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To make her new album, Light, Dark, Light Again, Angie McMahon had to walk through the fire. The Melbourne singer-songwriter’s second LP was written from the ashes of a tough but transformative few years of relationship changes, private breakdowns and core-shaking revelations about self. At times, McMahon felt like falling apart. But instead, she pushed through and found that hope, joy and relief lies on the other side of pain. Light, Dark, Light Again is a record about facing the fear and learning it can be a portal to something bigger and better. It finds that the only certainty in life is that everything ends, and everything begins again – that there is life and death and life again, that there is light and dark and light again.

Wir stellen vor: "American Gothic" von Wayfarer.Begib Dich mit Wayfarer auf eine transzendentale Reise, wenn sie ihr neuestes Werk "American Gothic" vorstellen. Die atmosphärische Black-Metal-Band aus Colorado taucht tief in den reichen Teppich der Americana-Themen ein. Dieses Album markiert einen bedeutenden Meilenstein auf ihrem musikalischen Erkundungszug.Dieses außergewöhnliche Album überschreitet die traditionellen musikalischen Grenzen und fasst die Essenz der verschiedenen Landschaften Amerikas zusammen. Wayfarers musikalisches Können malt eine lebendige und eindrucksvolle Klanglandschaft. Sie vereinen atmosphärischen Black Metal mit Elementen des Post-Rock und Folk und verbinden mühelos fesselnde Melodien mit wilder Intensität. Erhältlich als Ltd. 180g worn-steel silver LP mit Newspaper-look Booklet, sowie als CD Digipak.

Wir stellen vor: "American Gothic" von Wayfarer.Begib Dich mit Wayfarer auf eine transzendentale Reise, wenn sie ihr neuestes Werk "American Gothic" vorstellen. Die atmosphärische Black-Metal-Band aus Colorado taucht tief in den reichen Teppich der Americana-Themen ein. Dieses Album markiert einen bedeutenden Meilenstein auf ihrem musikalischen Erkundungszug.Dieses außergewöhnliche Album überschreitet die traditionellen musikalischen Grenzen und fasst die Essenz der verschiedenen Landschaften Amerikas zusammen. Wayfarers musikalisches Können malt eine lebendige und eindrucksvolle Klanglandschaft. Sie vereinen atmosphärischen Black Metal mit Elementen des Post-Rock und Folk und verbinden mühelos fesselnde Melodien mit wilder Intensität. Erhältlich als Ltd. 180g worn-steel silver LP mit Newspaper-look Booklet, sowie als CD Digipak.

Zum 50. Geburtstag von "Pin Ups" erscheint die LP im Half Speed Mastering Die Vinyl-Sonderveröffentlichung ist erhältlich ab 20. Oktober 2023. David Bowies siebtes Studioalbum " PIN UPS" ist in doppelter Hinsicht ein besonderes, denn nicht nur ist es eine Sammlung von Coversongs, sondern zugleich das letzte, das er als sein Alter Ego Ziggy Stardust und mit seiner Begleitband The Spiders from Mars veröffentlichte. Kommenden Monat jährt sich die Veröffentlichung zum 50. Mal - das Album erschien ursprünglich am 19. Oktober 1973, gerade einmal sechs Monate nach dem legendären " ALADDIN SANE" und drei Monate nach der berüchtigten letzten Ziggy-Stardust-Show im Hammersmith Odeon, bei der er zusammen mit The Spiders From Mars die Rolle des Ziggy zu Grabe trug.

Am 20. Oktober 2023, einen Tag nach dem Goldenen Jubiläum, wird "PIN UPS" in einer limitierten Auflage als LP im Half Speed Mastering veröffentlicht. Diese neue Pressung wurde auf einer maßgeschneiderten Neumann VMS80-Drehmaschine mit vollständig überarbeiteter Elektronik von restaurierten 192kHz-Mastern der Original-Masterbänder geschnitten, ohne zusätzliche Bearbeitung beim Transfer. John Webber schnitt das Half Mastering in den AIR Studios

Zum 50. Geburtstag von "Pin Ups" erscheint die LP im Half Speed Mastering Die Vinyl-Sonderveröffentlichung ist erhältlich ab 20. Oktober 2023. David Bowies siebtes Studioalbum " PIN UPS" ist in doppelter Hinsicht ein besonderes, denn nicht nur ist es eine Sammlung von Coversongs, sondern zugleich das letzte, das er als sein Alter Ego Ziggy Stardust und mit seiner Begleitband The Spiders from Mars veröffentlichte. Kommenden Monat jährt sich die Veröffentlichung zum 50. Mal - das Album erschien ursprünglich am 19. Oktober 1973, gerade einmal sechs Monate nach dem legendären " ALADDIN SANE" und drei Monate nach der berüchtigten letzten Ziggy-Stardust-Show im Hammersmith Odeon, bei der er zusammen mit The Spiders From Mars die Rolle des Ziggy zu Grabe trug.

Am 20. Oktober 2023, einen Tag nach dem Goldenen Jubiläum, wird "PIN UPS" in einer limitierten Auflage als LP im Half Speed Mastering veröffentlicht. Diese neue Pressung wurde auf einer maßgeschneiderten Neumann VMS80-Drehmaschine mit vollständig überarbeiteter Elektronik von restaurierten 192kHz-Mastern der Original-Masterbänder geschnitten, ohne zusätzliche Bearbeitung beim Transfer. John Webber schnitt das Half Mastering in den AIR Studios

Zum 40. Jubiläum des ersten Teils des stylischen Actionspiel-Klassikers DEVIL MAY CRY erscheint der Killer-Soundtrack des Capcom Sound Teams - bekannt für seine Musik zur Resident Evil-Serie - spezielle für 180g Vinyl gemastert. Der OST ist eine genreübergreifende Meisterklasse, die von Rock über Techno zu Ambient und weiteren Paletten wechselt. Erhältlich als 2LP-Format mit 34 Tracks auf transparent-rotem und ockerfarbenem Doppelvinyl, sowie als luxuriöses 4LP-Boxset mit den kompletten 73 Tracks auf schwarzem 4fach-Vinyl.

Jenny from Thebes begann, wie viele Alben der Mountain Goats, mit John Darnielle am Klavier, bis ein Text entstand. Dieser Text, "Jenny was a warrior / Jenny was a thief / Jenny hit the corner clinic begging for relief", wurde zu "Jenny III", einem Song, der eine Herausforderung darstellte, der er sich nie zuvor gestellt hatte: eine Fortsetzung zu einem seiner beliebtesten Alben zu schreiben.

Der Katalog der Mountain Goats ist voll von wiederkehrenden Charakteren_Jenny, die ursprünglich in dem ihren Namen tragenden Stück All Hail West Texas auftaucht, sowie in "Straight Six" von Jam Eater Blues und dem Transcendental Youth side two jam "Night Light", ist einer von ihnen, jemand, der unerwartet in einen Song eintritt und die Ohren der Fans spitzt, die darauf erpicht sind, die verschiedenen Erzählstränge fortzusetzen, die sich durch die Diskografie der Mountain Goats ziehen, bevor sie im Nebel verschwinden.

In diesen Liedern wird Jenny weitgehend durch ihre Abwesenheit definiert, und diese Definition wird ihr von anderen Charakteren gegeben. Sie läuft vor etwas weg.

