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REKORDER is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. REKORDER is a manifestation of this typical M.RUX sound. Similar to his concept album "Vermonische Melodien" from 2020 (on the Pingipung label), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidi ed into clichés. REKORDER refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Phonography is a miracle that has only been around for 150 years: Technology gifts upon us prosthetics for remembering sound. Every recording is a process, and every playback a new performative act. Recordari (Latin) is a beautiful word. It literally means to take something to heart (cor) once again (re-). This doesn't just refer to remembering, but also to a ponderous, loving, sometimes doubtful contemplation. It is a perfect headline for M.RUX’ approach to processing sound. REKORDER draws deeply from its own archive, which has ourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. A typical gesture for this album? M.RUX bows deeply to the history of pop music - especially the blues and its melancholy, coolness and shuf ing groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on REKORDER. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series "Bojack Horseman”). If voices are heard on REKORDER, then as hypnotic fragments that guide us through the groove as conjunctions: "Because...", says the voice in the track of the same name. That's enough. There are no lyrics, no literal weariness, no love-songs or storytelling, REKORDER processes all of this into timbres and groove as vessels for the album’s individual, contemplative melancholy. Never forgetting, with a gentle smile, to swing a leg.

Termination is an album inspired by the halting problem in computer theory, i.e. whether the program will finish running or continue to run forever. The halting problem is undecidable, meaning that no general algorithm exists that solves it. This is true also for human life, as it goes up and down and one can’t program it, because simply you cannot predict the future, and even if we could there are so many variables that can easily f*ck up any sort of forecast. Modern Stars is an Italian neo psych rock band which showcases a unique musical style characterized as instinctive, flickering, fuzzy, aerial, groovy, bizarre, distorted, harmonious, and dissonant. Influenced by bands like Spacemen 3, Primal Scream, Suicide, and lesser known musicians. Termination is Modern Stars' fourth studio album, following Silver Needles (2020), PsychIndustrial (2021) and Space Trips for the Masses (2022).

'Take Her Up to Monto', das vierte Album von Roísín Murphy von 2015, ist eine abenteuerliche und wilde Entdeckungsreise in ihr kreatives Schaffen. Überall treibt Murphy ihre charakteristischen Sounds auf die Spitze und sorgt so für ein fesselndes und unvorhersehbares Erlebnis. 'Take Her Up To Monto' erscheint nun wieder auf Vinyl.

Record label boss, producer / DJ, and revered collector Marc Davis returns to his Chi-Talo series with the much-anticipated second volume. A concept of a split EP, taking one ultra-rare Chicago gem and the other a scarce Italian disco record and re-interpreting them for the modern dancefloor aesthetic.

With the first volume, released on Marc’s own Black Pegasus label, now trading hands for considerable amounts of money, round two sees him impart another double dose of digging sorcery for this Mr Bongo 12”.

Marc began his illustrious career in the Windy City in the ‘80s and was one of the first out of Chicago to be recognised for his eclectic approach to DJing. Presenting a global sound palette that took in choice cuts from Brazil, Africa, jazz fusion, house, soul and disco, whilst mixing it together Chicago style. Decades of knowledge and experience that is now distilled down into the Chi-Talo series.

The Italo selection came via a tip from Marc's Swedish friend, Julian Wareing. Hearing the track led Marc down the rabbit hole to secure a copy of this Italo-Disco, album cut oddity by the New Sound Quartet from 1979. The original of 'Bass Construction', measures in at four and a half minutes and is already a feverish funk groover. But Marc saw an opportunity to extend and re-edit the track, keeping in the vein of the original but giving it space to breathe. Tweaking out every last ounce of goodness, Marc locks you into a hypnotic groove for maximum dancefloor deliverance.

The Chicago side is as rare, as the rarest of hens-teeth, only ever existing as a one-off acetate by the band The Saucer Planes. One of the members of the group was the sadly passed-away older brother of Marc’s DJ mentor, Jahmal Anderson. From the very first listen, Marc knew he’d been hooked up with an undiscovered boogie gem. A long-lost track that the world needed to hear. But the project has remained dormant until now, not least due to the fact that the original recording of this low-fi vocal boogie groove is housed on an ever-deteriorating solo acetate. Rescued, restored and given a brand-new lease of life, Marc has turned the track into a low-slung, psychedelic instrumental boogie bounce. Raw, rough and mesmerising, it’s a refreshed relic that is a testament to Chicago’s club sound and swagger.

Whichever side you draw for, this is guaranteed to move bodies as much as it wins over hearts.

Cam aka Cam the Wizard is a Canadian MC from Edmonton, Alberta. Gram, aka Graham Murawsky, better known as Factor Chandelier, is a Canadian producer from Saskatoon, Saskatchewan and owner of Side Roads Records. G.A.M. aka Giovanni Allen Marks, aka Subtitle, is an MC/producer hailing from Los Angeles, California. He is affiliated with the legendary Project Blowed Crew and one half of Lab Waste, with partner Thavius Beck.

Faye Webster hat heute ihr neues Album “Underdressed At The Symphony” für den 01. März 2024 bei Secretly Canadian angekündigt und teilt gleichzeitig ihre neue Single “Lego Ring (feat. Lil Yachty)”.

Eine Art Unbeschwertheit, allerdings mit melancholischem Rückgrat, ist die treibende Kraft hinter dem Song, auf dem Atlanta-Multikünstler Lil Yachty zu hören ist.

Im zugehörigen Musikvideo spielen Faye und Yachty ein Videospiel, bei dem Fans die Möglichkeit haben, über diesen Link mitzuspielen.


