Cerca:they live

The Bratislava-based band 52 Hertz Whale release their new album Present Sense Impression in a collaboration of the labels Weltschmerzen and Full Moon Forum.

Three years since their album I've Met a Lot of People, the band brings forth a lot of new ideas, finding a new resonant space, and utilising the fierceness // savageness of their live shows, in an intimate stare at contemporary guitar music.

52 Hertz Whale is a band well known in the Central European music context. Their ferocious sound, mixing the intensity of post-punk, heavy guitar wails, and melancholic // stark vocals of Dominik Prok has been tearing down the fixtures of many festivals and venues, all the while being a great example of a band driving at 200mph nonstop. On Present Sense Impression, the band, composed of Dominik Prok, Dominik Fabian, Patrik Nagy, Tomáš Tabiš and Adrián Krišák, have arrived at a record full of manifold manifestations of their live sound, but at times recalling the more marginal waves of 80s pop // rock sound. Resolute drums, heavyweight guitar and bass riffs now deem closer to the lightness of early ethereal darkwave, just to indulge in the classic melancholic heaviness they are known for only seconds after.

Some of the songs have been produced by "Prague's favorite rock'n'roll enfant terrible" Lazer Viking as well as Pulp Studio's Jakub Hríbik, and one features a special guest - the cemballo virtuoso Marcel Comendant. The traditionally stunning artwork was created by the accomplished Martin Mesaroš.

Present Sense Impression is the 20th album released under the Slovak romantic // experimental label Weltschmerzen focused on emotionally hypercharged, humanely intertwined, and acutely sounding contemporary music. This time in collaboration with the czech label Full Moon Forum. It releases August 26th on limited edition baby pink, standard edition black vinyl and on all streaming platforms.

The creation and release of this record have been supported using public funding by the Slovak Arts Council, and SOZA. Fullmoon Forum project was supported by the Ministry of Culture of the Czech Republic.

SIMON AND GARFUNKEL’S SWAN SONG: BRIDGE OVER TROUBLED WATER FEATURES METICULOUS PRODUCTION, GORGEOUS SONGWRITING, AND HEALING SPIRIT
Sourced from the Original Master Tapes and Limited to 4,000 Numbered Copies: Mobile Fidelity’s 180s SuperVinyl 33RPM LP Plays with Staggering Detail, Clarity, and Definition
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe



Unifying, soothing, comforting: Simon and Garfunkel's Bridge over Troubled Water quickly became the album of an era upon release in 1970, the benchmark set serving as a beacon of hope and hymn of reassurance during a time marked by polarizing changes, social unrest, uncertain politics, and the dawn of a new era. These uplifting reasons — to say nothing about the gorgeous songwriting, meticulous production, and watershed performances — attest to why it is more relevant than ever in our current climate. Music, Bridge over Troubled Water simultaneously suggests and proves, heals all wounds and lifts all boats.

The seminal effort Rolling Stone named the 51st Greatest Album of All Time reaches illustrious sonic and emotional heights on Mobile Fidelity’s 180g SuperVinyl 33RPM LP. Pressed on MoFi SuperVinyl and strictly limited to 4,000 numbered copies, this ultra-hi-fi collector's edition brings you closer to music that picks up where the duo's Bookends leaves off. You'll enjoy deep-black backgrounds and pointillist details. Seemingly every note, breath, and movement is reproduced with exquisite accuracy, clarity, and balance. Each rotation benefits from SuperVinyl’s ultra-low noise floor and superb groove definition.

The best-selling record in the U.S. for several years running and winner of six Grammy Awards — including nods for Record of the Year, Album of the Year, Song of the Year, and Best Engineered Recording — Bridge over Troubled Water endures as a staple of accessible sophistication, angelic elegance, effortless singing, unhinged ambition, and therapeutic spirit. While it would turn out to be the final studio set for a duo surrounded by creative and personal disagreement, Simon and Garfunkel's collaborative ethos and soaring harmonies — combined with reflective narratives centred on the American experience, friendship, romance, and farewells — combine to turn the 11-track work into a paean to resolution, reconciliation, calm, and balance.