Diese Merkmale sind betörend, sowohl für die Figuren, die ihre Geschichte bisher erzählt haben, als auch für den Zuhörer. Sie laden zu bestimmten Fragen ein: Wer ist Jenny wirklich? Wovor läuft sie weg? Nun, sie ist eine Kriegerin und eine Diebin, und da es sich um ein Album der Mountain Goats handelt, ist es eine sichere Wette, dass das, wovor sie flieht, etwas Schlimmes ist. Etwas katastrophal Schlimmes. Jenny from Thebes ist die Geschichte von Jenny, ihrem Haus im südwestlichen Ranchstil, den Menschen, für die dieses Haus ein Ort der Sicherheit ist, und der westtexanischen Stadt, die sich mit ihrer Existenz nicht anfreunden kann. Es ist eine Geschichte über das Individuum und die Gesellschaft, über Sicherheit und Schutz und diejenigen, die sich dafür entscheiden, sich um sie zu kümmern, wenn es sonst niemand tut. Aufgenommen im legendären The Church Studio in Tulsa, Oklahoma, mit der Grammy-prämierten Produzentin/Technikerin Trina Shoemaker, ist Jenny from Thebes eine üppige Sammlung von Songs, die Darnielle als Sängerin und die Mountain Goats als Band vorantreibt, indem sie ihre klangliche Palette wieder einmal erweitert und sich an Einflüsse wie Godspell, Jim Steinman und The Cars anlehnt. Getragen von den Bläser- und Streicherarrangements von Matt Douglas, der verträumten Gitarre der Bully-Leaderin (und Bleed Out-Produzentin) Alicia Bognanno und den Backing Vocals von Kathy Valentine von den Go-Go's und Matt Nathanson, ist Jenny from Thebes ein Musical von großem Ausmaß, ein Melodram mit detailreichen Charakteren und mitreißenden Emotionen.

Jenny from Thebes begann, wie viele Alben der Mountain Goats, mit John Darnielle am Klavier, bis ein Text entstand. Dieser Text, "Jenny was a warrior / Jenny was a thief / Jenny hit the corner clinic begging for relief", wurde zu "Jenny III", einem Song, der eine Herausforderung darstellte, der er sich nie zuvor gestellt hatte: eine Fortsetzung zu einem seiner beliebtesten Alben zu schreiben.

Der Katalog der Mountain Goats ist voll von wiederkehrenden Charakteren_Jenny, die ursprünglich in dem ihren Namen tragenden Stück All Hail West Texas auftaucht, sowie in "Straight Six" von Jam Eater Blues und dem Transcendental Youth side two jam "Night Light", ist einer von ihnen, jemand, der unerwartet in einen Song eintritt und die Ohren der Fans spitzt, die darauf erpicht sind, die verschiedenen Erzählstränge fortzusetzen, die sich durch die Diskografie der Mountain Goats ziehen, bevor sie im Nebel verschwinden.

In diesen Liedern wird Jenny weitgehend durch ihre Abwesenheit definiert, und diese Definition wird ihr von anderen Charakteren gegeben. Sie läuft vor etwas weg.

Diese Merkmale sind betörend, sowohl für die Figuren, die ihre Geschichte bisher erzählt haben, als auch für den Zuhörer. Sie laden zu bestimmten Fragen ein: Wer ist Jenny wirklich? Wovor läuft sie weg? Nun, sie ist eine Kriegerin und eine Diebin, und da es sich um ein Album der Mountain Goats handelt, ist es eine sichere Wette, dass das, wovor sie flieht, etwas Schlimmes ist. Etwas katastrophal Schlimmes. Jenny from Thebes ist die Geschichte von Jenny, ihrem Haus im südwestlichen Ranchstil, den Menschen, für die dieses Haus ein Ort der Sicherheit ist, und der westtexanischen Stadt, die sich mit ihrer Existenz nicht anfreunden kann. Es ist eine Geschichte über das Individuum und die Gesellschaft, über Sicherheit und Schutz und diejenigen, die sich dafür entscheiden, sich um sie zu kümmern, wenn es sonst niemand tut. Aufgenommen im legendären The Church Studio in Tulsa, Oklahoma, mit der Grammy-prämierten Produzentin/Technikerin Trina Shoemaker, ist Jenny from Thebes eine üppige Sammlung von Songs, die Darnielle als Sängerin und die Mountain Goats als Band vorantreibt, indem sie ihre klangliche Palette wieder einmal erweitert und sich an Einflüsse wie Godspell, Jim Steinman und The Cars anlehnt. Getragen von den Bläser- und Streicherarrangements von Matt Douglas, der verträumten Gitarre der Bully-Leaderin (und Bleed Out-Produzentin) Alicia Bognanno und den Backing Vocals von Kathy Valentine von den Go-Go's und Matt Nathanson, ist Jenny from Thebes ein Musical von großem Ausmaß, ein Melodram mit detailreichen Charakteren und mitreißenden Emotionen.

Seit ihrem Auftauchen Mitte der 1990er Jahre haben beide eine starke Präsenz im Kontext der amerikanischen experimentellen Musik und beide jeweils seitdem einige der fesselndsten Originalwerke produziert. Kenney ist eine experimentelle Vokalistin, Komponistin und Lehrerin, die sich auf die transformativen Kräfte der Stimme und die Beziehung des Klangs zu mystischen Erfahrungen konzentriert. Neben ihrer Zusammenarbeit mit Oren Ambarchi, Tashi Wada, Avey Tare, Alvin Lucier, Sarah Davachi, dem Ensemble Nist-Nah, Sunn O))) und zahlreichen anderen ist sie bekannt für ihre Aufführung indonesischer Vokalmusik (Sindhenan) und persischer Vokalmusik (Radifs) sowie für ihre eigenen Kompositionen, die Elemente beider Musikrichtungen aufgreifen. Kang, ein Komponist und Multi-Instrumentalist, der für seine einzigartige Herangehensweise an die Bratsche hoch angesehen ist, hat auf zahlreichen Gebieten gearbeitet und auf Alben von Bill Frisell, Joe McPhee, Sun City Girls, Wayne Horvitz, Ikue Mori, Laurie Anderson, Aki Onda, John Zorn, Blonde Redhead, William Hooker, Animal Collective, Lou Reed, Oren Ambarchi und zahlreichen anderen mitgewirkt sowie eine Reihe von Solowerken geschaffen, die Elemente seiner isländischen, dänischen und koreanischen Herkunft enthalten. Azure ist eine hypnotische Rückkehr zu Kenneys und Kangs einzigartigem Ausdruck von "Unisono-Musik" und gehört zu den am stärksten reduzierten und minimalistischen Arbeiten des Duos seit mehr als einem Jahrzehnt. Die fünf Kompositionen werden durch Anspielungen auf die natürliche Welt unterstrichen.

Zum 10. Todestag von Lou Reed veröffentlichen DIE BUBEN IM PELZ ihr neues Album "Verwandler" (Konkord) auf welchem sie sich den Songs von Lou Reed widmen und diese in den Wiener Dialekt übersetzen. Als 2015 das selbstbetitelte Debütalbum (Konkord) von DIE BUBEN IM PELZ erschien, wirbelten sie damit viel Staub auf. Denn die beiden Gründungsmitglieder David Pfister und Christian Fuchs (beide vom Radiosender FM4) wagten etwas Riskantes. Die Buben übersetzten das ikonische Debütalbum von Velvet Underground komplett ins Wienerische. Wechselten die legendäre Andy Warhol-Banane auf dem Cover mit einer Wurst aus - und übertrugen die Atmosphäre des New York von 1967 in das Wien von 2015. Düstere Parallelen wurden ausgelotet. Flirrende Gitarren zum Klingen gebracht. Spirituelle Verwandtschaften mit Lou Reed, John Cale und Nico zelebriert. Die Platte wurde inzwischen zu einem viel beachteten Klassiker der deutschsprachigen, alternativen Popmusik. Für die deutsche Tageszeitung ,Die Zeit" beispielsweise ein Album des Jahres 2015. Ebenso erfuhr das Artwork der LP von Dieter Oitzinger große Aufmerksamkeit. Die Erstauflage auf Vinyl mit einer abziehbaren Wurst statt einer Banane ist inzwischen ein begehrtes Sammlerobjekt. 2017 und 2019 erschienen zwei weitere Platten auf dem Wiener Label Noise Appeal, zuletzt ,Geisterbahn" produziert von Alexander Hacke von den Einstürzenden Neubauten und Alexander Lausch. Neben Pfister und Fuchs bestehen DIE BUBEN IM PELZ auch noch aus dem Bassisten Christof Baumgartner (Black Palms Orchestra), Bernd Supper (Scarabeus Dream), Markus Reiter (Destroyed But Not Defeated) und Gernot Scheithauer (Liger). Brutalität und Zärtlichkeit Zum 10. Todestag von Lou Reed am 27. Oktober veröffentlichen Die Buben Im Pelz ihr neues Album ,Verwandler" (Konkord), auf dem sie sich erneut ausschließlich den Songs von Lou Reed und Velvet Underground widmen. Auch wenn Titel und Artwork auf den Klassiker ,Transformer" von Lou Reed anspielen, übersetzten die Buben dieses Mal kein komplettes Album, sondern eine Auswahl von Reed-Songs mit Blick auf sein gesamtes Schaffen. Und auch dieses Mal zeigt sich: Die Klassiker von Lou Reed, zwischen textlicher Brutalität und Zärtlichkeit, funktionieren auch in unserer seltsamen Zeit perfekt als tröstende Ventile. Egal ob in persönlichster Identitätssuche oder beim großen Blick auf die Welt. Black Vinyl!