Faye Webster - “Lego Ring (feat. Lil Yachty)” (Official Video)


Die Songs von Faye Webster sind ein direkter Draht zum menschlichen Unbewussten, und "Underdressed at the Symphony" dokumentiert, was passiert, wenn man beginnt, aus den Trümmern der alten Routinen ein neues Selbst aufzubauen. Schon ihre zuvor veröffentlichten Songs "But Not Kiss" und "Lifetime" zeigen das selten erforschte Gebiet emotionaler Intimität, in dem Verlangen und Leidenschaft im Konflikt mit Trost, Verständnis und sogar platonischer Liebe stehen. Diese Themen finden sich in “Underdressed at the Symphony” wieder, zusammen mit hyper-spezifischen Symbolen, die ein Bild von Websters Leben zeichnen, wie z.B. "eBay Purchase History" oder die Objekte, die sie bei "Lego Ring"begehrt.



“Underdressed at the Symphony” wurde mit ihrer langjährigen Band in den Sonic Ranch Studios in Texas aufgenommen und schwelgt in Experimentierfreudigkeit, Verspieltheit und Abenteuerlust. Vocoder-Momente, Schnörkel eines Orchesters, gruselige Harmonien und Synthesizer kommen zum Vorschein, ohne die räumliche Qualität von Websters früherer Musik zu beeinträchtigen, sodass ihre Texte nach wie vor genügend Raum haben, mit zusätzlichen Bedeutungsebenen an die Oberfläche sprudeln. Matt „Pistol“ Stoessels Pedal Steel-Klänge sorgen für genau den richtigen Schimmer, während Nels Cline von Wilco seine unbestreitbar gefühlvollen Fingerfertigkeiten zu einer Reihe von Songs beisteuert. Das Zusammenkauern an der buchstäblichen Grenze zwischen den USA und Mexiko bot den Musiker*innen Raum zum Isolieren, Konzentrieren und Experimentieren. Alle Songs auf diesem Album sind Live-Aufnahmen, von denen einige bereits beim ersten oder zweiten Take aufgenommen wurden und Websters Talent zeigen, aus einem ganz bestimmten, scheinbar kleinen Moment eine universelle Erfahrung zu ziehen.

Felix Machtelinckx is a singer, composer, producer and lyricist from Belgium. Featuring an array of film scores, dance soundtracks, pop, folk and electronic music, Felix's music resonates with a familiar, almost nostalgic patina, applied with a distinctly crooked touch. Through artistic collaboration, coaching and production, Felix has cut a dash in the pop and indie cult scenes of Belgium, especially with his band Tin Fingers, who are feted as one of the most promising indie acts of the moment. Night Scenes, Felix’s solo debut is, in contrast to his other work, more humble and less traditional, roughly hewn from a series of ambient soundscapes, earthy textures and playful structures. Felix’s voice, normally the flagship of his music, becomes more of a distant memory, an indistinct emotion feathered throughout the music. Many lyrics are improvised, sometimes unintelligible, conjuring haunted, uncertain undertones. Similarly, the album is innately peripatetic to the core, being created, written and recorded in Lithuania, Belgium, France, mastered in the US, and finally released in the UK. In the first instance, some of the tracks were created for the contemporary dance piece Doggy Rugburn by Brandon Lagaert of Kaiho and Peeping Tom; others were created enigmatically for a film that never surfaced; while the remainder are the product of more personal work and research. As Felix began to collect and review these disparate parts, the concept of a unified album began to evolve. With 'night' featuring as a suitably dark leitmotif, or backdrop to a series of emotionally fraught 'scenes', each track depicts a form of trauma, locked within the confines of the mind. Felix observes: "Imagine yourself in a dusty old room unable to sleep. Emotions, fears and other demons haunt your mind. This in-between state makes your mind reach for other worlds. This is Night Scenes." For the most part, Night Scenes was created using a variety of old, and rare, analogue equipment. With almost no digital editing, the record was primarily mixed through a vintage cassette desk, giving it a nostalgic character with a noisy undertone. Felix fully embraced the synergy of his emotional themes and retrograde gear, enthusing: "A lot of textures were created on an old Soviet synthesizer that causes a blackout when you hit the lowest note on the keyboard. The dysfunctionality of the synths was often used to create rhythm and texture." This unnerving ability Night Scenes has to comfort and confound the listener is summed up by Jordan Hudson, House Of Media producer, and music podcaster, when he concludes: "Some songs on the album have this sort of fleeting comfort and tonality, which dissolves into a subtle rhythmic/structural or modulated disarray the moment I settle into them - this really fits with my experience of the night .. This record is a winner, and will be something I'll listen to a lot from here on

"The 'Kashkaval EP' marks DJ 3000's fourth vinyl release, stemming from his acclaimed 'Mezë' album.

This EP encapsulates DJ 3000's evolution, weaving a narrative from his Albanian heritage to his current thriving career. 'Kashkaval EP' stands as his most intimate and comprehensive work to date, embodying a profound musical odyssey. It extends an invitation to all, urging them to partake in a celebration of diverse cultures and a symphony of sound that transcends geographical boundaries. Through meticulously crafted tracks, it guides listeners on a shared and cherished voyage, forging connections through the universal languages of music, culture, and food.”

Kashkaval - Is a cheese originating from the Balkans. When producing this electro track, it all came together quite swiftly, to be honest. I only needed one final element to complete it. Coincidentally, my dad was discussing this cheese at the time, so I recorded him talking about it on my phone and seamlessly integrated it into the track. I applied various effects and kept it subtle in the mix, making it almost unrecognizable in Albanian. The chords fell into place after that.

Constant Sorrow - This song took shape during the pandemic. I had nearly completed the concept, and for some time before that, I had been in conversation with producer and vocalist Keith Caden. I believed his vocal talents would be a perfect fit for this track. I shared the track and its title with him, and he subsequently wrote the vocals, even contributing harmonica and a few other embellishments. I'm particularly fond of this electro-style track, and Keith's vocals truly bring a unique and special dimension to it.

From The Ashes - Electro played a significant role in this album. When I mention electro, it's not the typical style of tracks but rather a more unique approach. The vocals on this album truly infuse profound meaning into the songs, and I have a deep appreciation for the way the chords resonate and create a dynamic bounce in the tracks.

