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Nathan Hose, known more commonly as N8NOFACE, has built a heavy history behind his name. Known for his previous work with Crime Killz and a string of solo mixtapes, EP’s and collab projects, he comes out swinging to close out 2021 with “Homicide”.
For Fans of: Screamers, Le Shok, Suicide, Xiu Xiu, Atari Teenage Riot
Both a full-length album of all new material and his debut Blackhouse release, N8 shows up with a catalog of raging synth-punk jams, knocked out with only a synthesizer, a computer, and the true-life humility and humanity only he can deliver. The dose of reality that lives within N8NOFACE’s lyrics resonate with a population of people who have stayed true to themselves all the while feeling disenfranchised. People needing an outlet and something raw and new over a year and a half long pandemic (and counting) is the allure behind N8NOFACE, and this record is sure to deliver that and more.
Southern California. A Jekyll-and-Hyde atmosphere of glitz and glamour, with a seedy dark side that lays as an unspoken wasteland in the streets. There’s a thriving underground that has always existed among the Southwest United States. It’s a melting pot of the punk, metal, and hip-hop scenes, skateboarding, art, underground fashion, and custom car cultures. It’s also a hotbed for some real-life shit, to say the least. Crime, drugs, homelessness, porn, and shady activity is part of the life; proof that the city is not only wide awake at night, but it burns white hot. With all the musings one would need to inspire nothing less than a prolific output, when it comes to Long Beach-by- way-of-Tucson synth-punk dynamo N8NOFACE, calling him prolific is an understatement.

Als eine der spannendsten, neuen Stimmen im Alternative-Bereich haben Porridge Radio sich innerhalb von nur einem Jahr mit ihrem Album Every Bad (2020) von den DIY-Lieblingen hin zur Mercury Prize nominierten Band gewandelt. Mit Waterslide, Diving Board, Ladder To The Sky kündigen Porridge Radio heute ihr drittes Studioalbum für den 20. Mai via Secretly Canadian an. Während Every Bad die scharfsinnige und offenherzige Ehrlichkeit von Frontfrau Dana Margolin offenbarte, befördert Waterslide, Diving Board, Ladder To The Sky dies auf ein neues hymnisches Level. Dies ist der Sound einer Person Ende Zwanzig, die sich den Enttäuschungen der Liebe und des Lebens stellt und herausfindet, wie man in dieser Welt existiert - ohne dabei so zu tun, als wüsste sie alle Antworten. Ganz nebenbei ist das Ganze höllisch eingängig. Das Album beginnt mit "Back To The Radio" als kraftvoller Aufruf, der einen Kontrast zu Margolins Lyriks um Panik und Abgeschiedenheit zeigt ("lock all the windows and march up the stairs"), bis sich ein stürmischer Chorus aufbauscht, der einen sofort all seine Freund*innen fest umklammern lassen möchte. Waterslide, Diving Board, Ladder To The Sky ist wie ein surreales Gemälde, das teilweise durch eine Collage der Künstlerin Eileen Agar inspiriert ist und an das Unter- und Eintauchen, heikle Lagen und existentielle Lebensängste der letzten Zeit erinnert und gleichzeitig aus der Erzählung der Jakobsleiter aus dem Alten Testament schöpft, die wiederum "symbolizes the ups and downs of human life, of virtue and transgression", erklärt Margolin. Die Vorstellung, dass ein emotionaler Zustand nicht ausschließlich binär ist, ist dabei wesentlich für das neue Album. "With this album, the feelings of joy, fear and endlessness coexist together", fügt Margolin hinzu.

The second LP by California rock n roll unit SPICE expands their palette of damaged anthems and addiction poetics with a more bristling, visceral sound, distilled from years in the trenches of bands, break-ups, and breakdowns. Singer Ross Farrar explains their chemistry succinctly: "We all got in a room and this is what came out." Viv is named for a precursor project of bassist Cody Sullivan and violinist Victoria Skudlarek, but also alludes to broader notions of vividness, sonic, visual, and otherwise. Engineered by Jack Shirley and mixed/mastered by Sam Pura in Oakland, the mix achieves that rare balance of every element being elevated but distinct, with voices, strings, and drums each given space to blaze parallel paths. Opener "Recovery" captures SPICE at their stormy, weathered best, booming drums and East Bay riffs skidding out in a rockslide of rapture, regret, and bruised melody ("You sacrifice perfect days to laugh through the night / you have to get out of bed / and it's hard / and it's hard / it's so hard to admit"), peaking in Ian Simpson's poignant single-note vibrato guitar solo; Farrar agrees: "The guitar says what we cannot." Other tracks embrace the group's shredded pop potential ("Any Day Now," "Dining Out," "Live Scene") and their speedway ripper mode ("Threnody"), with detours into oblique instrumentals ("Melody Drive") and orchestral balladeering ("Ashes In The Birdbath"). But what unites and ignites these songs across different energies and arrangements is their specific sense of emotion. Rawness refined into reckonings, approaching truth, born of cold mornings, bad luck, and too many wrong turns. Waking up where you're not supposed to be, living a life you don't recognize. The album ends with no end to its narrative, still fighting, still slipping. Farrar calls "Climbing Down The Ladder" a "relapse song - telling people you're okay but you're still fucking up." Heartbeat drums march under heartbroken guitars in an elegant downward spiral of defeat, delusion, and desperate hope, dreamed more than believed: "I said it was the last time / but I was up so high / 100 miles / 1000 miles / no me in sight / I saw into the next life / I wasn't dead / I felt so vivid in the next life."

The second LP by California rock n roll unit SPICE expands their palette of damaged anthems and addiction poetics with a more bristling, visceral sound, distilled from years in the trenches of bands, break-ups, and breakdowns. Singer Ross Farrar explains their chemistry succinctly: "We all got in a room and this is what came out." Viv is named for a precursor project of bassist Cody Sullivan and violinist Victoria Skudlarek, but also alludes to broader notions of vividness, sonic, visual, and otherwise. Engineered by Jack Shirley and mixed/mastered by Sam Pura in Oakland, the mix achieves that rare balance of every element being elevated but distinct, with voices, strings, and drums each given space to blaze parallel paths. Opener "Recovery" captures SPICE at their stormy, weathered best, booming drums and East Bay riffs skidding out in a rockslide of rapture, regret, and bruised melody ("You sacrifice perfect days to laugh through the night / you have to get out of bed / and it's hard / and it's hard / it's so hard to admit"), peaking in Ian Simpson's poignant single-note vibrato guitar solo; Farrar agrees: "The guitar says what we cannot." Other tracks embrace the group's shredded pop potential ("Any Day Now," "Dining Out," "Live Scene") and their speedway ripper mode ("Threnody"), with detours into oblique instrumentals ("Melody Drive") and orchestral balladeering ("Ashes In The Birdbath"). But what unites and ignites these songs across different energies and arrangements is their specific sense of emotion. Rawness refined into reckonings, approaching truth, born of cold mornings, bad luck, and too many wrong turns. Waking up where you're not supposed to be, living a life you don't recognize. The album ends with no end to its narrative, still fighting, still slipping. Farrar calls "Climbing Down The Ladder" a "relapse song - telling people you're okay but you're still fucking up." Heartbeat drums march under heartbroken guitars in an elegant downward spiral of defeat, delusion, and desperate hope, dreamed more than believed: "I said it was the last time / but I was up so high / 100 miles / 1000 miles / no me in sight / I saw into the next life / I wasn't dead / I felt so vivid in the next life."