Zum 10. Todestag von Lou Reed veröffentlichen DIE BUBEN IM PELZ ihr neues Album "Verwandler" (Konkord) auf welchem sie sich den Songs von Lou Reed widmen und diese in den Wiener Dialekt übersetzen. Als 2015 das selbstbetitelte Debütalbum (Konkord) von DIE BUBEN IM PELZ erschien, wirbelten sie damit viel Staub auf. Denn die beiden Gründungsmitglieder David Pfister und Christian Fuchs (beide vom Radiosender FM4) wagten etwas Riskantes. Die Buben übersetzten das ikonische Debütalbum von Velvet Underground komplett ins Wienerische. Wechselten die legendäre Andy Warhol-Banane auf dem Cover mit einer Wurst aus - und übertrugen die Atmosphäre des New York von 1967 in das Wien von 2015. Düstere Parallelen wurden ausgelotet. Flirrende Gitarren zum Klingen gebracht. Spirituelle Verwandtschaften mit Lou Reed, John Cale und Nico zelebriert. Die Platte wurde inzwischen zu einem viel beachteten Klassiker der deutschsprachigen, alternativen Popmusik. Für die deutsche Tageszeitung ,Die Zeit" beispielsweise ein Album des Jahres 2015. Ebenso erfuhr das Artwork der LP von Dieter Oitzinger große Aufmerksamkeit. Die Erstauflage auf Vinyl mit einer abziehbaren Wurst statt einer Banane ist inzwischen ein begehrtes Sammlerobjekt. 2017 und 2019 erschienen zwei weitere Platten auf dem Wiener Label Noise Appeal, zuletzt ,Geisterbahn" produziert von Alexander Hacke von den Einstürzenden Neubauten und Alexander Lausch. Neben Pfister und Fuchs bestehen DIE BUBEN IM PELZ auch noch aus dem Bassisten Christof Baumgartner (Black Palms Orchestra), Bernd Supper (Scarabeus Dream), Markus Reiter (Destroyed But Not Defeated) und Gernot Scheithauer (Liger). Brutalität und Zärtlichkeit Zum 10. Todestag von Lou Reed am 27. Oktober veröffentlichen Die Buben Im Pelz ihr neues Album ,Verwandler" (Konkord), auf dem sie sich erneut ausschließlich den Songs von Lou Reed und Velvet Underground widmen. Auch wenn Titel und Artwork auf den Klassiker ,Transformer" von Lou Reed anspielen, übersetzten die Buben dieses Mal kein komplettes Album, sondern eine Auswahl von Reed-Songs mit Blick auf sein gesamtes Schaffen. Und auch dieses Mal zeigt sich: Die Klassiker von Lou Reed, zwischen textlicher Brutalität und Zärtlichkeit, funktionieren auch in unserer seltsamen Zeit perfekt als tröstende Ventile. Egal ob in persönlichster Identitätssuche oder beim großen Blick auf die Welt. Black Vinyl!

Dark Red Vinyl. Lambent Material is the debut album by Eluvium , the moniker for composer Matthew Robert Cooper 's sonic experiments and explorations. First released in May of 2003, Lambent Material was immediately recognized as much for its artful simplicity as it was for its deceptive complexity - an album of melodic austerity, alien transmissions, and titanic waves of cathartic noise. Previously only available on vinyl as part of Eluvium 's Life Through Bombardment Vol. 1 box set (a 7xLP collection released in 2008 that has been sold out for well over a decade), Lambent Material - Anniversary Edition finally gets its first standalone vinyl release. Beautifully remastered for vinyl by LUPO at Loop_O Mastering, it is packaged in a full-color jacket and heavyweight inner sleeve with fully restored original artwork.

As the music industry continuously evolves, pushing boundaries and challenging conventions, artists like Michael Peter Olsen emerge to redefine the very essence of their chosen instruments. With an
impressive career spanning nearly three decades, Olsen has had mainstream exposure through collaborations with renowned artists like Drake, Ed Sheeran, and Arcade Fire and developed multifaceted talents as a player, producer, composer, and Grammy-nominated songwriter.

However, it is his electric cello based solo project, which debuted in a grimy basement club in Berlin in 2019, and his 2021 album “Yearning Flow'' that truly showcased his desire to subvert expectations of what a cello can be. With the release of "Narrative of a Nervous System," Olsen taps into the prevailing sense of disconnection in modern society, accentuated by the recent pandemic. The record delves into the increasing divisions between the mind and body, metaphorically capturing the struggles many individuals face with their mental health.

Olsen aims to bridge this disconnect through his music,
creating a powerful fusion of sonic and visual elements. While the album is instrumental and conceptually-driven, Olsen remains committed to making the music accessible and relatable. Olsen's
vision is further realized through the inclusion of special guests Owen Pallet, Màiri Chaimbeul, alaska B, and Zoon, each representing older music traditions. Celtic, European, North American Indigenous,
and Traditional Chinese are explored and stretched, offering a modern perspective on ancient intuitively based traditions. While Michael Peter Olsen dismantles the preconceived notions surrounding the cello, he continues to create evocative emotional music.

"Narrative of a Nervous System" invites listeners to explore the disconnections between mind and body, and offers a transformative musical journey that resonates with both the modern world and ancient traditions. “Essentially I’m trying to destroy the cello, but do it in a nice way”

Auf Tour in heimatlichen Gefilden, ausverkaufte Shows und das unvergleichliche Gefühl unter Freunden zu sein: So sieht es aus, das perfekte Setting für ein gelungenes Livealbum. Und wenn dann jedes Rädchen ineinandergreift, wie es soll, dann entsteht eine Platte die reine Emotion und Freude am Sein transportiert. Mit dem neuen Album stellt Hannes Ringlstetter zusammen mit seiner Band wieder einmal eindrucksvoll unter Beweis, dass Wunderbares entstehen kann, wenn man sich blind versteht und gemeinsam die beste Zeit hat. Mit dabei auf der neuen "live Ringlstetter & Band" sind Klassiker wie "Niederbayern" und "Heller Schein" die immer wieder euphorisch vom Publikum gefeiert werden und einem die Gänsehaut über den Rücken jagen. Aber auch neue Songs kann man in einer Liveversion hören. Unter anderem die im April 2023 erschienene Single "Gardasee", die Hannes zusammen mit dem Oimara und Max Kronseder von DeSchoWieda aufgenommen hat und die auch beide bei der Liveaufnahme vertreten waren. Man merkt bei jedem Song, dass der Kabarettist, Schauspieler, TV-Moderator und Buchautor für die Musik brennt und das in perfektem Einklang mit seiner Band, dieses Livealbum ist der Beleg dafür.

Transparent yellow vinyl. Als Casey 2019 ihre Auflösung bekannt gaben, fühlte es sich wie ein verfrühtes Ende an. Mit ihren beiden Alben "Love Is Not Enough" (2016) und "Where I Go When I Am Sleeping" (2018) hatte sich der walisische Fünfer in nur wenigen Jahren als eine der aufregendsten Bands der britischen Alternative-Szene etabliert. Etwa vier Jahre später kehrt die Band nun zurück; nicht nur vor ausverkauftem Haus bei ihrem ersten Auftritt, sondern auch mit neuer Musik in der Hand. Hört man sich die neuen Songs an, wird klar, dass sich die Band weder um die Integrität ihrer neuen kreativen Vision noch um ihre emotionale Beteiligung daran sorgen muss. Die neue Musik ist der Inbegriff von Casey, offene Herzen, die von derselben Art von Schmerz und Trauma triefen, die die Band von Anfang an auszeichneten. Denn Casey-Songs geben nicht nur die Gefühle wieder, die sie inspirieren - sie verkörpern sie. Daran hat sich nichts geändert. Jetzt - frisch von ihrer äußerst erfolgreichen ersten US-Headline-Tour zurück und ihrer neuesten Single 'Puncture Wounds to Heaven' im Gepäck - hat die Band Tourdaten in Großbritannien, den USA und Europa für Anfang '24 angekündigt, zusammen mit der lang erwarteten Nachricht über ihr mit Spannung erwartetes viertes Album. How To Disappear" erscheint am 12. Januar 2024 via Hassle Records.

