Buscar:trap

After an 8 year hiatus, Youth Lagoon return with their 4th album, 'Heaven Is a Junkyard'

“Come, Sweet Death” alternates between brutality and winding single string melodies that brings you back to the golden age of Swedish Death Metal! They say that the more things change the more they stay the same. If there’s one thing that has remained stable despite living in 2023 is that we love Swedish Death Metal. The style has become a favorite of ours over the past 35 years. Something about the guitar tone just makes you want to devour any release that can be described as “Inspired by early Entombed and Dismember”. The good thing is that there’s an incredible wealth of bands that draw from that well. The bad thing is that said wealth leads to a lot of bands becoming indistinguishable due to how same they are. Thankfully, Imperishable’s “Come, Sweet Death” manages to stand out from the pack, in no small part due to breaking away from the genre’s usual trappings. And in a way this is no surprise since the band members were or are involved in Vampire, Portrait, Nominon and Dr. Living Dead! As you might have already gathered, the band draws a lot from the Stockholm scene, more specifically Dismember, that is undeniable. What’s really interesting though is that they draw from their later, and more melodic influenced era as much as from the early days. Imperishable, like their peers effortlessly blends the aggressive buzzsaw riffing with leads brimming with melody, which most modern bands in the style avoid in favor of pure aggression. Said blend can be seen throughout their debut album, though it can be felt more on the longer tracks, like “Teeth of the Hydra” and “Fangs”, where the band has more room to develop their ideas and mix grinding Death Metal with NWOBHM-inspired leads and riffs. In short: Imperishable has great songs, great melodies, well-arranged structures and still is brutal, just like the great old bands were. And the production is spot on for this release. It is good to hear a band experiment beyond the confines of the original old school Swedish Death Metal sound. “Come, Sweet Death” is an extremely promising release, and a small breath of fresh air in an otherwise stale scene. Imperishable’s love for the more melodic aspects of the style make them worth keeping an eye on now and in future.

Black + White Haze Vinyl. With a sound that was swampy, primal and modern-urban all at once_as much in the tradition of rock n' roll and punk rock as it was a rejection of those things, the Scientists' formula was as universal as it was specific to their own experience. The themes of getting wasted, driving around in hotted-up cars, being trapped in crap jobs, and paranoia were their subject matter. Machine throb bass and drums with jagged car-wreck guitars were their modus operandi. Fitting into no place or time they spurned all but the most rudimentary and elemental of rock structures to create a sound all their own. Quadruple CD includes their complete studio recordings, live recordings, and a previously unissued set from Adelaide UniBar, plus dozens of previously unpublished photographs, discography, and fold out Perth Punk family tree. Double LP version boils the box down to 22 essentials, plus unpublished photographs, discography, and fold out Perth Punk family tree.




















t 20 THIS IS MY HAPPY HOUR LIVE AT ADELAIDE UNIBAR
u 21 FIRE ESCAPE [LIVE AT ADELAIDE UNIBAR]
[v] 22 WHEN WORLDS COLLIDE [LIVE AT ADELAIDE UNIBAR]
[w] 23 RAVER [LIVE AT ADELAIDE UNIBAR]
[x] 24 THE SPIN [LIVE AT ADELAIDE UNIBAR]
[y] 25 CLEAR SPOT [LIVE AT ADELAIDE UNIBAR]
[z] 26 REV HEAD [LIVE AT ADELAIDE UNIBAR]
[xa] 27 SET IT ON FIRE [LIVE AT ADELAIDE UNIBAR]
[xb] 28 BURN OUT [LIVE AT ADELAIDE UNIBAR]
[xc] 29 THIS LIFE OF YOURS [LIVE AT ADELAIDE UNIBAR]
[xd] 30 SOLID GOLD HELL [LIVE AT ADELAIDE UNIBAR]
[xe] 31 BLOOD RED RIVER [LIVE AT ADELAIDE UNIBAR]
[xf] 32 DON'T LIE TO ME [LIVE AT THE LOFT]