Crown Royal - There's an amusing backstory to the essence of this track. "Crown Royal" harkens back to a liquor we used to enjoy back in the day. We'd have our Crown Royal and pair it with those Black & Mild cigars – quite the combo! This track was born from the memories of those late-night drives back home from the club.

Happy we can introduce a new addition to our catalog THINNER005, an EP called

“ & . . “

as the title tells, it’s a joint release by our friends, KOOLMFL, Sonic Weapon &. . Lemmi Ash

“& . . “ EP includes three club tracks, which been power played by Powder over these years in many different moment.

Each track can add a distinctive touch to the night, as like completing your cocktail with lemon and/or lime.

_

KOOLMFL, fka K-LINE and Sonic Weapon is our regular suspects from Nagoya, motor city of JAPAN.

Some may know them putting out a shared EP “G” before on Thinner Groove and now they back to it again.

atonbow by KOOLMFL features words of a space traveller in state of peaceful sorrow, seemingly communicating their honest thought to the loved one who might not be hearing, Can you hear me ? … Hi astronaut, at least we can :)

KOOL’s clicky drum work pass the words to the floor, and the party breaks down with sudden synth and take all of us home.

,

On track HOMIE, Sonic Weapon shows his signature fast boogie style again in a new approach with much dubbed out, ear pleasing, filtering, minimalistic, and stylistic way. The texture keeps changing but keeping the groove.

Feels like the beauty of watching a bridge getting slowly collapsing after somehow you made it to the other side.

& . .



We also want to introduce Lemmi Ash, a Swedish duo formed by Samo DJ and Martinou, newly joining the TG spectrum,

The duo previously had a release from ESP institute and each of them countless solo appearance on various releases . . .

Nonetheless, they a good long time friend and perfect fit for this release.

The duo features comfy calming ear tickling electronic sound with some kiddish, animalistic, or primitive humor in their own balance. This track Presence grooves with a leaning forward racing gamey phrase drifting around the mini synth explosion, feels like a joyful cruise during regardless the intense highway.

Step One is the debut album by British pop group Steps. It was released in the UK and Europe on 14 September 1998. The album charted at number two on the UK Albums Chart upon its release, going on to spend 64 weeks in the chart. It was beaten to number one by This Is My Truth Tell Me Yours by Manic Street Preachers, who also beat Steps' single "One for Sorrow" to number one on the UK Singles Chart with the song "If You Tolerate This Your Children Will Be Next". In February 2000, the album was re-released in the US, containing songs from both Step One and its successor, Steptacular. The tracks "5,6,7,8", "Last Thing on My Mind", "One for Sorrow", "Heartbeat" and "Better Best Forgotten" were released as the singles in UK. The album contains some covers; "Last Thing on My Mind" was originally released in the 1980s as a single by British girl group Bananarama, while "Love U More" was originally recorded by techno/house band Sunscreem. "Experienced" was originally recorded by boybands The Bario Boys & Worlds Apart, and "Stay With Me" appears on Romeo's Daughters' self-titled début album.

Step One is the debut album by British pop group Steps. It was released in the UK and Europe on 14 September 1998. The album charted at number two on the UK Albums Chart upon its release, going on to spend 64 weeks in the chart. It was beaten to number one by This Is My Truth Tell Me Yours by Manic Street Preachers, who also beat Steps' single "One for Sorrow" to number one on the UK Singles Chart with the song "If You Tolerate This Your Children Will Be Next". In February 2000, the album was re-released in the US, containing songs from both Step One and its successor, Steptacular. The tracks "5,6,7,8", "Last Thing on My Mind", "One for Sorrow", "Heartbeat" and "Better Best Forgotten" were released as the singles in UK. The album contains some covers; "Last Thing on My Mind" was originally released in the 1980s as a single by British girl group Bananarama, while "Love U More" was originally recorded by techno/house band Sunscreem. "Experienced" was originally recorded by boybands The Bario Boys & Worlds Apart, and "Stay With Me" appears on Romeo's Daughters' self-titled début album.

Available on viny for the first time, Demon Records and Fascination proudly presents the three original Steps Studio
albums. Steps are the most successful co-ed group in British chart history. Irresistible and inimitable, their unique
blend of perfect pop anthems, dynamic dance moves and a sheer sense of fun has been delighting fans for over 25
years.
Pressed neon violet vinyl, double platinum 2000 album Buzz includes the UK number one Stomp, plus the classic hits
It’s the Way You Make Me Feel, Summer of Love, Better the Devil You Know, Here and Now and You’ll Be Sorry.
All editions feature painstakingly rebuilt original artwork, complete with additional images and full lyrics.

Available on viny for the first time, Demon Records and Fascination proudly presents the three original Steps Studio
albums. Steps are the most successful co-ed group in British chart history. Irresistible and inimitable, their unique
blend of perfect pop anthems, dynamic dance moves and a sheer sense of fun has been delighting fans for over 25
years.
Pressed neon violet vinyl, double platinum 2000 album Buzz includes the UK number one Stomp, plus the classic hits
It’s the Way You Make Me Feel, Summer of Love, Better the Devil You Know, Here and Now and You’ll Be Sorry.
All editions feature painstakingly rebuilt original artwork, complete with additional images and full lyrics.

Der vollständige Soundtrack von Paul Ruskay zur Homeworld 2 Remastered Edition (2015), der HD-Version des Echtzeit-Strategiespiels Homeworld 2 aus dem Jahr 2003. Während des HD-Restaurierungsprozesses holte Ruskay die Original-DAT-Tapes aus einem Schuhkarton, entstaubte jahrzehntealte Pro Tool Studio-Sessions und ließ von allen Titeln unkomprimierte Versionen erstellen, auch von bislang unveröffentlichten. Die Tracks wurden dann sorgfältig neu gemischt und sequenziert. Schwarzes 180g Triple-Vinyl mit 58 Tracks.

High Roller Records, reissue 2024, 180g black vinyl, ltd 500, 425gsm heavy cardboard cover, insert, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

In his long and successful career Ennio Morricone composed many dance songs as it was in fashion in the late sixties and early seventies.