Transparent yellow vinyl. Als Casey 2019 ihre Auflösung bekannt gaben, fühlte es sich wie ein verfrühtes Ende an. Mit ihren beiden Alben "Love Is Not Enough" (2016) und "Where I Go When I Am Sleeping" (2018) hatte sich der walisische Fünfer in nur wenigen Jahren als eine der aufregendsten Bands der britischen Alternative-Szene etabliert. Etwa vier Jahre später kehrt die Band nun zurück; nicht nur vor ausverkauftem Haus bei ihrem ersten Auftritt, sondern auch mit neuer Musik in der Hand. Hört man sich die neuen Songs an, wird klar, dass sich die Band weder um die Integrität ihrer neuen kreativen Vision noch um ihre emotionale Beteiligung daran sorgen muss. Die neue Musik ist der Inbegriff von Casey, offene Herzen, die von derselben Art von Schmerz und Trauma triefen, die die Band von Anfang an auszeichneten. Denn Casey-Songs geben nicht nur die Gefühle wieder, die sie inspirieren - sie verkörpern sie. Daran hat sich nichts geändert. Jetzt - frisch von ihrer äußerst erfolgreichen ersten US-Headline-Tour zurück und ihrer neuesten Single 'Puncture Wounds to Heaven' im Gepäck - hat die Band Tourdaten in Großbritannien, den USA und Europa für Anfang '24 angekündigt, zusammen mit der lang erwarteten Nachricht über ihr mit Spannung erwartetes viertes Album. How To Disappear" erscheint am 12. Januar 2024 via Hassle Records.

The music of Justin Walter veers between nebulous and numinous, coaxed from the translucent tonalities of his signature instrument, the EVI (Electronic Valve Instrument).
Destroyer, his latest, and third for Kranky, marks his most multifaceted work yet. Inspired by minimalistic urges (evading grandiosity, condensing scope, embracing spatial restraint) tempered with the drama of triptychs (becoming, destruction, aftermath), the album’s 11 tracks thread a keening suite of aching, opaque beauty, traced in absence and breath.
First begun in the no man’s land summer of 2020, Walter gradually amassed nearly two hours of demos, drafts, and ideas, then steadily whittled them to their essence. Destroyer enlists the sounds of a recently restored pump organ, adding pulses and quaking texture, but otherwise the album is a shimmering showcase of the EVI: miasmic, melodic, intuitive, infinite. It’s music of fraught devotion and uneasy peace, questing yet languorous, forever rapt and untethered.

“Praying to god whether or not I believe there is one” - PH

Petra Hermanova and Unguarded announce In Death’s Eyes (UGD-009), the debut solo LP under the artist’s own name. This LP features nine tracks utilizing folk and sacred musical technique and instrumentation which drift between song and heavy distorted drones. In a disciplined display of beauty, pain, and astute musicianship, Hermanova brings forth a notable accomplishment of an album. In Death’s Eyes confronts death from start to finish with a rare fervor that leaves one feeling it was utterly necessary for Hermanova to produce - to survive. The transcendent impulse, or the influence of religious music, bears heavily on Hermanova’s compositions in her choir arrangements, but is most apparent in her use of pipe organ, opening the record on Black Glass. Having written organ parts for a significant portion of the record, she sought out the renowned organist Denny Wilke to record with her in the Merseburg Cathedral. Captivated by Wilke's profound skill as a player and knowledge of the Ladegast organ, Hermanova invited him to collaborate on Two Deaths where he delivers an impressive improvisation. While religious music offers spiritual solace from grief, folk speaks to the human and earthly as told by the individual, be they songs of suffering or joy, sin or salvation. To Hermanova, the clean promise of liturgical music is not enough to alleviate the blunt pain of grief. Contrasting the spiritual is the voice of the individual sufferer - the folk musician. For Hermanova, the autoharp embodies this contrast. The autoharp, a familiar sound in Appalachian folk music since its mass production in the late 1800’s, is an affordable instrument designed for the unskilled player. It is the antithesis of the organ which is costly, gargantuan, reserved for skilled players, and quite literally a part of the church. Through In Death’s Eyes the sounds of transcendence blend with the worldly, the tension between them poignantly expressing Hermanova’s struggle for spiritual resolution against the reality of death and loss. Like Hermanova’s lyrics, the artwork, conceptualized by Enes Güç and Evelyn Bencicova, is riddled with symbolism and allusion. We find Hermanova on the cover, digitally rendered. Reclining like an anatomical Venus, her vital organs are exposed, suggesting she is denied a transcendent death and is instead immaculately human. Bearing a sickle, her legs are metallic like armor, both symbols of protection. We see here in this image, as we hear in the nine tracks of IDE, the metaphoric state of someone ravaged by loss, choosing to tear herself open in an attempt to heal. - Reece Cox Petra Hermanova is a musician and visual artist based in Berlin. In 2018, Hermanova began working with the autoharp, which has since become the central pillar of her musical practice. Drawing inspiration from folk, medieval drone, and contemporary textural expressions, as well as Appalachian autoharp music, she creates emotionally driven arrangements accompanied by vocals. In her lyrics, she speaks to the fragility and tenderness of the human condition, religious conceptions of death, and introspective landscapes through narrative and symbolism. Hermanova debuted live at the Berliner Festspiele event The Sun Machine is Coming Down, performed at Trauma Bar und Kino accompanied with her choir, and recently took part in Sorour Darabi’s durational performance From the Throat to the Dawn. Her debut solo album, In Death’s Eyes, is set for release in 2023 on the art platform and label Unguarded. The album, where she wrote for the autoharp, pipe organ, solo voice and choir, features the acclaimed organist Denny Wilke playing the 19th century Ladegast organ of the Merseburg Cathedral. She has toured internationally with previous projects, including extensive sound and visual collaborations with Jon Eirik Boska (Hydropsyche) as well as with her award-winning band Fiordmoss. She was recently announced as a SHAPE+ platform artist.

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

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

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

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

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

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

First time on Vinyl, presented in Gatefold Sleeve on Double LP. Originally released in 2015 and carefully forged between 2011 and 2014, "De Aeris In Sublunaria Influxu" showcases a magically crafted alchemical wedding between these two titans of drone ambient. The 2LP features an exclusive bonus track. Troum navigates through cavernous, subterranean spaces where cyclical sounds reverberate towards impressive crescendos of icy noise, luminous drones and dramatic, guitar-driven ghostly melodies. Their truly unique soundscapes shine in a perfect symbiotic movement with the Swedish dark ambient maestro Peter Andersson. Engulfed in a hauntingly beautiful kaleidoscope of grey-ish melancholia, raison d’être comfortably walks deeply into Troum’s vast territory, delivering his very own trademark of eerie tones, ominous sacral ambience and crystal clear constructions. Airy lush enigmatic atmospheres live together with dark breathing, reverberant transformative drones. Rich and gorgeously layered.
All sounds assembled and recorded by raison d'être (Peter Andersson) and Troum (Stefan Knappe, Martin Gitschel) between 2011-2014. All sounds processed, manipulated and structured by Peter Andersson 2011-2014. K-14 level mastering by Peter Andersson 2014. Artwork by Ritxi Ostáriz.