These words by legendary bassist/composer Charles Mingus are a touchstone for Little Big, the quartet led by pianist Aaron Parks. The band’s new recording, Little Big II: Dreams of a Mechanical Man, communicates with a clarity and simplicity that belies its ultimate depth. “I want to cast a spell,” explains Parks, “to lull you into a trance where you think you know where you’re going, and then take you somewhere unexpected, almost without realizing how you got there.”

This new music continues the band’s cultivation of a musical language that marries creative improvised music to more groove-centered music—electronica, indie-rock, hip-hop, and psychedelia—but without a trace of mannered “fusion” or a sense that the music is cobbled together from disparate styles. Rather, it feels seamlessly integrated, whole in and of itself.
Dreams of a Mechanical Man is Little Big’s second release on Ropeadope Records, recorded after more than two years of touring for Parks, guitarist Greg Tuohey, bassist David “DJ” Ginyard, and drummer Tommy Crane. One primary distinction of this new album, according to Parks, is that “today, the band operates as a single organism. The first record was about the tunes and the aesthetic. This album keeps that focus and also captures the chemistry we’ve developed on the road, the way this band feels as it makes music in the moment.”

The tide turns once again. From tumultuous oceanic depths French legend BLUT AUS NORD erupts onland in all its singular dissonant glory: be-tentacled, malformed, accursed, fearsome.

Following up the purported 'new era' of melodicism ushered in by 2019's lauded "Hallucinogen", new work "Disharmonium - Undreamable Abysses" finds the leaders-in-perpetuity of Avant-garde Industrialised Black Metal compelled to reassume their rightful throne, crowning nigh-on 28 years of consistency with seven mesmerising tracks of bleakly-maximalist harmonic unease.

Comparable to naught except BLUT AUS NORD, the inimitable leads, eroded melodies and uncanny vocal textures of "Disharmonium" ooze and uncoil, leeching into vast hyper-skilled rhythmic structures which traverse sea-mountains of madness towards lightless echelons far beyond comprehension. The reflexive darkness we all demand. The Order of Outer Sounds.

The tide turns once again. From tumultuous oceanic depths French legend BLUT AUS NORD erupts onland in all its singular dissonant glory: be-tentacled, malformed, accursed, fearsome.

Following up the purported 'new era' of melodicism ushered in by 2019's lauded "Hallucinogen", new work "Disharmonium - Undreamable Abysses" finds the leaders-in-perpetuity of Avant-garde Industrialised Black Metal compelled to reassume their rightful throne, crowning nigh-on 28 years of consistency with seven mesmerising tracks of bleakly-maximalist harmonic unease.

Comparable to naught except BLUT AUS NORD, the inimitable leads, eroded melodies and uncanny vocal textures of "Disharmonium" ooze and uncoil, leeching into vast hyper-skilled rhythmic structures which traverse sea-mountains of madness towards lightless echelons far beyond comprehension. The reflexive darkness we all demand. The Order of Outer Sounds.

The tide turns once again. From tumultuous oceanic depths French legend BLUT AUS NORD erupts onland in all its singular dissonant glory: be-tentacled, malformed, accursed, fearsome.

Following up the purported 'new era' of melodicism ushered in by 2019's lauded "Hallucinogen", new work "Disharmonium - Undreamable Abysses" finds the leaders-in-perpetuity of Avant-garde Industrialised Black Metal compelled to reassume their rightful throne, crowning nigh-on 28 years of consistency with seven mesmerising tracks of bleakly-maximalist harmonic unease.

Comparable to naught except BLUT AUS NORD, the inimitable leads, eroded melodies and uncanny vocal textures of "Disharmonium" ooze and uncoil, leeching into vast hyper-skilled rhythmic structures which traverse sea-mountains of madness towards lightless echelons far beyond comprehension. The reflexive darkness we all demand. The Order of Outer Sounds.

Big Crown is proud to present the first 7" offering from Surprise Chef, the newest band signed to the label. Hailing from Melbourne, Australia, these guys caught our ear with their unique sound and approach. They are something of a funky blend of Jazz, Hip Hop, and Soul with a shade of David Axelrod which all comes out their own. These two tunes on this 45 are a taste of what is to come. The A side "Velodrome" starts out with a heavy drum break and an earworm synth line guaranteed to have you humming it long after the song is over. The intro gives way to beautiful and tasteful arrangements showing their music prowess as well as their ear for restraint. The B side "Spring's Theme" is a gorgeous and moody instrumental ballad that starts out with guitar that plays cat & mouse with the percussion until they decide to give the drummer some. Again, they run through arrangements that link together like chapters in a book taking the listener through a myriad of energies that all fit together to make this a quick favorite here at HQ.

 Born into a musical family, as a child Charlie Hickey would obsessively
watch videos of his parents on tour in their old band Uma, learning all the
lyrics that he loved but didn’t understand. This introduction to music sowed a
seed and Hickey was soon writing songs of his own, playing on the guitars
that lay around him and singing about the little details of his school days. He
continued throughout his teen years, his songs becoming an outlet for the
growing anxieties that Hickey now understands to be Obsessive Compulsive
Disorder.
 This journey has led to ‘Nervous At Night’, Hickey’s debut album which is
released via Phoebe Bridgers’ Saddest Factory Records. Where 2021’s
‘Count The Stairs’ EP was an attempt to capture the rawness of his
performance, ‘Nervous At Night’ comes alive within its production, Hickey
and producer Marshall Vore leaning into their perfectionist tendencies to find
the best version of each track. “He’s always interested in how you can push
things further but also reigns them in when necessary,” Hickey says. “I think
that’s the true hallmark of a good producer.”
 Hickey calls it a pop record but admits that sonically it moves in many
directions, an amalgamation of his love for the folk singers of yesteryear and
more contemporary peers, from Taylor Swift and The 1975 to the Californian
songwriter and producer Blake Mills. This shifting of styles - from the album’s
quiet heavy-hearted ballads to its more gleaming, hook-led tracks - mirrors
its overarching theme: life’s graceless passage between teenage years and
adulthood.
 And so we have ‘Planet With Water’, a plaintive love song that bristles with
nostalgia, Hickey singing of phone calls after school, of hearing a neighbour’s
TV through the wall. Elsewhere, ‘Mid Air’ holds a similar weight, Hickey
singing of “spinning in mid-air, waiting for somewhere to land, or some face
to show up” as the song flourishes around his voice, delicately accompanied
by guest turns from fellow LA musicians Harrison Whitford, Christian Lee
Hutson and Mason Stoops.
 ‘Nervous At Night’ comes alive in its juxtapositions, chronicling the constant
push and pull of life, both its stagnancy and motion. Chiefly though, this is an
album about connection, how even through those struggles we rely on the
people around us to keep moving forwards. “I’d like to write songs that are
for everyone, that let people into my inner world while also hopefully making
people feel less alone on their own. I hope that these songs can be there for
somebody the way my favorite songs have been for me.”
 Collaborated with MUNA on track ‘Seeing Things’.
 2022 live shows include The Great Escape and SXSW, as well as shows in
London, NY and LA’s Troubadour. Recent US tour with Samia.
 LP available on opaque yellow vinyl.