Themes that were usually not directly connected with the subjects of the soundtrack, but which were played in disco clubs, on jukeboxes,

turntables and on the radio.



This collection contains a selection of very cool pieces such as the brilliant main theme from GRAND SLAM (1967), the shake rock (opening credits) from

Dario Argento’s classic FOUR FLIES ON GREY VELVET (1971), the danceable from the noir film VIOLENT CITY (1970), the beat version of the opening

credits of “Pioggia sul tuo viso” by The Sorrows, from HOW I LEARNED TO LOVE WOMEN (1966), “Per Vittorio (Bossa)” elegant bossa nova with flute and

percussions from THE SUCCESS (1963), the tribal shake from I Cantori Moderni which winks at the Dies Irae from GARDEN OF DELIGHTS (1967),

“Scuola di ballo al sole” a wild surf piece from THE HAWKS AND THE SPARROWS (1966), the supreme bossa nova from ONE NIGHT AT DINNER (1969)

with the super iconic voice of Edda Dell’Orso, the shake music of “Ostinazione al limone” from WHAT HAVE YOU DONE TO SOLANGE? (1972),

“Donnabossa” from FULL HEARTS AND EMPTY POCKETS (1964), a delicate bossa nova with a prominent harpsichord.

CLAUDIO FUIANO

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

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

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

As master drummer Jeff Williams sorted through his archive of cassette tapes from his extensive international career, he had no idea that hidden within it would be a recording of a 1990 evening when he joined storied NYC legend David Liebman for a set of spontaneous performances.

French pianist Dorian Dumont is an exceptionally gifted, Brussels-based jazzman and member of electronic experimentalists, ECHT! In 2021, he released his debut solo album 'APHEXionS' - a challenging exercise of solo piano focussed entirely on the music of one of the most influential and important artists in contemporary electronic music, Richard James, aka Aphex Twin. Dumont's sophomore album, 'to the APhEX', released 23rd February via W.E.R.F. Records, continues that fascination with his musical hero and acts as a musical love letter of sorts - a groundbreaking experience, where the enchanting world of classical piano collides with the electronic brilliance of Aphex Twin. Richard James' music serves as a starting point for Dumont's musical developments which are sometimes composed and often improvised, letting him find his playing field around the concepts and the poetics of the genius of electro music. Contrary to what one would expect, there are no electronics involved but Dumont carefully transcribes a wide selection of Aphex Twin's music to the grand piano, giving the songs a whole new dimension. Dumont starts from the melody lines and rhythmic structures found in the original tracks but builds on them, deconstructing pieces and adding his own improvisations. Lovingly recreated, the songs take on a completely new dimension, and it exposes both the genius and musicality of Aphex Twin and Dumont himself. "Aphex Twin is a fascinating artist and character. At first, I started transcribing his pieces just to understand them. I then sat on my acoustic piano for the pleasure of hearing these pieces that I loved so much only to realize that in the end I was improvising, I was playing. In short: I was having fun. That's how this project was born: through pleasure and games. The challenge then was to develop the concept of this project to find my own playground and my own responses around the musical principles of Mr. Richard James, in order to make this project a celebration on my own terms."

Always curious about new sounds and cultivating eclecticism, 'to the APhEX' stays truthful to the minimalistic aesthetics from the original tracks. From the unruly, emotionally stirring '180db_ 130' to the simple beauty of 'Windowlicker', Dumont is part of a new generation of musicians who have no intention of sticking to the rules. Dumont dances across the keys, perfectly capturing the mood and feeling of Aphex Twin, where classical meets electronic. Elsewhere, 'PAPAT4 155[pineal mix]' is stripped to the core showcasing Dumont's ingenuity, while 'Avril 14th' and album finale '#3 (Rhubarb)', unfolds with delicate piano, evoking a sense of tranquil introspection.
Born in Montpellier where he studied classical piano at the Conservatory, in 2005, Dumont achieved the highest distinctions in piano and chamber music. With a broadening interest in jazz and improvised music, he moved to Brussels in 2008 and after studying in the Jazz sections at the Royal Conservatory of Brussels then at the Koninklijk Conservatorium van Brussel, he obtained his master's degree in 2013. In recent years, he has played an integral part of the critically acclaimed four-piece 'ECHT!' which breaks the boundaries between jazz, electronic music and hip-hop. In addition, Dumont also participates in numerous other projects across various genres including 'Edges' with Guillaume Vierset, Jim Black, and Anders Christensen or 'Easy Pieces' with Ben Sauzereau and Hendrik Lasure. He also collaborates with bands including Juicy, Vaague, Kuna Maze, and Pol Belardi's Force, among others.


[a] A1. 180db_ [130]


[d] A4. PAPAT4 [155][pineal mix]

Having been part of the family for quite some time now, Lauren Bush aka re:ni joins the Timedance roster with an incredibly potent quartet of Techno infused bass-bin weaponry.

« BeautySick » sees re:ni plunging into a world of intoxicating serpentine grooves. Spectral vocal slabs chime like echoes of a distant hallucinatory trance, while industrial drumworks find a mesmerizing counterpoint in eerie dubwise atmospheres.

These four compositions not only showcase re:ni's sonic evolution but also explore the transient moments where darkness converges with light. They stand as a testament to the sonic prowess of one or favorite dancefloor sorceress.

Picture Hakime Sorayama’s ‘Sexy Robot’ in front of an unreasonably large stack of speakers at a dimly lit sound-system dance; this is the soundtrack.