2LP Vinyl Edition of 300 copies, Gatefold Sleeve, Matt Lamination, Black Paper Innersleeves. 8 Tracks. Running Time 76:28

In the early 1990s, a team of linguists, engineers, anthropologists, and archaeologists were tasked with constructing a type of communication that could transcend time. How might we converse with future civilizations when language may evolve or dissolve entirely? The result yielded the design of spike fields; a strange construction of granite thorns bursting from the earth to alert its viewers to the deadly uninhabitability of nuclear waste disposal sites. For Maria BC (they/them), this state of temporal focus molds the wanderings on their second full length album Spike Field. How do we connect with the weathered shadow of our experience, while envisioning the self a few steps ahead of us? While their debut album Hyaline (2022, Father/Daughter) explored grief and anxiety through a series of character-led accounts, Spike Field recognizes that the past will continue to lurk below the surface until we decide to break through the soil. Spike Field was recorded in the home of a family friend. The home featured an out-of-tune baby Steinway piano, complete with squeaky hammers and strange, sporadic sounds. The piano is sprinkled throughout the album, and features extensively on opener "Amber," showcasing Maria BC's looser, more extensive arrangements. The song flickers with electronic wonder, like a wave seeking out its station, before crashing into the angelic choral introduction of "Watcher". Strings, plucked guitar and buzzing swells accompany their classically-trained mezzo-soprano voice on "Return to Sender," a song that focuses on the frustrations and turmoil of being unable to reach a loved one--both physically and emotionally. Spike Field reminds us that despite our best efforts to bury certain aspects of ourselves, they will always lurk beneath the surface. Instead of ignoring the seeds striving to break through, we can point to these places with a curious grace, concocting a language that transcends words to converse with our previous selves. Maria BC pieces together juxtaposing sonic landscapes and oscillating vocals to represent the thread of miscommunication, or the failure of words, that weaves throughout the album, transforming it into a distinct and ever-evolving sonic tongue. If we listen, we might find something new within ourselves.

Transluzentes algengrünes Color-Vinyl (140g) inklusive doppelseitigen 12"-Kunstdruck und Download-Code.

Forest Swords (alias der elektronische Produzent/ Komponist Matthew Barnes) kündigt sein neues Album, „Bolted“, an. Nachdem er in den letzten Jahren als gefragter Komponist und Sounddesigner gearbeitet und Musik für Ballett, Film und Videospiele geschrieben hat, wurde „Bolted“ im letzten Jahr in einer Lagerhalle in Barnes' Heimatstadt Liverpool aufgenommen. Auf den elf Tracks taucht er tiefer in sein einzigartiges Klangvokabular ein, um eine Reihe von Tracks zu weben, die gleichermaßen kraftstrotzend und düster, eindringlich und euphorisch klingen.

Wie immer in seiner Musik, fühlen sich Melancholie und Euphorie, Monochrom und Farbe, Vergangenheit und Zukunft mehrdeutig an. Die Emotionen verschieben sich von Moment zu Moment, die Unterschiede zwischen digitalen und akustischen Instrumenten sind verwischter denn je: eine Verquickung von Zeit, Raum und Klang, die sich gleichermaßen spielerisch und absolut vital anfühlt.

Zusammen mit der Ankündigung über das neue Album kommt „The Low“, eine stimmungsvolle, metallische Triphop-Single aus „Bolted“. Barnes kommentiert den Track wie folgt: „‚The Low‘ basiert auf einem Beat, den ich ursprünglich für Yoko Ono vorgesehen hatte, und enthält Elemente, die ich sowohl am Anfang als auch am Ende des Albums gemacht habe, und verbindet so viele der Sounds und Emotionen, die ich während des Schreibprozesses erforscht habe. Das begleitende Video, das ich zusammen mit Sam Wiehl gedreht habe, vertieft einige meiner Artworks und die visuelle Welt, die das Album begleitet.“.

Kingdom Eighties is the latest videogame instalment in the award-winning Kingdom series by gaming studio Raw Fury. It's a single-player adventure game of micro-strategy and base building, heavily inspired by the memories and references of Eighties Americana. You play as The Leader, a young camp counsellor who will have to defend their town and family from the relentless attack of the mysterious Greed. Kingdom Eighties provides a minimalist feel with a beautiful, handcrafted modern pixel art aesthetic, combined with the neon lights of the Eighties and an Eighties inspired synthwave soundtrack.

The score is composed by Andreas Hald, a Copenhagen-based film and media composer who has written scores for movies and television. For Kingdom Eighties, Andreas used the exact same instruments that music producers were utilizing in the Eighties, using nothing but analogue gear and tools to create a signature, authentic Eighties sound. To top it off, the soundtrack was mastered for vinyl by Grammy Award-winner Adam Ayan at the Gateway Mastering Studios. The master audio went through multiple iterations to make sure the highest quality sound was obtained for this specific vinyl release.

Kingdom Eighties is available as a limited edition of 500 individually numbered copies on translucent magenta coloured vinyl. This 2LP set includes a poster of the game and a 4-page booklet with liner notes by the composer and game director. Additionally, it includes two full colour printed innersleeves and is housed in a deluxe gatefold sleeve with gloss laminate finish.

We're proud to announce renewal of our near-ten year relationship with raw black power ambient ritualists Sutekh Hexen in announcing the band's colossal new 2LP "P:R:I:S:M", a full collaboration with Canadian nightmare-weaving enigma Funerary Call (AKA field recording and experimental soundscaping artist Harlow MacFarlane), to be released this summer in collaboration with our good dearest frequent co-conspirators from the US Sentien Ruin.
With "P:R:I:S:M", magisterial sonic-alchemists Sutekh Hexen and Funerary Call join forces to deliver a fully collaborative album of eight highly experimental tracks. Throughout this octonary journey, concepts and unseen source energies are refined into spectrums of deeper consciousness. The resulting narrative guides the listener through a vastness of (dis)charging energies, rebirth through dissolution, and harrowing harmonic passages in tremendous spaces. Inner-workings suspend transformations in time. Pushing their respective boundaries, Sutekh Hexen and Funerary Call initiate the listener with the crystalline, static miasma of the album’s opener 'Meridian غ', only to enshroud them in the manifesting psychosis of 'Infernal Folly'. The churning mysticism of 'Perilous Shade' offers temporal sanctuary, and 'Toward the Eastern Gate' calls forth tectonic-prophecies as the album's centerpiece, tipping the scale into 'Fractal: Void'—a blistering disarmament in a storm of guitars, scathing electronics, and the disembodied calls we all anticipate and fear. 'Æscend Obsidia' tests the preceding tension and overwhelms in shimmering radiance before declaring release in 'Pangæa Ultima² (Dread)'. Closing with 'Shores of Purgatory', thresholds are breached anew with hectic guitar feedback, spectral synthesis and meditative melodic embellishments. Where the mirror blinds, the "P:R:I:S:M" offers vision—refractions of new perspectives, dissolving the shadow-self.

BLUE-BLACK COLOURED VINYL! LIMITED TO 100 UNITS
Irakli’s new album is due to come out October 2023 on Live at Robert Johnson. Mechanical Moon is a retrofuturistic adventure of beautiful compositions and pulsating rhythms which are weaved together over the span of eight tracks.

We are immersed into evocative atmospheres, full of intricate textures. This is techno where you close your eyes and board an ocean liner that slowly rises and floats towards the moon.

Happy human with sad eyes roamed the neon-lit streets of the artificial island. This section of the metropolis had been designed as a necessity more than any other amenities. It had been allocated a budget surpassing the one for waste management in a city housing over a billion inhabitants.

Society had managed to eradicate love, yet it still grappled with untamed primal instincts such as dancing, sex, or violence. The island provided a discreet haven, away from the prying eyes of telescreens that silently stared into all souls. Similar to Las Vegas centuries ago, it was a safe space where anything was fair game.

Once there, night time lasted all day. Everything retained an analog essence. Music emanated from vintage record players. Amidst the laughter and tears, the artificial glow of the mechanical moon had become the last reminder of life outside.

A life so repetitive that he had been consumed by the desire to transform into a machine or a human satellite. Yet, breaking the cycle in such a manner remained impossible. And so, he wandered for hours on the island, among the weary faces.

Happy as one could be.

