Cerca:van hai

Hidde Van Wee hails from the Netherlands and is an emerging house talent who does it all from electro to minimal, always with a future-facing outlook. After outings on PIV and Heavy House Society, he lands here on Ebullience with four stylish and fresh house sounds. 'Seduction' is sleek and synoptic with cosmic pads and space-tech energy, 'Use Me' layers heartfelt chords onto crispy and softer-edged drums with a balmy mix of bass and pads. The flip brings the bouncy tech of 'Another Day,' and 'Dig This' shuts down with some moody bass but radiant synth smears that hark back to early Gs like Danny Howells.

Woke Up With a Monster finds Cheap Trick firing on all cylinders, blending their signature power pop hooks with a heavier guitar edge. Produced by Ted Templeman (Van Halen), the 1994 album bursts with energy on tracks like “My Gang,” “You’re All I Wanna Do,” and “Girlfriends.” Hailed by Rick Nielsen as “the first album in the second half of our career,” it’s a bold statement from Rock and Roll Hall of Famers at the top of their game.

The song titles on Van Halen's aptly titled Fair Warning don't lie. The likes of "Unchained," "Mean Street," "Push Comes to Shove," "One Foot Out the Door," and more indicate the mood the band channels on its double-platinum 1981 record — the nastiest, darkest, and fiercest album of the group's storied career. For the fourth time in four years, Van Halen throws down the gauntlet to all challengers and emerges victorious.


Sourced from the original analog tapes, pressed on MoFi SuperVinyl at Fidelity Record Pressing, and strictly limited to 5,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set plays with unfettered clarity, dynamics, and immediacy. Benefitting from superb groove definition, an ultra-low noise floor, and dead-quiet surfaces, this vinyl edition captures what went down in the studio with tremendous realism and involving presence.

Taking a more controlled approach in the studio and still completing everything in less than two weeks, Van Halen and producer Ted Templeman relied on studio amplifiers to direct the sound. Further diverging from the live-on-the-floor approach of its earlier albums, the ensemble also employed overdubs to great effect. The result: Dense, stacked architecture that underlines the hard-hitting tenor of the songs — and which comes alive like never before on this reference edition that looks as good as it sounds.

The premium packaging and gorgeous presentation befit the reissue's select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, it is made for listeners who want to immerse themselves in everything involved with the album, including the iconic cover art adopted from William Kurelek's haunting painting, "The Maze."

Isolated frames from Kurelek's childhood-inspired work — including a man bashing his head into a brick wall, a guy pinning down an adversary as he delivers bare-fist blows to his face and others watch with apparent glee, a boy tied down on a conveyer belt and being sent through the equivalent of a meat saw — adorn the front and back covers. The sunnier visual disposition of Van Halen's prior efforts gives way to something sinister and tortured, traits reflective of the music within. The band members, too, are visually depicted not in glamorous shots but in a serious black-and-white portrait in which the quartet is clad in black leather jackets.

Tough, aggressive, stark: Fair Warning comes on like a series of bare-knuckled punches to the solar plexus and boasts lyrical narratives to match. Though not a concept record, the concise album revolves around themes of roughing it on the streets and struggling to survive amid dim prospects. Singer David Lee Roth reportedly penned many of the initial lyrics after traveling to Haiti and observing extreme poverty. The characters and situations populating Fair Warning reflect hardscrabble existence, last-chance desperation, and underlying danger.

Witness the crazies, poor folks, and hunters of “Mean Street”; the former prom queen turned pornographic actress on “Dirty Movies”; the menace and vice of “Sinners Swing!”; the streetwise hustle of “Unchained”; the isolation and alienation of “Push Comes to Shove”; the desire for escape on “One Foot Out the Door”: A carefree California beach party Fair Warning is not.

Having said he felt angry and frustrated during the sessions, guitarist Eddie Van Halen uses the forceful arrangements as a playground for his seemingly unlimited arsenal. Supported by a crack rhythm section and a hyped-up Roth, he performs with an almost impossible combination of punk-like intensity, technical finesse, lyrical fluidity, and unbridled emotion. The virtuoso was increasingly butting heads with Templeton and seeking a freedom in the studio he believed denied him.

No wonder he plays like a bat out of hell. Listen to the rapid-fire manner in which he slaps the high and low E strings on the 12th fret of his instrument on “Mean Street,” instilling the tune with funk flair and metal-spiked sharpness. For the pouty strut of “Dirty Movies,” Eddie Van Halen contributes slide guitar magic made possible after he sawed off the lower portion of a Gibson SG so he could reach further down the fretboard.