 Born into a musical family, as a child Charlie Hickey would obsessively
watch videos of his parents on tour in their old band Uma, learning all the
lyrics that he loved but didn’t understand. This introduction to music sowed a
seed and Hickey was soon writing songs of his own, playing on the guitars
that lay around him and singing about the little details of his school days. He
continued throughout his teen years, his songs becoming an outlet for the
growing anxieties that Hickey now understands to be Obsessive Compulsive
Disorder.
 This journey has led to ‘Nervous At Night’, Hickey’s debut album which is
released via Phoebe Bridgers’ Saddest Factory Records. Where 2021’s
‘Count The Stairs’ EP was an attempt to capture the rawness of his
performance, ‘Nervous At Night’ comes alive within its production, Hickey
and producer Marshall Vore leaning into their perfectionist tendencies to find
the best version of each track. “He’s always interested in how you can push
things further but also reigns them in when necessary,” Hickey says. “I think
that’s the true hallmark of a good producer.”
 Hickey calls it a pop record but admits that sonically it moves in many
directions, an amalgamation of his love for the folk singers of yesteryear and
more contemporary peers, from Taylor Swift and The 1975 to the Californian
songwriter and producer Blake Mills. This shifting of styles - from the album’s
quiet heavy-hearted ballads to its more gleaming, hook-led tracks - mirrors
its overarching theme: life’s graceless passage between teenage years and
adulthood.
 And so we have ‘Planet With Water’, a plaintive love song that bristles with
nostalgia, Hickey singing of phone calls after school, of hearing a neighbour’s
TV through the wall. Elsewhere, ‘Mid Air’ holds a similar weight, Hickey
singing of “spinning in mid-air, waiting for somewhere to land, or some face
to show up” as the song flourishes around his voice, delicately accompanied
by guest turns from fellow LA musicians Harrison Whitford, Christian Lee
Hutson and Mason Stoops.
 ‘Nervous At Night’ comes alive in its juxtapositions, chronicling the constant
push and pull of life, both its stagnancy and motion. Chiefly though, this is an
album about connection, how even through those struggles we rely on the
people around us to keep moving forwards. “I’d like to write songs that are
for everyone, that let people into my inner world while also hopefully making
people feel less alone on their own. I hope that these songs can be there for
somebody the way my favorite songs have been for me.”
 Collaborated with MUNA on track ‘Seeing Things’.
 2022 live shows include The Great Escape and SXSW, as well as shows in
London, NY and LA’s Troubadour. Recent US tour with Samia.
 LP available on opaque yellow vinyl.

Jon Porras draws a staggering array of atmospheres out of even the simplest instrumentation. Across his work as one-half of psych-drone duo Barn Owl and his solo releases, Porras welds monoliths and ether into propulsive music that is deeply felt. Arroyo, named for the Spanish word for "stream" in a nod to Porras' heritage as a first generation ColombianJapanese American, drifts gently from one tributary to the next in unhurried contemplation and euphoria. The portentous weight and abrasive textures of Porras' previous work give way to the trickle of richly detailed acoustic instruments slipping in and out of the fold. On Arroyo, Jon Porras evokes a distinct sense of resplendent anticipation and calm with a fathomless flow and softly gorgeous colors. For Porras, Arroyo became a rumination on simplicity and simple truths, a work of complete immersion and continuous motion where separate elements coalesce into an ever-changing whole. Porras spent the year leading up to 2020 living nomadically across Europe where he was able to soak in a deep appreciation for the effortless beauty of overgrown gardens, the basic principles of classical architecture and a more transient sensibility. The album was written and recorded in a time of even more change for Porras: after the birth of his daughter. Like a stream's steady glide across bedrock that waxes and wanes with each gradual turn, the music of Arroyo exhibits a transportive stillness. The compositions take on a light, gaseous buoyancy as discreet drones swell with measured fluctuations and ripples of piano rest atop the surface.

 Once again, accordionist Vincent Peirani
reshuffles the cards. As a good jazz musician, he
likes to venture into unexplored territories. As a
good music fan and a very good musician in
general, he is curious, enthusiastic, and eager to
make new discoveries and find new things to listen
to or play. ‘Jokers’, his first album in trio, goes
even further, and elsewhere.
 Vincent chose to turn to the jazz trio for the first
time, a formula with such a long history that it is
almost sacred, and certainly intimidating. But
typically, he used that framework only to escape
from it. His two accomplices, Federico Casagrande
on guitar and Ziv Ravitz on drums and keyboards,
both have a wealth of experience and skills, an
interest in rock and electronic music, and a taste
for musical hybridity.
 Now available on vinyl with digital download code.

If you’re looking for a raw, sugary blast of distorted pop, look no further than
‘Weird Nightmare’. The debut album from METZ guitarist and vocalist Alex
Edkins contains all of his main band’s bite with an unexpected, yet totally
satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously
hissy miniature epics of classic-era Guided by Voices combined with the
bombast of ‘Copper Blue’- era Sugar - just tons of red-line distortion cut with the
type of tunecraft that thrills the moment it hits your ears.
 These ten songs showcase a new side of Edkins’ already-established
songwriting, but even though the bulk of ‘Weird Nightmare’ was recorded during
the COVID-19 pandemic, some of its tunes date back to 2013 in demo form.
“Hooks and melody have always been a big part of my writing, but they really
became the main focus this time” he explains. “It was about doing what felt
natural.”
 To be clear: Weird Nightmare is not a ‘pandemic album’, but an album - some of
which had been gestating for quite a while - that just so happened to be recorded
during the pandemic. “I had always planned on finishing these songs, but being
unable to tour with METZ, and forced to lock down, really gave me a push.” After
days spent homeschooling his son, Edkins would drive to the METZ rehearsal
room and tinker deep into the night on these songs’ deceptively simple structures
and rich, static-laden textures. “It was a godsend for me,” he states about the
creative process. “The hours would disappear and I would get lost in the music
and record. It was a beautiful escape.”
 ‘Weird Nightmare’ is, in its own way, a study in extremes: Edkins’ melodic
instincts and penchant for dissonance are both turned up to the max throughout,
the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own
sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the
edge.” He also cites other artists who are masterful at mixing the sublime and the
punishing - Kim Deal and Scout Niblett among them - as influences on his own
songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never
been attracted to virtuosity or technicality. Certain songs have the power to lift
your spirits like nothing else can. I wanted to create that type of song.”
 A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad
VanGaalen adds his unmistakable touch to the ever-escalating ‘Oh No’, while
Alicia Bognanno of Bully lends her distinctive pipes to the thrashing ‘Wrecked’, a
collaboration that effectively saved the song. “I almost didn’t put it on the album
because I thought it was missing something,” Edkins explains. “I sent it to Alicia
and she lifted it way up.”
 And taking risks and reaching out of Edkins’ comfort zone was the name of the
game when it came to making ‘Weird Nightmare’. “I found myself doing new
things I didn’t have the guts to do before, recording everything by myself and
trusting all of my musical instincts,” he states. “I think when music manifests
quickly, a certain amount of honesty automatically comes along with it. When it is
a purely instinctual creation, there is no opportunity to obscure the truth.”
 Loser Edition LP pressed on Coke Bottle Green transparent vinyl.