The follow-up to his acclaimed Constellation debut Third Album released in lockdown spring 2020, Markus Floats returns with Fourth Album, pushing the Montréal-based artist's distinct abstract electronic compositions into newly evocative terrain (while preserving his record-titling literalism). Faced with another couple of years spent unexpectedly, though not unfamiliarly, secluded and studio-bound, working on both paintings and music, Floats emerged by the end of 2022 with a set of tracks "about 60% finished" and a determined desire to throw off the shackles of distancing and isolation. "I had always thought about Markus Floats as a solo project but I am wrong about that. Fourth Album is about asking for help, inviting in, and making a home. It's about trust, exploration, and the effort of letting go."Sharing his in-progress recordings with a trio of close friends and collaborators from the powerhouse free music ensemble Egyptian Cotton Arkestra, each of these players then spent a day improvising to the tracks at Montréal's Hotel2Tango studio. With violin by Ari Swan, saxophone and mbira by James Goddard, and guitar and drums by Lucas Huang, Floats stitched their extemporized instruments back into his compositional process. The result is a fluid, lustrous, dynamic expansion of his sound and structure that continues to strike the ineffable balance of abstraction and soulfulness rightly highlighted and celebrated in the critical response to Third Album. Fourth Album sustains much of that previous work's enchanting equanimity, while inviting a bit more restlessness, accident and grit, with the incorporation of acoustic instruments and improvisation melding Floats' own background in Electroacoustic Studies and Jazz Performance more than ever before.Signature avant-electronic explorations of arpeggiated and timbral transformation, subtle shifts in harmonic consonance and dissonance, and a through-composed praxis that draws coterminously upon free jazz, musique concrète and modern Minimalism, all continue to shape Fourth Album to great effect. But an additional palette of sonic and gestural raw material is now also decidedly "out-of-the-box", charting a wider range of gestures, textures and temporalities. Fourth Album complexifies and intensifies across its 12 tracks, thematizing dualities and introducing new elements of play and accident, even a sort of looseness here and there, as it conjures communal expressivity within shorter, still scrupulous formal structures. Fourth Album also for the first time includes spoken word as a recorded element, previously only (and always) a feature of Markus Floats live performances. The album's final track samples the poet and activist Fred Moten, closing with these words: "What we've been trying to figure out how to get to is how we are when we get together to try to figure it out." This koan of socially-engaged process and creation/advancement of meaning through praxis and immanence reflects the unique fusion of intangible materiality and affective sensibility at work in Markus Floats music, unfolding in new depths and currents with Fourth Album.

The first two minutes of Sun June’s third album, Bad Dream Jag-uar, is a reverie - Laura Colwell’s voice floats above a slow-burn,sparse synth, conjuring a tipsy loneliness, a hazy recollection, a disco ball spinning at the end of the night for an empty dancefloor. Sun June’s music often feels like a shared memory – the details so close to the edge of a song that you can touch them. And as an Austin-based project, their music has also always feltstrangely and specifically Texan – unhurried, long drives acrossan impossible expanse of openness, refractions shimmering off the pavement in the heat.

But on Bad Dream Jaguar, Sun June is unmoored. The back drop of Texas is replaced by longing, by distance, by transience, and aquiet fear. The only sense of certainty comes from the murky past.It’s a dispatch from aging, when you’re in the strange in-betweenof yourself: there’s a clear image of the person you once wereand the places you inhabited, generational curses and our fami-lies, but the future feels vast, unclear – and the present can’t helpbut slip through your fingers.

Classic black vinyl plus bonus 7"-single with two exclusive tracks! Babydoll is the fifth Rat Columns album and, following 2021's Pacific Kiss, the second to be released on Tough Love. The recordings took place in Perth, Western Australia, partially by engineer Jason Hayles in a 1960's office building that formerly housed the secretarial pool of a successful mattress company, and partially by DW in an industrial unit, and feature the ensemble cast of Taylah McLean, Chris Grunwaldt, Scott Payne, Richard Ingham, Cohen Bourgault and, of course, DW himself. It was then mixed and mastered in Melbourne by Mikey Young and Joseph Carra, respectively. Babydoll seems to mark a return to a murkier, dirgier Rat Columns format. Distortion is fetishized again and many small amplifiers were tortured in the album's production. Tempos have drifted down and the lyrical concerns move ever inward, in an inverse bloom. The mood is dour, introspective, circular, the songs long, and short attention spans are neglected. 'Cerulean Blue' churns through a crystalline memoryscape, homaging low-brow grunge auto-fiction and a partial history of mid-period rave. 'Life In The Jungle' is a fever dream of imperialist wartime fantasy projection. 'Heavenly Assault' attempts a crushing density amid visions of transcendent devotion. 'Virtual Sweden' takes us ever northwards into the frosted tip of Scandinavian détente. 'Babydoll', like 'Cerulean Blue', homages a primarily imagined low-cosmopolitan world of alt-lit digi-poets, bedroom fantasists, underwater prisons for gorgeous, gorgeous girls. 'Bees Make Honey' lets more sophisticated music machines into the conversation, and marks the first use of vocal tuning software on a Rat Columns album, albeit in an avant-amateurist fashion. 'Jane, I Live For You' enters the space-ballad race, dreaming of synthetic folk-rockers, leaning on sampler keybeds in the half-light. 'December' is yet another tribute to fallen Stars, mansions on the hill, winter skin in cashmere sweaters, truth in education, love, faith, (im)purity. In all these respects, it is a classic Rat Columns record. Because all Rat Columns records are classic records.

12” transparent red vinyl - limited to 500 copies. File under: Indie, Folk, Antifolk, GER/FR. In West Africa, where the only water you can find is in the Ocean, Stanley Brinks & Freschard put on their best carnival costumes to get to the bottom of every bottle of rum they could find. They found a lot. Iron Eye is an irresistibly charming collection of late night tales, woozy ballads and uptempo sing-alongs. Clemence Freschard’s beautiful vocal tones lend this a rich, French indiepop/chanteuse vibe, complemented by Stan’s wistful timbre and characteristic warm instrumentation. Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne alongside his brother, David-Ivar. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded well in excess of 100 albums, collaborated with the New York Antifolk scene on numerous occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.

"Stratosphere", Dusters Debütalbum aus dem Jahr 1998, das man sich am besten schon im Mutterleib anhört, hat die erste Welle des Slow Core gleichzeitig beendet und neu erfunden. Eine vierspurige Traumlandschaft, die die Nachbarn aufweckt und sie dann wieder in den Schlaf wiegt. Trübe, arpeggierte Gitarren legen sich über einen bedächtigen Schlagzeuger, der keinen wirklichen Platz hat, während halb hörbare Vocals vor dem Unwohlsein der Jahrtausendwende warnen und den Hörer subtil ermutigen, "rock out, rock out, rock out, rock out." Diese foliengeprägte und nummerierte 25.Jubiläumsausgabe erscheint auf LP, CD und Kassette. Die LP-Editionen werden auf 180G-Vinyl gepresst und enthalten ein Textblatt und ein Poster. Die CD- und Kassette-Editionen kommen mit einem zusätzlichen Track, 'Echo Bravo'.

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album, ‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.

Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.

Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave and courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ - ‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy.

It's only just begun.’ Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each song is definitely a standstill moment.’

Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends, relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’

Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”

And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her.

She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.

While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before.

‘falling or flying’- released on September 29th

Mike Salta & Mortale release their debut album ‘Moloko Island’ on Music For Dreams label. Moloko Island is a getaway where good vibes can float freely. An island where only fantasy set the limits.

It is a collection of tracks, some of which have already been buzzing around the balearic / downtempo scene for a while now. The Album includes the infectious ‘Hey Moloko’ which was picked up by Hot Chip for their splendid Late Night Tales compilation, and the gamers amongst you may have noticed it in the most recent Playstation – Gran Turismo 7 soundtrack. Outro track ‘Bye Moloko’ is a brand new Re-edit of this classic.

The music of Mike Salta aka Gert Nygaard flaunts an eclectic palette, collecting strands from New Orleans funk, 80’s italo disco or Brazilian tropicalia and transforming them into rich and sun-drenched dance music.