Home to the legendary title track graced by Garfunkel's pacifying solo lead vocals as well as the equally famous folk ballad "The Boxer," Peruvian-based "El Condor Pasa," upbeat "Cecilia," and rock ’n’ rolling "Baby Driver,” Bridge over Troubled Water remains as renowned for its musical diversity as its lyrical poignancy. Moving beyond the templates they'd perfected on four prior albums, Simon and Garfunkel embrace a then-unimaginable swath of styles. Rock, pop, gospel, country, R&B, South American, and jazz strains course throughout the songs, each sparked with bold experiments yet grounded in a well-orchestrated melange of melody, rhythm, and classicism that makes everything personal, familiar, and warm.

Not for nothing is Bridge over Troubled Water one of the finest-sounding albums ever made. Featuring instrumentation helmed by members of Los Angeles' fabled Wrecking Crew as well as multiple choral and string sections, songs took hundreds of hours to complete and involved pioneering recording techniques. Evoking both Phil Spector's live"Wall of Sound" approach as well as inventive effects, Bridge over Troubled Water is a triumph of texture, atmosphere, and architecture. Our audiophile edition brings the record's unique traits to the fore.

Whether the reverberation generated by Garfunkel's cassette recorder on "Cecilia," echoing drums captured in a corridor heard throughout "The Boxer," automobile noises peppering "Baby Driver," layer upon layer of voices dotting "The Only Boy Living in New York," or echo-chamber percussion on the title track, details comes through with stunning accuracy, clarity, and dimensionality. In every regard, Bridge over Troubled Water exudes genius.

Luxury Apartments have spent long enough pondering in the orb of creative frustration as art charged city dwellers and have alchemised a jagged piece of guitar work that calls on the past for a quick catch up before cracking on with their day as a witty, energised and wiry punk band. Formed before your favourite East London neighbourhood became full of high rises, cockapoos and pubs with Madri & Beavertown on Draft, there’s a whole swath of words you could use to describe Luxury Apartments, but doing so might draw too many parallels to estate agent listings wo we’re gonna let their track record and new LP do the talking… LA played with the likes of TOY, TELEGRAM, Deep Tan, Es, The Chisel and Rifle before even having an LP. Mixing dry humour with a belting live show served them well while the guys were woodshedding and earnt them early fans such as Graham Coxon and Jamie Reynolds, who I can only gather shed a single tear of seeing where they came from with all the chaotic guitar-busting, skin-splitting, bottle-smashing madness of an early LA show. But we’re here talking about NOW and NOW is the time to get your pre-order for their first LP, a half hour of power smashing the atoms of 80s c86 indie on lead track ‘Energy’, 77 punk on ‘Wire’ and new garage rock explosions on ‘Taliban’ which morph in to a piece of black wax that’s 100% guaranteed to get the disenfranchised wiggling, the fed-up hurling half bricks through foxtons windows and the punk lifers flipping off yet another boss before carving out another fork in their paths of resistance.

LAKE's 2009 album Let's Build A Roof KLP213, produced by Northwest legend Karl Blau, is sweet, funky and nostalgic - a paragon of psychedelic pop. Originally, this landmark album had overlooked sonic anomalies now corrected by REMASTERING. Five bonus songs have been added to the DIGITAL ALBUM, creating a whole new Let's Build a Roof.Let's Build A Roof is LAKE's most popular album with many fan favorites, though every track is unique. After extensive touring in 2009, LAKE entered Dub Narcotic Studio (Olympia, Wash.) to record fresh with their live energy. In the studio they were able to fill out their jingly pop aesthetic, enhanced with the vintage sounds of instruments available at Dub Narcotic and the local community. Blazing synth solos, timpani, flutes, saxophones, cello, and marimba, are just some of the featured sounds on Let's Build a Roof.Some of the album's most requested songs: "Madagascar," a dubby, slow-groove track; "Christmas Island" a surfy Phil Spector-sounding song used as theme music for the television in show Adventure Time; and "Don't Give Up", an upbeat motivating dance song with Blau performing the hook on harmonized saxophones; "Gravel" is the first single and has that a driving intensity that we can all deeply relate to - trying to keep up.

