound systems worldwide. 'In Ting Sound' is a sonic juggernaut, a hard-as-nails sound bwoy killer that refuses to be confined to the constraints of time. With its pulsating beats and infectious rhythms, this track commands attention from the moment the first note hits. But it's the heavy drums that truly set it apart, pounding with relentless force and driving the groove forward with unstoppable momentum.

Get ready to embark on a sonic journey like no other as this reissue comes with three exclusive unreleased tracks :
'Mandela': Feel the pulse of liberation with this uptempo digital killer, featuring Winston's impassioned plea to "Free Nelson Mandela...he never done no wrong, he is just a conscious man..."
Let the rhythm of justice resonate as you groove to this powerful anthem of freedom. 'Life All Over': Flip over to the B-side for a digital roots tune that- hits hard with its strong bassline and conscious lyrics. "Life AllOver" dives deep into the essence of existence, delivering a message of hope and resilience that reverberates with every beat. 'Finnegan' aka 'Life All Over Dubwise': Prepare to enter the realm of dub mastery. The second part of "Life All Over" takes you on a journey through the echoes of space and time, where the music transcends boundaries and the spirit of dub reigns supreme.

About Winston Fergus : Winston Fergus, a stalwart of the UK reggae scene whose career spans over four decades. Winston kickstarted his journey in 1976 as the vibrant lead singer of The Equators, renowned for their iconic track 'Father Oh Father' released under Joe Sinclair's esteemed Klik label. Not only did The Equators make waves in their own right, but they also provided the musical backdrop for rising star Pablo Gad, solidifying Winston's reputation as a mentor in the industry.

In 1977, Winston ventured into solo territory with the soulful release 'Give Me Love' on Jah Jah Bus, marking the beginning of a prolific solo career. Lightning Records recognized his talent and signed him, resulting in the release of 'African Woman'. Throughout the '80s, Winston remained a prominent figure, collaborating with luminaries like Clement Bushay, Clive Stanhope, and John Dread, producing hits such as 'Jezebel Woman', 'Keep On Dancing', and 'Hope For The World'.

In the late 80's, Winston's entrepreneurial spirit led him to establish his own imprint, Fergie Music label, marking a new chapter in his illustrious career.

Second Compilation Of New Music By Ex-Sarah Records Bands! Under The Bridge 2 is the sequel to the celebrated 2022 compilation album that reunited groups and songwriters who had once recorded for cult label Sarah Records. The new album showcases the continuing creativity of a special group of musicians who have never rested on their laurels. Bigger and more expansive than the first album, Under the Bridge 2 is a double LP, containing twenty brand new tracks. There is a huge range of material here, from intense, dark chamber pop to dense shoegaze to out-and-out indiepop. Exciting new groups are unveiled: The Gentle Spring (a new project by Michael Hiscock of The Field Mice); Vetchinsky Settings (a collaboration between Mark Tranmer and James Hackett of The Orchids); and Mystic Village (which features new songs by Robert Cooksey of The Sea Urchins). You will also see familiar starry names like Even As We Speak, The Orchids and Secret Shine - bands whose line-ups have remained mostly unchanged since the 1990s. And there are established bands who didn't appear on the first album but are now represented - bands like Action Painting! and The Hit Parade. Most of the tracks are exclusive and unreleased: there's the first new song from The Catenary Wires since 2021, a brand new fizzbomb from Jetstream Pony, a haunting instrumental from GNAC. The emphasis of Under The Bridge is on the new. The bands' shared history means they have a shared aesthetic, even a shared ethos - they all believe that the future is more important than the past. They are as independent and as uncompromising as ever, but they are still uncynical - and still excited about what Pop Music can be. Under The Bridge 2 is available as ltd vinyl double LP, CD and digital download. It will not be on streaming sites. CDs and LPs include a 12 respectively 24-page illustrated colour booklet.

First collaboration between NC Hip Hop group Kooley High & ATL-bred producer Tuamie. Kooley High has recently worked with 9th Wonder, Rapsody, Statik Selektah, Skyzoo & more. Tuamie has produced for Fly Anakin, Koncept Jackson & has been showcased by Street Corner Music. Pressed on purple colored vinyl. Dive into the timeless realm of ‘All Infinite’, the new album from NC Hip Hop collective Kooley High & ATL-bred Producer Tuamie. Head-knocking drums and superb flows come together to create a lush soundscape filled with tight scratches, vocal soundbites & more. Sit back and take it all in. This album is a sonic journey that explores the boundless nature of energy and the concept of infinity. Kooley High & Tuamie bring forth a fusion of soulful beats and insightful lyrics that are all their own. While beginning as a one-track collaboration, the instant sonic chemistry of Kooley High & Tuamie has blossomed into a full-length album. Each track resonates with the essence of classic Hip-Hop, echoing the roots of the genre while pushing the boundaries of contemporary sound. ‘All Infinite’ is poised to be a testament to the enduring power of music. The dynamic blend of retrospective and prospective lyrics seeks to impact each listener on a personal level. Two passionate creative forces have been united. Kooley High & Tuamie’s mission is clear – to spread good vibrations through the universal language of sound waves. Join them on this musical odyssey where the energy is boundless, and the rhythms are eternal.

Mattias El Mansouri's second outing on Aniara further expands his undulating minimalism after last year's Tja, Hej, Salam. Sonic waves ripple throughout the atmospheric groover Time Dilation In Ultraviolet on the A-side, while on the flip side a 13 minute trip awaits; a deep, introspective dive into the self and out of the body.

To abandon animals for music – and avant-garde jazz at that –, could seeming shocking to some people. However, it is exactly what Manuel Villarroel did, as he was a vet for three years before leaving his native Chili for Europe and a career in music. And though the animals may have suffered, the world of music can be grateful.

Born in 1944, Manuel Villarroel lent an ear to the best pianists from North America: Oscar Peterson and Erroll Garner then Herbie Hancock, McCoy Tyner and Cecil Taylor. Manuel left Santiago in September 1970 to participate in the Contemporary Music Workshop in Berlin. To pursue his musical career, he rapidly decided to remain in Europe.

The following year in Paris, Manuel began a quartet with saxophonist Jef Sicard (who would also play with his brother Patricio, in the Dharma Quintet). But the group would rapidly expand: Villarroel and Sicard added Gérard Coppéré (saxophone), William Treve (trombone), François Méchali (bass) and Jean-Louis Méchali (drums). And with the arrival of Sonny Grey, a Jamaican trumpeter heard ten years earlier with Daniel Humair, the Matchi-Oul Septet was complete.

Complete and ready: on May 8th, 1971, Matchi-Oul was in the studio for Gérard Terronès’ Futura label. The septet recorded seven of the pianist’s compositions. A succession of tracks which flow magically from one to the next: from the first drum strokes to the last deep notes of the bass, the successive waves roll over the piano and whistle through the wind instruments. And when they all come together it gives even greater force to Villarroel’s beautiful songs. Terremoto is a masterpiece of collective expression: but what else could we expect from a “supergroup’’ of this stature?

The 8-member strong brass band from the windy streets of Amsterdam are back with their fifth studio effort reflecting on their over a decade-long career of bringing the best that instrumental brass music has to offer. With their newest album, they claim their righteous throne as stalwarts of the new European wave of brass bands making waves on the continent.

Containing 9 tracks of top-notch quality brass music from a collective of musicians, friends, and renegades that pursue a quest of innovating of what we know instrumental brass music to be. Gallowstreet is considered a reference point for the (future) sound of European brass bands that mix a multitude of styles into a new sound, whilst simultaneously (re)anchoring the notion of brass bands in its counter-cultural and communal roots. Distinct from its American counterpart, whilst paying homage to the legacy

Mesmerizing and exuberant Argentinian La Yegros, probably the most magnetic artist on the South American continent, is back with a new album!

The undisputed Queen of "Nu Cumbia" has not rested on her laurels. Surrounded by the same accomplices who have supported her for the last ten years, but eager to renew herself, she has set about recording her fourth album, which stands out from her discography. Although her personal folklore is still rooted in South American folklore, La Yegros is now absorbing contemporary, global music, while tackling intimate, often melancholy and even painful subjects, which she overcomes with the same resilience that drives her in concert. Nothing stands in the way of this Argentinian whirlwind, all the more fascinating for the fact that personal considerations are now surfacing beneath the veneer of the party atmosphere she sets alight.

La Yegros returned to the stage in 2022 to celebrate the 10th anniversary of Viene de Mí, her single hit from the self-titled album, released in 2012 in Argentina and then worldwide in 2013, which catapulted her to international fame. We then discovered a singer who had grown up in the traditions of her country. Her parents come from Misiones, a province bordering Brazil and Paraguay, where balls are filled with the sounds of chamamé (a mix of polka and Guaraní music), Carnavalito (Andean folklore) and Colombian Cumbia. But she herself is a native of Buenos Aires, whose nights are enlivened by the bass of Dancehall and electronic music.

These influences have merged in two further successful albums, Magnetismo (2016) and Suelta (2019), followed by high voltage tours during which La Yegros has been able to display her generous nature, inexhaustible energy, exuberant personality and infectious enthusiasm.

To record her new album entitled 'HAZ', La Yegros has put her faith in the same team that has worked with her since Viene de Mí. On one hand, producer Gaby Kerpel (also known as King Coya), a pioneer of synthetic experimentation applied to traditional music, who has remained her faithful accomplice for over twenty years. On the other hand, composer Daniel Martín, who knows how to come up with melodies to dream about and hymns to sing along to. Inseparable and complementary, the trio continues to concoct this mesmerizing mixture where acoustic instruments meet samples and the rolling of machines. But the new productions don't rely on a tried and tested formula. Generally co-produced between France and Argentina, they break away from over-defined genres. La Yegros knits together new rhythms and incorporates sounds that are unheard of in her country, derived from the latest urban trends, as well as echoes of reggae and funk. As for the lyrics, signed alternately by the trio, they are embodied by La Yegros whose charismatic voice questions a period of her life tossed by waves of love and lovelessness, joy and sorrow, euphoria and anguish, indulgence and resentment.

The album is open to a wealth of musical styles. You'll hear funk guitar and Andean flutes, melancholy accordion and rolling drums, Tuareg blues enhanced by brass, house and electro Cumbia loops, and the bassoons of a chamber orchestra. The folklore 2.0 of La Yegros, nourished by its colorful inspiration, at times tender or exalted, has been imagined as a hymn to love and the contradictory feelings that come with it. As always, it has also been conceived with the stage in mind. Hatching in a storm of overturned emotions, the album is all the more explosive for the strength of the live show that accompanies it. In addition to the usual line-up of guitar, accordion and percussion, a musician handles synthesizers and machines to boost the electronic turboshaft. In any case, you can count on the singer to assert her increasingly clear-cut character with each new project. And, above all, she won't give up. L.a Yegros is back and her batteries are fully charged.

My art investigates the rich area of resonance and I engage in dialogue influenced by past works, current concerns and new directions. Works attempt to immerse the senses bringing to the fore natural phenomenon. I believe that sound can heal and that the conscious investigation of harmonic tunings, acoustic resonance as well as social relationships can yield powerful experiences. One of my objectives as an artist is to expose natural phenomena. I am interested in the physical aspects of sound and have developed a sensibility that focuses heavily on Resonance. Vibration is at the core of my experience of Resonance. I am moved by natural resonances that exist around us all. My own work strives to develop and nurture Resonances by negotiating sensitive relationships among a number of what I identify as critical ingredients for psychedelic phenomena: resonant bodies exciting harmonic energy creating diverse waves, beating and phase patterns diffused spatially with full dynamic range and a deep attention to the body and how it engages with the environment.