If you’re looking for a raw, sugary blast of distorted pop, look no further than
‘Weird Nightmare’. The debut album from METZ guitarist and vocalist Alex
Edkins contains all of his main band’s bite with an unexpected, yet totally
satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously
hissy miniature epics of classic-era Guided by Voices combined with the
bombast of ‘Copper Blue’- era Sugar - just tons of red-line distortion cut with the
type of tunecraft that thrills the moment it hits your ears.
 These ten songs showcase a new side of Edkins’ already-established
songwriting, but even though the bulk of ‘Weird Nightmare’ was recorded during
the COVID-19 pandemic, some of its tunes date back to 2013 in demo form.
“Hooks and melody have always been a big part of my writing, but they really
became the main focus this time” he explains. “It was about doing what felt
natural.”
 To be clear: Weird Nightmare is not a ‘pandemic album’, but an album - some of
which had been gestating for quite a while - that just so happened to be recorded
during the pandemic. “I had always planned on finishing these songs, but being
unable to tour with METZ, and forced to lock down, really gave me a push.” After
days spent homeschooling his son, Edkins would drive to the METZ rehearsal
room and tinker deep into the night on these songs’ deceptively simple structures
and rich, static-laden textures. “It was a godsend for me,” he states about the
creative process. “The hours would disappear and I would get lost in the music
and record. It was a beautiful escape.”
 ‘Weird Nightmare’ is, in its own way, a study in extremes: Edkins’ melodic
instincts and penchant for dissonance are both turned up to the max throughout,
the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own
sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the
edge.” He also cites other artists who are masterful at mixing the sublime and the
punishing - Kim Deal and Scout Niblett among them - as influences on his own
songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never
been attracted to virtuosity or technicality. Certain songs have the power to lift
your spirits like nothing else can. I wanted to create that type of song.”
 A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad
VanGaalen adds his unmistakable touch to the ever-escalating ‘Oh No’, while
Alicia Bognanno of Bully lends her distinctive pipes to the thrashing ‘Wrecked’, a
collaboration that effectively saved the song. “I almost didn’t put it on the album
because I thought it was missing something,” Edkins explains. “I sent it to Alicia
and she lifted it way up.”
 And taking risks and reaching out of Edkins’ comfort zone was the name of the
game when it came to making ‘Weird Nightmare’. “I found myself doing new
things I didn’t have the guts to do before, recording everything by myself and
trusting all of my musical instincts,” he states. “I think when music manifests
quickly, a certain amount of honesty automatically comes along with it. When it is
a purely instinctual creation, there is no opportunity to obscure the truth.”
 Loser Edition LP pressed on Coke Bottle Green transparent vinyl.

This is the second 12" EP featuring reinterpretations of tracks taken from the brilliant Nicola Conte & Gianluca Petrella's jazz dance album "People Need People" released in 2021. The song "Inner Light" gets here a further interpretation by the great Anthony Nicholson, one of the most respected producers and key characters in the tribal / afrocentric house scene, while DJ Spinna has put his artistry on "New World Shuffle" for an uplifting result: Bridgette Amofah's original vocals shine over a sunny house groove full of keys and moog lushy layers, in a distinctive 'Spinna feel'. Coming next: new versions of "People Need People" songs made by Tall Black Guy, Andrés and Fred P.! Stay tuned!!!

Nachpressung des Albums von 2015. Obwohl er vielleicht nicht so bekannt ist, hat sich die sinnträchtige, deutlich amerikanische Musik von Kenniff zu einem allgegenwärtigen Sound gemausert, der im Radio, in Filmen, im Fernsehen und in Werbung von Apple, Facebook, Google und anderen auftaucht. Aufgenommen über drei Jahre hinweg fungieren die Songs auf seinem neuen Album ,Sometimes" wie ein Tagebuch, das die kurzen Momente am Tag dokumentiert, in denen Kenniff sich für Trost und unendliche kreative Möglichkeiten dem Klavier zuwandte. Kenniff schrieb und nahm alles auf dem Album selbst auf, mit der Ausnahme von ,A Word I Give", das eine Kollaboration mit dem japanischen Pianisten Ryuichi Sakamoto ist, der die Musik von GOLDMUND einst als ,so, so, so wunderschön" beschrieb. In einem Interview mit NPR diskutierte Keith Kenniff seine Vorliebe für Musik aus der Zeit des Bürgerkriegs und ihre Möglichkeit, ,in nur wenigen Noten solche Geschichten" zu erzählen. Auch die Improvisationen auf ,Sometimes" schaffen es, trotz ihrer technischen und kompositionellen Einfachheit, tiefgründig zu sein. Subtile Details und Dynamiken drücken das aus, was sonst nicht zu artikulieren wäre. ENG Though he may not be a household name, Kenniff's evocative, distinctly American music has become quietly ubiquitous in the past few years, often appearing on NPR, in films, on TV, and in ads for Apple, Facebook, and Google among others. Recorded over the course of three years, the material on his new album Sometimes functions as a journal, documenting brief moments in Kenniff's day when he could turn to the piano as a source of solace and unending creative possibilities. Kenniff wrote and recorded everything on the album with the exception of the track "A Word I Give", which is a collaboration with preeminent Japanese pianist Ryuichi Sakamoto, who once described Goldmund's music as "...so, so, so beautiful." In an interview with NPR's Weekend Edition Keith Kenniff discussed his appreciation of Civil War era music, and it's ability to covey "...so much story in so few notes." Similarly, these improvisations manage to be richly evocative despite their technical and compositional simplicity, using subtle details and dynamics to express what might otherwise be inexpressible.