[xh] 34 MELODRAMATIC TOUCH [LIVE AT STOREY HALL]
[xi] 35 SLOW DEATH [LIVE AT STOREY HALL]
[xj] 36 STRANGERS IN THE NIGHT [LIVE AT THE SYDNEY UNI]
[xk] 37 I'VE HAD IT [LIVE AT LE TOTE]
[xl] 38 GONNA MAKE YOU [LIVE AT THE PRINCE OF WALES HOTEL]
[xm] 39 WHEN WORLDS COLLIDE [LIVE AT SYDNEY TRADE UNION CLUB]
[xn] 40 GHOST TRAIN [LIVE AT THE PRINCE OF WALES HOTEL]
[xo] 41 THE OTHER PLACE [1985 FLEXI DISC]
[xp] 42 SHE CRACKED [1985 FLEXI DISC]

Blue Vinyl

4 bangers of a kind.
The cut is successful. That's a point.

It's a Format C : at 150 BPM selecta, with long kicking intros and crazy incoming amiances. There is "too much".
At a time you like when it's clear, minimal, banging, and well done.

This is Format C : an architect of Tekno.

150 to 170 BPM that sounds 140. Peur Bleue trap !

Format C had always been a bloody pleasure to mix... With that crazy master and loud cut you will get a bloody dancefloor weapon able to fill the blanks between Hard Techno classic sound (Drumcode 01) and powerfull 160 kickers like nowadays music.
With a bit of "never too much" feeling... out of darkness and shades !

Here comes round 2 of Dimitri From Paris and Chatobaron’s live sessions on Le Heartbeat records. In a clear departure from their Silly Not Silly debut “I like (The Music That You Play)” the 10 piece crew returns with a slightly more trippy mid-tempo groover.

“Chez Madame La Baronne” nonchalantly mixes highly skilled musicianship with vintage lo-fi recording. Here, Chatobaron echo the sound of West Coast Jazz-Funk, as if trapped in a French sexploitation flick - imagine the Mizell Brothers visiting heady Baroness Brigitte Lahaie’s mansion, and you get the picture.

Once again, a lot of pleasure was taken by Dimitri From Paris who directed the proceedings, meticulously arranging the sophisticated material: drum breaks, solos and horny sections, leading to an orgasmic climax. It's lush but raw, and as enjoyable at home as it is effective in the club.

Long time friends The Idjut Boys join the party, deconstructing the original piece from the top down. Ripping it apart to hone in on its darker parts, they deliver a solid and psychedelic Fazz Junk Version in their signature dubbed out style.

With label partner & vinyl digger supremo Melik Ben Cheikh, Le Heartbeat Records continue their quest to bring the higher standards of yesterday’s music to today’s ears.

Early support from François K, Red Greg, Volcov, DJ Deep, Alex From Tokyo, Alex Attias, Hugo LX.

THULCANDRA’s rise to power ignited when the Germany-based outfit unleashed their debut album, Fallen Angel’s Dominion, upon metaldom in 2010. The group, fronted by founding member and visionary Steffen Kummerer (also of Obscura fame), have tightened their hibernal grip on blackened death metal since. The desolate melodic emanations in follow-up studio records Under a Frozen Sun (2011), Ascension Lost (2015), and the chart-topping, 2021-album A Dying Wish, dedicated to the late drummer Chris Kratzer, solidified THULCANDRA as a superior force, expertly thrusting the magic and mystery of mid-’90s melodic black-death metal into the modern era. Their fifth attack, entitled Hail the Abyss, sees THULCANDRA prove yet again why they’re atop death metal’s malefic vedette! Fierce tracks such as "As I Walk Through The Gateway", or the uber-brutal "Blood Of Slaves", showcase the band‘s affinity for dark, aggressive, and mellifluous metal while the album title track and the epic, mid-tempo rager "On The Wings Of Cosmic Fire" rip and terrorize with the intensity of hell. As always, THULCANDRA's about a vibe - there's a distinct "feel" to the band's latest album that's distinctly old-school but without the tired trappings of it. The hotly-anticipated Hail the Abyss is slated for release on May 19, 2023 via Napalm Records. Cooperation with renowned producer Dan Swanö (Dissection, Opeth, Katatonia), who handled the crushing album mix, was compulsory, as was the re-invitation to cover-master Lochner. Don’t fear the reaper—fear the majestic might of THULCANDRA, as Hail the Abyss will see them ultimately rise to full power!