Spaceship is Mark S. Williamson, a musician, sound artist, film maker and educator based in Todmorden, West Yorkshire. His work is often made in response to his environment, working on location, combining
field recordings with electronic and acoustic instrumentation, usually recorded outside, amid the landscape and weather. Mark has recorded for wiaiwya, Apollolaan, the Dark Outside and his own Forged River Recordings. "Williamson is building desire tunnels, churning through the layers of rock and soil to find his conclusions." - The Wire // "...the droning synthesizer waves conjure up something spectral and eerie, stretching out like the wi de horizon..." - The Quietus // "Beautiful." - Hannah Peel

FÜR FANS VON: Helloween, Gamma Ray, Powerwolf, Primal Fear, Grave Digger, Running Wild, Iced Earth, Blind Guardian, Edguy
Große Ereignisse werfen ihre (offenkundig ebenso großen) Schatten voraus: Die deutsche Metal-Band Rage kündigt für März 2024 die
Veröffentlichung ihres neuen Studioalbums ‚Afterlifelines‘ an. Es handelt sich um ein Doppelalbum mit insgesamt 21 Songs, inklusive Intro, Interlude
und Outro. Das Besondere daran: Die zwei Scheiben haben unterschiedliche musikalische Ansätze: „Die erste CD trägt den Titel ‚Afterlife‘ und besteh
aus Songs, die wir als Trio eingespielt haben, während die Songs der zweite CD ‚Lifelines‘ zusätzlich mit klassischen Orchesterarrangements
ausgestattet sind“, erklärt Sänger und Bassist Peavy Wagner. Wagner und seine beiden Bandkollegen Jean Bormann (Gitarre) und Vassilios „Lucky“
Maniatopoulos (Schlagzeug) haben mehr als 94 Minuten neuer Rage-Musik aufgenommen, darunter ein, wie Wagner es nennt, „20-minütiges Grand
Finale.“ Um die Wartezeit bis zum Album-Release zu verkürzen, werden Steamhammer/SPV bereits ab Januar 2024 drei Singles der neuen Scheibe
vorab auskoppeln.
Neben der Veröffentlichung des Doppelalbums laden RAGE in 2024 zu einer umfangreichen Welttournee ein, mit Shows und Festivalteilnahmen unte
anderem in Deutschland, Österreich und der Schweiz. Darüber hinaus kündigt Peavy Wagner bereits jetzt für den Herbst 2024 eine große
Rage-Biographie anlässlich des 40-jährigen Bestehens der Band an. Kein Zweifel: 2024 wird ein Rage-Jahr!

FÜR FANS VON: Helloween, Gamma Ray, Powerwolf, Primal Fear, Grave Digger, Running Wild, Iced Earth, Blind Guardian, Edguy
Große Ereignisse werfen ihre (offenkundig ebenso großen) Schatten voraus: Die deutsche Metal-Band Rage kündigt für März 2024 die
Veröffentlichung ihres neuen Studioalbums ‚Afterlifelines‘ an. Es handelt sich um ein Doppelalbum mit insgesamt 21 Songs, inklusive Intro, Interlude
und Outro. Das Besondere daran: Die zwei Scheiben haben unterschiedliche musikalische Ansätze: „Die erste CD trägt den Titel ‚Afterlife‘ und besteh
aus Songs, die wir als Trio eingespielt haben, während die Songs der zweite CD ‚Lifelines‘ zusätzlich mit klassischen Orchesterarrangements
ausgestattet sind“, erklärt Sänger und Bassist Peavy Wagner. Wagner und seine beiden Bandkollegen Jean Bormann (Gitarre) und Vassilios „Lucky“
Maniatopoulos (Schlagzeug) haben mehr als 94 Minuten neuer Rage-Musik aufgenommen, darunter ein, wie Wagner es nennt, „20-minütiges Grand
Finale.“ Um die Wartezeit bis zum Album-Release zu verkürzen, werden Steamhammer/SPV bereits ab Januar 2024 drei Singles der neuen Scheibe
vorab auskoppeln.
Neben der Veröffentlichung des Doppelalbums laden RAGE in 2024 zu einer umfangreichen Welttournee ein, mit Shows und Festivalteilnahmen unte
anderem in Deutschland, Österreich und der Schweiz. Darüber hinaus kündigt Peavy Wagner bereits jetzt für den Herbst 2024 eine große
Rage-Biographie anlässlich des 40-jährigen Bestehens der Band an. Kein Zweifel: 2024 wird ein Rage-Jahr!

Steeped in the sounds of electro disco, italo and new beat, Ace Vision is an artist raised on the synthesizer traditions of Italy.

Following on from his debut EP,”Not An Ordinary Story”, the musician returns with four pieces of crafted electronics; Snapping percussion lays a path for arcs of melody, bruised bass and computer game chords for the driving energy of “Enigmatic Flow.” The same rhythmic strength is carried into “Middle of the Night.” Kicks and snares are the foundation from which perfumed keys ascend. In the exquisite “Goodbye,” warm analogue waves are punctuated by beats while rolling arpeggios and soaring lines drift above vocoder lyrics. “Synthpop Voyager” ends the EP. Warm playful melodies are central in this elegant and emotional finale, crisp drum patterns being the central columns around which Ace Vision weaves his analogue tapestry. Four tracks that tell a very different musical tale.

The word Asapani is part of the artistic vocabulary of Paolo "Batà" Bianconcini, percussionist of the La Scimmia Records collective, founding member of the Circolo Psiconautico and part of the Neapolitan bands Parbleu, Funkin' Machine and Nu Genea. This ancient-sounding term is a creation of the artist, who defines it as a word of nature, but also the (italian) acronym of Listen to the Silence, Listen to the Peace, Listen to the Inner Nothingness. More than a simple term, an exhortation.

The music contained in Asapani was written and produced between 2022 and part of 2023 by Paolo “Batà” Bianconcini who together with the Circolo Psiconautico (Paolo Petrella on bass and synth, Pietro Santangelo on wind instruments and Roberto Porzio on synths) and takes shape from observation of time and the infinite possibility we have of blocking its fragments and making them our own and then sharing them in another form. The intent is to transport the listener outside of himself, through sound vibrations, during the span of four long tracks that melt into each other feeling like one singular body of work.

This album spans several genres, but at the same time is unique in its style. Spiritual jazz blended with primitive settings, achieving a sensation of sonic primitivism. The listener is projected into a circle of musicians who, sitting around a fireplace, are transported towards infinity by their internal vibrations.The research starts from the four elements of nature (water, fire, earth and air) and thus uniting and fusing with each other they make us question our existence, our depths.
As Batà himself explains, starting from the four fundamental elements in order to keep the search for the fifth element constant.

A location, Melizzano, on the western slopes of Monte Taburno, where the Batahaus stands, the physical and spiritual home of Batà, a magical place in which the Circolo Psiconautico meets, with the aim of navigating the waves of the unconscious and composing music which, through contamination and experimentation, captures the moods of the moment and projects images and colours from the inside out that speak to everyone. Like a real club, the Psiconauti come together to give each other the chance to explore together, create suggestions and get excited among friends.

Oftentimes in this busy and chaotic world it’s challenging to draw a parallel between two congruent events. In this case however, drawing its inspiration from Detroit’s recent meteoric rise from the ruins of the past, BerettaMusic a label founded in Detroit in 2002 continues to rise through a sea of noise with steady quality releases.

Widely seen as one of the premier house/techno labels from a bustling Detroit music scene, the label is continuing to make waves. This time with the re-launch of their highly respected Beretta Grey sub label. The same label that has launched the careers of artists like Seth Troxler, Ryan Crosson, Luke Hess and many others is back again.

Asher Perkins is no stranger to the dance floor. When Richie Hawtin called him in 2015 and requested his music for Minus, he stepped up and delivered a quality release. Since then he has steadily been honing his craft and cutting his teeth in Detroit with his much sought after, late night, live techno sets.

Asher’s productions can range from deep dark banging techno to heady and psychedelic vibes, both of which he showcases on this release on Beretta Grey. For his faithful fans in Detroit and beyond, they may have caught a glimpse of his new moniker, Acid Perkins, where he takes the crowd on an even deeper dive into the absolute depths of trippy, bumping and bubbling psychedelic soundscapes that will have the listener yearning for more. BerettaMusic is very proud to announce the relaunch of the highly respected Beretta Grey imprint and showcase one of Detroit’s finest in the process, Asher Perkins.

Are you ready? Written and Produced by Asher Perkins Mastered by Brian Kage at the Bear Cave in Detroit, pressed at the world famous Archer Records in Detroit. Label art by Ryan Sadorus.

Portland based act Dancing Plague has been a steady presence in the dark/cold electronic music scene for quite a few years now.

Since 2016 Conor Knowles’ solo project has been putting out one constant flow of independent releases on multiple formats such as vinyl LPs, EPs, tapes and CDs, creating one sonic palette rich with Ebm, goth, industrial and synth influences.

On their 5th studio album, Dancing Plague continues to flesh out and perfect their unique brand of crushing darkwave.

Elogium explores themes of loss, regret, rebirth and growth coupled with throbbing basslines, rave synths, and pounding drums. Knowles balances aggressive waves of electronics with enough pop sensibilities and catchy hooks to be inviting to those new to the genre.

His skills can be clearly appreciated on tracks like the first single Fading Forms which explores the somber feeling of the years passing you by. Knowles’ emotive baritone crooning paints a melancholic picture of the slow fading of time as you feel like you’re fading with it. The words fall like snow onto cold fields of pulsing 80s synths and pounding drum machine rhythms that bring forth nostalgic familiarity but feel fresh at the same time.

Fans of classic icons such as Depeche Mode, Ministry, Nine Inch Nails as well as contemporary torchbearers Cold Cave and Kontravoid do not sleep on this.
Plenty of disturbing beauty to be found in the depths of the underground

Buvette, also known as Cédric Streuli, is a constantly evolving artist, whose music captures the nuances of the distance he’s covered so fat.

Originally from Leysin, Switzerland, Buvette has traveled across ten years and four studio albums, from India to Mexico.

His last album, Tales of the Countryside is a musical adventure that subtly hints at his previous songs. By going back to the basics of an autodidact who only packed what he’d need for the journey, Buvette offers a delicacy that blends modern country music with Latin overtones and rhythmic ballads shaped like waves, in a format that’s simple, straight, and versatile.

E. LIVE returns to STAR CREATURE with yet another Boogie Blast Off, this time of the Jazz-Funk variety, marking his third full-length release with the esteemed Chicago label. The much-anticipated album is set to make seismic waves in 2024. With a nu-school approach leaning towards the jazzier realms of disco, E. LIVE masterfully maintains an unwavering dance floor allure. The album is a brilliant fusion of accessible and sophisticated sounds, creating an enchanting sonic landscape that seamlessly bridges disco and jazz elements. Genius Level production for a solo studio act. Highly recommended for fans of musical luminaries such as ROY AYERS, PATRICE RUSHEN, KHRUANGBIN, FKJ, and TORO Y MOI, etc...8 tracks & full picture sleeve.

Die Symphonic-Metal-Wikinger LEAVES' EYES haben schon immer in einer eigenen Liga gespielt. Wer eines ihrer aufwendigen Musikvideos oder eine ihrer spektakulären Liveshows mit atemberaubender Bühnenkulisse gesehen hat, kann das bestätigen. Mit ihrem neuen Album "Myths of Fate" kommen sie nun mit einem neuen musikalischen Epos zurück. Es erwartet euch fesselnder Symphonic-Metal mit hymnischen Melodien, kraftvollem Gesang und epischen Geschichten.
Am 22. März 2024 wird "Myths of Fate" in mehreren limitierten Vinyl-Varianten, als limitiertes 2CD Earbook, limitiertes 2CD-Digipak und digital veröffentlicht.

Die Symphonic-Metal-Wikinger LEAVES' EYES haben schon immer in einer eigenen Liga gespielt. Wer eines ihrer aufwendigen Musikvideos oder eine ihrer spektakulären Liveshows mit atemberaubender Bühnenkulisse gesehen hat, kann das bestätigen. Mit ihrem neuen Album "Myths of Fate" kommen sie nun mit einem neuen musikalischen Epos zurück. Es erwartet euch fesselnder Symphonic-Metal mit hymnischen Melodien, kraftvollem Gesang und epischen Geschichten.
Am 22. März 2024 wird "Myths of Fate" in mehreren limitierten Vinyl-Varianten, als limitiertes 2CD Earbook, limitiertes 2CD-Digipak und digital veröffentlicht.