Jon Porras draws a staggering array of atmospheres out of even the simplest instrumentation. Across his work as one-half of psych-drone duo Barn Owl and his solo releases, Porras welds monoliths and ether into propulsive music that is deeply felt. Arroyo, named for the Spanish word for "stream" in a nod to Porras' heritage as a first generation Colombian?Japanese American, drifts gently from one tributary to the next in unhurried contemplation and euphoria. The portentous weight and abrasive textures of Porras' previous work give way to the trickle of richly detailed acoustic instruments slipping in and out of the fold. On Arroyo, Jon Porras evokes a distinct sense of resplendent anticipation and calm with a fathomless flow and softly gorgeous colors. For Porras, Arroyo became a rumination on simplicity and simple truths, a work of complete immersion and continuous motion where separate elements coalesce into an ever-changing whole. Porras spent the year leading up to 2020 living nomadically across Europe where he was able to soak in a deep appreciation for the effortless beauty of overgrown gardens, the basic principles of classical architecture and a more transient sensibility. The album was written and recorded in a time of even more change for Porras: after the birth of his daughter. Like a stream's steady glide across bedrock that waxes and wanes with each gradual turn, the music of Arroyo exhibits a transportive stillness. The compositions take on a light, gaseous buoyancy as discreet drones swell with measured fluctuations and ripples of piano rest atop the surface. Arroyo borrows harmonic concepts from modal jazz to create a unique sense of ease and endlessness. Each of the four pieces on the album centers around a single suspended chord, a chord most commonly associated with devotional music which embodies a space between harmonic tension and resolution. Porras embellishes that liminality with arrangements that feel less like distinguishable layers of instruments and more like one undulating nebula of sound. In the past decade of Porras' solo work, his music has grown increasingly engaged with elaborate synth textures and detailed processing. With Arroyo, Porras consciously takes a step back from those more intricate compositions and focuses on more organic, unadorned textures and places each sound with the same precision. Stark piano and guitar patiently hover over modest currents of Hammond organ and Yamaha DX7 with the sustain of each chord and phrase acting as a natural guide to the album's subtle rhythm. The four pieces that comprise Arroyo each encompass their own idyllic channel, slowly weaving their way in and out of the album's elegant stir. Porras' reflections on simplified elements take shape in gorgeous arrangements that impart clarity amidst a tranquil mist. Arroyo is an album that unearths splendor in a unified feeling of space, serenity in perpetual renewal

The music of Dewey Mahood is steadfast in its pursuit of transcendence. For the past two decades as Plankton Wat, Mahood has contoured his melodic guitar playing into wholly transfiguring pieces. His fluid compositions apply ethereal, elastic textures to grounded rhythmic grooves that recall the cosmic and the earthly in equal measure. Hidden Path is an album built on reflection and discovery, turning the thrill of exploring obscured passages into inward revelations. Originally presented as a limited cassette in 2017, and now presented on vinyl for the first time, remastered by Amy Dragon, Hidden Path is a distillation of Mahood's musical practice as a way of life, a patient celebration of the unexpected, unhurried and exhilarating.

Deluxe orange LP edition is limited to 500, jacket artwork features drawing by Dewey Mahood.

Multi-Grammy nominated singer, Seth MacFarlane, announces his 7th studio album, Blue Skies. The 14-track collection of swinging tunes showcases acclaimed arranger and conductor Andrew Cottee’s deft take on an uptempo album full of modern big band jazz orchestrations. The first track off the upbeat set is the classic jazz standard, “No Moon At All.” You can listen to the song and pre-order the album here. You can watch the accompanying lyric video here. Recorded at the celebrated Abbey Road studios, Blue Skies features an all-star group of musicians enlisted by MacFarlane including Chuck Berghofer (Bass), Peter Erskine (Drums), Larry Koonse (Guitar), Dan Higgins (Alto Sax), and Tom Ranier (piano). Together, with longtime friend, collaborator, and producer, Joel McNeely, and superb engineer, Rich Breen, the album covers compositions by musical writing luminaries that include Irving Berlin, Sammy Cahn, Edward Heyman and Frank Loesser.

Gongs have played an integral role in the mythogeography of Asia. This is not music that aligns with national borders or ideas of homogenous populations, let alone racial stereotypes and exotic clichés. What connects all of these tracks is a simultaneous feeling of entrancement and social cohesion. Communal and collaborative, its form is hypnotically repetitious, melodies and rhythms spread out among the players using the technique of hocketing in which a flowing line is distributed among all the musicians. The effect is mesmerising, immediately intoxicating to anybody who loves Chicago footwork, free improvisation, Sun Ra or young hip hop producer Jetsonmade. The music is simple yet mysterious and enveloping, a sound world in which to disappear. A theory exists but this is not explained. - David Toop (extracts from the liner notes)

This project, Massif and Archipelago, is a field recording project initiated by Japanese sound artist Yasuhiro Morinaga, documenting traditional gong music by different Southeast Asian ethnic groups. The project aimed to examine the impact of the natural and social environment on the gong music culture of Southeast Asia. During the project, he visited over 50 different ethnic groups and made hundreds of recordings. This album presents a selection of the unique gong music from different ethnic minorities. The selected music has been divided into two broad sections: one focussing on the music from the Massif, i.e. mainland Southeast Asia (Central Highland of Vietnam and Northeast Cambodia), the other on music from the Archipelago, maritime Southeast Asia (the Luzon Islands of the Philippines, Borneo, Sulawesi, and the Flores Islands of Indonesia).

Following years of international touring and a lengthy list of critically-acclaimed collaborations with Brian Jonestown Massacre's Anton Newcombe in recent years (most recently the duo's self-titled 2018 LP), the new album will be Parks' first full-length solo offering since her debut, 'Blood Hot', was released back in 2013 on Alan McGee's 359 Music label. "In my mind, this album is like hopscotch", Parks says: "These songs were pieced together over time in London, Toronto and Los Angeles with friends and family between August 2019 and March 2021. So many other versions of these songs exist. The recording and final completion of this album took over two years and wow - the lesson I have learned the most is that words are spells. If I didn't know it before, I know it now for sure. I only want to put good out into the universe." A growing disillusionment with the state of the world paired with an injury that stopped Parks from being able to play guitar and piano for months meant the album was nearly shelved. "I really felt discouraged to complete this album", she recalls: "I stopped listening to music for honestly about a year altogether and turned to painting instead. I really had to convince myself again that it's important to just share whatever good we can - having faith in ourselves to know that our lights can shine on and on through other people and for other people. The thought of anyone not sharing their art or being shy of anything they create seems like a real tragedy to me. Even if it's not perfect, you're capturing a moment." Recorded over a two year period but with songs, lyrics and ideas dating back over a decade in some form, 'And Those Who Were Seen Dancing' is an album full of such moments, people and places. Col LP is on 180g ultra-clear vinyl, standard sleeve.

Following years of international touring and a lengthy list of critically-acclaimed collaborations with Brian Jonestown Massacre's Anton Newcombe in recent years (most recently the duo's self-titled 2018 LP), the new album will be Parks' first full-length solo offering since her debut, 'Blood Hot', was released back in 2013 on Alan McGee's 359 Music label. "In my mind, this album is like hopscotch", Parks says: "These songs were pieced together over time in London, Toronto and Los Angeles with friends and family between August 2019 and March 2021. So many other versions of these songs exist. The recording and final completion of this album took over two years and wow - the lesson I have learned the most is that words are spells. If I didn't know it before, I know it now for sure. I only want to put good out into the universe." A growing disillusionment with the state of the world paired with an injury that stopped Parks from being able to play guitar and piano for months meant the album was nearly shelved. "I really felt discouraged to complete this album", she recalls: "I stopped listening to music for honestly about a year altogether and turned to painting instead. I really had to convince myself again that it's important to just share whatever good we can - having faith in ourselves to know that our lights can shine on and on through other people and for other people. The thought of anyone not sharing their art or being shy of anything they create seems like a real tragedy to me. Even if it's not perfect, you're capturing a moment." Recorded over a two year period but with songs, lyrics and ideas dating back over a decade in some form, 'And Those Who Were Seen Dancing' is an album full of such moments, people and places. Col LP is on 180g ultra-clear vinyl, standard sleeve.