David Fridlund rose from the ruins of his ruined life in the USA, where he ended up 10 years ago, when his band David & the Citizens split up. But a reunion gig with Citizens turned his life around and with new air under his wings he returned to Sweden to live in Gothenburg today. In a creative rush created by the emotional and physical journey back to Sweden, he wrote a number of emotional power pop songs, now in Swedish. Through an acquaintance he got in touch with Daniel, who recruited David and Mathias to the band and they were all affected by the power that a pop song can give. The band Ior was founded

"Like Water" is the new album from Jasper Høiby, a luminary in the realm of contemporary jazz and the mastermind behind the celebrated piano trio Phronesis, renowned for its electrifying live performances and critical acclaim across Europe. Høiby, with his latest project, introduces "3 Elements," featuring the gifted Chaerin Im on piano and the versatile Jamie Peet on drums. This new assembly not only draws inspiration from the foundational strengths of Phronesis but elevates the ensemble's synergy to new heights, showcasing a more refined and cohesive sound that distinctly echoes Høiby's bold and charismatic sonic identity. While Phronesis has been celebrated for its dynamic interplay and innovative compositions, "3 Elements" presents a more singular vision of Høiby’s artistry, melding the complexity and depth of his musical influences with a fresh, unmistakable vigour. The lineup brings together an exceptional blend of talent and creativity, with Im's evocative piano lines and Peet's dynamic rhythms perfectly complementing Høiby’s profound bass undertones. Together, they create a sound that is not just an extension of Phronesis's legacy but a distinct declaration of Høiby's evolving narrative in jazz. "Like Water" stands as a pivotal work in Jasper Høiby’s illustrious career. The album skilfully bridges the realms of innovation and tradition, marking a significant chapter in his journey as one of Europe’s most charismatic contemporary composers, bandleaders, and bassists. With "3 Elements," Høiby not only cements his legacy but also redefines the essence of the piano trio format for the modern era, making this album an essential milestone and a testament to his visionary approach to music.