Die Symphonic-Metal-Wikinger LEAVES' EYES haben schon immer in einer eigenen Liga gespielt. Wer eines ihrer aufwendigen Musikvideos oder eine ihrer spektakulären Liveshows mit atemberaubender Bühnenkulisse gesehen hat, kann das bestätigen. Mit ihrem neuen Album "Myths of Fate" kommen sie nun mit einem neuen musikalischen Epos zurück. Es erwartet euch fesselnder Symphonic-Metal mit hymnischen Melodien, kraftvollem Gesang und epischen Geschichten.
Am 22. März 2024 wird "Myths of Fate" in mehreren limitierten Vinyl-Varianten, als limitiertes 2CD Earbook, limitiertes 2CD-Digipak und digital veröffentlicht.

Funkyjaws Music is back with more music to make your jaw go funky, this time in the form of a second volume of its Let's Dance series. It features a quartet of esteemed tune makers starting with Frank Booker's 'Yes No Maybe' which is a horn laced and loose-limbed delight, while go-slow master Eddie C brings his classy touch to the funky licks of 'Love Dancing Theme.' There are plenty of cosmic synth waves to Black Truffle's 'Dancing Through The Night' while the LTJ Xperience close down with a super laid back and summery vibe on 'Sunny Groove.'

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Herdersmat.
Morderstwo.
Rotterdam.
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After making waves with their 2020 self-titled debut LP (championed by the late, great DJ and synth/wave connoisseur Silent Servant), Toronto’s Analytica return to Suction Records’ minimal synth sub-label Ice Machine, for the second full-length LP, “Strategy Of Tension”. Comprised of kosmische synth artist Gabe Knox and electro-industrial performer David Lush, Analytica is a synth-pop duo who confront the race-to-the-bottom ethos of our time, but utilizing sounds and tools from the early ‘80s synth-DIY era.

The album was recorded to a 6-track cassette portastudio in a two week session in Summer 2022, and mixed down live to tape in an afternoon. Analytica pair classic, holy grail analog synthesizers like the ARP Quadra, Roland System 100, and ARP 2600, with uncommon analog rhythm machines including the Univox SR-95, Soundmaster ST-305, Roland TR-77, and Korg KR-55B. The result is Strategy of Tension: a stinging rebuke to cynical political actors and a reminder that the only thing to fear is fear itself.

Snakes Don't Belong In Alaska have firmly established themselves as a prominent force in the underground UK psych scene, sharing the stage with some of the biggest names in the current generation of psych rock. Notably, they collaborated on a mesmerising album with the legendary Japanese psych artist, Junzo Suzuki, and have had the privilege of performing alongside esteemed bands like Hawklords, 10000 Russos, and The Myrrors, among others.

Originating from the vibrant city of Newcastle upon Tyne, SDBIA embraces an experimental genre non-conforming psych style, blending elements of stoner, kosmische, space rock, prog, and post rock. This captivating fusion of sounds creates a unique musical experience that continues to captivate audiences far and wide.

Their latest offering ‘Navegando Al Paraiso’ sees a slight change of pace from the band, but none less potent. As we’ve now become accustomed to with SDBIA, the band invite you on a transcendent musical journey, effortlessly blending psychedelic rock with waves of folk and post-rock. This album immerses listeners in a dreamscape where ethereal melodies ebb and flow like the tides. Each track evokes a sense of wanderlust, drawing inspiration from timeless musical traditions while pushing the boundaries of sonic exploration. Snakes Don't Belong in Alaska paint an otherworldly soundscape that invites you to lose yourself in the euphoria of musical and introspective discovery.

Available on super ltd edition green & clear vinyl, only 300 copies pressed.

Beside Trawbreaga Bay, in Co Donegal, on the north coast of Ireland, in an old schoolhouse, with a suitcase full of hired recording gear, Oisin Leech strums gently on an acoustic guitar and watches the tide pull the water away from the ancient inlet - The thickness of Oisin's voice soothes the room as the sound waves bounce around in the land where his ancestors still live and still wander - With a musical history that led Leech from the street punk bands of yesteryear through an ongoing stint with folk duo The Lost Brothers, he found himself for the first time working on songs to sing alone. In his mind, the songs became imagined vignette films playing behind closed, guitar eyes. After writing nearly 40 new songs in this fashion, Leech wrote "October Sun" which would become the foundation for his debut solo record, Cold Sea.

Cold Sea was produced by guitarist/songwriter Steve Gunn. Leech dreamt of making the record in Donegal Ireland, a county significant to him because it is the home of his ancestors. Pitching this idea to Gunn sparked the first of several serendipities circling the Cold Sea sessions - Gunn had always wanted to visit Donegal to connect with his own familial roots in the region.

Cold Sea is perhaps most notable for its tremendous warmth. Each song was recorded in a few takes and adorned gently with synthesizers and guitar from Gunn. Several songs feature contributions on the upright bass by Bob Dylan band stalwart Tony Garnier. M. Ward plays guitar on October Sun and there are strings by Roisin McGrory and bouzouki by the legendary Donal Lunny throughout. It is a friendship record but even at its most collaborative, Cold Sea remains centered around the humble acoustic guitar and wool blanket vocals of Leech.

Cardinal Fuzz and Little Cloud Records bring to you the new LP from a band we hold dear, Firefriend – ‘Decreation Facts’ – From São Paulo in Brazil and now close to two decades of creating and honing what has become their trademark, a heavy reverb, minimalistic slow-burn menace which sends chills down your bones. If you don't know Firefriend from somewhere along the last decade, you must cut a safe course through music. ‘Decreation’ is the undoing of creation, something destructive and primal and that Firefriend carry through on all the twelve songs written for this LP. Yury explained that the album "is a commentary on our 21st century, so violent and radical. We live in times of accelerated transformation. We wrote and recorded this album between the pandemic and WW3 – times of ground-breaking changes – and somehow that uneasy feeling got into our songs. Reality is the most crazy trip, isn it? And we are always trying to explore new territories: we want a new album to take you to new places, so we were chasing the sounds, structures and moods to make this a truly new album to match this wild new world’ ‘Decreation Facts’ is all this as they simply inject you with a liquid paranoia for their dark conjuring’s that is hugely dark and foreboding – Julia and Yury’s uber cool stoned and detached delivery creates a seriously dark menace with Julia’s delivery having echoes of Nico – all the while THAT claustrophobic reverb and tremolo encloses and swirls around the inside of your head and vibrates your inner core. This is HEAVY shit. Decreation Facts’ is an unsettling sonic fuck you to those that seek to destroy this planet for their love of money and power and we think it is a stunning achievement. As Terence McKenna might once have said – ‘Firefriend should be consumed alone, in the dark, in silence, with your eyes closed’. Firefriend advises, “Express yourself through any method you want. That is how you become a transmitter, generating waves that will open connections with others vibrating on the same frequencies. That energy field will change the game.” Now that is a truly psychedelic perspective if there ever was one. RCKNRLL, FUZZ, FEED YOUR HEAD

Violist, violinist and singer-songwriter Marla Hansen returns to Karaoke Kalk with "Salt", her second full-length album to date. Building upon the sonic palette the Berlin-based musician established with her debut "Dust" in 2020, "Salt" takes the delicate mixture of acoustic instruments such as viola, violin, piano and guitar combined with subtle electronics to the next level. The new album is both a remarkable departure and at the same time sheds a new yet reassuring light on Hansen's work and creativity. "Salt" features numerous collaborations with like-minded musicians and friends, e. g. producer and composer Simon Goff, The Notwist's drummer Andi Haberl and the renowned artist DM Stith.

The "Dust" has settled. After having recorded her solo debut of that name, in 2020 the world came to a grinding halt, leaving Marla Hansen left to her own devices in her adopted home of Berlin. For Hansen, who previously had lent her talent to many creative minds such as The National, Sufjan Stevens, The Hidden Cameras, Jay-Z and Ravi Coltrane, the collaborative aspect of writing and producing music had always played a crucial part in finding her own path as a solo artist.

"I started to explore synthesizers and electronic production myself," she remembers of the time when meeting other musicians in person was out of the question. "I am proud that I accomplished many of the electronic elements of the new album by myself, and otherwise laid the groundwork for the final electronic structures through my own experiments. I always wanted to record a 'big' record, one that has a lot of power and sound, and this one is 'bigger' than anything I have done so far."

"Salt" is big, indeed. The opener "Chains" is driven by a gliding bass line, bobbing 808 snares, deep chords and a mesmerizing chorus doubled by luscious strings, marking the beginning of a new chapter in her creative journey. A stark statement, both musically and lyrically. Meanwhile, the title track of the album is an almost abstract sounding ambient miniature, sketch-like, dark and haunting, showcasing Hansen's voice in a shy, brittle and fragile state. If This Mortal Coil/The Hope Blister were ever to record another album, these songs should be high up on the shortlist of tunes to pick. "The One Time" - a duet with Hansen's long-time friend DM Stith - gently meanders between a Philip Glass-inspired piece for chamber orchestra and a vocal ensemble performing on Top Of The Pops. In this range of styles and approaches, Hansen's vision is more present than ever.

For refining and finishing the songs, Hansen turned to Simon Goff, who produced the album and engineered much of the recording, merging Hansen's newly-found songwriting approach with the artistic delicacy which made her debut album an exceptional piece of work. Features include among others: Alice Dixon (Oriel Quartett) on cello, Kyle Resnick (The National, Beirut) on trumpet, Benjamin Lanz (The National, Beirut) on trombone and tuba, and Miles Perkin on bass. And then there is The Notwist's Andi Haberl, who "crafted perfect drum and percussion parts to move the songs wherever they needed to go, either into their driving grooves, slow-build explosions or gentle swells of feeling."

But what are songs actually about? "The themes revolve around a feeling of being trapped. Having to stay inside during the pandemic, with all the silence and stillness coming with it. Simultaneously, I was caught up in a professional situation that was not working for me, yet it required a lot of energy and time. I was thinking a lot about how to break old habits and patterns. Patterns in my life, patterns I saw my friends and loved-ones stuck in. There are a lot of ways that people can be trapped, and breaking out of that requires a lot of courage and energy - on all levels. The title 'Salt' seemed to fit, ocean themes showed up naturally in some of the songs, and I thought often about the quote: 'The cure for anything is salt water: sweat, tears or the sea.' Maybe I was just dreaming of the ocean, since it was inaccessible for the first time! But I wanted a cure for this feeling of being trapped, in a time of uncertainty and anxiety, salt as a remedy seemed to have some truth in it: sweat, tears or the sea."

Perseverance and the urge for freedom prevailed in the end. "Salt" is a bold artistic achievement, with songs as big as the biggest waves imaginable. With melodies as alluring as the most comfortable breezes. Perfect from start to finish.

As a composer Martijn Comes has a special interest in timbral music and various musical traditions, with an emphasis on the electro-acoustic history. His works for the carillon were performed live at festivals like Le Guess Who and Rewire. He also released several solo-albums and collaborated with a wide range of contemporary artists like Frans de Waard, Lukas Simonis, Nicoleta Chatzopoulou and Hessel Veldman, with whom he co-produced the album EPoX, published by Bedouin Records in 2020.

Veldman is a veteran of the Dutch musical avant-garde and published several legendary cassettes on his label EXART in the early 80’s. His experimental soundscapes are laced with industrial elements, creating a hypnotic, dark undercurrent of sounds. Besides operating under his moniker Y Create, he was a member of the improvisation group Gorgonzola Legs and kept working intensively with Fluxus artist and Dutch underground cult-figure Willem de Ridder. The home-taping era shaped his free approach to music. His diverse musical practices have been traversing several decades by now and he continues to play music according to his own insights and intuitions.

Because of the emotional and poetic weight of the pieces, reverend Tom de Haan was consulted for this collaborative album. It was the start of a musical exploration and a search for peace, balance and above all freedom. Reaching out to a distant world, a place to come to terms with ourselves. A journey full of obstacles and setbacks. Sometimes persistently moving forward, sometimes doubtful. 'Are there Gods among us or inside us?' The music as a manifest, the expression of an inner struggle.

Throughout the chapters of this album layers of sound and distant voices arise and seem to float on the surface before they disappear again. Swaying on the gentle waves, running ashore, we find ourselves in unknown places. Manifest Exodus is an album for deep listening in the vein of Lustmord, Lawrence English or Rafael Anton Irisarri. It contains 4 rich, immersive pieces with austere drones, ambience, intense sonic textures and an incredible sense of detail to create a multi-layered escape to a better world.