Farron enters faster territories on this record, telling the story of the hunt after the mysterious jade antique that is hidden in the infamous 'House Of Traps'.

After entering the house, one already feels the oppressive atmosphere. The ubiquitous feeling of not being welcome here is obvious when the golden walls invert and you come to face countless swordsmen ready to attack. The vigorous atmosphere of 'Penny At The Chain' boosts up your confidence for what is about to come.

But what if the intruder is skilled in kung-fu? The mob retreats automatically and bars of iron come down to confine you. 'Wilshire 1015' and its driving bassline, warm pads and whirling breaks will calm you down a bit. But what's next?

In the twinkling of an eye, a field of razor-sharp nails come through the floor that you are standing on, and the escape route up the stairway becomes perilous as the stairs suddenly form into an array of sharp blades. 'Hiatus Phase' keeps you focused and light-footed, so you can manage the jump up to the next floor.

However the next stirring event quickly follows. The moment you feel safe, a giant golden net unexpectedly launches from every direction and traps you in the middle of the room, hung over the floor. As if this wasn't enough, the mob is rushing back again - armed with bows and arrows. But the varied atmosphere of 'All In CST', its floating pads and filtered breaks energize you, and so you are able to make a getaway from the most lethal attack.

After dodging the giant blades suddenly swinging in from each side, you are finally there. The golden cage and its arcane content. The warmth of 'Conback' and its sparkling pads slowly fill the room as you open up the cage. Another trap, or a bright future? Find out...

Aus der Frühphase des Lloyd James aka Prince Jammy (aka King Jammy) kommt ein sehr interessantes Dub Album mit sechs Versionen zu Originalstücken des Black Uhuru Debütalbum "Love Crisis" von 1977 und drei weitere Tracks.

Die Black Uhuru Titel wurden im Harry J Studio aufgenommen und in King Tubbys Studio von Prince Jammy abgemischt. Zu den beteiligten Musikern gehören Drums: Sly Dunbar, Carlton "Santa" Davis, Bass: Robbie Shakespeare, Guitar: Earl "Chinna" Smith, Organ, Clavinet, Harpsichord: Winston Wright, Piano: Keith Sterling und eine ungenannte Horn Section!

"Wir sind alle Ikonen und Betrüger zugleich. Wir haben alle irgendwo ein Profil erstellt, das nur einen Teil unserer Realität zeigt; nur den Teil von uns, der für uns am besten funktioniert." (Torre Florim)
Das neue Album der niederländischen Rockband De Staat zeigt eine Reihe von zeitgenössischen Ikonen und Hochstaplern: Scharlatane, Türsteher, Dschunken, Talentsucher, Geizhälse und Teufel. Bunte Statisten, gefangen in einer Mischung aus afrikanischen Rhythmen, fröhlichem Hardcore, Sci-Fi-Synthies, Trap-Einflüssen und schrägen Sounds. Es ist De Staat, wie wir sie kennen, und doch irgendwie anders, mit überraschenden neuen Elementen, die ihrem authentischen Sound hinzugefügt wurden. Während der Vorgänger Machinery ein rein gitarrenorientiertes Album war, enthält I_CON stilvolle Synthesizer, die an Science-Fiction-Filme aus den 80er Jahren erinnern. Die White Vinyl Re-Issue erscheint am 12. Mai! Limitiert auf 1000 Exemplare weltweit und eine Auflage auf weißem Vinyl.

RESOUND NYC - Das neue Album von MOBY! Nach seinem gefeierten Album ”Reprise” (Mai 2021), auf dem unter anderem Kris Kristofferson, Mark Lanegan, Jim James und Skylar Grey zu hören waren, hat Moby nun 15 seiner legendärsten New Yorker Tracks aus den Jahren 1994 bis 2010 neu interpretiert und instrumentiert. Mobys 20. Studioalbum ist nicht nur eine Reflexion über die vielleicht entscheidendste Zeit in seinem Leben, sondern auch über sein einstiges Zuhause, New York City. Dort wurde er geboren, dort nahm seine Karriere ihren Anfang – im Punkrock und als DJ in Underground-Clubs.
»Bevor ich Punkrock für mich entdeckte, war ich im Classic Rock zu Hause«, sagt Moby. »Mein erstes Konzert war 1978 Yes im Madison Square Garden. Es war also mehr als verlockend, sich noch einmal mit meinen Liedern auseinanderzusetzen und zu gucken, ob sie einer traditionelleren, nicht-elektronischen, orchestralen Bearbeitung standhalten.« Begleitet wird Moby auf diesem Album von großartigen Künstlern wie Nicole Scherzinger, Gregory Porter, Ricky Wilson und Amythyst Kiah.