Tuk Smith & The Restless Hearts is an American rock band from Nashville founded and fronted by former Biters leader Tuk Smith, originally from Atlanta, now living in Nashville. The band released their debut single "What Kinda Love" on January 10, 2020 and were also added as an opening act for The Stadium Tour with Def Leppard and Mötley Crüe on the same day. Then came the onset of Covid 19. “When the pandemic hit, it was like hitting the reset button on my music career” recalls Tuk, “everything got taken away…album campaign, stadium tour, record deal. The world was in lockdown, and the only way to escape was to throw myself into writing. My thoughts began exploring the past, and the inspiration for the songs just came in tidal waves.”
The new collection is a rock ‘n roll silver lining that came out of the solitude and reflection of the pandemic. Ballad Of A Misspent Youth is the new single (and subsequent album of the same name) released summer of 2022 on Tuk’s new record label MRG, through Virgin Music. Tuk explains, “I decided to make a rock and roll record for me and what I like because there was no label, there was no committee involved…just me and my stories. I wanted to create a setting and an authentic feeling about everything. I reunited with long-time friend Dan Dixon and recorded these songs in his garage studio, and there is a purity to the work that came from all the circumstances of that time.” Growing up as an outsider in rural Georgia, Tuk found solace in hardcore punk acts like Black Flag and The Exploited. From there, Smith branched out into exploring seventies New York bands like The Dead Boys and New York Dolls, which lead him across the sea where he embraced first-wave British acts like The Buzzcocks and the Clash. Smith wasn’t just a casual fan of these acts, he was obsessed with them and traced their lineage with fervent dedication. “I was always into the Clash growing up and Mick Jones’ favorite band was Mott The Hoople, so through the years I ended up developing a love of the first wave of British glam, power pop and things like that,” he explains. Soon Smith was forming his own acts, touring relentlessly and building a following with his high-energy live shows, including his tour of duty as lead singer for the Biters, who he fronted for nearly a decade. He offers “Then after being on the road for years, I had a reckoning about where I was at and the future ahead. …I realized the only way to achieve something meaningful was to be a good songwriter…that clicked. I went on a musical diet where I stripped the obscure stuff away, and I really started focusing on the greats. When I started clicking that it was just about the songs, things changed. I had already put my 10,000 hours in the van to play in the dive clubs, but then I put my 10,000 hours into figuring out how to write. I also started working with other songwriters. I humbled myself… it was an education, like going to school.” Tuk elaborates, “I wanted to kind of branch out musically and do different things, and I figured to go solo would be better. My manager actually suggested I call my new band “The Restless Hearts” and that's what he would call me all the time. It was the title of a Biters song that people loved and I’d seen a few restless hearts tattoos at our shows along the way… and so Tuk Smith & The Restless Hearts was born. I was in a period where I changed everything including the way I lived my daily life. I experimented with different ways to tap into positive/creative energy…it was an evolving overall process (and still is).” Tuk summarizes, “Things used to be about debauchery, and now they’re more about dedication. I mean, I was always driven, but I was sometimes focusing on the wrong things. Now I focus on the music and the craftsmanship of writing and producing and performing. “

For fans of Lettuce, The Motet, and Tauk! A power funk septet, Waiting on Mongo is an immersive experience that can only be described as a soulful journey that pushes the limits in the 4th dimension of psychedelic grooves. With strutting guitar riffs, transcendent horns, and heady organ depth, the live performances take you on a cathartic journey where you shed the weight of the world with everyone in attendance. Traversing the inner workings of the human soul, everything seems to be in its right place when the Mongo party hits full throttle. Waiting on Mongo has relentlessly displayed a level of musicianship that continues to impress both music critics and fans alike, winning awards in their hometown of Asbury Park for consecutive years. With a permeating aura of soulful energy, that illuminates every venue, the band is on a collision course for new locations to spread the love that is their music. Now they are set to release their brand-new album From The Top featuring the first single “Take Our Time” and other stand out tracks like “Do What you Want” and “Sick of the Woods”.

avigating vibrant influences of Latin-jazz, Tropicália and joyful grooves; multi-instrumentalist, songwriter, singer and producer Inês Loubet presents her utterly gorgeous debut album ‘Senga’. The album covers Inês’ experiences over the past five years, originating in Portugal, travelling through Brazil, before finding home in London.

Previously, Inês co-wrote and performed on Caravela’s album 'Orla' on None More Records, which was praised by the likes of Gilles Peterson and The Line of Best Fit. Her music has been played on Jazz FM, BBC 6 Music, BBC Radio 3, NTS and Soho Radio. A relentless live performer, she’s played alongside Brazilian legends Gilberto Gil & João Bosco, graced the stage of The Royal Albert Hall, Union Chapel, and O2 Shepherds Bush, around UK and international tours.

The album explores a range of profound themes including nature, travel, grief, unconditional love, separation, family dynamics, and the nuanced experience of womanhood in contemporary society. Dedications to the music, philosophy and revolutionary history of samba (‘Sambo Mesmo Sem’), everyday observations of joy (‘Guri’), and motivating generational change for the better (‘Sab Sabim’); glide across romantic harmonies and the Brazilian rhythms at the melodic heart of the album.