1995 war das Jahr, in dem ein neuer Stern am Himmel des Gothic Metal erschien. Liv Kristine Espenæs, die engelhafte Sopranstimme im Wechsel mit den Growls von Raymond I. Rohonyi von THEATRE OF TRAGEDY, hat seitdem viele Bands ihres Genres inspiriert. Robert Müller (Hammer), Dezember 1997, schrieb in einer Kurzbiografie folgende Zeilen: „Mit ihrer hohen, klaren, emotional ausdrucksstarken Stimme stand Liv Kristine immer im Mittelpunkt der Aufmerksamkeit. Da liegt es nahe, die Schönheit dieser Stimme in reiner Form, in einer Soloproduktion einzufangen.“ 1997 unterzeichnete Liv Kristine einen Solovertrag bei Massacre Records/Torsten Hartmann. Liv Kristine, die damals Masterstudentin in Englisch und Deutsch war, pendelte zwischen der Universität Stuttgart und den Aufnahmen im illinois Studio. Darüber hinaus tourte sie mit dem äußerst erfolgreichen THEATRE OF TRAGEDY um die Welt. Ein ganz besonderer, persönlicher Höhepunkt für Liv Kristine war der 24. Oktober 1997, als sie Nick Holmes (PARADISE LOST & HOST) an einem kalten Herbstmorgen von einer Tournee in Ludwigsburg, Deutschland, abholte. Nach einer Tasse schwarzem Tee und einer Scheibe Marmeladenbrot, wurden die Gesangsaufnahmen für die einfache, feine Gothic-Ballade „3 a.m.“ abgeschlossen. Beide haben einen Metal-Hintergrund, aber die Verschmelzung der beiden Stimmen ist einzigartig. Viel Subtilität, Magie und persönlichen Ausdruck stecken auch in den anderen Kompositionen auf Liv Kristines allererster SoloVeröffentlichung, die teilweise sogar in ihrer Muttersprache Norwegisch gesungen wurden. „Portrait: Ei tulle med øyne blå“, basierend auf einem alten norwegischen Kinderlied aus dem Jahr 1905, wurde im Juni 2023 von Geir „Gerlioz“ Bratland (DIMMU BORGIR) von Grund auf neu interpretiert und aufgenommen, ausschließlich für die Neuveröffentlichung von „Deus ex Machina“. Liv Kristine kennt diese Melodie seit ihren ersten Lebenswochen, denn ihre Mutter und Großmutter haben der kleinen „Stine“ dieses Lied als Gute-Nacht-Schlaflied vorgesungen. Bereits im Alter von sechs Jahren zeigte Liv Kristine eine besondere Empfänglichkeit für das Verständnis von Musik und den verschiedenen Arten des Singens. Es verging kein Tag, an dem das kleine, blonde Mädchen nicht sang und verträumt vor dem Spiegel stand. Das Lied „In the Heart of Juliet“ beschreibt, wie sie ihre Kindheit bewusst und unbewusst erlebte, die Glücksgefühle, ihre Liebe zu magischen Melodien, die Wunder der Natur und ihrer Jahreszeiten, aber auch die Freiheit des Seins. Bis heute bezeichnet sie das besondere Erlebnis des Singens als „my magic Bubble“.

Scottish alt/post/progressive-rock outfit Midas Fall release their Fifth studio album, ‘Cold Waves Divide Us’ on March 8th, 2024 worldwide on Monotreme Records. Michael Hamilton joins founding members Elizabeth Heaton and Rowan Burn for the follow-up to their 2018 Prog Magazine Awards ‘Limelight Award’ winning album, ‘Evaporate’. ‘Cold Waves Divide Us’ sees Midas Fall at their most confidently visceral, each song moving beautifully between quiet and loud, gentle and crushing. “This album is a heavier and bigger experience than the last album”, says Heaton. “We kept the atmospheric strings and 80s synths of Evaporate but wanted to add heavier layered elements, to represent more what we sound like live.” Opener ‘In the Morning We’ll Be Someone Else’ starts quietly with serene piano and vocals, ominously ratcheting up the tension to walls of crashing guitars and Heaton’s soaring vocals. ‘I Am Wrong’ thunders along on pounding rhythmic drums swirling around heavy swathes of low and delicate melodic highs. On ‘Monsters’, the band are more contemplative, with an ethereal beginning making way for gorgeously syncopated guitar and drums, whilst ‘Cold Waves Divide Us’ builds slower, allowing Heaton’s voice to gracefully float over the growing force beneath it. ‘Avalanche’ is a bittersweet lullaby showcasing Heaton’s heart-rending vocals in one of the quieter moments on the album. ‘Point of Diminishing Return’ sees a more electronic influence, with glittering shimmered synths taking the space where guitar melodies were, but with all of the Post Rock beauty that the duo are known for, something ‘Little Wooden Boxes’ showcases perfectly, expertly hovering between gentle clean guitar and piano, and exhilarating, uplifting full-band, full-bore epic. Credits: Elizabeth Heaton - vocals, guitars, strings, synths, piano, drums // Rowan Burn - guitars, synths, piano, drums // Michael Hamilton - bass, synths, drums // Music by Elizabeth Heaton and Rowan Burn/Lyrics by Elizabeth Heaton

Marry Waterson – an essential part of the fabric of folk history in England – and Adrian Crowley– one of Ireland’s most acclaimed talents – collaborate for the first time on ‘Cuckoo Storm,’ a distinctive and powerfully lyrical album of 11 original songs produced with Jim Barr (Portishead).

The ‘Cuckoo Storm’ might never have been, were it not for a social media post Crowley wrote on a wintery late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson’s previous album ‘Death Had Quicker Wings Than Love’ (co-written with David A Jaycock), he wanted to mark the moment and pressed ‘send’ into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding ‘yes.’

‘Cuckoo Storm’ is a deeply compelling album. A serendipitous collaboration that has resulted in a collection of 11 beautifully crafted songs, sung by two voices that are a powerful match. Waterson’s brilliantly distinctive voice is underpinned by Crowley’s rich baritone and together it’s an intoxicating mix.

Joining Marry Waterson (vocals) and Adrian Crowley (vocals, piano, electric guitar, mellotron, harmonium, music box clarinet, marxophone, synth) on Cuckoo Storm are Jim Barr (Portishead) bass, lap-steel guitar;Pete Judge (Get The Blessing) trumpet, flugelhorn; Jake McMurchie (Get The Blessing) sax; James Gow, cello; Seán Mac Erlaine bass clarinet; Lisa Dowdall viola d’amore and Rob Pemberton on drums.

Marry Waterson – an essential part of the fabric of folk history in England – and Adrian Crowley– one of Ireland’s most acclaimed talents – collaborate for the first time on ‘Cuckoo Storm,’ a distinctive and powerfully lyrical album of 11 original songs produced with Jim Barr (Portishead).

The ‘Cuckoo Storm’ might never have been, were it not for a social media post Crowley wrote on a wintery late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson’s previous album ‘Death Had Quicker Wings Than Love’ (co-written with David A Jaycock), he wanted to mark the moment and pressed ‘send’ into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding ‘yes.’

‘Cuckoo Storm’ is a deeply compelling album. A serendipitous collaboration that has resulted in a collection of 11 beautifully crafted songs, sung by two voices that are a powerful match. Waterson’s brilliantly distinctive voice is underpinned by Crowley’s rich baritone and together it’s an intoxicating mix.

Joining Marry Waterson (vocals) and Adrian Crowley (vocals, piano, electric guitar, mellotron, harmonium, music box clarinet, marxophone, synth) on Cuckoo Storm are Jim Barr (Portishead) bass, lap-steel guitar;Pete Judge (Get The Blessing) trumpet, flugelhorn; Jake McMurchie (Get The Blessing) sax; James Gow, cello; Seán Mac Erlaine bass clarinet; Lisa Dowdall viola d’amore and Rob Pemberton on drums.

Crypt of the Wizard is proud to present Dipygus - Dipygus on vinyl and digital formats. Breaking bones, sucking the marrow dry and concocting its own mind-bending blend of cryptid death metal mutilations for over a decade now, Dipygus are a North American quartet powerhouse of crushing caveman gore grooves and monstrous neanderthal percussive slaughter. With already a blood hungry host of extended plays, splits and full-lengths under their gut string loincloths, Dipygus burst forth into 2024 with their self-titled third album—pushing the primitive psychosis of their sonic assault into new arenas of hallucinogenic cannibal combat. Rife with the foetid stench of mouldering mammoth corpses, Dipygus have spared no prisoners for their latest album; amping up their jungle fever dead dreams with skull smashing drumwork, monolithic bass brutality, captivating death hooks, venomous hypnotic leads, guttural flesh growls, ancient cryptid thematics and a truly diseased atmosphere, one that is as equally oppressive, as it is ferociously ominous. Freak induced fatalism from the backward fringes of time, Dipygus have once again laid morbid massacre to the audio waves and created their most potent slab of infectious caveman styled death metal to date, one that any cannibalistic monster marauder would be thrilled to sharpen their gnarled bone axes upon.

Busting into the Step Ball Chain domain is Naarm prodigy Mabel, who has already been making tectonic waves amongst the underbelly of clubland. Her signature psychedelic bratty-bass can be heard infiltrating doofs, raves and parties at feverish rates as everyone wants a taste of her slick, salacious sonics; Pleasure Phonetix generously offers five cuts for every spectrum of dance freak. Spanning tweaked out techno, stripped back electro flirtations and driving sophisticated psy-prog, Mabel never forgets to sprinkle a little vocal heat when it’s due - brace yourself for a rambunctious release.

Hot wiring dancefloors with their immersive orchestration of uplifting sonic waves, Soft Crash sets out to soundtrack the unified, euphoric heartbeat of the crowds they foster with their mechanical yet fantastical, Italo Body Music. Presenting their highly anticipated EP ‘NRG’, the Berlin-based collaborative project of Berghain resident and BITE label head Hayden Payne (aka Phase Fatale) and French prolific producer Pablo Bozzi works to forge Soft Crash’s unique vocabulary of post-humanist production with the harmonic grandeur of their rhythmic, machine-made anthems.

Fresh off the back of their 2022 debut album ‘Your Last Everything’, Soft Crash present their latest 4 track EP ‘NRG’, chronicling their synonymous surrealist visuals infused with the contagious punch of Italo and Synth-wave. Geared towards the dancefloor from a fresh perspective, Bozzi and Payne pull from their respective wheelhouses to curate a sound additionally influenced by Wave-Pop, Acid House and Post-Punk sensibilities.

Procuring their cerebral yet zealous indentation of dance music, the EP features sanguine vocals from Kyiv-based singer and musician Ready in LED on the first single ‘Free Yourself’. She comments about the track “I became captivated instantly with the idea of the track that Hayden and Pablo sent me. At that moment, I was a bit tired of carefree disco and wanted to reveal my dark side in music. The demo sounded very daring. This track demands attention to itself from the first seconds. My sources of inspiration were glam rock and grunge. I had a blast in the studio, and I hope the people on the dance floors will feel that energy too.”

While full throttle vitality and booming grooves on the title track ‘NRG’ showcase Soft Crash’s take on 90’s sample-filled techno. Closing the extended play with an updated cut of the bewitching ‘Your Last Everything’, featuring Canadian musician and producer Marie Davidson, Soft Crash breathe a new life into the namesake track from their preceding album, concluding with an additional remix of the track by cult favourite producer Alen Skanner. The intrinsic dance floor vigour emulated in NRG further fleshes-out the pair’s recognisable DNA of nurturing a revitalised techno sound, cementing them as pioneers of the Italo Body genre.