The album is produced in collaboration with long-time studio partner Mortale, and is a sumptuous piece of chillout to call on the summer. A full-bodied groove of an album to transport you and soundtrack those sunny days & balmy evenings. Moloko Island concludes a voyage and reconcile an era where electronics and acoustics have been explored and united in the unique sound and vibe Mike Salta and Mortale has strived to unfold

Channeling the speed of youth and the heaviness of a fleshy, lived life in equal proportion, Upchuck’s second LP, Bite the Hand That Feeds, is a Trojan Horse par excellence, craftily smuggling in waves of sentimental emotion and clever pop songwriting under a veil of pulsing rhythms and scorching riffs. What binds Upchuck together is a purity of intention, an organic loyalty to a thick knot of uncalculated friendships, struggles, and desires. These are songs about the joy of continuing to live, songs that find each other in the rush of a crushing reality, propelling the listener onward towards a collective release, however brief it may last. Themes of surviving through the night, youth-blinded love, cheap champagne soaked back-alley parties, and chaotic street protests are subsumed under a single unifying thread: the needs we have for one another, our shared hunger for connection. In a world saturated with arbitrary rules and paper-thin moralism, Upchuck offer free¬dom through sensation, a type of unserious transcendence found through the swirl of bodies melting into one another in the passion of dance. With Bite the Hand That Feeds, Upchuck isn’t trying to tell anyone how to live. Rather, they are simply trying to find a way to make life more worth living for both themselves and their friends—if the music compels you to move, you might as well consider yourself their friend too. Shortly after the release of their debut album Sense Yourself, Upchuck absconded to Southern California to record Bite the Hand That Feeds, enlisting the production talents of Ty Segall and the airy reprieve of his secluded Topanga Canyon home studio. Upchuck credits Segall, who recorded the entire record live to tape over the span of five days, with helping to elevate the arrangements of their second record to bold new heights—fans of Segall’s extensive catalog will undoubtedly recognize the shadow of his creative touch in Bite the Hand That Feeds’ commanding, layered drum polyrhythms, tasteful use of oddball effects, and fuzzed out, every-guitar-pushed-into-the-red ethos. All the same, final credit for Upchuck’s evolution from Sense Yourself to Bite the Hand That Feeds must be paid to the band itself. Following the release of their debut LP, Upchuck embarked upon a break-neck string of live shows, touring alongside the likes of Segall’s Fuzz, Amyl and the Sniffers, Negative Approach, OFF!, and Sub¬humans. The razor tight focus of Bite the Hand That Feeds was forged in the fire of these live shows, speaking directly to the power of their in-person presence—these are songs meant to be heard pressed up against a barricade, blasted through dimed guitar amps placed so close to your ears that you can practically reach out and touch them. In its totality, Bite the Hand That Feeds offers a sonic portrait of what it feels like to be young and caught up in the thrill of it all, coursing between ripping dance grooves and thundering dirges, anti-self-serious crowd anthems and charming pop hooks.

Originally released in 1993, this Brian Eno produced album would include the worldwide hit, Laid that became the “theme” to the American Pie series of films. It also included the tracks Sometimes and Say Something. Issued on trans red 2LP vinyl.

TOP PRIORTY RELEASE. Escape Music is delighted to announce the release date for the long awaited Jelusick debut album title “Follow The Blind Man” featuring Dino Jelusick the most well loved and respected vocalist in the Rock World! will be available on CD, Vinyl, and digital platforms! The Vinyl will be limited edition to 500 copies only! “Blade Bullet” colour and all will be numbered 1-500.Jelusick is: Dino Jelusick – vocals, keyboards, guitar / Ivan Keller – guitar / Luka Broderick – bass, backing vocals / Mario Lepoglavec – drums, backing vocals / Produced by Dino Jelusick, Mixed and Mastered by Simon Jovanovic, Executive Producer Dario Jelusic - JELUSICK played on 4 European tours during 2021- 2023 which also included Guitar Scene festival 2021 where they played with all star band together with John Norum and Gus G. The same line up also played there in 2022 and shared the stage and jammed with Airbourne, Johnny Depp & Jeff Back, Black Label Society, and Beth Hart. Dino Jelusick, born 4 June 1992, is a Croatian rock singer, musician, and songwriter. He was the founder, principal songwriter and lead singer of hard rock band Animal Drive, which was formed in 2012. and dissolved in 2020. Since 2016 Dino became a permanent member of American rock band Trans-Siberian Orchestra. He also worked with Gus G, Mike Mangini, George Lynch, Will Hunt, Michael Romeo, Jeff Scott Soto, Joel Hoekstra, Steve Smith, Jon Oliva, Kip Winger, John Macaluso, Deen Castronovo, Phil Demmel, Mike Portnoy, Henrik Linder, Justin Johnson, Tony Franklin, Kyle Hughes, Virgil Donati, Kiko Loureiro, Jordan Rudess, David Coverdale, Tommy Aldridge, Reb Beach, Michele Luppi, Lachy Doley etc. On July 27th, 2021, upon direct phone call from David Coverdale shortly after that David announced that Dino had become the new member of Whitesnake! In 2009 he started recording a new studio album in Melbourne, Australia which was finalised with producer Robert Ahrling in Malmö, Sweden. The album named “Living My Own Life” was released in August 2011. Between 2012 and 2013 Dino was hired to take part in an international project in South Africa named “Synkropation” where he was featured in several songs and played to an audience of 50.000 people in Johannesburg and also participated in two rock operas. In 2015, American drummer John Macaluso (Ark) invited him as singer and the keyboardist for his new American-Croatian band Stone Leaders. During this time, Dino was also a member of Croatian metal band The Ralph with whom he released the album “Enter Escape” in February 2017. In February 2016 he was noticed by American rock band Trans-Siberian Orchestra. After auditioning and meeting with producer Paul O’Neill and Dino was chosen to join the group. 2018 his band Animal Drive released debut album, “Bite!”, to critical acclaim. April 2019, they released a covers EP titled “Back to the Roots”. Dino was also featured singer on two songs on Magnus Karlsson “Free Fall” album. 2020 Dino Joined ex-Krokus members and Mandy Mayer (Gotthard, Asia, Unisonic…) for a concert project named Gotus and they released a video for the song “Souls Alive” (Unisonic). July 2021 Michael Romeo, guitar master from NY insisted that Dino should sing on his new album “War of the Worlds part 2” and it became a great and successful collaboration. 2022 Dino toured Europe with Whitesnake. As the last part of the EU tour was cancelled due to some DC health issues, Dino joined The Dead Daisies tour replacing Glenn Hughes who got unwell at the end of November 2022.A 2 year long legal battle with Dino’s ex-label was over and he immediately started recording new songs for his band JELUSICK…Welcome back Dino!

Since 2011, Mike"s been a Drag City stalwart, first with Sic Alps, then as a solo and with The Peacers - but Mike "The Mighty Flashlight" Fellows has been a behind-the-scenes figure at Drag City since the early early days, playing live and on record with Royal Trux, Silver Jews and Will Oldham. Mike D"s music, in all phases, takes the form of a next-phase roots-pop: soaked in the traditional waters of rock and roll and passed through a variety of after-punk sonic sieves, highlighted with DIY and lo-fi values, and making a jolly hallucinatory racket, at that! He prefers a particular density of obtuse angles colliding sweet and hot noise, an arrangement he has perfected over all his Sic Alps/solo/The Peacers years; his innate understanding of the mechanics of a pop song wends purposefully through the junk-strewn landscape, sharing secrets with cipher in hand. Playing in this cracked kingdom of sound/garden of verse, Mighty Flashlight alternately accents and balances Mike"s eccentricities with his playing and knob-spinning - and with the Flashlight shining bright upon him, Donovan"s serpentine path becomes ever so much more elastic, heightened from line to line, change to change, its motility creating different shapes in our ears. Mighty"s own kind of stereo imagining informs Donovan"s smoky subterranea with additional depth of field, while still allowing all the wayward details within the arrangement to diverge as one. Mike and Mighty wind it all together: art punk utterance and top 40 radio junk of yore, the primitivity that formed recorded music in its youth, honkytonk romanticism, liminal chamber-folk and ever-present disassociated psychedelia, transformed via self-medication into a gleeful, extramusical ennui while giving the listener impetus to sing along with Mike"s patented unlikely combos of melody and lyric.