“I started writing whilst living in Salvador da Bahia, Brazil, in February 2020”, says Inês. “I was shy and hadn't written fully composed tracks before then. During lockdown I received support from The Arts Council’s DYCP, started making demos, gained confidence and started playing them live”. In October 2022 Inês was presented with the Drake YoLanda award and went to Giant Wafer studio in Wales for three days, before recording the final vocals at her home studio and mixing and mastering in Porto, Portugal.

Inês is joined on the album by a band of close friends. Percussionist and long-time collaborator Jansen Santana from Salvador da Bahia brings the soul of the drums, the tambor. “I always have the Bahia drums present in my mind when I write a new composition. I studied Latin percussion at University and then lived in Salvador absorbing all that heritage and knowledge”. Playing four different stringed instruments on the album, Greg Sanders is a long-time friend and collaborator from London “I met him in a samba band in 2015 and he was the first person I ever showed my songs to and played with”. The band is completed by Ruta Sipola on flute, Jake Burgess on tenor sax, Peu Meurray who recorded a lot of the percussion and lead vocals, and bassist Julio de Castro from Sao Paulo. “I was blown away by his bass playing, his swing and creativity, his ton of experience and professionalism but also his voice - he's an amazing singer and I believe that adds a lot to the magic”.

Inês concludes, “Last year, I had a show in London and I asked everyone in the audience to write down what they felt when they listened to the music. These are some of the things they wrote: wholesome, refreshing, lifted, moving, joyful, happy, nostalgic, warmth, force, goosebumps, emotional, togetherness, transported, rooted”. ‘Senga’ captures all of these feelings and more in a memorable first impression from a highly talented musician.

ora’s most innovative modern exponent bathes in communion with a re-imagined classical guitar, unveiling a new and previously unsuspected musical universe. In a meeting between instruments, not traditions, these maestros emerge from quite different and distant musical worlds. Ballaké Sissoko’s kora tradition and lineage traverse the once powerful West African empire known as Kaabu. South African Derek Gripper’s roots are in European classical guitar but infused with a unique jeli music mastery that takes guitar’s modern history in a captivating new direction.

But we are not hearing these traditions in dialogue: these masters meet on the sonic groundings of the kora, instrument of the griots, resonant vessel of the sacred and profane, sound carrier of history and wisdom. Through two decades of commitment and study, it is to this terrain that Gripper brings his guitar to meet its multi-stringed cousin.

The two men do not share a spoken language, but if it is true that music speaks universally, then they were already involved in profound dialogue long before they met for the series of London concerts which yielded this recording session – a session which matches deep communion with sparkling improvisation, which pushes a living tradition into brand new sonic spaces, and opens a live and direct channel of communication between kora and guitar. In the complex web of theme and variations spun by Sissoko’s twenty-two strings and Gripper’s six, a new African string theory is elaborated.

“Musically we tested each other,” says Sissoko, explaining that the most magical aspect of their encounters are spontaneity. “We have the mastery of our instruments, the technique and a good ear. Derek is very curious, that’s very important.”

“He’s just such a good listener,” says Gripper about Sissoko. “It’s not what he plays, it’s how he plays it. He’s an amazing interpreter, the prime master of timbre.”

Recording by Taylor Pollock at Platoon Studios, London.
Mixed, edited and produced by Derek Gripper.
Mastered by Murray Anderson at Milestone Studios, Cape Town.
Produced for vinyl by Chris Albertyn and Matt Temple at Matsuli Music.
Mastered for vinyl and lacquers cut by Frank Merritt at The Carvery, London.
Vinyl pressed at Pallas GmbH, Germany.
Sleeve notes by Francis Gooding, French translation by Paulo Goncalves.
Cover design by Toby Attwell at Twoshoes, Cape Town.