Press + Tour highlights :
DJ Mag, Resident Advisor, XLR8R, BBC6 Music (Sweatbox Mix for Sherelle), First Floor, The Quietus, Phonographe Corp + more TBA

Upcoming tour dates for Q1-Q2:UK, Switzerland, Netherlands, Germany, Sweden, Belgium, Slovenia, Ireland, Australia, Croatia, USA

A stunning display of powerful emotion shines from the post-hardcore glory that defines The Appleseed Cast. The End Of The Ring Wars is a moving story about tragic loss and the battle to overcome the sorrow that lingers on. Disturbingly honest and passionately realized, The Appleseed Cast reminds us that sometimes the only way to feel alive is to grip closely the pain that made us who we are. This record will make your heart soar. This is a reissue of the long out-of-print vinyl version of the bands classic debut album on Deep Elm Records. 2xLP on heavy 180 gram vinyl. New artwork by Zum Heimathafen. Partly gloss printing on heavy deluxe gatefold sleeve.

Warehouse find!

Since emerging in the early 2000s with releases on the seminal Merck label, Proswell (Joseph Misra) has proven to be one of the most original voices in IDM. People Are Giving And Receiving Things At Incredible Speeds (PAGARTAIS), his debut on Sheffield's Central Processing Unit, is another Proswell record which overflows with creative energy. Containing five widescreen electronic epics, PAGARTAIS showcases some of the most ambitious work in the discographies of both artist and label.

The core sonic palette of PAGARTAIS is one schooled in the IDM and electronica sounds of imprints like Rephlex Records, B12 and Skam. These tracks are helmed by thick washes of keys, an array of playful synth tones and drums so deft it's sometimes hard to tell whether they have been programmed or played live. However, across almost forty minutes of music here Proswell explodes preconceptions about genre and form, his music gleefully jumping from one new sound to the next while assimilating electro, prog, computer game music, post-jazz and pretty much everything in between.

Opener 'PAGARTAIS I' sets the tone for the rest of the record. This is a track which never sits still - beginning with a distorted melee of drums that comes off like a strange new version of breakbeat, 'PAGARTAIS I' moves through some thrillingly idiosyncratic takes on Rephlex-school IDM, stargazing Detroit electro and The Comet Is Coming's futurist electronic jazz across its near-ten-minute runtime. Following number 'PAGARTAIS II' is no less impressive, referencing the hyper-modern computer sounds of Iglooghost and Kai Whiston while containing a driving opening section which could have soundtracked one of the legendary Wipeout games.

Although this fabulously unpredictable record often zips along at high speeds, Proswell is also able to dial things back when he needs to. Indeed, the second half of PAGARTAIS finds him slowing down a tad in order to deliver some of the album's most atmospheric material - 'PAGARTAIS III' blends cutting-edge electronics with sonorous jazz harmonies and fizzing improvised lead lines, the mysterious 'PAGARTAIS IV' is a sort of freeform variation on the maximalist, colourful electronica of Galaxy Garden-era Lone, and the slinking computerised Braindance number 'PAGARTAIS V' recalls Calum Gunn's recent CPU drop Addenda.

Really, though, none of these comparisons quite do justice to the inventive capacity of this music - Proswell's in a lane of his own here. An incredibly innovative fusion record that takes in IDM, prog, computer music, electro and plenty more besides, People Are Giving And Receiving Things At Incredible Speeds (PAGARTAIS) is the sound of a unique musical mind in full flight.

RIYL: Calum Gunn, Kai Whiston, Iglooghost, Rustie, Bogdan Raczynski

Following her contribution to this Spring’s Gudu & Friends Vol. 1 compilation, Lady Blacktronika steps out with a full EP for Peggy Gou’s Gudu label.

Whether operating as Lady Blacktronika or her Femanyst alias, Akua Grant has built a deserved reputation as one of house and techno’s most daring and unique artists - one that dates back 25 years now, when she first debuted as a vocalist.

“House and techno” can be a cliched catch-all term, but in Grant’s case, she really has explored the extremes of both sides. Her early Lady Blacktronika work, when she earned the nickname The First Lady of Beatdown, saw her produce and narrate a style of deep house that was both sensitive and transgressive, while as Femanyst, she explores some of techno’s darkest corners, all distorted kicks and serrated edges.

Her EP for Gudu kicks off with some serious intent: ‘Baby I Got It’ chops its vocals rough and raw, pairing them with marching drums and the sort of idiosyncratic synth-work that feels like a Blacktronika signature at this point. ‘Sing the Blues’ and ‘Hold My Hand’ take things smoother, but without ever deferring to type — as ever with Grant’s music, she works with such sleight of hand that it’s easy to skip back three minutes previous and wonder how the hell we got here. Her tracks are just that hypnotic and hallucinatory.

Closing the EP, Octo Octa provides a remix of ‘Hold My Hand’ that extends things to a full 12 minutes (note: slightly shorter on the vinyl due to time constraints), taking us out with crushed percs and held pads over some undeniable drum work.

This EP marks the final release of Gudu’s busiest year to date, with music on the label in 2023 coming from Special Request, Matisa, Mogwaa, Hiver, Matrefakt, DMX Krew, Dukwa, Brain de Palma, Lady Blacktronika, Salamanda and Closet Yi.

Der großartigen Sängerin Billie Holiday nähert man sich immer sehr respektvoll, behutsam ihrem tragischen Leben gegenüber, aber auch voller Bewunderung der fantastischen Musik, die sie erschaffen hat. Die aktuelle Analogue Productions/Verve Edition in 45rpm, verteilt auf zwei super sauber gepressten Vinyl-Scheiben, unterstreicht dies akustisch mehr als deutlich. Dabei ist die Tatsache, dass die Aufnahmen in Mono sind, ein soundtechnischer Haupt-Gewinn. Der Klang gewinnt dadurch definitiv an Intensität, Tiefe und Druck. Die Scheibe erschien erstmals 1955. Eine geniale Band bannte damals 12 wunderbare Lieder auf die analogen Studiobänder. Neben Sängerin Billie Holiday agieren noch die Schlagzeuger Larry Bunker und Alvin Stoller, Harry „Sweets“ Edison an der Trompete, Barney Kessel an der Gitarre, Jimmy Rowles am Piano und Ben Webster am Saxophon. Den Bass teilen sich Red Mitchell und Joe Mondragon. Der Opener „Do NothingTill You Hear From Me“ ist maximal fesselnd. Holidays Stimme erfüllt den ganzen Hörraum. Kessel spielt dazu wunderschön bluesig-trockene und wohlklingende blue notes. Websters Saxophon ist so unendlich präsent, dass man unschwer meinen könnte, man säße inmitten des Ensembles. Mit Swing und Maxi-Groove kommt „But Not For Me“. Jazz as Jazz can! Herrlich perlen die Klavierfiguren von Rowles. Der Kontrabass kommt dabei so unendlich druckvoll und dynamisch. Das muss man hören, fühlen und spüren. Holidays Stimme hat dabei soviel Klangfarbe, dass man nur noch Schwärmen kann. Die zwei 180 Gramm schweren LPs kommen im ästhetisch gestalteten Klappcover. Dieser audiophile Edelstein gehört in jede gut sortierte Schallplattensammlung, und zwar definitiv schrankenlos Genre-übergreifend. wb