Related intensity, urgency, and daredevil momentum punctuate the surging “Sinner’s Swing!” A heavily flanged, delicately melodic introduction frames the attitudinal “Hear About It Later,” among the most creative arrangements of Van Halen’s career. And do riffs come any bigger or magnetic than those on the high-wire kick of “Unchained”? As for the out-of-left-field “Sunday in the Park,” an instrumental composed on an Electro-Harmonix micro-synthesizer: Who but Eddie Van Halen to supply creep factor in such an ingenious way?

Despite selling fewer quantities than Van Halen’s prior efforts, Fair Warning remains for many diehards the record that epitomizes all of the band’s immense strengths —Roth’s manic energy and tongue-wagging humor, Alex Van Halen’s rhythmic heartbeat-in-your-chest bombast, and Michael Anthony’s lucid bass lines included. Arriving when the New Wave of British Heavy Metal and new-wave movements were taking flight, it signaled a shot across the bow from a band determined to stay a step ahead and provide proof nobody could touch what it delivered.

More than four decades later, Fair Warning still sounds that alarm.

Ston Elaióna is John Also Bennett’s first album for Shelter Press since his 2019 solo debut Erg Herbe. The American born, Athens, Greece, based flautist, synthesist, and composer weaves a strikingly singular electroacoustic excursion for bass flute and Yamaha DX7ii, largely recorded in the golden haze of the early morning hours - bending time at the otherworldly juncture of consciousness and place. Translating from Greek as “in the olive grove”, Ston Elaióna is permeated with the ambiences of the ancient and present world, guided into form by a playfully rigorous approach to sound.
Initially emerging during the mid 2000s as part of Columbus, Ohio’s noise scene, before relocating to NYC around 2010, Bennett’s diverse activities picked up an increasing sense of pace over the following decade - performing and recording as a solo artist (JAB), with the trio Forma and with CV &JAB, his prolific duo with his partner Christina Vantzou, as well as playing in Jon Gibson’s ensemble among many other multifaceted collaborations. However, since 2020 the flautist and electroacoustic composer has existed in a semi nomadic state: drifting between Brooklyn, Brussels, extensive tours, and Greece, where he finally came to rest in Athens last year.

Drawing upon a carefully honed attentiveness to the environments and experiences of everyday life, Ston Elaióna is a suite of nine pieces (with an additional track exclusive to physical formats), many of them composed and played live as the early morning sun touched the Parthenon, in full view from Bennett’s studio window in Athens. Bennett’s refinement and restraint, honed over his years adrift, led him to adopt a limited palette focused on his primary instrument, the bass flute, and a Yamaha DX7ii synthesizer tuned to just intonation scales. Alongside a handful of other keyboards, digital oscillators triggered by his flute, and occasional field recordings, this simple palette is reflected by the deeply emotive sense of minimalism that permeates the album’s two sides. Following two solo albums defined by outward facing temperaments - 2022’s Out there in the middle of nowhere (Poole Music), which used a lap steel guitar and generative oscillators to evoke the surreal landscapes of the South Dakota badlands, and the largely synthetic atmospheres of the 2024 anthology Music For Save Rooms 1 & 2 (Editions Basilic) - the shift in Bennett’s worldly circumstances offered an intuitive return to the calm, inward states of creative exploration that have historically defined JAB’s sound. In parallel, context provided clear sources of inspiration for many of the album’s themes, as well as sources for some of its sounds. The aura of Greece, from the ancient to the present, from its stones and olive groves to its traffic, figures heavily across Ston Elaióna’s two sides. John Also Bennett’s Ston Elaióna forms an elegantly rigorous world of electroacoustic sonority, bridging the expanse of time with the immediacies of environment and happening in the here and now: a profound sonic mediation on the countless dimensions unlocked by life in Greece.