Four years in making, Voyeurs In the Dark is Toronto artist Barzin’s fifth studio album. That the album is more cinematic in its scope and conceptual in feel than his previous studio albums can be attributed to the time he spent over the past several years composing the soundtrack for the independent film, Viewfinder. Voyeurs In the Dark retains that cinematic quality, and at the same time infuses the music with elements taken from Jazz, electronica, rock and pop. Having primarily explored the quiet side pop and folk in his previous four albums, Barzin has expanded his musical palate, broadening his sound towards a more an experimental direction, while still retaining his preoccupation with exploring the internal landscape. The uniformity of sound that characterized the previous albums has been abandoned for the expression of differing aspects of the self that at times hold opposing views and desires. This is best represented in the image chosen for the cover of the album, which depicts three figures in one body. The album seems to be the expression of not one unified self, but the various aspects of the self. Voyeurs In the Dark sees the artist plot a seductive, contemplative route through city haze, shuttling between graceful glimmering interludes, with wonderfully atmospheric songs at every stop. From opener Voyeurs In the Dark’s first guitar strums and the fizz of its drum machine, the record envelopes itself in a glorious shadow, as shown in the slow waltz of I Don’t Want To Sober Up, dancing around its own swirling guitar chords. On Watching, Barzin plunges himself deeper into a wash of cyclic bass, guitar and synth riffs, as the gloom grooves into light. It’s Never Too Late To Lose Your Life has a much more affirming and urgent tone, shade turning into shapes and motion, while To Be Missed In the End builds its own smoke in a cloud of saxophone and sparse guitar notes, closing out a record full to the brim with scatterbrain beauty and eclectic dusk. Voyeurs In the Dark will be released worldwide on Monotreme Records on May 6th on CD and limited edition180 g black vinyl LP with printed inner discobag and digital download card. Press highlights so far: Video premiere and feature interview on Rumore.IT. Airplay on BBC 6Music, Amazing Radio (UK and US), Glastonbury FM, Shoreditch Radio, Indie Music Discovery, Listen to Discover, Norfolk Radio. Press coverage in V13, Skope, Whisperin and Hollerin, Fame Magazine, High Violet, Indie Midlands, Beehive Candy, Music Won’t Save you. Feature confirmed for Wonderland Magazine. PUBLICITY - UK and North America press and radio Cannonball PR. Europe Five Roses Press

‘Cinnamon Sea’ is the perfect introduction to one of the most mysterious, ever-morphing underground bands from New Zealand. The Garbage and the Flowers make their long awaited return with another psychedelic masterpiece from the band that gave us 1997's cult dreampop gem 'Eyes Rind As If Beggars'. A hybrid fusion of the Velvets, Elephant 6 and any God-fearing stoned strummers you can think of, with a nod to Charlie Manson’s bedside balladry to boot. On their return, the band hone their songcraft with tracks like ‘Eye Know Who You Are’, a tantalising piece of Mazzy Star on steroids, a spiralling sonic rumble, that reaches a miasmic high on every hummed chorus. It opens the Pandora’s box of this release, a sleight of ear collection of five songs from this cosmology-observing Australia-based outfit. Tracks like ‘Red Star’ exist in a land where sound levels are destroyed by savage birds. ‘On The Radio’ trips into an untuned lagoon. There’s a quasi-religious zeal to proceedings, a nod to Sterling Morrison’s Velvet strum elsewhere, everything that would have been key to the Elephant 6 conglomerate not so long ago, maybe, if you can even imagine, My Bloody Valentine unplugged. ‘Cinnamon Sea’ was recorded in an abandoned courthouse in Freyerstown, a ghostly village in Victoria’s Goldfields in Southeast Australia, where you’re more likely to meet giant grey kangaroos bounding on its dusty main street than tottering prospectors these days. It unravels with claustrophobic glee as we traverse the structured climes of exemplary songwriting seasoned with the salt of improvisation. This from a band who previously released an album famously dubbed ‘Stoned Rehearsal’. It closes with the track ‘Jacob B’, a melancholy tale that’s a hybrid of Manson’s troubled tunes and the psychedelic folk songs of Quicksilver’s Dino Valente. File under: outsider music for insiders. “By some measure Wellington's most brilliant pop band, The Garbage & The Flowers are classic underground rock'n'roll with a hazy ramshackle sound pockmarked by bursts of genius.” Forced Exposure

hree years after the release of their self-titled debut LP, Shark Toys follow it up with ten more bursts of weirdo punk. Nine originals and cover of the Mekons classic, “Where Were You.” Ever since forming in 2008, the band has developed a reputation for sharp and choppy live sets, developing a loyal following around their home town of Los Angeles and around the US, from playing shows with bands like Ty Segall, Protomartyr, Parquet Courts, Terry Malts, the Urinals and many others. This batch of tunes were taken from the same session as the recent 7” single, a split with Florida’s UV-TV, on Emotional Response, earlier this year, recorded by Dave Fox of the Traditional Fools (who also recorded Fuzz, Scraper, Vial, and Wand). "A treble fueled look at Los Angeles that certain fans of Tyvek will consume lovingly. Usually the word shambolic would be thrown in for effect when describing bands attempting to transmit a Homosexuals/Tronics/Desperate Bicycles air, but this band does not have a shambling manner to these ears. They seem very propulsive and on target, with shards of errant guitar whipped into shape by the savagery of the rhythm. … They have a driving down highways at night nihilism that is hard to conjure … with ear slicing guitar “solos” somewhere between sneaker squeak and door creak. … Super catchy bedroom punk for people that clutch the Astral Glamour box set to their hearts and know all the words to Swell Maps B-sides …"— Maximum Rock N' Roll // “Much love for this synth-punk masterpiece, highly recommended by Strangeworld for members of Ausmuteants fan club.” - Strangeworld Records, Australia

19 minutes of brutally up front and relentlessly rowdy hardcore punk, that slams a firm British stamp on the classic Swedish Hardcore blueprint. This wrecking ball sits somewhere between the 80’s Hudiksvall sounds of MISSBRUKARNA, the damaged NO FUTURE confessions of THE PARTISANS and the sheer rock and roll audacity of the SKITKIDS. Back to back riffs that'll stick to your brain like the glue at the bottom of your bag and steaming drums blasts that’ll plough through your skull like a juggernaut driven by a maniac high on amphetamine. Mylo Oxlo provides the artwork once again, perfectly capturing the claustrophobic animosity of the Rat’s latest 12 song romp and rampage. Fittingly dropping on the year of the Rat while the Tories take a strangle hold of the U.K for another 4 years. Hold onto your seat, feel the burn and don’t you dare turn this fucker down.