Dubbed out new version of a Japanese reggae classic from 1982 by UK-based Tokyo Riddim Band. Recorded and mixed by the legendary Prince Fatty in South London, it's a fusion of past and present, East and West.
Three generations of female musicians from Japan come together, blending reggae drums, funky bass, and the smooth City Pop guitar, all magically dubbed-out live on stage. Tokyo Riddim Band is a culture clash phenomenon unlike anything else.

Championed by Gilles Peterson, and featured on NTS, Pitchfork and Bandcamp Daily, the group was born out of Time Capsule’s wildly popular compilation “Tokyo Riddim 1976-1985”. In just a matter of months they have sold out headline shows across London and supported Kyoto Jazz Massive at Jazz Cafe, conjuring a raucous, dubby dancefloor that brings the classic Japanese reggae sound of the ‘70s and ‘80s to life for a new generation.

Led by the inimitable pianist and composer Izumi ‘Mimi’ Kobayashi who featured on the original compilation, Tokyo Riddim Band are set to release a series of 7” singles in the coming months with more live shows planned throughout the summer 2024.

The first single, 'Denshi Lenzi', reinvents the Natural Mystic riddim of the original Japanese production, infusing it with dubbed-out vocals, sirens, and electrifying e-tom sounds, delivering an authentic reggae/dub experience with a distinct UK flair.

They grew closer as restrictions dropped away and audiences grew, using the shifts to experiment with their material and reach more expansive and formidable levels. The final product is a landmine of sound, inspired by the raw, sweeping fuzz of the likes of Sonic Youth and The Jesus and Mary Chain. Familiar elements of noughties era guitar shine through, confronted with cutting contemporary angst to create a nostalgic yet intoxicating sound. As the band's confidence grew through their live shows they were liberated, taking all they had learnt in order to begin working on "a lot more cohesive and bigger sounding" project

For accomplices, Kinsey chose his ace rhythm section from WSL - bassist Hadrien Feraud and drummer Gergo Borlai - and a bold newcomer named Patrick Bartley Jr. on alto saxophone. Kinsey speaks of his group: "Gergo and Hadrien are one of the finest, most indemand rhythm sections playing today. They also have a deep understanding of this music since they both grew up with it - Gergo since he was just five! Patrick is a brilliant improviser who has a deep knowledge and love of straight-ahead jazz but is just as into Japanese video game music. He's what it means to be a musician in 2023 - taking everything you like and allowing it all to unabashedly flow out."

Active since 2001, Ayyuka was one of the first bands to look back at 70’s Turkish music to find a new voice. Not caught up in the Retromania but reincarnating Turkish Psychedelic within their own style, the band managed to develop an unmistakeable unique sound. Inspirations of Dick Dale, John Frusciante, and local heroes like Erkin Koray, Orhan Gencebay, make their music more guitar oriented but their fascination with film music and improvisation creates unexpected twists within their songs. Right after their eponymous debut in 2007, the band shared stage with Sonic Youth and Jonathan Richman. Heading to a completely instrumental music, their 3rd studio recording “Sömester” had already become a cult album for record collectors. They’ve collaborated with Orlando Julius, Ilhan Ersahin and had guests on almost every album. Their latest full length “Maslak Halayı” was a creative collaboration with Calibro35 genius Tommaso Colliva. The worldwide hype of "Yukadans” will now be followed by their upcoming EP "Zaman Ziyan”, showcasing four brand new instrumental tracks that will transport listeners through a kaleidoscope of musical landscapes, experimenting with techniques of music writing and flirting with genres like afro-beat, funk, dub or arabesque. Save the date for their very first performance of these, live at babylon, as a part of Akbank Jazz Festival.