Written and produced by Hayden Payne & Pablo Bozzi
Mastered by Conor Dalton at Glowcast Mastering

Dark Entries flashes back to the grimy streets of New York City circa 1982 to bring us an unreleased album from cult outfit Ike Yard. Comprised of Stuart Argabright, Michael Diekmann, Kenneth Compton, and Fred Szymanski, Ike Yard sits between the sinewy proto-body music of the Neue Deutsche Welle and the shattered grooves of their No Wave peers in New York. The band’s initial run was short but blinding. They released an EP for Les Disques du Crépuscule in 1981, which was followed by their legendary self-titled LP for Factory in 1982. They disbanded within a year, frustrated by the slow pace at which the industry was able to release their increasingly challenging music. 1982 features 10 tracks which likely would have become the band’s second LP - only four of these songs have previously seen release on 2006’s 1980-82 Collected via Acute Records. Following the release of Ike Yard, they continued down their tortured path of hybrid electro-acoustic music with an arsenal of now-classic analog instruments, including the Korg MS-20 and the Roland TR-808. Skittering rhythms teeter on the verge of collapse while seasick synth warbles threaten to push us overboard. Electronic washes devolve into waves of feedback. Sneering basslines threaten dancers to move, but how can the body obey? This is dangerous music, gliding along the brink. The album features a live photo of the band by Makoto Iida and includes an insert with liner notes from Stuart Argabright. 1982 is essential for fans of post-punk and caustic electronics from Liaisons Dangereuses to Beau Wanzer.

F8 . Liam Melly - Energy
F9 . Armin Van Buuren - Space Case
F10 . The Obsessed - Free Yourself
F11 . Ie Shuuk & B Stylezz - Konje
F12 . Armin Van Buuren - Lose This Feeling (Maddix remix)
F13 . Armin Van Buuren - Lose This Feeling (Dimension remix)
F14 . Armin Van Buuren - AI Vs Humanity (A State Of Trance Year mix 2023 outro)

The cinematic opening track Inthenever starts off as a film >> somewhere on a desolate coast, where everything has already ceased. This is going to be an album with a story and depth, a fearless tour of the barren shores of our days // or is it possibly just a mirage conclusion of their razor-sharp sound brutalism? Tittingur's third album, Epiphany, is here, pounding with waves they had not done before.

It seems as though this dyad has disposed of all the genre confines that had locked them in, and have grasped the sound of new subject matters, for which the moniker of experimental techno is finally too narrow. With utter urgency and candid to their emblematic, thunderous sound, Dominik's and Matus's deafening mallets collide in beats which are now, more than ever, drenched in a mass of palpable gloom and anguish. As though we could touch the rising levels of the oceans, and smell the melting of the glaciers themselves.

In one way or another, the music of Tittingur has always been about nature, its fierce essence, and its stark contrast with the post-era that we have found ourselves living in. However, whereas before, it was the sound of old, weather-stained concrete, and the pounding of abandoned, overgrown buildings, now it is, unavoidably, their most direct and honest return to nature landscapes, and to human, age-old traditions, referenced in the Slovak folk motives, recordings and found sounds.

On Epiphany, Tittingur's sound becomes yet more abstract, in a sound world that is ambiguous but also unified, and works on its own. The duality of nature and technology, of inland human folklore and the trenches of deepest oceans, invite us to come closer and observe the volatile obliteration taking place. Can we even attempt to re-assess our position with nature, or is this whole experiment doomed to fail?

Unsurprisingly, in the echoes, all the ingredients of the classic Tittingur sound are still present, distilled into new forms >> the ever-present over-saturation, the exaggerated, maximalist approach and megalomania >> the sound of impending climate change, doom, and near-apocalyptic visions, the scent of borovička mixed with the wild North Sea, the agony of contemporary urban life, and the adventure of wilderness: ferocious synths, monumental beats, aggressive basslines and crumbling noise-scapes built of a found-sound, music concréte-like, collagist approach.

At moments, it seems the means have changed. Just until you realise that the sentences of this story are spoken in a new language. If you dive deep enough, and listen to the essence that the music of Tittingur articulates, it's surprisingly easy to understand >> although the notions and emotions are difficult to put into words. The profound narrative of Epiphany is that of an endless inner struggle of society, anxiety, crises, and ambiguously easy // difficult solutions in the post-modern global chaos. It is the calm before a storm. It is the storm. Is it the calm. It is all of it, in itself. credits

Swart Waling Koolhaas is the new album by jazz pianist Joost Swart, drummer Bjorn Waling and producer Jesse Koolhaas. The music is the result of a two-day session where improvisations were recorded and several well-known guest musicians from the Dutch Jazz scene were invited, like Reinier Baas, Joris Roelofs and Jeroen Vierdag. The recorded improvisations on grand piano, drums, and other instruments, combined with the sounds from Jesse Koolhaas’ vintage synthesizer collection fuses into a type of music you can’t really put your finger on. Straight forward jazz, or electronic music. It is both and neither.

Das Debütalbum der irischen Post-Punk Newcomer.
"Madra" (was auf Irisch "Hund" bedeutet) ist ein
gitarrenlastiges, instinktgeleitetes Album, auf dem sich die
irischen NewDad auf eine Reise der Selbsterkundung,
Selbstsabotage und Reflexion begeben. Durchtränkt von
Dysfunktion sucht "Madra" Trost im Schmerz und setzt
sich mit Themen wie Mobbing,
Selbstmedikation/Depression, Zerstörung, Co-Abhängigkeit
und Widerstand auseinander. Geschrieben in ihrer
Heimatstadt Galway, Irland, fanden die Aufnahmen des
Albums in den legendären Rockfield Studios (Black
Sabbath, Queen) in London statt, wo die Band inzwischen
auch wohnt. Julie Dawson, Cara Joshi und Fiachra
Parslow gründeten ihre Band, um bei der
Musik-Abschlussprüfung der Secondary School nicht solo
antreten zu müssen; kurz darauf stieß Sean O'Dowd
dazu, erst nur als Toningenieur, bald aber festes
Bandmitglied. Ihren Bandnamen NewDad ließen sie von
einem Zufallsgenerator erzeugen, und ein weiterer Zufall
kam ins Spiel, als kurz nach der Bandgründung Anfang
2020 die Welt plötzlich fast zum Stillstand kam. Trotzdem
schafften es die vier, im März 2021 ihre Debüt-EP
"Waves? zu veröffentlichen und im Januar 2022 den
Nachfolger "Banshee?. NewDad erinnern uns an die
Rastlosigkeit, all die Ängste und Beziehungsprobleme, mit
denen wir alle im Laufe unseres Lebens konfrontiert
werden. Sie verschmelzen Fantasie und Autobiografie mit
Einflüssen aus dem modernen Kino und Fernsehen - und
der ruhigen Küstenlandschaft von Galway, die den
Hintergrund ihrer prägenden Jahre bildet.

Repress on Galaxy Blue Vinyl. Limited to 500 copies. On their second long player, FIRES IN THE DISTANCE further expand on their musical foundations of wistful melodicism, crushingly heavy guitar work and intricate atmospherics. Across Air Not Meant For Us' six tracks, FIRES IN THE DISTANCE tie together intensely personal ruminations on mental health and themes of existentialism in the form of mortality salience, without losing sight of the importance of perseverance. Teaming up with Salt Lake City producer Randy Slaugh (Devin Townsend, Tesseract, White Moth Black Butterfly), FIRES IN THE DISTANCE's chief songwriter Yegor Savonin (composition, guitars, programming, lyrics) sought to reach even greater dynamics within the band's core sound of melodic death and doom metal. With live orchestration in the form of violas, violins, cellos, as well as piano work, proving to be an incredibly fruitful collaborative process for both band and producer.

The Body & Dis Fig are a natural pair. Each has pioneered instantly recognizable worlds of sound all their own that defy any traditional categorizations or boundaries. The Body, Lee Buford and Chip King, continually challenge any conventional conception of metal, collaborating with myriad artists and from the folk-leanings of their work with BIG|BRAVE to their groundbreaking work with the Assembly of Light Choir to the intensity of their collaborations with OAA or Thou. Dis Fig, aka Felicia Chen, pushes electronic music into dark extremes, from warped DJ sets to avant production, from being a member of Tianzhuo Chen’s performance-art series TRANCE to being the vocalist with The Bug. The Body and Dis Fig find kinship in reimagining what it means to make “heavy music”. Their debut Orchards of a Futile Heaven is the perfect synthesis of two forces, twisting melodicism and intoxicating rhythms, layering a dense miasma of distortion with intense beats and a soaring voice clawing its way towards absolution.

Orchards of a Futile Heaven’s walls of sputtering texture and tectonic booms are soaked in the reverence and melancholy of sacred spaces brought to life by palpable intensity by Chen’s voice. Crafted during a time of personal fragility, the album’s devastating force lies beyond any of the expected noise and abrasive textures typically associated with both The Body & Dis Fig. Suffused with a raw vulnerability and a longing for catharsis, Chen’s voice searches for escape in the midst of oppressive atmospheres as if determined to find relief from guilt. “Eternal Hours” patiently unfurls waves of surprising sounds, whispered undulations that are punctuated by sudden crashes, all beneath Chen’s haunting harmonies. “Dissent, Shame” evokes grief and shame with a minimalist drone dirge that gradually builds to an enchanting choral passage. King’s guitar on “Holy Lance” matches the uncanny drone of Chen’s accordion in an all-consuming blast, Chen’s voice transforming the moment from anguish to defiance and empowerment. The album’s arc finishes with “Coils of Kaa” acting as a kind of propulsive exorcism, breaking through a suffocating air before the funeral procession of “Back to the Water” lays the album to rest.

While sampling has long been essential to each, The Body & Dis Fig deftly meld their differing approaches to sampling and creating extreme sounds until the boundaries are entirely blurred. The two found kinship in their desire to find new avenues to make heavy music that looked beyond tropes of metal and electronic music by merging the two. “I always wanted the heavier stuff but I also didn’t really like heavier guitar music,” says Buford. “None of it really felt quite heavy enough to me. A human can’t be as heavy as a machine.” Chen counters, “I love the balance. You could never connect to just a machine as well as you could a human. Which is why the combination is so potent for me. I don’t want to hide. I think nothing connects you more empathetically than another human's voice.”

Orchards of a Futile Heaven affirms The Body & Dis Fig as skilled sound sculptors who have an exceptional ability to make deeply affecting music, bracing as it is touching, harrowing as it is awe-inspiring. Together, the two have harnessed their expansive artistry to make music that is profoundly emotional, and staggering in its beauty.

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

grey & green splatter vinyl

A1 - Spacewaves
Opening the EP in thunderous style, Aural Imbalance chops impeccable, clean amen breaks, rolling sublimely into a chorus of fluid, delicate keys. The track whisks the listener atop the crest of wavy edits before a quietly turbulent assortment of blips and notes punctuate a bass-heavy breakdown. The latter half combines the elements in surreal harmony for a triump hant crescendo, buoyed by the truly vibrant breaks.
A2 - Tranquil Sea
A masterclass in subsurface ambience introduces Tranquil Sea, glistening melodies cascade into punchy breakbeats, setting the pace. Brimming with sunken off-key 808 bass resonating unpredictably with the spirit of the ocean, Aural Imbalance gently builds the vibe with soothing waves of mesmerising soundscapes as the beats rumble on, inviting you to dance amidst the swirling currents of his inimitable sound.
AA1 - Concordia
Old school analogue breaks take center stage as Aural Imbalance rewinds the clock for a great dancefloor-friendly slice of history with a modern Spatial twist. Quiet plinky keys bubble underneath long, whooshing ripples of the sea, echoed hi hats and a distinctive classic bassline intertwine perfectly, carrying you to uncharted sonic territories that will linger in the recesses of your mind long after the needle is lifted.
AA2 - Fading Fields
Delicate cymbal work and stirring pads combine deliciously before the listener is lifted to blissful serenity with a sumptuous tapestry of synths and micro melodies set to an immense, head nodding break pattern. The noteworthy kickdrum delivers a classic analogue stomp while the drums joyously encircle them
in their droves, showcasing further the variety and density Aural Imbalance offers.