Bell Curve's new EP Obelisk for Berlin's SSPB provides a daring evolution of her soundworld, channeling the bristling intensity of her previous work into a more expansive headspace. Alongside six mesmerising new tracks from Bell Curve, the EP features a remix from Hessle Audio rising star Toumba. Obelisk compiles Bell Curve's most compelling and enthralling work to date. Reveling in dazzling repetition and delicate sonic nuance, it is a cathartic and defiant statement in an industry that increasingly demands hollow immediacy and caters to short attention spans - an homage to struggles and affirmation of strength and self-belief, while equally offering euphoric escape for those willing to spend time inside its mystic whorl. Club sonics are here plucked from their original contexts and expanded outwards - icy rave stabs on "Staircase" ascending into the heavens or the astral breaks and springy bass of "Hope It Gets Better".

Subtle shifts in tone and texture guide the listener through the trip, reverb tails slowly extending into lysergic drift or rippling grain and feedback rising from pulsing bass tones. Jordanian producer Toumba amps up the tempo on his remix of "Staircase" while maintaining the original's emotional core, bolstering the track's dextrous rhythms with distinctive Levantine timbres. Obelisk captures a constant push and pull between emotional states - from anxiety and melancholy to joy and euphoria, working through turmoil to find transcendence.

Tracks like "Dance Skeleton Dance" particularly invoke this duality, drawing catharsis from darker sonics, reconfiguring bass pressure and anxious percussion into a humid dancehall stepper. "Without U" contains emotional struggle as part of the very circumstances of its making - written while working through heartbreak, its delicate repetitions and searching tone reflecting the process of reconnecting with oneself. Title track "Obelisk" forms the emotional core of the EP, coalescing from weightless vapors into dramatic synthesizer motifs, evoking euphoric memories of complete immersion on the dancefloor and our ability to find ecstatic experience even in the contemporary hellscape.

Having been deck slaying as near their London headquarters as Germany and as far as Canada, goth techno prodigy Lesser Of is steadily approaching double digit release count. With an established residence at queer x trans focused, revolutionary event series Subverted, their efforts have been welcomed to a formidable list of industrial electronic labels and remixed by a tidy sum of high profile scene icons.

Here at Depth.Request our sonars are attuned to emanant potential, and so we conscript Lesser Of to hammer out our fourth acetate offering to date. To this, harsh noise and drone music inspirations are declared, alongside an artistic secret of the trade: lights-off sessions in live room of a recording studio vibrating with the pulse of a bass guitar ran through a freeze pedal were what begot the tracks, and they are well intent on assaulting your headphones with noise. Reeko on the remix - yes, this record fucks.

Prolonged, ominous intro? Nah. Have a face full of Crude Manifestation Of Power instead, as an insatiable, 10-minute long opener braces your ears for a week of ringing with a sonic equivalent of metallic thrashing one could expect from being a sinful, rave-lusting scoundrel. On title-diverting continuation Within My Fragility the words "strength in fragility" are truly alliterated as the pace, abrasiveness and intensity of pummelling are all ramped up fiercely, with linear open hats thrown against them from time to time for good measure. Having reached 140 BPM and concrete mean, Masked proceeds in a well anticipated ra(n)ge: infernal atmosphere, sandy hats and layered tectonic tremors achieved with increasingly undefined low end consisting of a rumble line and rolling kick morphing into abrasive haze. Winding the tempo back a notch, a halftimearranged contemplation Our Descent grows in direct, hyperborean vector: glassy drones and sharp syncopulsation first - atonal reverberations, distorted arpeggios and punchy stabs endwise. Reeko's analog reinvention of Masked convolves the drum structure by borrowing from breakbeat narratives and authorizes the dystopian ambiance to rise and fall on more gradual, panning, confined terms; adding, however, more disorder to the mix with spectrum slicing, high-range chaos.

As you would have learned to expect from Depth.Request, Within My Fragility EP is not an easy listening five-tracker. If by the end of it you find yourself feeling as if you just stepped out of a pounding warehouse at 3AM and you don't know what day it is, you wouldn't have been experiencing this mindspace alone.

Fantastic Twins, the ongoing project of Julienne Dessagne, is a sonic exploration of dual characters born from one distinct perspective. A producer, songwriter, and acclaimed live performer, Dessagne has spent the last decade sculpting a unique world.

On an ambitious new album entitled ‘Two Is Not a Number’, Dessagne immerses herself more fully than ever in the concept that inspired her artist name, exploring the entwined lives and fates of her imaginary twins, their schizophrenic dreams, small dramas, and big tragedies - a metaphor for our own psyche, our inner conflicts, and our relationship to others and otherness. These musings on the psychological, emotional, biological, and metaphysical qualities of Twins are expressed with assured clarity, using a palate of icy deep techno, eerie atmospheric soundtracks, tranced-out dark wave, and synth pop-noir. Whether through airborne dancefloor ascension, diamond hard rhythms, electronic thundercracks, or empathy drenched vocals and the palpable sense of unease, this standout album brings Dessagne’s powerful, affecting art into sharp focus.

I Was First takes listeners to the Fantastic Twins’ origin, a vocal transmission from within a sonic womb, as our protagonists prepare to emerge. Sisters at Odds sees our siblings emerge incongruous and freshly awoken to life’s absurdities in slow-motion. Suspensefully, the percussive heartbeat of Land of Pleasure Hi Fi wrings tension from numerology, blossoming into a scorched industrial ballet, a mirage of multiplicity.

Following the gothic connection of Master & Disciple, Silver Moon Dial incants a trance-like state that captures the physical energy of Dessagne’s live show, as Fantastic Twins take advantage of ‘putting the moon on speed dial.’ Euphoria soon splinters into tragedy with Twins Can’t Love, extracting unexpected melody and melancholy in brittle, IDM tinged electronics, beautifully tangled with Dessagne’s longing intonations.

From Above sees Dessagne’s vocals once again shift into a new form for a haunting interpretation of something approaching a ballad, echoing around a chamber from which the Twins have seemingly disappeared. Ultimately All of This is Resolved, both in title and form, within this album’s cathartic yet uneasy conclusion. Dessagne sends the siblings home at last... But what will we find if we follow?

I feel a deep sense of loss listening to this music, but at the same time the possibility of going beyond it through sound. It doesn't want to illustrate anything, but I would like it to be transformative, even of a feeling that sounds like death. It is an elegy." — Furtherset

The Infinite Hour is a shattered elegy synthesized in electronics. Furtherset's music does not explain, settle or justify, it rather simply manifests the grip of anguish. As a whole, the album's six compositions resemble the labored breathing of one who mourns a disappearance and fears oblivion. A feeling like having one's chest weighed down by a stone, while still being attentive to one's breath, and aware of what remains. From this dimension The Infinite Hour arises and transfigures loss into a space that is always extending: the hour is infinite, the melody is circular, and even stasis has its own measure that is exceeded into eternity.

The album was created between 2020 and 2022, in a slow process of writing and continuous refinement parallel to the previous EP, Auras. The compositions found their final form during the mixing process carried out together with composer & sound artist Bienoise (Mille Plateaux). They were later named based on references to authors who influenced and are dear to Furtherset: Amelia Rosselli, Vladimir Chlebnikov, Hubert Damisch, Dante Alighieri. Each track, composed with its live rendition in mind, manifests itself to the listener as a possible variant of a path that is never definitive. Their live performance, an increasingly distinctive moment within Furtherset's work, is a gesture of concentration and extension, where every composition is developed through meticulous variations of each singularity.

The Infinite Hour is one possible manifestation of an ever-changing musical landscape, a universe with unmistakable sounds but always on the verge of disintegrating, collapsing, and opening up spaces, times, infinities.

Furtherset is the musical project of artist and musician Tommaso Pandolfi (1995). His compositions' distinctive traits are stratifications and recursive shifting modulations, synthetic clusters and sampling, alongside rhythmic and embracing harmonies. The project is envisaged as formal research that follows a path towards saturation and layering, but is always capable of generating voids in which the listener can take their place and fill them according to their own focus.