RESOUND NYC - Das neue Album von MOBY! Nach seinem gefeierten Album ”Reprise” (Mai 2021), auf dem unter anderem Kris Kristofferson, Mark Lanegan, Jim James und Skylar Grey zu hören waren, hat Moby nun 15 seiner legendärsten New Yorker Tracks aus den Jahren 1994 bis 2010 neu interpretiert und instrumentiert. Mobys 20. Studioalbum ist nicht nur eine Reflexion über die vielleicht entscheidendste Zeit in seinem Leben, sondern auch über sein einstiges Zuhause, New York City. Dort wurde er geboren, dort nahm seine Karriere ihren Anfang – im Punkrock und als DJ in Underground-Clubs.
»Bevor ich Punkrock für mich entdeckte, war ich im Classic Rock zu Hause«, sagt Moby. »Mein erstes Konzert war 1978 Yes im Madison Square Garden. Es war also mehr als verlockend, sich noch einmal mit meinen Liedern auseinanderzusetzen und zu gucken, ob sie einer traditionelleren, nicht-elektronischen, orchestralen Bearbeitung standhalten.« Begleitet wird Moby auf diesem Album von großartigen Künstlern wie Nicole Scherzinger, Gregory Porter, Ricky Wilson und Amythyst Kiah.

On Everything Harmony, the fourth full-length studio release from New York's The Lemon Twigs, the prodigiously talented brothers Brian and Michael D'Addario offer 13 original servings of beauty that showcase an emotional depth and musical sophistication far beyond their years as a band, let alone as young men. Everything Harmony successfully blends the brothers' distinct personalities while giving voice to their eclectic influences. Opening the album with the unassuming acoustic folk of plaintive "When Winter Comes Around," which echoes the sophisticated grandeur of classic Simon & Garfunkel recordings, they immediately switch things up to the sunny classic pop motif of "In MyHead." "Corner of My Eye" channels an Art Garfunkel-like vocal melody over a moody, vibraphone-tinged backing track suggesting the chamber pop of Brian Wilson. While they had no grand concept for Everything Harmony, both the D'Addarios felt a "palpable mood of defeat" prevailed while writing and recording it. "New To Me" was inspired by their shared experience with loved ones suffering from Alzheimer's, "What You Were Doing" is dressed in the tortured jangle of vintage Big Star, while "Born To Be Lonely," written after watching John Cassavetes' Opening Night, deals with what Brian calls "the fragility that often comes with age." Everything Harmony is a unified song cycle born of shared blood andcommon purpose. With two musical heads being better than one, there's no shortage of ideas to draw on. Their only impediments are time and the challenge of keeping up with their own prolific musical inspiration. "We share an intuition and tend to be influenced by one another," says Brian, "so the lyrical ideas on this record tend to complement each other. Writing has never been the issue for us. It's completing, editing and compiling that takes the time. We're trapped in a web of songs!"