"Everything's been fucked since David Bowie died or they started up the Hadron Collider" say The Janitors. This feeling is epitomised in the title of their riveting new album: An Error Has Occurred. Marking over two decades of activity for the Swedish psych-rockers, the recording is informed by heartbreak and loss as well as the dismal state of the entire planet. For The Janitors, these two polarities intertwine constantly: "What's personal is political and vice versa." To channel their frustration and anger, the band revived certain songs they'd shelved during the pandemic when working on the acclaimed Noisolation Sessions. They added others, written since, that suited the mood of sticking a middle finger up to the oppressive world around us. Whereas previous recordings were often layered up gradually, this time the full band (Henric Herlenius, Jonas Eriksson, Anders Thorell and Wilhelm Tengdahl) rehearsed intensely together before laying down everything live, over two days and nights, in a converted missionary church. The songs on Side A have the menace of Melvins, the swagger of The Stooges and the cosmic heft of The Heads. These are the more simply constructed and poppier pieces... or so the band believe. (One friend of theirs did consider this "delusional".) 'In A Bliss' acts as the album's radiant centrepiece. A palette-cleansing love song which recalls The Jesus And Mary Chain at their most starry eyed, it finds The Janitors searching for solace and strength in straightforward companionship. After this come the dronier numbers, drawn out with soundscapes and textures influenced by The Velvet Underground's sonic experiments and the equally immersive atmospheres of electronic acts like Massive Attack. Hence, 'Operator' swings threateningly like a space-rock Swans, while the approach on 'Farewell Spacegirl' is jazzier and more meditative. "It can be hard to muster up some, or even any, positive energy at this point in time," says Henric. "We are eternally grateful to have the creative output that this constellation gives us. Neither me or Jonas would probably be here, or be the same people we are, if it wasn't for The Janitors. We'll leave you with a quote from an old anarchist: 'Every society gets the criminals it deserves.'"

030/313 – Berlin/Detroit, the fundamental techno union. Now Carhartt WIP, whose roots can be traced to Detroit, Michigan, join forces with Tresor for a collaboration that celebrates the enduring spirit of two music metropolises. Referencing the early 90s compilations like “Tresor II – A Techno Alliance”, they present a 12” mini compilation with exclusive material from both cities.
The compilation opens with “I.D.L.E.”, a lost Model 500 track, of essential funk that touches the techno soul of The Motorcity, with trippy melodies and cosmic drilling traversing electrified Mojo freeways. It’s followed by another true Detroiter: Ectomorph’s “Searching (Live At Globus)”, a first extract from their live set at Globus in 2021, which BMG and Erika played on borrowed equipment after Erika’s case was lost on a flight. The A-Side stays in Detroit and finishes with “Your Body”, an exclusive track by AMX, also known as The AM, one of Detroit’s freshest funk techno sensations. She carries on the mentorship mindset by having learned from two of the greatest: D.I.E. and Scan 7. “Your Body” is a classic techno feel swinger, where subtle chords meet drum machine funk in the spirit of early Detroit techno.
DJ Stingray 313 opens the B-Side with a bang. Precisely hacked techno, full of dark funk and that special industrial jack, that the man in the mask has made his own. A total “Dynamic Instability”. Magic & furious. The thrill continues with “Metal Goat”, by JakoJako, one of Berlin’s brightest synth sensations. She provides an introspective grower that slowly evolves into a fast-paced techno grinder, laden with micro shifts and magic twists. The final tune comes from Erik Jabari, a newcomer from the 030 zone, emerging from the Hard Wax peers with haunting modular synth techno–a feverish minimalistic trip of motorized kicks. DJ Pete performed as spiritual guidance on this one. It’s floor proven. An overall cachet of “030313” - the small compilation with a huge techno heart.

"Who am I to myself? Just one of my impressions" by F. Pessoa
The new album of the Polski Piach trio is titled Anomalia (Anomaly), and is the band's third album.
They play:
Piotr Mełech - bass clarinet
Piotr Domagalski - bassetl
Patryk Zakrocki - acoustic guitar, general vision and care of the band.