RATA NEGRA from Madrid deliver twelve songs of dark, crude and moody punk on their debut LP. Formed of members from JUANITA Y LOS FEOS and LA URSS this power trio have distilled the negativity and uncertainly of the young Spanish generation and transformed it into perfectly crafted punk songs. Sharply turning snaps of daily life into melodic anthems for a doomed generation, musically RATA NEGRA fence between dark melodic OC punk a la RIKK AGNEW solo debut album and Spanish Punk ’83 via KGB/ VULPESS. Imagine the non keyboard tracks of Yugoslavian KAOS mixed with LA’S X melody, add to it a layer of distortion and a dose of vital desperation and you get close to RATA NEGRA’s sound. Oído Absoluto comes housed in a reverse board sleeve with printed inner. Both designed by guitarist Fa of Croke Studio and it is released as a collaboration between Beat Generation in Madrid and La Vida Es Un Mus Discos in Hackney.

TOXIC WASTE represents the hardest end of the CRASS milieu. While most anarcho-punk bands of the time sang about a war they’d only seen on TV TOXIC WASTE were being politically active in Belfast during the troubles. They played militant punk with melody and aggression. Borderline hardcore at times with a clear peace-punk message. Angry, intense and in your face. They were involved in the Warzone Collective and shared stages, experiences and activism with bands such as STALAG 17, CONFLICT , ASYLUM and ANTISECT. “Belfast” was originally released in 1987 on Vocalist Roy Wallace’s Belfast Records and has been out of print for 30 years. It was a compilation of previously released tracks and newly recorded versions of old tracks with Dino and Gary from D.I.R.T doing the female vocal parts and guitars. The 12 tracks on “Belfast” are nuggets of raging pissed off DIY anarcho punk with hard hitting lyrics and dual vocals. The recordings are raw and passionate and stand the test of time. The band released an iconic split 12” with STALAG 17 on Mortarhate (1985) - the tracks are included on “Belfast” and then the following year a split LP called We will be Free with STALAG 17 and ASYLUM before calling it a day and becoming a lost piece of the anarcho punk puzzle. This reissue comes with replica sleeve and fold-out lyric insert.

Recorded back in 1999, 'Half a Dove in New York, Half a Dove in Buenos Aires' is the recorded debut of a NetCast improv between deep listening pioneer Pauline Oliveros and Argentinian free music trio Reynols >> a fascinating early example of the internet’s capacity to foster remote creativity in-the-moment that deploys the slowest electronics, accordion, voice, trombone and computer sounds on a next level ritual drone incantation recorded in another era, but made for our time.

As the story goes, Oliveros first met Reynols in the mid ‘90s at a Deep Listening workshop she held in their home city, Buenos Aires, where they impressed her with an improvised brass serenade. Years later, in 1999, they met again via NetCast - a series of very early online live improvisations - to explore the Internet’s potential for collaborations between artists thousands of miles apart. Finally mixed down in 2021 and mastered by Helge Sten (aka Deathprod) after marinating in the archive for 22 years, the album resonates with the late, great Oliveros’ legendary work in exploring alternate tunings, spatial dynamics and methods of intuitive performance - a remarkable slab of omnidirectional drone bearing traces of Miguel Tomasin's vox and Oliveros’ just-intoned accordion embedded in its cosmic roil.

Broadcasting from fabled record shop The Thing in NYC, with Oliveros (Accordion) joined by Jennifer McCoy (ICR), Kevin McCoy (Computer processing), and Monique Buzzarté (Trombone), and Reynols revolving Miguel Tomasin (Electronics, subliminal voice & Alclorse drums), Rob Conlazo electronics, leather gloves & e-gtr), and Anla Courtis (electronics, rubber foot & e-gtr) and dialling-in from Florida 943 in Buenos Aires, the results are an incredibly absorbing and consistently surprising testament to vanguard, experimental spirits prizing the internet’s nascent, unprecedented ability to connect minds and art across continents, language barriers, and modalities.

The album's first side, titled 'Micro Macro Wind Dance', puts Oliveros' accordion under a microscope, enhancing it with lower case rumble and noise from Reynolds' arsenal. Shifting glacially over 22-minutes, Oliveros plays subtly and slowly at first, letting the accordion breathe in-and-out like a sleeping mythical beast, before she transitions to fluttering bird-like phrases by the end of the side.

'Astral Netcast Pigeon' expands the dissonant drones to widescreen, submerging Oliveros' trills and drones beneath layers of dirt and grit. It's time-altering music that dissasembles yr head before you've completely worked out what's happening >> basically the perfect mid-point between Oliveros' deep listening practices and Reynols' wildly inspirational free-noise-drone freakouts.

Our next mixtape features a superb, tight blend of some of the very best tracks to fly out of the speakers at the Cherry Moon Club. At the helm we have DJ Ghost, spinning the grooves to take us on a journey through the ages, through the genres, from twisted acid concepts to hypnotic trance and gut busting hardcore. Ghost aka Bjorn Wendelen has been a stalwart for us at Bonzai since the very early days. He’s delivered several cuts for us over the years and has branched out with his own Ghoststyle brand with great success. The famous Cherry Moon was and remains one of the biggest names in Belgian club-life, with 30 years of embracing club culture. Since the start in 1991, they have brought the best techno, hard-trance and house to the scene. During the 90's and early 00's, Cherry Moon was the place to be for clubbers from all over Belgium, France, the Netherlands and even other European countries. Housed on classic K7 tape, this comp features a host of tracks from the likes of DJ Ghost, Insider, Body-Shock, DJ Looney Tune, Jones & Stephenson, Push, Blue Alphabet, Final Analysis, Joyrider, Dreamland and more. So, dust off your vintage cassette machine and prepare to be blown away by the sound of Cherry Moon.

„Worldwide Underground“ ist das dritte Studio-Album der amerikanischen Sängerin Erykah Badu und wurde erstmals am 16. September 2003 von Motown Records veröffentlicht. Das Album enthält HipHop- und Funk-Elemente und zeichnet sich durch eine unkonventionelle musikalische Struktur und ein minimalistisches Songwriting aus, dass sich mit der Hip-Hop-Kultur, der Liebe, dem Leben im Ghetto und der Gang-Kultur befasst. Auf dem Album treten die Rapper Dead Prez und Common sowie die Sängerinnen Queen Latifah, Bahamadia und Angie Stone auf.

Am 25. Februar erscheint „Worldwide Underground“ als Deep Purple Coloured 1LP.

Talented Kilkenny-based Peter Lawlor, aka Polytunnel, rocks up on Seventh Sign Recordings and turns in a masterly release.

Meetsysteem's 2020 album Cr:GO remixed. Rotterdam techno veteran Speedy J transformed 'Noch de Sterren van de Hemel'; a masterclass of synth wizardry, noise and fluctuating patterns, creating a fictional universe on its own that could be both heaven and hell. Mary Lake is back on Nous'klaer with a powerful, driving four to floor remix of 'Fkg Hoofd'. Konduku takes a deep dive with 'Sidda' and turned it into a 90 BPM dub version. To finish it off, Speedy J and Meetsysteem made collaborative remix, perfect for after hour ambient floors

Uun returns to his imprint Ego Death for its 6th release, and its first full length album.