"Miles Davis is regarded to be one of the most influential and acclaimed figures in the history of jazz and 20th-century music. At the request of Columbia Records executive George Avakian, he formed his first regular quintet in 1955. After all members of the first quintet left Davis a few years later, he hired the core of the second quintet in 1963 and the final member in late 1964. The second quintet would record and play together until the end of the 60s. Sorcerer is the third album by the Second Great Miles Davis Quintet. The quintet consisted of Miles Davis on trumpet, Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and Tony Williams on drums. It was recorded in May 1967 and contains a darker sound. The last song on the album, ""Nothing Like You"", features vocals by Bob Dorough. Sorcerer is available as a limited edition of 2500 individually numbered copies on crystal clear vinyl."

who are excited to welcome these stalwarts to the family. And what an album it is! These Marylanders never disappoint and this time around is no different.

Gilded Sorrow by The Obsessed, released 16 February 2024, includes the following tracks: "Realize A Dream", "Stoned Back To The Bomb Age", "Jailine", "Lucky Free Nice Machine" and more.

This version of Gilded Sorrow comes as a 1xCD.

FOR FANS OF: AMON AMARTH, DARK TRANQUILLITY, UNLEASHED
VANIR ist eine der bekanntesten dänischen Melodic-Death-Metal-Bands und hat seit der Gründung der Band sechs Alben veröffentlicht. Nun sind sie
bereit, ihr siebtes Werk "Epitome" zu veröffentlichen. Themenschwerpunkt des neuen Werks ist das dänische Mittelalter, wobei zwei Songs einen
Abstecher in die Renaissance machen ("Wood Iron And Will" und das frühmittelalterliche "Blood Eagle"). Das Kernthema des Albums ist der Thron
und die Kämpfe, die darum geführt werden, ihn zu behalten oder seine Macht zu festigen.
Die erste Single des Albums, "Twisting The Knife", wurde über das Stockholmer Blutbad geschrieben, einen Gerichtsprozess, der zwischen dem 7. und
9. November 1520 zu einer Reihe von Hinrichtungen in Stockholm führte. Die Belagerung von Arkona im Jahr 1169 durch die dänischen und
pommerschen Truppen unter Valdemar I. ist der Ausgangspunkt für "Fall von Arkona". Ein Lied über Stärke, Tapferkeit und Mut ("One Man Army")
rundet die Single-Trilogie des Albums ab.
Das "Epitome"-Albumcover ist ein Abbild der dänischen Königin Sorte Grethe (Schwarze Greta). Zu ihrer Zeit hatte Margaret den Ruf einer
kompetenten und aufgeklärten Regentin. Regentin Margarete sah sich mit dem ungelösten Konflikt zwischen der Krone und dem Erzbischof
konfrontiert. Das Lied "Sorte Grethe" auf dem Album handelt von einer blutigen Schlacht, in der 12.000 Männer getötet wurden, um den Anspruch
ihres Sohnes auf das Königtum zu bewahren.

Sydney, Australia- Melodic metalcore band BLOOM have announced new album Maybe In Another Life, out 15th February 2023- their first for new label, Pure Noise Records. Alongside the announcement is the release of the title track of the record, Maybe in Another Life. The track speaks to the anxiety that can be buried in fantasy. The lyrics contrast the experience of a sordid existence and the indulgence of what could have been, and what could be. The song moves from a dreaminess desire to a lament on the harshness of reality, the voice in the song is “Lost in the fantasy, Of being anyone but me.” The listener is left with a sense of longing at the climactic moments of the track, with soaring, symphonic instrumentation that fuels the words “ Let me start again, I'll make it count this time, Can I start over? Maybe in another life” "The song speaks to the characters anxieties and their methods of distracting through fantasy." says the band. "The lyrics contrast the experience of a sordid existence and the indulgence of what could have been. The song touches on a desire to lament on the harshness of reality. “Lost in the fantasy of being anyone but me”. The listener is left with a sense of longing at the climactic moments of the song with soaring, symphonic instrumentation that fuels the words “Let me start again, I’ll make it count this time. Can I start over? Maybe in another life”.