Clear Vinyl

On Everything Harmony, the fourth full-length studio release from New York's The Lemon Twigs, the prodigiously talented brothers Brian and Michael D'Addario offer 13 original servings of beauty that showcase an emotional depth and musical sophistication far beyond their years as a band, let alone as young men. Everything Harmony successfully blends the brothers' distinct personalities while giving voice to their eclectic influences. Opening the album with the unassuming acoustic folk of plaintive "When Winter Comes Around," which echoes the sophisticated grandeur of classic Simon & Garfunkel recordings, they immediately switch things up to the sunny classic pop motif of "In MyHead." "Corner of My Eye" channels an Art Garfunkel-like vocal melody over a moody, vibraphone-tinged backing track suggesting the chamber pop of Brian Wilson. While they had no grand concept for Everything Harmony, both the D'Addarios felt a "palpable mood of defeat" prevailed while writing and recording it. "New To Me" was inspired by their shared experience with loved ones suffering from Alzheimer's, "What You Were Doing" is dressed in the tortured jangle of vintage Big Star, while "Born To Be Lonely," written after watching John Cassavetes' Opening Night, deals with what Brian calls "the fragility that often comes with age." Everything Harmony is a unified song cycle born of shared blood andcommon purpose. With two musical heads being better than one, there's no shortage of ideas to draw on. Their only impediments are time and the challenge of keeping up with their own prolific musical inspiration. "We share an intuition and tend to be influenced by one another," says Brian, "so the lyrical ideas on this record tend to complement each other. Writing has never been the issue for us. It's completing, editing and compiling that takes the time. We're trapped in a web of songs!"

Ed Sheeran is set to release his new album ‘-‘ (Subtract) - the last in his decade-spanning mathematical album era - on 5 May 2023 through Asylum/Atlantic on vinyl, cassette and CD. An album that revisits Ed’s singer/songwriter roots, and one that was written against a backdrop of personal grief and hope, ‘-’ (Subtract) presents one of the biggest stars on the planet at his most vulnerable and honest.
In Ed’s own words - “I had been working on Subtract for a decade, trying to sculpt the perfect acoustic album, writing and recording hundreds of songs with a clear vision of what I thought it should be. Then at the start of 2022, a series of events changed my life, my mental health, and ultimately the way I viewed music and art.
Writing songs is my therapy. It helps me make sense of my feelings. I wrote without thought of what the songs would be, I just wrote whatever tumbled out. And in just over a week, I replaced a decade’s worth of work with my deepest darkest thoughts.

Within the space of a month, my pregnant wife got told she had a tumour, with no route to treatment until after the birth. My best friend Jamal, a brother to me, died suddenly and I found myself standing in court defending my integrity and career as a songwriter. I was spiralling through fear, depression and anxiety.
I felt like I was drowning, head below the surface, looking up but not being able to break through for air.

As an artist I didn’t feel like I could credibly put a body of work into the world that didn’t accurately represent where I am and how I need to express myself at this point in my life. This album is purely that. It’s opening the trapdoor into my soul. For the first time I’m not trying to craft an album people will like, I’m merely putting something out that’s honest and true to where I am in my adult life.

This is last February’s diary entry and my way of making sense of it. This is Subtract.”
Since he first learnt ‘Layla’ by Eric Clapton on guitar at the age of 12-years-old, Sheeran’s love of the singer/songwriter began. Growing up with the likes of Damian Rice, Bruce Springsteen and Bob Dylan playing on repeat in his parents’ house – artists that his dad, John, introduced him to – ‘-‘was always on Ed’s horizon. Yet as the songs and writing process took on a whole new meaning and direction after a series of hard-hitting events impacted Ed’s world in 2022, one thing that remained untouched was his strong desire to make a record anchored in his love of singer/songwriter compositions. And now, as he gears-up for the release of his most soul-baring work to date, ‘-‘ serves as a timely reminder for why Sheeran remains one of the most gifted lyricists of his generation; an artist who breaks down his own experiences for fans to seek comfort and belonging.
‘-‘ is the result of Sheeran pushing the boundaries of his songcraft, as he delivers the most profound songwriting of his career. Teaming-up with Aaron Dessner (The National) on writing and production after the pair joined forces following an introduction from mutual friend Taylor Swift, Ed and Aaron began crafting the album in February last year. Writing over 30 songs during their month-long studio stint, the album’s fourteen tracks are seamlessly tied together by exquisite production from paired back, folk-leaning textures to bolder, full-band/orchestral arrangements.
Ed Sheeran burst onto the UK music scene in 2011 with his debut album ‘+’. Rapidly establishing himself as a history-making artist, he followed with ‘x’, ‘÷’, ‘No.6 Collaborations Project’ and ‘=’ - a catalogue that has seen Sheeran become one of the world’s biggest musical success stories of the 21st century.