Formed in 1993 & hailing from Monaco, Godkiller was the vision of multiinstrumentalist & sole founding member, Duke Satanael, who between 1996 & 2000 released an EP & 2 studio albums under the Godkiller name, commencing with the black metal cult classic debut 'The Rebirth Of The Middle Ages'. Though initially more a death metal inspired act in the formative years, Godkiller quickly developed into a project fully engulfed in the spirit of 1990s black metal, bringing to mind acts like Emperor & Satyricon for the implementation of such strong atmospherics, though on later releases Godkiller incorporated more industrial & electronic elements into the compositions as part of its creative evolution. 'Deliverance' was Godkiller's second studio album & final release before the project was laid to rest & ventured into a more electronic & industrially metallic direction for what could be considered a more contemporary & expressive take on Godkiller's established brand of darkness.

Discover the melancholic sound of Margitte

Hailing from the historic city of Ghent (BE), Margitte crafts a unique sonic tapestry that resonates with both ethereal and fierce. Think Portishead, Pj Harvey, The War on Drugs, St. Vincent and even Gainsbourg. Her music is a journey through scapes, blending haunting melodies with intricate electronic textures and poetic lyricism.

Margitte's sound is both timeless and contemporary, weaving together the mystical and the modern with a vision that is thought-provoking as it is emotionally stirring.
Her performances are true to her artistry and passion. Margitte is not just to be heard, but to be felt, lingering on in your ears long after the last notes faded.

Come and get it, join the haze.

SOUNDS LIKE: Laura Marling, Beach House, Warhaus, Gainsbourg, St. Vincent, Liv, Portishead, PJ Harvey, Nick Cave, Neil Frances, James Blake, David Byrne, Grace Jones, Kruangbin, The War on Drugs.

Credits:

Margot De Ridder: Voice, keys, composition
Artan Buleshkaj: Guitar
Simon Raman: Drums, Percussion
Annelies Emmerechts: Voice, keys

Artwork by Mwahrk

Mastered by Lieven Van Pée

Belgian violinist and composer Elisabeth Klinck announces the debut album of her ensemble, Klinck Trio, on VIERNULVIER Records. My Hair is Everywhere will be released on November 7, 2025 on vinyl LP and through all digital platforms.

Rooted in improvisation and guided by openness, the Klinck Trio — Adia Vanheerentals (saxophone, voice), Maya Dhondt (piano, voice), and Elisabeth Klinck (violin, voice) —crafts music where sound and silence are equally vital.

Their debut album is an exploration of fragility, unfolding like a delicate conversation in which each note is chosen with intention and every pause carries presence.

Recorded in the summer of 2024 at Studio Ledeberg, My Hair Is Everywhere captures a moment in time: three musicians meeting in sound, each bringing their own timbre, language and natural state of being into dialogue. Klinck offers seeds of material —metaphors, sketches, sonic ideas — that the ensemble shapes into fully formed pieces. The result is an album that stands complete, yet carries within it the openness to unfold further in live performance, where new layers and resonances can emerge.

In the spirit of American composer and pianist Meredith Monk, the trio embraces lightness andvulnerability, crafting soundscapes that feel both childlike in their intimacy and expansive in their emotional reach. My Hair is Everywhere balances melancholy, tenderness, and harmonic interplay with silence, breath, and resonance—the subtle negative space where music continues beyond the notes themselves. By recording in close proximity, every detail emerges: the strike of piano pedals, the clicking of saxophone keys, the intake of breath, and the faint displacement of air. Textures of dragging violin, whispered fragments, and soft humming become almost tangible, drawing the listener fully into this intimate, enveloping present
moment.

Above all, this compelling debut is an invitation to listen differently: to enter a transformative space where three distinct musical voices find each other in fragility.
The artwork, created by French artist Annabelle Guetatra, reflects the album’s sense of lightness through color and playful collage work.

Waxwork Records is thrilled to announce the exclusive release of the WEAPONS Original Motion Picture Soundtrack, in proud collaboration with New Line Cinema and WaterTower Music. Scored by Ryan Holladay, Hays Holladay, and director Zach Cregger, this haunting and immersive album accompanies the highly anticipated mystery-horror film WEAPONS.

Written, produced, and directed by Zach Cregger (Barbarian), WEAPONS tells the chilling story of seventeen children from the same classroom who vanish into the night—each fleeing their homes at 2:17 AM, drawn by an unseen force toward an unknown destination. Their simultaneous disappearance baffles authorities and sets the stage for one of the year’s most unsettling cinematic experiences.

The WEAPONS soundtrack captures the eerie atmosphere and emotional intensity of the film with original compositions from the Holladay brothers and Cregger. From minimal ambient textures to deeply unsettling orchestral crescendos, the score is both gripping and unforgettable.