After Południe and Północ (South / Noon and North/Midnight - thematically referring to the time of day and night as well as geographical directions), the band recorded a fully acoustic album, raw but brighter than Północ. The songs contain the title anomalies and are narrative, even cinematic. They flow. The music of Polski Piach is a journey, both through the listener's imagination and musical styles.
The album was recorded live in Piotr Zabrodzki's analog studio. The music was recorded on tape and mixed in analogue way.
The cover was designed by Paweł Ryżko using drawings by Patryk Zakrocki.

repare to embark on a transcendent auditory journey with "The Sevens” a series of four 7-inch vinyl records that unveil a treasure trove of previously unreleased tracks from A Place To Bury Strangers' critically acclaimed 6th album, "See Through You." Renowned for their visceral sonic assault and immersive live performances, A Place To Bury Strangers has cemented the end-all-be-all space for over-the-top post-punk / shoegaze destruction. With this special vinyl collection, the band invites listeners to delve deeper into their sonic universe, exploring uncharted territories and hidden gems. “You'll Be There For Me” / “When You're Gone” is the fourth release. “When looking back at the recordings that were done around the time of See Through You there were a bunch of great tracks that just captured life back then and really had something incredible going on. Even though they are a bit raw and a bit personal, I thought it would be a mistake if they didn't come out. I thought it would be best to go back to my roots and put out a series of 7"s the way A Place To Bury Strangers started. That strange weird format where the tracks each speak for themselves, no album context to muddy the water. These tracks are such a contrast to the way I am feeling now and the current songs we've been working on so slip back into this moment in time.” says APTBS’ Oliver Ackermann

We are incredibly excited to release Xena, KLE-KLE's debut EP. Although this is the first release from their new project, GWD and Spok are veterans of the electronic underground. Both have been active in production, as well as live shows and DJ performances for at least the past decade.

They come out guns blazing with music that is focused, mature, and irresistible. Blending breakneck IDM beats with elements of machine-dub and post-punk mutations, the EP maintains a captivating momentum, accentuated by dissonant washes and melodies that will tickle the reptilian part of your brain.

For the stellar remix work, they enlisted fellow scene veteran Dead Janitor, who delivers a glacial, splintered, data-poisoning piece, showcasing his junglist tendencies. Wrong Collective stalwart, Trauma, comes in with his hydraulic twerk monster, to close the EP.

The album will be released through Neurot Recordings in collaboration with Supernatural Cat, the record label of the rock ‘n’ roll graphic design collective Malleus, of which Poia and Urlo are part of.

Ufomammut formed in the late 90s by Poia (guitars, FXs) and Urlo (bass, vocals, FXs, synths), (rising from the ashes of past band Judy Corda), together with Vita (drums). With Levre taking over on drums in 2021, the band has undergone a rebirth, culminating in the release of the album Fenice and the Crookhead EP.

Over the course of 25 years, the band has developed a unique sound that combines heavy, dynamic riff worship with a deep understanding of psychedelic tradition in music.This has resulted in a cosmic, futuristic, and technicolor sound that fully immerses listeners.

The band has produced 10 records along with various other releases, such as compilations, EPs, and live albums.

Now, in 2024, as they celebrate their quarter-century milestone, the band is set to release their latest album, HIDDEN. This album marks a shift in the band’s musical composition, aiming for a more intense and heavy sound, and it’s the third release featuring Levre as the band’s new drummer.

The title, HIDDEN, reflects the concept of the presence of everything in our existence and the ability to bring to light what lies within us. With HIDDEN, Ufomammut delves into a sonic journey that traverses vast expanses of space and time.

From the crushing heaviness to the hauntingly melodies, from the textured compositions to the otherworldly atmospheres, HIDDEN testify the neverending evolution of Ufomammut and their mastery of creating immersive sonic experiences: a fitting celebration of their 25 years of sonic exploration and experimentation.

The album was recorded at Flat Scenario Studio in Piemonte, Italy, with Lorenzo Stecconi handling the mixing and mastering, and Luca Grossi overseeing vocal tracking.