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

Inimitable post-rock outsiders A Burial At Sea return with `Close To Home', a soaring sonic love letter to the places and people that shaped them, the collective's first new music since the eponymous debut full-length in 2020, `Close To Home' is a breathtaking evolution of their unique, brass-led blend of shoegaze, math-metal and blissed out afro-jazz that draws inspiration, influence and insight from the rich Gaelic cultural heritage of their Irish homeland. First making waves in 2018 with unbridled bombastic creativity of `_And The Sum Of Its Parts' EP, A Burial At Sea turned the traditionally austere post-rock frown upside down. Quickly catching the attention of like-minded, international genre-benders And So I Watch You From Afar (ASIWYFA), This Will Destroy You ,Caspian and Some Become Hollow Tubes (Godspeed You! Black Emperor), the band subsequently spent months on tour in support, honing their incendiary craft and gaining a loyal fan base across Europe in the process. Despite being landlocked by forces outside of their control, A Burial At Sea continued their adventure by looking inwards to produce `Close To Home': a staggering refinement of the band's already singular instrumental sound. The confidence, experience and sheer musical assuredness behind this album renders any generic labels of post rock immediately obsolete. `Close To Home' proves without a doubt that A Burial At Sea are indeed more than the sum of their parts; positioning the band on the crest of a truly progressive wave of uplifting, anthemic post-rock. Everything you are NOT edition (single coloured vinyl)!

Inimitable post-rock outsiders A Burial At Sea return with `Close To Home', a soaring sonic love letter to the places and people that shaped them, the collective's first new music since the eponymous debut full-length in 2020, `Close To Home' is a breathtaking evolution of their unique, brass-led blend of shoegaze, math-metal and blissed out afro-jazz that draws inspiration, influence and insight from the rich Gaelic cultural heritage of their Irish homeland. First making waves in 2018 with unbridled bombastic creativity of `_And The Sum Of Its Parts' EP, A Burial At Sea turned the traditionally austere post-rock frown upside down. Quickly catching the attention of like-minded, international genre-benders And So I Watch You From Afar (ASIWYFA), This Will Destroy You ,Caspian and Some Become Hollow Tubes (Godspeed You! Black Emperor), the band subsequently spent months on tour in support, honing their incendiary craft and gaining a loyal fan base across Europe in the process. Despite being landlocked by forces outside of their control, A Burial At Sea continued their adventure by looking inwards to produce `Close To Home': a staggering refinement of the band's already singular instrumental sound. The confidence, experience and sheer musical assuredness behind this album renders any generic labels of post rock immediately obsolete. `Close To Home' proves without a doubt that A Burial At Sea are indeed more than the sum of their parts; positioning the band on the crest of a truly progressive wave of uplifting, anthemic post-rock. Everything you are NOT edition (single coloured vinyl)!

Since 2015, Berlin’s Cuntroaches have defiled countless venues across Europe and the UK, playing festivals and touring relentlessly. The trio’s influences range widely from metal to punk to hardcore to experimental noise. They aim to create a hybrid sonic experience within a dense wall of sound (often combined with some form of performative mischief - if they’re in the mood). Audiences have been subjected to spewing beer bra harnesses, diaper outfits, empty pet food containers or witnessed band members performing from inside of a trash bag. They’ve thrown a lot of trash on a lot of people. "Cuntroaches - a name inexplicably unused throughout the history of bands, orchestras... any grouping of people really...

As it is, the mantle’s (finally) been taken up by two women and a bloke making ferociously warped hardcore-flecked no wave. Mutating waves of feedback intoxicate and induce hangovers all at once, while David Hantelius gets a frankly obscene sound out of his bass - and the vocals - reverbed to an absurd degree - approach black metal levels of demonic witchery. As with New York’s no wave OGs, what it is definitely not is inept pissing around, ‘noise for noise’s sake’ - no matter how blown-out and violent Cuntroaches get, their interplay is lithe, their arrangements measured." - The Quietus “I want to make something clear: at this very moment, I think that Germany’s CUNTROACHES are the most important and life-affirming band on the planet. Period. The first demo blew me away, but this one... FUCK ME. Somehow they have become more in control and more chaotic at the same time, and the intensity borders on bleak / black metal darknes. I simply do not understand how this music exists, and how it can be so good... eternal hails.” - Maximum Rocknroll

Speak to most musicians about their motivations, inspirations and processes and you will, generally, get variations on a similar, broadly consensual, theme. Natasha Pirard is genuinely different. Her interest in sound goes way beyond the superficial and the ephemeral. She is fascinated by how and why sound makes us feel, the political implications of sound, noise pollution and the everyday sounds embedded in our immediate environment.

Contextually, this makes a lot of sense when confronted with her debut release for DEEWEE, Dream Cycles. A 120-minute exploration of sounds, loops, frequencies and waves, it’s an eight- part musical cycle split into 15-minute sections across four cassettes, she believes, reflects on this notion of cyclical, rather than linear, time. The eight song cycles are repetitive. They start off basic and functional and build over time. They begin with one sound but soon you hear other sounds. From there you get taken to another point, where you hear something else and so on and so forth. The circle is never-ending.

Natasha Pirard is a musicologist and composer from Ghent. She will be releasing her album Dream Cycles in February 2024, as a limited edition four cassette box set, marking her debut on the Ghent-based label DEEWEE.

Dean McPhee’s fifth full length album 'Astral Gold' sees the Yorkshire-based electric guitarist's music continue to evolve beyond the spacious folk-inspired fingerpicking that typified his earlier releases into a heavier sound combining deep bass, textured reverbs and waves of saturated delay. 'Astral Gold' brings together several now out-of-print tracks that were originally released on the Reverb Worship and Folklore Tapes labels, along with two brand new pieces – all recorded live in single takes. There is a cosmic theme throughout, including a track based on the local lore of The Ilkley Alien (The Second Message), a trance-inducing drone piece inspired by the orbit of the 'doomed moon' Triton (Neptune) and a meditation on lunar volcanism combining baroque melodies, EBow bass and found recordings of a crackling fire played through guitar pickups (Lunar Fire). Throughout this intricately layered and beautifully crafted album McPhee draws on a wide range of influences from Kosmische Muzik and Dub to Stoner/Doom Rock, British Folk and underground electronic music, and the result is both intoxicatingly atmospheric and sonically inventive. ‘Astral Gold’ was mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin and is pressed on 180g heavyweight vinyl. ‘Astral Gold’ follows Dean McPhee’s recent appearances this year on several well received compilation albums ‘I Thought I Told You: A Yorkshire Tribute to Michael Chapman’ on the Tompkins Square label, ‘Ballads of Seduction, Fertility & Ritual Slaughter’ released by Wasistdas, and Folklore Tapes’ limited edition cassette ‘A Web of Braided Willow (The Folklore of the Wickerman)’. "His take on the late folk guitarist’s ‘Caddo Lake’ could have you believing the pinch of callous on string was birdsong – a meditative gem" (Noel Gardner, The Quietus) "Magpahi's synth-drizzled Maypole, Dean McPhee's Sunset and Meg Baird's Willow's Song are particularly gorgeous" (Jude Rogers. The Guardian) "An excellent new single from UK guitarist Dean McPhee...the A-side is an echo-laden slice of smoldering instrumental guitar, pulling at the mind like taffy and living up to its cosmic title" (Raven Sings the Blues) "Absolutely lovely stuff; shimmering, gorgeous, delicate electric guitar playing of the very highest quality

Art School Girlfriend, Aka Polly Mackey, will release second album Soft Landing via Fiction Records on August 4, 2023. The album is self-described as a series of “small euphorias”; it is an album that finds Mackey shifting her sound towards tactile electronics whilst retaining the floating melodies of her debut.

PRAISE THE PLAGUE formulate the introduction to the dark, grim soundscape of their third album themselves by saying: "The gate is passed, upon us is a bleak, raging sea. Tidal waves crushing ashore, out of desperation evolves anger and frustration. Time, as a construct, imprisons its architects. "Suffocating In The Current Of Time" takes us from a dark and devouring realm, to staring the devourer into its cold, dead eyes. Lead by fierce and unforgiving melodies, we are marching into our own decay. Lead by the pounding of drums we indulge ourselves in the cloak of false promises." The quintet from the German capital Berlin has been around since 2017. After the debut "Antagonist" and their first album for LIFEFORCE RECORDS, "The Obsidian Gate" (2021), "Suffocating In The Current Of Time" showcases a further intensification of the band's dense and intense black metal. PRAISE THE PLAGUE are modern representatives of their guild and not purists. There are also ominous echoes of doom and sludge as well as atmospheric post-metal. It is no coincidence that the Berliners' third album remains instrumental for longer passages. This increases the impact of the furious tempo sections with their nagged vocals. "Suffocating In The Current Of Time" is full of emotion. Not all of them are purely negative and depressing. Nevertheless, PRAISE THE PLAGUE's playing will be perceived above all as oppressive and hopeless. Given their band name, who can blame them? The musicians pursue relentless catharsis.

NYC speed rockers PONS are wound up and hot for skronk on The Liquid Self, a golden spiral into insanity at sea surfacing on cassette and streaming October 6, 2023. Besieged by a lighthouse panopticon of pummeling, engine-room percussion, The Liquid Self rises higher than the tides of destiny. These eleven songs churn like a gluttonous maelstrom consuming everything in its path. The Liquid Self chums indie rock’s murky waters with bloody chunks of Lightning Bolt, Van Halen and King Crimson to lure PONS’ mythical and unhinged rock ‘n roll creation to the surface. Harpoons in hand, the dual drums and guitar trio swing, shuffle and strut across oceanic horizons of playful, unhinged garage-prog-pop inhabited by a cast of unreliable narrators; bottom feeders carrying the entire ocean’s weight on their polyrhythms.

On the single “Coral King,” PONS usurp noise rock’s old guard while pledging fealty to the dystopia under the sea with a foamy, froth-mouthed manic industrial scuzz-prog rant seething with sludgy, dissonant bile oozing from every sour note. Furious violin-fuzz riffs and a chorus of lost souls lead the procession at this brutal coronation of the damned.

“Sinking Feeling” hangs ten with bright and beachy major chords anchored by fleet-flippered guitar solos breaching the surf like suppertime at SeaWorld. Chaos reigns on “Queen Conch,” soaking the splash zone with misty waves of undulating percussion and tsunami force sheets of six-string shredding. Barbed post-punk rager “Hooks” swallows the bait whole—and it turns out PONS fish with dynamite.

Second chapter for the new VA vinyl trilogy on R3volution Records called

In this edition there are the following artists under our attention:

- PWCCA, label owner of the top labels Hardtools and Inducted Waves and acclaimed world-famous Spanish producer, already distinguished with severeal appearances on our label including the latest release "Programming Language EP" last year;
- PUSHMANN, another top Spanish DJ and producer, making his debut on
- PYRAMIDAL DECODE authentic Italian based talent who, with many appearances on our label, has also found the time to make his music recognized around the world thanks to numerous releases on labels that represent milestones in the international techno scene, such as WarmUp, Mord, Dynamic Reflection, Faut Section, Edit Select...
- JOAQUIN RUIZ, the only non-European artist on this release, has already made many appearances on our label both as a solo release and as a remixer. He is a DJ/producer on the West Side of Buenos Aires. Ambitious and always looking for new challenges and opportunities, Joaquin is definitely one of the newest emerging talents from the techno music scene in Argentina. He runs his label West Rules too and also releases his music on respected labels of the scene such as Devotion, Knotweed, Affekt, Selected, Subsist, just to name a few
- MICHELE MAUSI founder & label owner with another amazing track called Waterloop
- MDMP is Michele's 2nd alias in pair with DANIELE PETRONELLI with a pure BOMB track called Under Armor

The fourth release from Cartulis Music's sublabel, ALT, is brought to you by the freshly formed French duo known as AV1. This will be the first record of a 2-part series by the newly formed duo under ALT.

AV1 is a project helmed by the seasoned producer and DJ, Chris Carrier, who has been making waves in the music scene since the late '90s. Accompanied by Le Loup, another stalwart of the Parisian music scene, this dynamic duo shares a profound passion for acid and classicist house/techno grooves.

The EP kicks off with "Light Gate," a mesmerizing, steady techno journey infused with subtle trance elements and harmonious pads that captivate both the mind and the body. The A side follows with "Origins," an effortlessly flowing breakbeat composition adorned with just the right touch of acid, crafting an enigmatic yet inviting ambiance.