Ed Sheeran is set to release his new album ‘-‘ (Subtract) - the last in his decade-spanning mathematical album era - on 5 May 2023 through Asylum/Atlantic on vinyl, cassette and CD. An album that revisits Ed’s singer/songwriter roots, and one that was written against a backdrop of personal grief and hope, ‘-’ (Subtract) presents one of the biggest stars on the planet at his most vulnerable and honest.
In Ed’s own words - “I had been working on Subtract for a decade, trying to sculpt the perfect acoustic album, writing and recording hundreds of songs with a clear vision of what I thought it should be. Then at the start of 2022, a series of events changed my life, my mental health, and ultimately the way I viewed music and art.
Writing songs is my therapy. It helps me make sense of my feelings. I wrote without thought of what the songs would be, I just wrote whatever tumbled out. And in just over a week, I replaced a decade’s worth of work with my deepest darkest thoughts.

Within the space of a month, my pregnant wife got told she had a tumour, with no route to treatment until after the birth. My best friend Jamal, a brother to me, died suddenly and I found myself standing in court defending my integrity and career as a songwriter. I was spiralling through fear, depression and anxiety.
I felt like I was drowning, head below the surface, looking up but not being able to break through for air.

As an artist I didn’t feel like I could credibly put a body of work into the world that didn’t accurately represent where I am and how I need to express myself at this point in my life. This album is purely that. It’s opening the trapdoor into my soul. For the first time I’m not trying to craft an album people will like, I’m merely putting something out that’s honest and true to where I am in my adult life.

This is last February’s diary entry and my way of making sense of it. This is Subtract.”
Since he first learnt ‘Layla’ by Eric Clapton on guitar at the age of 12-years-old, Sheeran’s love of the singer/songwriter began. Growing up with the likes of Damian Rice, Bruce Springsteen and Bob Dylan playing on repeat in his parents’ house – artists that his dad, John, introduced him to – ‘-‘was always on Ed’s horizon. Yet as the songs and writing process took on a whole new meaning and direction after a series of hard-hitting events impacted Ed’s world in 2022, one thing that remained untouched was his strong desire to make a record anchored in his love of singer/songwriter compositions. And now, as he gears-up for the release of his most soul-baring work to date, ‘-‘ serves as a timely reminder for why Sheeran remains one of the most gifted lyricists of his generation; an artist who breaks down his own experiences for fans to seek comfort and belonging.
‘-‘ is the result of Sheeran pushing the boundaries of his songcraft, as he delivers the most profound songwriting of his career. Teaming-up with Aaron Dessner (The National) on writing and production after the pair joined forces following an introduction from mutual friend Taylor Swift, Ed and Aaron began crafting the album in February last year. Writing over 30 songs during their month-long studio stint, the album’s fourteen tracks are seamlessly tied together by exquisite production from paired back, folk-leaning textures to bolder, full-band/orchestral arrangements.
Ed Sheeran burst onto the UK music scene in 2011 with his debut album ‘+’. Rapidly establishing himself as a history-making artist, he followed with ‘x’, ‘÷’, ‘No.6 Collaborations Project’ and ‘=’ - a catalogue that has seen Sheeran become one of the world’s biggest musical success stories of the 21st century.

At only 19 years old, Dar Es Salaam's DJ Travella represents a new wave of singeli producers who are driving Tanzania's breakneck dance sound into fresh, innovative spaces. Unaffiliated with any of the well-known studios like Sisso and Pamoja, Hamadi Hassani's music points singeli's fusion of taraab and techno towards the stars, locating a cyber-singeli style that's dense, kinetic and unashamedly sexy. Hassani started producing at 15, and a few years later his debut is a jagged set of hi-nrg dance music that pulls influence from across the globe, folding together elements of dembow, rave, R&B, and trap. But nothing's straightforward: opening track 'Crazy Beat Music Umeme 2' juxtaposes grinding 200bpm rhythmic intensity with urgent plucked strings, sounding like Timbaland conjuring a Thunderdome soundtrack for a Tanzanian street party. 'Crazy Beat Music Umeme 4' is even more barbed, with neon rave synths and hand-jammed percussion that's one part 808 Mafia and one part DJ Diaki. On 'London Bandcamp', Travella meshes hi-speed singeli backbeats with downtempo dembow kicks, squeezing out unexpected sleaze in the process, while on 'London Uwoteeee' there's an almost romantic sparkle, with ethereal vocals draped across woodblock cracks and whistles. But Travella sounds most nimble when giving the nod to Atlanta, and his merging of earworm synth hooks and neck-snapping East African rhythms on tracks like 'London Jomon Beat' will leave no doubt that the young producer is capable of bending singeli completely to his will.