Waxwork Records is thrilled to announce the exclusive release of the WEAPONS Original Motion Picture Soundtrack, in proud collaboration with New Line Cinema and WaterTower Music. Scored by Ryan Holladay, Hays Holladay, and director Zach Cregger, this haunting and immersive album accompanies the highly anticipated mystery-horror film WEAPONS.

Written, produced, and directed by Zach Cregger (Barbarian), WEAPONS tells the chilling story of seventeen children from the same classroom who vanish into the night—each fleeing their homes at 2:17 AM, drawn by an unseen force toward an unknown destination. Their simultaneous disappearance baffles authorities and sets the stage for one of the year’s most unsettling cinematic experiences.

The WEAPONS soundtrack captures the eerie atmosphere and emotional intensity of the film with original compositions from the Holladay brothers and Cregger. From minimal ambient textures to deeply unsettling orchestral crescendos, the score is both gripping and unforgettable.

“Is all that we see or seem but a dream within a dream?” This quote from a poem by Edgar Allan Poe sums up the lamenting, primal work that is "All That We See or Seem"; a project conceived between Finland, England and Brazil. The self-titled album consists of two long-form pieces of droning mysticism hailing from the trio of Gruth (concept, production, electronics), Ellen Southern (vocals, field recordings, percussion) and Johanna Puuperä (violin, modular synthesizer, additional vocals).

The album opens straight into a thousand yard stare with “Myrskymielellä", adapted from a 1891 poem by the Finnish national poet, Eino Leino, who wrote it at the tender age of 13. Here a blank distant droning of synths and the sounds of flowing water hover underneath like a dark river observed from the air. This is a sound and feeling that will stay constant for the entirety of the piece´s thirty minute duration. It is a trance-inducing composition that slowly unfolds elements of pagan ancestry into its own life. At first, faint female vocals are introduced as distant spatial elements, which gradually advance into waves of cries and anguish as the piece progresses and moves further into the storm. The tranquility of the first half is slowly morphed into a full blown ceremony as driving ritualistic percussion and a foreboding witch-like presence shifts the piece into a Dead Can Dance-like territory. Here a constant enveloping mixture of violins, modular synths, field recordings and vocal screams creates the feeling of a grande finale. It is an astounding piece of music that develops like a drone symphony for the beginning of time.

With the second piece, “A Dream Within A Dream”, from Edgar Allan Poe´s 1849 poem, you are transported to the shores of an undisclosed island; a place where it´s only you, your thoughts and the endless emptiness. The continual sound of waves is soon brought together with a cloud of synths and mourning violins that will keep a steady dreamlike state during most of the piece´s duration. This time the wordless vocals feel almost angelic in their pageantry. The composition flows like a slow caress of the soul and feels like the spirit twin of Gavin Bryars' “The Sinking of the Titanic” with its lamenting slow movements towards the unknown.

Truly a ghost of a record, “All That We See or Seem” is an experience hard to shake and feels like entering sacred ground. We are in a place surrounded by earth, both ancient and present. "Let loose, Vanha, the rage of an earthly storm! Detach the elements, completely open the sky! In the Earth, let an incessant storm prevail, so that in my chest I would not feel the miserable pain” - Eino Leino

A critique and embrace of self-destruction, esoteric vanity and inevitable ruin. The molten-red LP on Riot Season Records plunges deep into an abuse of distortion, existential doom and primal Stooges-like chaos. LA’s Acid Punk Power Trio returns to its mark 1 line up, now wielding a second addition in twin-drum assault
OVER-GAIN OPTIMAL DEATH are :Jasso : Guitar/ Vocals, Luna : Bass, Backhaus + TJ : Twin Drums
Jasso (guitar/vocals) is seemingly out for blood on this 4 track studio album, leading a violent dive into the abyss, Japanese Underground fury meets Hendrix’s wreckage, fuzz-drenched wah freak-outs compete against raw punk vocals caught in an endless slap back delay…
OVER-GAIN OPTIMAL DEATH are an Acid Punk power trio formed in 2008 hailing from Los Angeles, and now currently hiding out somewhere in the South of France.
Fronted by guitarist/ vocalist Jasso (Psychedelic Speed Freaks, Antarcticans), they push a special niche product of blown-out extreme psychedelic noise rock. Their sound is enveloped in a total nihilist
"No Hope" atmosphere of heavy lyrics and distortion, mating intoxicating pulsing repetition, hyperactive improvisations and out of body guitar solos.
Resurrecting US 60s punk and acid-riffage from the likes of Blue Cheer, the Stooges, MC5 and live Hendrix Experience, OVER-GAIN OPTIMAL DEATH also draws greatly on the in-the-red sound aesthetic and high energy of the Speed Freak Underground and Hardcore scene of 80s/90s Japan.