On the B side, we go deeper with "98% Safe," a dynamic track that seamlessly transitions from euphoric synths and bursts of color to mind-bending acid grooves and ominous undertones. This sonic tapestry is expertly woven together through innovative sampling techniques and a sense of fluidity. Bringing the record to a sublime close is "8 OG," a dreamy electro piece perfectly suited for a multitude of settings, it’s a sonic journey that beckons us to join in and experience it firsthand.

Clear Vinyl

Blue Lake is the musical moniker of American born, Copenhagen based multidisciplinary artist and musician Jason Dungan, who signs to the Tonal Union imprint for the release of his new longform album ‘Sun Arcs’. It follows 2022’s release ‘Stikling’, earning a nomination for ‘Album of the Year’ at the Danish Music Awards plus warm praise from The Hum blog and musicians and DJs alike including Jack Rollo (Time is Away/NTS) and Carla dal Forno. A self taught player, Dungan began freely experimenting with self-built multi-string instruments, preferring to build his own hybrid 48-string zither and working in the realms of left-field ambient music, off kilter folk and improvised acoustic minimalism.

The starting point of ‘Sun Arcs’ saw Jason travel for a week alone to Andersabo, a cabin set in the idyllic Swedish woods just outside of Unnaryd, known also as the music project, festival and residency space which has been run by Dungan since 2016, hosting artists like Sofie Birch, Johan Carøe and Ellen Arkbro. Whilst writing 1-2 pieces per day, a conscious decision was made to leave behind everyday distractions and shut out the outside world to instead focus on the natural passage of time as Dungan recalls: “My only sense of time came from these daily walks out in the woods with my dog, and an awareness of the sun’s path as it moved across the sky each day.”

The album’s immersive world unfolds with the opener ‘Dallas’, an ode to his home state and a musical synthesis of these two disparate spaces (Texas and Denmark), the touchstones of Dungan’s life. A folk-esque single acoustic builds to a flowing arrangement of clarinets, organ and cello drones coupled with percussion. ‘Green-Yellow Field’ chimes in as the first of two solo oriented zither recordings twinned with the dreamlike title track ‘Sun Arcs’, both densely rich as cascading and overlapping harmonic tones resound. ‘Bloom’ emerges with a krautrock psyche before an eruption of cello drones, slide guitar and free-ranging zither playing, ushering in the anticipation of spring. With half of the recordings conceived in Andersabo, Jason returned to Copenhagen to form the album's centre piece ‘Rain Cycle’ which features a tempered Roland drum machine alongside shifting zither improvisations. ‘Writing’ explores the shimmering harp-like qualities of sweeping playing figurations with Dungan mapping out adjusted tuning “zones” on the zither for unconventional but creatively liberating effects. ‘Fur’ captures the feeling of openness and the momentum of time, seeing Dungan perform waves of solo clarinet, often in one takes and embellished with textural drones, a zither solo, and layers of guitar. ‘Wavelength’ the album's closer is fondly inspired by the film works of Michael Snow and Don Cherry’s seminal live album ‘Blue Lake’ (1974), as it builds out from a drone-generated zither chord and features an alto recorder solo. Dungan found a deep connection to Cherry’s stripped back performance ethos, focusing on the core beauty of minimal instrumentation creating a genre-less meeting between folk and jazz. A dialogue is formed between the solo and the bandlike performances, interlinked in a geographical duality with all finding a sense of commonplace as musical sketches of visited landscapes. The bountiful instrumentation ebbs and flows as further layers emerge with Dungan constructing his material much like an artist would, recording and reviewing, adding and subtracting.

Musically it portrays a form of double life led by an American-identifying person living in Scandinavia, and a new found presence in Denmark, seeking out underdeveloped marshlands and barren stretches of beach adrift from other rhythms and distractions. Highlighting their individual and potent importance Dungan concludes: “Both places feel like “me”, I think on some level the music is always some kind of self-portrait.” ‘Sun Arcs’ depicts the intricate balance of nature’s cycles and the paths outlined by the seasons, from a winter dormancy to a warm sun drenched scene. The album scales new glorying heights and further defines Dungan’s musical narrative, inhabiting a unique space in left-field, improvised and experimental music, borning his most accomplished compositions to date. A singular and visionary expression, drawing on an array of instruments and sound worlds with a renewed sense of joy and discovery.

The album's rich tapestry was mixed by Jeff Zeigler (Laraaji, Mary Lattimore, Kurt Vile /Steve Gunn) and mastered by Stephan Mathieu (Kali Malone, KMRU, Félicia Atkinson).

repressed !

Birthed at the turn of the ‘80s, synth and wave music has remained a constant force over the last four decades, with a recent spike in interest in the sound offering further proof of its’ timeless, out-of-this-world quality. It’s against this backdrop that Dutch DJ Interstellar Funk presents his celebration of the style, “Artificial Dancers – Waves of Synth”.

A bumper compilation bristling with obscure and hard-to-find gems, the set sees the Artificial Dance label founder joining the dots between synthesizer and drum machine-driven tracks in a variety of subtly different styles. It’s the result of hundreds of hours spent digging through dusty old records, tapes, and the Bandcamp accounts of DIY musicians who have been active since the sound’s first boom in the early 1980s.

The 11-track set draws on tracks made and released at different times over the last 40 years, with the earliest cut committed to tape in 1978 and the most recent in 2018. While the tracks date from the ‘80s, ‘90s, noughties and 2010s, the showcased cuts are united by a primitive but futuristic quality that makes dating them difficult. In many cases, it’s hard to tell which tracks were made in the early 1980s and which were conjured up in 21st century studios.

As you’d expect, highlights are plentiful with a number of the most unknown or sought-after cuts appearing on vinyl for the first time. In this category you’ll find the Human League’s odd but inspired early number “4JG”, a near mythical 1982 live version of Liasons Dangereuses’ “Dias Cortas” (previously only available on a VHS video) and Chris and Cosey’s “Hybrid C”, a brilliant mid-’90s cut plucked from their CD-only album “Skimble Skamble”. You’ll also find a rare demo version of Clan of Xymox’s Dutch darkwave classic “Stranger”, which became a club smash across Europe in 1983.

Interstellar Funk has also chosen to showcase tracks by a range of DIY producers and lesser-known artists. These include Californian band Batang Frisco, who self-released a sole private press album in 1986 (their contribution, “Sewing Machine”, is dedicated to founder member Bill DiMichele, who passed away this year), Matthias Schuster’s Im Namen Des Volkes project – which contributes the previously unreleased 2014 track “Alles Ist Gewinn” – and Zahgurim, a short-lived early ‘80s act who reunited in 2018 to record their first new material since 1983.

If that wasn’t enough to set pulses racing, the compilation also showcases a solo track by sadly departed Psyche member Stephen Huss. Nobody is quite sure when Huss recorded “Infinity Sign”, but we can confirm this is the first time that one of his solo productions has ever appeared on vinyl.

This special edition joint Subtle Audio / Bustle Beats 10 inch serves as a tribute to Conor / Code's late wife Louisa Donnelly who sadly passed away in June 2020. There's a one-off catalogue number - LOUISA001 in her honour on the 10 inch press. The Bustle Beats side of the vinyl features a very special track by D-Fect called 'Flowers' - a tune he made specially in Louisa's memory and as something positive for Conor and his daughters in the wake of her passing. The art on the sleeve is something that was drawn by Louisa back in 2018 - her beautiful Sunflower sketch that ties in with the lyric of D-Fect's tune perfectly ... 'flowers will grow'.

On the flipside is a tune by Code called 'Atlantic'. In his own words - 'Lou loved to visit the coast of Ireland, in particular the west coast and to see and hear the wildness of the Atlantic ocean. When I thought of all the tracks I had made over the years, this really seemed to be the one that reminded me of her the most - not just because of the track title and the waves spraying and hissing in tune itself, but also because the atmospheric sounds have a purity of spirit that, to me, symbolise how Louisa was a person'

Up the mountains, deep in the forest, I found these plants that live on sound and water. They don’t need light and therefore are unlike any other plants on this planet. Their peek of activity is during the night, when they are covered with a thin, black layer of nocturnal light. Night lies on these plants like a thin membrane. Their roots absorb drops, waves of sound and its vibrational intonation. When humans eat this plant they fall asleep and start dreaming instantly.

In this dream they become these plants, who are unnamed, and are able to feel the pulsation of their — now own — roots. Many years ago, when language was more sounds than codes, these plants were everywhere to be found in the planetary landscape. Nobody knows yet why these plants are only to be found in the high mountain in its deep forest. It is said that once you enter this forest it will not be easy to find your way out. Like in a dream, you need to be guided by a strong wave of consciousness to find your way out and back to the ground.

The by-now seminal Is It Balearic label welcomes long-time Balearic boss Max Essa for another superbly horizontal offering that will take you to the beach no matter where you are. He is a regular on this label who has been serving up top tunes and compiling superb collections like 2016's 10-Year Anniversary comp for ages, and the quality levels never dip. This fresh four-tracker traverses gently breaking synth waves, undulating dubby undercurrents and gloriously sun-kissed synth work all in a soothing and meditative style.

Arto Lindsay's 7 Types of Ambiguity - A Parade is a stereo mix of an original sound installation that was installed at ECAL / University of Arts and Design, Lausanne, Switzerland, in 2022 as part of a research project led by Thibault Walter and Stéphane Kropf called Phantom Power. The idea was simple, and yet the process and level of collaborative work implied was enormous: how to recreate a carnival parade -of the kind Arto had witnessed in the streets of Bahia in Brazil numerous times- inside a white cube and using only sound. How to replicate the complex intrications of those stories, heard or fantasized, the smaller blocos of musicians crossing the path of blasting sound systems mounted on trucks, those religious rythmes mingling with popular traditions, class and race struggle at street level " prime example of the proximity of sexuality and religion, of tradition and novelty and a place for true social innovation " and the effect it all has on the bystanders that are completely part, or even become the subjects of the whole?
Arto went to Salvador de Bahia with a narrative of a parade in his mind, and recorded excerpts in a terreiro, a temple of Afro-Brazilian religion, with four musicians leader of blocos, three of which he had previously worked with. Those mixed tracks were crafted into a sound sculpture directly in the room in Lausanne on a 27 channels immersive installation, adding layers of meaning within the room itself, hallucinations, weather patterns or places, like when the parade stops during a rain shower or gets so close to the ocean as to lose the sound of the percussions in waves.
This 26'30'' composition was later remixed, the spiral of speakers on the floor of the room engraved on a vinyl, and the position of the listener defined for your experience of this record, Arto Lindsay 7 Types of Ambiguity - A Parade, out on February 2nd 2024 on No Salad Records.

KULA SHAKER"s new album "Natural Magick" finds the band harnessing the power to cast their most potent spell yet, incorporating blazing psychedelic sermons, raga rave-ups, stardust-coated pop pearls and mood-enhancing mantras. "This chapter in the band"s life is very much driven by live energy and that spiritual connection with the audiences which comes with it. We all agreed that the songs should be no longer than three minutes. There are no epics." (says Crispian) Reformed permanently in 2021 due to the return of keyboard wizard Jay Darlington, reuniting all four members of the band"s classic line-up for the first time since 1999.The band became UK chart-toppers with 1996"s debut album "K" and "99"s follow-up "Peasants Pigs & Astronauts" saw them push the creative envelope prior to their premature dissolution. Having made a welcome return in 2007 with the self-funded "Strangefolk", Kula Shaker have built towards the sonic summit.

After nearly two decades releasing music on prominent Drum n Bass labels such as Creative Source, Soul:R and Paradox Music, Paris based producer Naibu is finally launching his own imprint, Minato Music. Starting things off with this new solo LP entitled ‘Sans Soleil’, Naibu draws inspiration from the very best of 90s Drum n Bass and Anime film scores of that period, to create a modern day soundtrack that is relevant both at home and on the dancefloor.

Featuring a 40-piece strings orchestra, a Japanese women’s choir and the vocal talent of legendary singer Robert Manos, this album masterfully blends the evocative beauty of the human soul with cold synthesized sounds, deep sub basses and original hand-crafted breakbeats. This massive project, which took nearly 5 years to complete, is an emotional journey through time and a future classic.