Entirely remastered from the original analogue tapes and featuring brand new artwork designed by Luke Insect, this Four Flies reissue finally brings back to life one of the most surprising albums from the strange phenomenon that was the Italian library music of the Seventies.

Gianni Safred's Electronic Designs was released in 1977 on the Milanese label Jump, in their "Music Scene" series, simply as a collection of musical pieces intended for use in television programmes. However, hidden behind a nondescript cover were twelve electronic music tracks revealing a recognizable style of composition; twelve little gems masterly combining experimentation, catchiness and practical functionality thanks to a unified and unique style. Each through a specific mood, these tracks give expression to Safred's distinctive sound, where irresistible mechanical grooves are over-layered with melodic lines perfectly played on a Polymoog or ARP Odyssey.

A native of Trieste, Safred started out with little swing bands soon after WW2, before eventually playing with great soloists like Django Rheinhardt. Ultimately, it is his background as a jazz pianist that makes Electronic Designs so special. As with other Italian jazzmen who got into synthesizers (above all, Piero Umiliani), Safred's blend of complex harmonies and (quasi-) bebop virtuoso flourishes, with its obsessive repetitions and refined tone colours, gives a retro-futuristic quality to this library album, whose electronic music islight-years ahead ofthe 'pop' electronic music of the time and, in many ways, anticipates the best stylistic features of early-Nineties dance music.

Safred best expresses his experimental verve – and does a great job in creating the 'electronic designs' of the title – in "Mystification", "City Problems", "Trapdoor", "Planetarium" and "Poe's Clock", all of which unfold through hypnotic beats and sinusoid or square wave explosions. In other tracks, however, the compositional style is less unconventional, with relaxed yet not banal atmospheres ("Spheres", "Elastic Points", "Sacred Interlude"), as well as flashes of irresistible groove inspired by Herbie Hancock's more pop-oriented work ("Automation Age", "Jazz Motion Study", "Bottom Up"). The album's masterpiece is arguably "Hasty Chant", a detective-funk ride with an unforgettable theme, which manages to pull all of the album's various strands into a cohesive whole – as a side note, the allusive and apt description of the song on the back cover reads: "Things are happening".

Satan Takes A Holiday gingen zusammen mit Johan Gustafson (The Hives, Randy) und Alexander Idfalk ins Studio, um das Feuer hinter ihrer Mischung aus Rock'n'Roll, 60er Garage und zeitgenössischem Dark-Pop neu zu entfachen. 'Satanismus' ist das bislang dringlichste Album der schwedischen Alternative-Rocker, die sich in ihrer reinsten Form präsentieren und einen verdammt guten Soundtrack abliefern, bei dem Künstler wie Emmon, (Patrik) Von Arfve, Andreas Hourdakis und David Park kräftig mitmischen.

- Formate: Digipack CD / Limitierte LP-Auflage auf phosphorierendem Vinyl im Gatefold

Das aktuelle Album der US-Alternative Metal Band nun als Deluxe-Vinyl-Pressung erhältlich.

"Hotel Kalifornia" ist das achte Studioalbum des mit Platin ausgezeichneten Quintetts Hollywood Undead . Es stellt eine Gegenüberstellung zwischen Reichen und Armen dar, thematisiert die anhaltende Obdachlosenkrise und die hohen Lebenserhaltungskosten im Heimatstaat der Band, Kalifornien. Im Jahr 2021 nahmen die Jungs in Nashville und Los Angeles mit den Produzenten Erik Ron Panic! At The Disco, Motionless In White, Andrew Migliore [Sueco, Papa Roach] und Drew Fulk [Lil Wayne, Lil Peep] auf. Bei der Arbeit von Angesicht zu Angesicht ließ Hollywood Undead die ungezügelte
Intensität ihrer früheren Werke wieder aufleben, jedoch mit einer Verfeinerung, die nur durch jahrelange harte Arbeit möglich ist.