Expansive and ambitious, Tender Revolutions is the latest from Vietnam-born, Portland, Oregon-based multimedia artist Dao Strom. A fluid album, existing between genres—part ambient folk, part sound collage, part spoken word, part post rock—it blurs the line between the work of an experimental composer and the work of an accomplished singer-songwriter. Instruments slip in and out (guitar, piano, synthesizer, strings, drums, percussion) amid field recordings and samples, all anchored by Strom’s singular voice.

The songs of Tender Revolutions reflect on and embody themes of “yellow subjectivities”—the Asian body as perceived; the Asian feminine body as reflection/catalyst/consort—offering their own forms of response to troubling representations of Asian women in popular media in the West. A “re-voicing” of the problematic hit song “China Girl” by David Bowie re-inhabits this song from a discomfiting silence at its center, and serves as a fulcrum point in the album’s sequencing. Other songs utilize voice as both texture and lyric-driven telling to deepen angles of interiority and thematics of voice/silence.

While Tender Revolutions stands alone as its own whole, it also exists as part of a larger multifaceted project, drawing from a four-part song-cycle (Nhạc Vàng 1-4) and accompanying a series of hybrid-genre literary chapbooks (Yellow Songs 1-4). Released in collaboration with The 3rd Thing, an interdisciplinary publisher in Olympia.



[a] tender variation i [what is tender?]
[b] tender variation ii [when was the first time u felt loved?]
[c] tender variation iii [associations of yellow]
[d] tender variation iv [love object treason]




[i] [hailing tender]

Colleen ‘Cosmo’ Murphy presents ‘Balearic Breakfast’ Volume 4
Heavenly Recordings, limited edition 9 track double 12” vinyl

Released 29th August 2025
“There are curators, and then there's Colleen 'Cosmo' Murphy.” Resident Advisor

The sun has finally come out. It’s the first time something like this has happened for months and months; the first glow of an approaching summer, whatever date the calendar is currently saying it is. The whole thing acts as a curative meditation, miraculously wiping away all the greyness of the past few months. Right now, optimism abounds, outlooks change and your daily soundtrack has shifted from spiky and uptight into a kind of cosmic space where songs ebb and flow and drift on like rivers run on forever towards the glimmering sea. Bliss, right?

If you’re reading this, we’re assuming that you’re the kind of person who views summer as a state of mind rather than a good looking day on the BBC Weather app. With that in mind, we reckon you already know all about Heavenly Recordings’ series of untouchable, utterly essential Balearic Breakfast compilations, each one lovingly compiled by visionary DJ, producer and broadcaster Colleen ‘Cosmo’ Murphy - the genius club legend whose radio show of the same name (broadcast 10am to high noon every Tuesday via Mixcloud) began as an escape route from the pandemic before rapidly building a global community of dedicated Balearican listeners.

Each Balearic Breakfast album has provided a spiritual getaway from the greyness of the everyday through a handpicked selection of glorious, psychedelically coloured, expansive music. It doesn’t matter where on the planet the music hails from, or when it was made, it just matters that it fits like a jigsaw piece into the musical whole. Be it off world jazz music or vocoder led robo-disco music; whether decades old or pressed to vinyl for the first time, everything on these flawless Balearic Breakfast collections just needs to flow together and bring the listener into the sunshine, whatever time of year they’re listening.

Due for release this August, the fourth Balearic Breakfast compilation sees Cosmo take this head trip further than ever before. From the opening track’s swoop and glide that nods to Vangelis’ Blade Runner soundtrack before gliding into it’s own expansive voyage to the stars (Kandeen Love Song) to Cosmo’s own glorious Parisienne stroll through Saint Etienne’s recent Alone Together to Ilya Santana’s Spanish space disco anthem Cosmovision - a track that rolls through like a turbo powered Supernature - and the phenomenal 2015 disco version of Gloria Ann Taylor’s early ’70s classic Love Is A Hurtin’ Thing, this Balearic Breakfast offers the perfect soundtrack to the summer, whether it’s actually happening outside or just taking place in your head. After all, they don’t call breakfast the most important meal of the day for nothing.