"HEALTH–the LA-based industrial-rock band of Jake Duzsik (vocals/guitar), John Famiglietti (bass/producer), and BJ Miller (drums)–today announced their new album RAT WARS will be released December 7th, 2023 via Loma Vista Recordings. The album’s first two singles are also out now at all DSPs: the menacing “CHILDREN OF SORROW,” featuring Lamb of God’s Willie Adler on guitar (YouTube link HERE), and the half-time hellscape “SICKO,” which samples Godflesh’s “Like Rats” (YouTube link HERE). Preview the singles’ upcoming visuals by James Markidis and Mynxii White via a new YouTube trailer.
The follow-up to 2019’s VOL. 4 :: SLAVES OF FEAR, HEALTH’s fifth album is the most violent yet vulnerable of their career. It is somehow fitting that such a brutal collection of songs is at the same time their most comprehensive artistic statement. Meticulously aggressive production detail collides with painfully personal confessions and a strange savage grace is paired with icy gallows humor… surprisingly it’s still fun as hell.
Produced by Stint (Oliver Tree, Demi Lovato) and mixed by Lars Stalfors (SALEM, The Neighbourhood), the 12-track LP joins the lineage of groundbreaking heavy acts like Nine Inch Nails and Ministry, which re-drew the borders between metal, electronic and pop music. It also speaks directly to the band’s young, fervent online subculture.
It’s The Downward Spiral for people with at least two monitors and a vitamin D deficiency.
Written during the most emotionally trying period of the band’s life, the album builds on their chaotic yet re-invigorating pandemic years. RAT WARS captures all the fury and ambition their LP’s have until now aspired to. It’s their boldest statement on the insanity and the insipidness of contemporary life.
HIGHLIGHT: Sleep Token Arena Support Tour (UK/EU) / Kerrang! Cover / Radio 1 Rock Show Session / Metal Hammer Feature / The Dome Album Release Underplay / 2024 Summer Festivals / Q4 2024 Headline"" "

2023 Repress

Maston’s Darkland is a breezy collection of the material from the Tulips sessions that didn’t make it on to the original LP. Originally a digital-only release for those in the know in the autumn of 2018, after re-issuing Tulips in 2020 it made too much sense for Be With to give Darkland a vinyl release.

Like Tulips, Darkland was recorded mostly in Hoorn, in the Netherlands, between 2015-2017 during downtime from Frank’s touring duties with Jacco Gardner’s band. Bits were also done in Los Angeles on some extended trips back home.

The collection plays like an alternate view of Maston’s instant modern classic Tulips; a companion piece to the LP proper with similar mixture of shorter themes and more full length tracks. As Frank Maston explains: “I think Darkland is the shadow of Tulips in a way… what it might’ve been in a different universe. But the heart of Tulips beats in these songs as well and they evoke the same memories and feelings for me. I see my process playing out across these songs - lots of experimentation and trying out new techniques and sounds and just sort of going for it.”

Frank goes on: “It was all from the same pool of material, like 30+ ideas. I was making a lot of little demos… some would be more fleshed out and become songs and others would just be a cool riff and not go anywhere. When I started trying to form it all into an LP I went through all the sessions and ideas and collected the ones I thought were the most fleshed out and cohesive together as a whole. There were a fair amount of songs that were finished and in hindsight really should have been on Tulips (like what would’ve been the title track). And the rest of these songs are either very early versions of tunes that ended up on Tulips or some cool ideas that just ended up being dead ends. It definitely shows how wide my net was in the beginning before I narrowed the record down stylistically.”

Darkland opens with its ornate 39 second title-track before striding into “Tulips”, that full-length title-track that never was. It’s a real head-nod, percussive-rich electric piano stunner that would’ve been a comfortable standout on the album proper. But now this “downlifting” gem is given ample room to shine on this record.

The funky organ-led bass and drums workout “Immaculate Conception” will keep your neck gently snapping while MPC fiends go reaching for their sampler. And that’s gospel. “Love Theme No 3” cuts a breathtakingly stylish vibra-slapped swathe through the middle of the opening side before we’re startled by the pronounced bass and twinkling percussion of “The Owl In Daylight”. Charming digi-drums underpin the wonky synth (quiet-)banger “Innovative Patterns” which has a lovely melodic switch-up in the final third before the tempo (and hairs on your neck) rise on the faintly creepy yet imminently groovy “Osiris”. The gorgeously soft-focus “Groove Experiment No 3” closes out the first half in slow-mo wonderment.

The lushly melancholic “Raincloud” ushers in side B before the emotionally-stirring “Phonic” taps at the door, coming on like the long lost sister to Pet Sounds’ “Let’s Go Away For A While”. Next up, the swooning beauty “Love Theme No 2” keenly sways in front of you, growing ever more insistent and hypnotic. The too-short “Italian Summer” conjures the same flirtatious imagery as the title hints at whilst “Endless” is a fascinating “piano-pella” alternative version to “Rain Dance” from Tulips. “Wonder Theme” has a nostalgic, exotic 60s swing and album closer “Willow” is a hushed, campfire folk gem. The gently circular strumming is just magical.

Speaking to Aquarium Drunkard back in 2019 about the sessions that became Tulips, Frank noted: “I was really surprised by the lack of sunlight during my first winter in Holland, so I would call it Darkland which then became the name of the first demo I wrote during that time. It was also the working title of the record when I first started writing. Some are full songs that didn’t make the cut (including what would have been the title track), some are just ideas that I never finished.”

Whilst we were working on Darkland’s vinyl release Frank explained more specifically about the music that didn’t make it on to Tulips: “When I was putting together the tracklisting for Tulips I was already thinking that whatever didn’t make it onto the LP would be cool to release eventually somehow. The response to Tulips has been so passionate over the years that it’s nice to be able to offer another piece of that world. And for me personally it’s amazing to have more of my work out there in the world. Most common bit of feedback was that many of these songs should have been on Tulips. The odd friend says it’s much better than Tulips.”

Just like Tulips before it, Simon Francis’s vinyl mastering for Darkland has been cut at 45rpm so you can trip out to this as well at a woozy 33 1/3. The artwork too has been designed by Frank himself as a literal visual continuation of the Tulips cover.

We couldn’t possibly say whether Darkland is better than Tulips, and luckily we don’t have to decide.

Das Opus Magnum des ehemaligen Emperor-Frontmanns!

Mehr als jeder andere Künstler, der aus der fruchtbaren Black-Metal-Szene der frühen 90er Jahre hervorging, hat sich Ihsahn fest als unberechenbarer Außenseiter etabliert. Als Frontmann und Chefkomponist der legendären Band Emperor schrieb er das Regelwerk für epische, extreme Musik mit einer Reihe von Alben neu, die noch immer als Klassiker gelten. Ihsahns einzigartiger Ansatz und sein freies musikalisches Ethos sorgten dafür, dass seine Fans das Unerwartete erwarten konnten, als er seine Solokarriere startete. Ein komplettes Konzeptalbum, das in zwei Versionen vorliegt: Metal und Orchestral. Ihsahn hat sein bisher bestes, einzigartiges und kraftvollstes Album geschaffen.