“For nearly two years our cities, which were once teeming with life, have become liminal spaces. Even Detroit, a place physically shaped by human departure, feels increasingly empty.

I can’t help being reminded of all the other liminal spaces that frame my early memories - the dusty hallways at school, an empty pool drained during a long winter, the doctor’s office waiting rooms that always smelled like anxiety. There’s a nauseating sense of the past echoing into the present, of the nostalgia and dread of childhood re-entering into the vacuum of our current lives.

This is a difficult feeling to turn into a “techno album”, as it has few obvious connotations. In my approach to the piece, I knew I couldn’t rely on melody, because the emotions it provokes are often too obvious to accurately capture this concept. The experience of liminality is intangible; there’s a sense of vague familiarity that is slightly out of reach. Instead, I incorporated field recordings and mangled sounds from the real world. It’s an album that relies on a sense of physical space, but a space you can’t quite put a name to. A space that feels familiar, but you’re not sure why.

The project is made whole by the evocative artwork of Ryote, who brings the themes together in a unique visual style. The beautifully printed vinyl sleeve represents the three aspects of liminality; physical, mental, and digital, and ties them together with the music contained within.”

2020 erschien mit "KiCk i" der Grammy nominierte Auftakt zur Serie; auch nominiert bei den Latin Grammy Awards als "Best Alternative Music Album". 2021 setzt Arca mit "KICK ii" bis "IIIII" nun die "KiCk"-Serie auf XL Recordings fort. Jetzt erscheinen diese auch physisch auf CD und Vinyl! Als Künstlerin war Arca schon immer eine Gestaltenwandlerin - äußerlich wie musikalisch. Sie produzierte Musik für Lady Gaga, Frank Ocean, Björk, Kanye West und FKA twigs, komponierte Musik für das MoMA, trat 2020 mit den Labèque Schwestern, zwei fantastischen Pianistinnen, bei der Burberry Fashion-Show auf, schrieb einen Soundtrack-Beitrag für die HBO-Serie "Euphoria", erschuf gewaltige Noise-Skulpturen oder gab sich auf Partys als exaltierte Diva. Arca wurde für einen GLAAD Media Award nominiert und ist die erste nicht-binäre Künstlerin, die schließlich für einen GRAMMY nominiert wurde. Sie hat ihr eigenes Album-Artwork entworfen und gemalt, für Bottega Venetta, Calvin Klein und Loewe gemodelt, Musikinstrumente der nächsten Generation mitentwickelt und auch mit KI experimentiert. Alejandra Ghersi Rodriguez, wie Arca eigentlich heißt, wurde erst vor kurzem von Publikationen wie dem Time Magazine, Guardian, DAZED, Billboard, Pitchfork, Stereogum und der Los Angeles Times zur einer der innovativsten Künstlerinnen des 21. Jahrhundert ernannt. Als nonbinäre Latinx-Transfrau will Doña Arca die Rolle des Popstars für kommende Generation neu definieren - mit "KICK ii bis IIIII" entführt sie uns in diese Zukunft und öffnet die Tür in eine neue und nonbinäre Soundwelt.

2020 erschien mit "KiCk i" der Grammy nominierte Auftakt zur Serie; auch nominiert bei den Latin Grammy Awards als "Best Alternative Music Album". 2021 setzt Arca mit "KICK ii" bis "IIIII" nun die "KiCk"-Serie auf XL Recordings fort. Jetzt erscheinen diese auch physisch auf CD und Vinyl! Als Künstlerin war Arca schon immer eine Gestaltenwandlerin - äußerlich wie musikalisch. Sie produzierte Musik für Lady Gaga, Frank Ocean, Björk, Kanye West und FKA twigs, komponierte Musik für das MoMA, trat 2020 mit den Labèque Schwestern, zwei fantastischen Pianistinnen, bei der Burberry Fashion-Show auf, schrieb einen Soundtrack-Beitrag für die HBO-Serie "Euphoria", erschuf gewaltige Noise-Skulpturen oder gab sich auf Partys als exaltierte Diva. Arca wurde für einen GLAAD Media Award nominiert und ist die erste nicht-binäre Künstlerin, die schließlich für einen GRAMMY nominiert wurde. Sie hat ihr eigenes Album-Artwork entworfen und gemalt, für Bottega Venetta, Calvin Klein und Loewe gemodelt, Musikinstrumente der nächsten Generation mitentwickelt und auch mit KI experimentiert. Alejandra Ghersi Rodriguez, wie Arca eigentlich heißt, wurde erst vor kurzem von Publikationen wie dem Time Magazine, Guardian, DAZED, Billboard, Pitchfork, Stereogum und der Los Angeles Times zur einer der innovativsten Künstlerinnen des 21. Jahrhundert ernannt. Als nonbinäre Latinx-Transfrau will Doña Arca die Rolle des Popstars für kommende Generation neu definieren - mit "KICK ii bis IIIII" entführt sie uns in diese Zukunft und öffnet die Tür in eine neue und nonbinäre Soundwelt.

2020 erschien mit "KiCk i" der Grammy nominierte Auftakt zur Serie; auch nominiert bei den Latin Grammy Awards als "Best Alternative Music Album". 2021 setzt Arca mit "KICK ii" bis "IIIII" nun die "KiCk"-Serie auf XL Recordings fort. Jetzt erscheinen diese auch physisch auf CD und Vinyl! Als Künstlerin war Arca schon immer eine Gestaltenwandlerin - äußerlich wie musikalisch. Sie produzierte Musik für Lady Gaga, Frank Ocean, Björk, Kanye West und FKA twigs, komponierte Musik für das MoMA, trat 2020 mit den Labèque Schwestern, zwei fantastischen Pianistinnen, bei der Burberry Fashion-Show auf, schrieb einen Soundtrack-Beitrag für die HBO-Serie "Euphoria", erschuf gewaltige Noise-Skulpturen oder gab sich auf Partys als exaltierte Diva. Arca wurde für einen GLAAD Media Award nominiert und ist die erste nicht-binäre Künstlerin, die schließlich für einen GRAMMY nominiert wurde. Sie hat ihr eigenes Album-Artwork entworfen und gemalt, für Bottega Venetta, Calvin Klein und Loewe gemodelt, Musikinstrumente der nächsten Generation mitentwickelt und auch mit KI experimentiert. Alejandra Ghersi Rodriguez, wie Arca eigentlich heißt, wurde erst vor kurzem von Publikationen wie dem Time Magazine, Guardian, DAZED, Billboard, Pitchfork, Stereogum und der Los Angeles Times zur einer der innovativsten Künstlerinnen des 21. Jahrhundert ernannt. Als nonbinäre Latinx-Transfrau will Doña Arca die Rolle des Popstars für kommende Generation neu definieren - mit "KICK ii bis IIIII" entführt sie uns in diese Zukunft und öffnet die Tür in eine neue und nonbinäre Soundwelt.