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! 180-gram 45 RPM double LP Mastered by Bernie Grundman from the original analog tape Contains Otis Redding's posthumous hit "Sittin' On the Dock Of the Bay" Appeared on Rolling Stone's 500 Greatest Albums of All Time, rated 161/500! Pressed at Quality Record Pressings Gatefold old-style "tip-on" jacket by Stoughton Printing Hybrid Mono SACD Mastered directly from the original master tape by Bernie Grundman The guts of the story are this: While on tour with the Bar-Kays in August 1967, Otis Redding's popularity was rising, and he was inundated with fans at his hotel in downtown San Francisco. Looking for a retreat, he accepted rock concert impresario Bill Graham's offer to stay at his houseboat at Waldo Point in Sausalito, California. Inspired, Redding started writing the lines, "Sittin' in the morning sun, I'll be sittin' when the evening comes" and the first verse of a song, under the abbreviated title "Dock of the Bay." He had completed his famed performance at the Monterey Pop Festival just weeks earlier. While touring in support of the albums King & Queen (a collaboration with female vocalist Carla Thomas) and Live in Europe, he continued to scribble lines of the song on napkins and hotel paper. In November of that year, he joined producer and esteemed soul guitarist Steve Cropper at the Stax recording studio in Memphis, Tennessee, to record the song. Cropper remembers: "Otis was one of those the kind of guy who had 100 ideas. ... He had been in San Francisco doing The Fillmore. And the story that I got he was renting boathouse or stayed at a boathouse or something and that's where he got the idea of the ships coming in the bay there. And that's about all he had: 'I watch the ships come in and I watch them roll away again.' I just took that... and I finished the lyrics. If you listen to the songs I collaborated with Otis, most of the lyrics are about him. ... Otis didn't really write about himself but I did. Songs like 'Mr. Pitiful,' 'Fa-Fa-Fa-Fa-Fa (Sad Song)'; they were about Otis and Otis' life. 'Dock of the Bay' was exactly that: 'I left my home in Georgia, headed for the Frisco Bay' was all about him going out to San Francisco to perform." Redding and Cropper completed the song in Memphis on Dec 7, 1967 with tragedy, unknowingly, looming. Just two days later Redding lost his life on a routine commute to a performance when the small plane he was in crashed. The other victims of the disaster were four members of the Bar-Kays — guitarist Jimmy King, tenor saxophonist Phalon Jones, organist Ronnie Caldwell, and drummer Carl Cunningham; their valet, Matthew Kelly and pilot Fraser. Cropper and bassist Donald "Duck" Dunn completed the music and melancholic lyrics of "(Sittin' On) The Dock of the Bay' which was taken from the sessions — Redding's final recorded work. Cropper added the distinct sound of seagulls and waves crashing to the background. This is what Redding had wanted to hear on the track according to Cropper who remembered Redding recalling the sounds he heard when he wrote the song on the houseboat. One of the most influential soul singers of the 1960s, Redding exemplified to many listeners the power of Southern "deep soul" — hoarse, gritty vocals, brassy arrangements, and an emotional way with both party tunes and aching ballads. At the time of his tragic death he was 26. ‘(Sittin’ On) The Dock of the Bay’ was released just a month following Redding’s death and became his only ever single to reach number one on the Billboard Hot 100 in January 1968. The album, which shared the song's title, became his largest-selling to date, peaking at No. 4 on the pop albums chart. "Dock of the Bay" was popular in countries across the world and became Redding's most successful record, selling more than 4 million copies worldwide. The song went on to win two Grammy Awards: Best R&B Song and Best Male R&B Vocal Performance. With the album, Redding confirmed himself as a talent lost far too soon. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

nehan is a Japanese free improvisation & avant-garde rock quintet formed in August 2022. Their performances are initiated by a 9hz brain wave emitted from a testee who has been brought into a deep meditative state via either hypnosis or acupuncture - a very relaxed but very alert state. nehan doesn"t begin until the testee has gotten into the state of "nothingness." It is only then that the improvisation can begin. The role of improvisation has been key to all the musical projects of Masaki Batoh. In 2010, as Batoh was winding down the activity of his long-standing "heavy chamber folk" group, Ghost, he became involved in the design of a machine to generate sonic data based on brain waves. An acupuncturist as well as a musician by trade, his interest was spurred by the rhythms of the body and the brain, and a desire to access the "pulses" of brain waves to initiate improvisations. Following the release of Brain Pulse Music, Batoh toured Japan, the US and Europe, making demonstrations of his process using a local volunteer and guest performers, when available. Today, nehan arrive at their performance space prepared with a Brain Pulse testee, bringing a wide array of instruments including gongs, timpani, tabla and other drums and percussion, Crumhorn, bagpipes, mellotron, oscillators and additional sound effects. Their performance is a transformative electro-acoustic display that passes through the prism of music styles, from east to west, from traditional folk and classical to rock, jazz, and avant electronic. While nehan"s performance presentation invokes a sense of ritual, they understand their process as being far removed from any type of spiritual endeavor - it has nothing to do with eastern thinking or any kind of religious ceremony - this is an action of improvisation, occurring in reality between the five musicians on stage, in response to the brain waves of an individual. For the personnel of nehan, Masaki Batoh asked players with whom he had good previous experiences in improvisation: Futoshi Okano (Ghost, Acid Mothers Temple, The Silence), Haruo Kondo (Espvall & Batoh) and Junzo Tateiwa (Ghost), along with female Brain Pulse testee Gozen on oscillators. The performance here, recorded live in August of 2022 at GOK SOUND in Tokyo, demonstrates their communal dedication to the improvisation. The players act as listeners and musicians simultaneously, inspired to make extended pieces of music out of the "nothingness" of brain waves. The possibilities of nehans"s chosen approach are almost infinite; an evening with nehan is only the beginning of their journey.

Certainly going out to all Imperial Junglists, this track first started doing the rounds on dubplate in 1993, making an immediate impact on dancefloors across the UK and beyond. Whilst this track made waves, there were several other mixes, which were confined to DAT, never to see the light of day… Until now! Now, after many years, it’s time to liberate these mixes, as they’re just too good to be forgotten! Featuring the vocal talents of none other than Stevie Hyper D, with the original concept and premise from Remo Don and Colin Grainge. Remix production comes from Danny Styles and Eternal Bass.

"This is an album to treasure - it'll surprise you at every turn" Joel McIver (Record
Collector) One of the most influential bands to emerge from the UK's festival
scene, the Ozrics layer ambient & ethereal landscapes with freeform dub trips,
incredible rave grooves & psychedelic progressive rock. It's an open exploration
of music & the soul. For over 30 years, the Ozrics have experienced the
vicissitudes of the rock & roll life. The band has flourished through a number of
line- up changes, spawned several side projects, created their own record label,
scored a hit record & sold over a million albums world-wide. And yet, the basic
motivation behind the band's existence has never wavered.Their signature blend
of hippy aesthetics & raver electronics with spiraling guitars, textured waves of
keyboard & midi samplers & super- groovy bass & drum rhythms continue to
delight fans across the world to this day.Originally released in September 1999,
'Waterfall Cities' was a giant leap forward for the band, taking a more obvious
step into electronica, whilst still managing to retain their unique sound. An
explosion of keyboards, acid squelches & blistering guitar passages, the musical
& technical brilliance of the Ozrics comes to the fore in strange & unexpected
ways on this album.'Waterfall Cities' - Remastered by Ed Wynne & available on
Double LP via Kscope.

The Chronicles Of Father Robin ist eine norwegische Prog-Rock-Supergruppe, deren Mitglieder von den norwegischen Symphonie-Prog-Masters Wobbler, den immer undefinierbaren Tusmørke, den erfahrenen Post-Rockern The Samuel Jackson Five und dem schwer fassbaren Prog-Juwel Jordsjø stammen. 'The Songs & Tales Of Airoea', an dem seit 30 Jahren gearbeitet wird, ist ein zusammenhängendes Dreifach-Konzeptalbum mit insgesamt 18 Songs, die über einen Zeitraum von drei Jahrzehnten in einer alternativen archaischen Welt angesiedelt sind. Die erste beiden Alben, 'Book I' & 'Book II', erscheinen nun als CD und LP. Durch lange Jam-Sessions und fein abgestimmte Arrangements entwickelte die Band ein fortlaufendes System, in dem jeder Song mit den anderen verknüpft ist. Ganzheitliche Impulsivität und Ideen, altruistische Freundschaft, Musik, Fantasien und ein schlüssiges Konzept.
Beginnend mit dem sakralen und atmosphärischen Over Westwinds führt 'Book II' weiter auf eine dynamische musikalische Reise durch üppige und abwechslungsreiche Klanglandschaften, die Visionen der goldenen Ära des Progressive Rock hervorrufen. Mit dem geschmackvollen Einsatz verschiedener Instrumente wie Flöte, Mellotron und Glockenspiel und alles verpackt in einer dynamischen und organischen Produktion, sind beide Alben Juwelen, die es für jeden Fan von Progressive Rock zu entdecken gilt.
'Book III' erscheint hoffentlich zeitnah.

Der Raum zwischen dem Alten und dem Neuen, dem Klassischen und dem Modernen, dem Erbe und dem Fortschritt haben Martin Rott schon immer fasziniert. Mit 11 hatte der Sohn klassischer Musiker seinen ersten Gig als Drummer, seitdem hat er als Live- und Studiomusiker, Arrangeur und Komponist in den verschiedensten Genres und Ecken des Musikbusiness gearbeitet, von Indie-Künstlern bis hin zu großen Pop-Bands und TV-Shows. Auf seiner Solo-Debüt-LP verschmilzt der in den USA geborene, in Berlin lebende Komponist und Multi-Instrumentalist die Ideen der neoklassischen Filmmusik mit spielerisch detaillierten Beats und Soundscapes, eine Filmmusik zu einer Reise, die noch nicht auf Film gebannt wurde.

Seasoned UK producer, Darren Nye, is set to captivate listeners with his exciting new album, "Thoughts And Emotions," released on Deeptrax December 1st, 2023. The long-player delves deep into the realms of techno, harking back to the golden era of the 90s and channeling influences not just from Detroit, but also the electronic waves that emanated from the UK, Belgium, and the Netherlands.

'Thoughts And Emotions' is a labor of love, where Nye masterfully explores and curates a rich collection of sounds, all bearing his distinct signature. Across twelve tracks, the listener is treated to an exceptional journey that encompasses bubbling electronica, down-tempo jazzy flourishes, and cosmic string-laden soundscapes. Darren’s socially conscious titles also add an extra layer of meaning to the listener's experience, creating a soothing and moving soundtrack that speaks to the soul.

This expansive double pack from Silentes finds each side of vinyl taken up by one long, ever-evolving piece of music based around one original. Gianluca Favaron & Stefano Gentile go first with their take on 'Landslide,' which goes from whirring machines sounds to brain cleansing sine waves and found sound abstraction. Dub techno don Rod Modell explores emptiness on 'Landslide' (Reworked) and Carl Michael Von Hausswolf's take is an eerie one with scratchy textures and filtered synth meanderings. Rod Modell then closes out with another rework of his own remix that will leave you adrift in space.

‘WAVES’ will make you dive deep in bodies of water, making you get lost in a mixture of downtempo, modern music with sounds of nature and passing time. The dualities of sounds were gathered on a sampler and used to produce beats, rhythms, deep reverbs and delayed echoes via a vintage drum machine.
The opposites of nature are felt through this release, side A containing Cosmic dance tracks and side B relaxing tunes to meditate to at any time. Take it easy and enjoy the slow, lapping atmosphere.

With lush seascape artwork on body and case insert, two inserts with download code.

Ornette Coleman's hugely influential 'The Shape Of Jazz To Come'
pressed on limited edition 180g premium orange vinyl.

'The Shape of Jazz to Come' was a watershed event in the genesis of avant-guard jazz. The record shattered traditional concepts of jazz harmony, disposing of both the piano player and the whole idea of concretely outlined chord changes. The album includes Coleman's classic tune 'Lonely Woman.'

"The element that pours out of this disc is creativity in strong, concentrated waves. Four of the half dozen Coleman originals in this collection grow out of bop roots, but Coleman hears other things, too. This is not easy music for the listener, but even at its most difficult it remains compelling." - John S. Wilson, DownBeat