Im Einklang mit den filmischen Inspirationen folgen Musik und Text zwei parallelen Erzählungen mit immer wiederkehrenden Themen. Die Haupthandlung wird in der Metal-Version präsentiert, während die Nebenhandlung in der Orchesterversion verwurzelt ist.

Das Opus Magnum des ehemaligen Emperor-Frontmanns!

Mehr als jeder andere Künstler, der aus der fruchtbaren Black-Metal-Szene der frühen 90er Jahre hervorging, hat sich Ihsahn fest als unberechenbarer Außenseiter etabliert. Als Frontmann und Chefkomponist der legendären Band Emperor schrieb er das Regelwerk für epische, extreme Musik mit einer Reihe von Alben neu, die noch immer als Klassiker gelten. Ihsahns einzigartiger Ansatz und sein freies musikalisches Ethos sorgten dafür, dass seine Fans das Unerwartete erwarten konnten, als er seine Solokarriere startete. Ein komplettes Konzeptalbum, das in zwei Versionen vorliegt: Metal und Orchestral. Ihsahn hat sein bisher bestes, einzigartiges und kraftvollstes Album geschaffen.

Im Einklang mit den filmischen Inspirationen folgen Musik und Text zwei parallelen Erzählungen mit immer wiederkehrenden Themen. Die Haupthandlung wird in der Metal-Version präsentiert, während die Nebenhandlung in der Orchesterversion verwurzelt ist.

The brand new EP "Wellental" by Extrawelt on Traum is herewith reveled to the fans. Their new 3 track vinyl 12" gives a nod to the mayhem and urgency of techno all finely tuned. Straightforward in its brilliance and simplicity, yet carefully measured with a maturity that speaks the language of Extrawelt´s minimalism.

We attest: a unique techno track for the dance-floor on the a side, a trippy track on b1 and a very musical one as B2.

What happens within these 3 tracks is nothing short of alchemy, traversing all sorts of grounds without ever losing the plot. It’s due to the duo’s keen grasp of sound design—they always exchange ideas, on an expansive set of hardware, so no matter what tunnel they’re traveling down head-first, the sounds are always pristine, filled with unexpected details.

The EP opens with the title track "Wellental" which translates as "wave trough". Wave trough valley refers in particular to the points of maximum negative deflection in a traveling wave. In contrast, the points of maximum positive deflection are called wave crests. Musically this converts in a way that, although the title track "Wellental" has a lot of forceful steady forward motion and zig zag sequences cutting into it, it also has that "hanging time" feeling that adds unpredictability and tension to the track. You can defiantly sense that Detroit theme in a post Detroit interpretation here.

The flip-side starts with "Unter Wasser" which is illustrated by urgent uptempo beats that can push it on the dance floor and dreamy, surreal soundscapes on the other hand that account for that great under water feel. The track sounds a bit like the "Deep End" film soundtrack from CAN in that respect.

The B2 track is called "Samtstrand" and there is a reason for this since the track is very gentle and brushes over a surface with velvet hands but in contrast to that, the Extrawelt beats are kicking out the jams here! So this song has a twin drive going!

Die Orchestral Version des Opus Magnum des ehemaligen Emperor-Frontmanns!

Mehr als jeder andere Künstler, der aus der fruchtbaren Black-Metal-Szene der frühen 90er Jahre hervorging, hat sich Ihsahn fest als unberechenbarer Außenseiter etabliert. Als Frontmann und Chefkomponist der legendären Band Emperor schrieb er das Regelwerk für epische, extreme Musik mit einer Reihe von Alben neu, die noch immer als Klassiker gelten. Ihsahns einzigartiger Ansatz und sein freies musikalisches Ethos sorgten dafür, dass seine Fans das Unerwartete erwarten konnten, als er seine Solokarriere startete. Ein komplettes Konzeptalbum, das in zwei Versionen vorliegt: Metal und Orchestral. Ihsahn hat sein bisher bestes, einzigartiges und kraftvollstes Album geschaffen.

Im Einklang mit den filmischen Inspirationen folgen Musik und Text zwei parallelen Erzählungen mit immer wiederkehrenden Themen. Die Haupthandlung wird in der Metal-Version präsentiert, während die Nebenhandlung in der von Streichern und Percussions geprägten rein instrumentalen Orchesterversion verwurzelt ist.

Die Orchestral Version des Opus Magnum des ehemaligen Emperor-Frontmanns!

Mehr als jeder andere Künstler, der aus der fruchtbaren Black-Metal-Szene der frühen 90er Jahre hervorging, hat sich Ihsahn fest als unberechenbarer Außenseiter etabliert. Als Frontmann und Chefkomponist der legendären Band Emperor schrieb er das Regelwerk für epische, extreme Musik mit einer Reihe von Alben neu, die noch immer als Klassiker gelten. Ihsahns einzigartiger Ansatz und sein freies musikalisches Ethos sorgten dafür, dass seine Fans das Unerwartete erwarten konnten, als er seine Solokarriere startete. Ein komplettes Konzeptalbum, das in zwei Versionen vorliegt: Metal und Orchestral. Ihsahn hat sein bisher bestes, einzigartiges und kraftvollstes Album geschaffen.

Im Einklang mit den filmischen Inspirationen folgen Musik und Text zwei parallelen Erzählungen mit immer wiederkehrenden Themen. Die Haupthandlung wird in der Metal-Version präsentiert, während die Nebenhandlung in der von Streichern und Percussions geprägten rein instrumentalen Orchesterversion verwurzelt ist.

WeMe inaugurates 2024 with an brain massaging yet teeth grinding release by Chromedealer hailing from New York! Blending all sorts of styles creating a nice mixture of all things WeMe. A match made in heaven!