Viereinhalb Jahre kein Dehuman Reign Album. Diese Wartezeit war schrecklich, aber hat nun endlich ein Ende. Die Berliner Band veröffentlicht am 25.07.2025 ihr nunmehr drittes und stärkstes Album "Dawn Of A Malefic Dominion" . Euch erwarten 43 Minuten knallharter Death Metal amerikanischer Prägung. Morbid Angel, Deicide und co. würden sicher einiges dafür geben, solch einen energetischen Brecher auf die Rille zu zaubern. Ein musikalisches Schlachtfest, welches euch die Gehörgänge versilbert und ordentlich das Blut auf Siedepunkt hochkocht. "Dawn of a Malefic Dominion" wurde von Tobias Engl, Ulf Binder und den Magic Sixteen in den Englsound Abyss und Studio B19 aufgenommen und produziert. Gemischt und gemastert von Lukas Haidinger im Deep Deep Pressure Studio. Cover-Artwork von Mitchell Nolte (Baest, Aborted, Sabaton) Gast-Soli: "Post-Traumatic Suicide Syndrome" - Lukas Haidinger (Distaste) "Preparing Armageddon" - Sebastian Ankert (Sinners Bleed) Gastauftritte auf "The Invasion": Vanessa Conrad, Alba Pardo, Anton Fortunato, Mune (Deathtopia), Til Pörksen und Apostolos (Rapture).

Globally beloved Australian trio Sons Of The East have announced their highly anticipated second album, SONS, due out via MGM (Metropolitan Groove Merchants) The Sons Of The East -- Jack Rollins (vocals, guitar), Nic Johnston (vocals, keys) and Dan Wallage (guitar, banjo) -- originally hail from Sydney's Northern Beaches, but their unmistakable sound has carried them to every corner of the globe. Blending folk, blues, soul, and classic country, their music channels the raw vulnerability of Townes Van Zandt and Gram Parsons, combined with the soaring harmonies of Crosby, Stills & Nash and The Avett Brothers. Known for their deft songwriting and a palpable sense of joy that runs through every note, they've built a career on both timeless recordings and legendary live shows -- the kind that leave audiences singing along.

"Different Talking", das sechste und bisher beste Album der vierköpfigen New Yorker Indie-Rock-Band Frankie Cosmos, scheint über Zeit und Raum hinweg zu existieren, so wie wir alle es irgendwie tun. Es ist eine Sammlung von Fragmenten und Erinnerungen, erinnerten Orten und neu interpretierten Gefühlen, die sich zu einem leuchtenden, summenden Ganzen zusammenfügen: eine robuste, weltgewandte Indie-Rock-Platte über das Altern und den Lauf der Zeit, die es dennoch schafft, sich hochaktuell zu fühlen. Die Sängerin, Gitarristin und Songschreiberin von Frankie Cosmos, Greta Kline, gilt seit langem als eine der gewandtesten und notwendigsten Autorinnen zeitgenössischer Indie-Musik, doch auf "Different Talking" werden ihre Texte etwas weicher, und der schräge Zynismus, der die letzten Alben prägte, weicht nun einer Anerkennung der großartigen und notwendigen Fehlbarkeit des menschlichen Gehirns und Herzens. "Different Talking" als Rückkehr zur alten Form oder zumindest zur üppigen Direktheit früherer Frankie Cosmos-Platten zu bezeichnen, wäre unhöflich, aber auch völlig falsch: Wie "Different Talking" deutlich macht, kann man nie mehr zu der Bequemlichkeit und dem Mut seiner frühen Zwanziger zurückkehren, aber diese Person lebt irgendwie immer in einem, egal wie sehr man sich verändert. Bei Different Talking geht es darum, diese Person zu finden, sie zu ehren und von ihr zu lernen. "Ein großer Teil des Albums handelt davon, erwachsen zu werden und herauszufinden, wie man sich selbst erkennt - wie zum Beispiel: 'Was ist ein Weitermachen?'", sagt Kline. "Wie kommen wir weiter, wenn wir süchtig nach einem Kreislauf sind, der uns in unserer Vergangenheit verfolgt? Das Schreiben von Songs ist nur ein Weg, um das zu überwinden". Kline ist seit ihren späten Teenagerjahren ein fester Bestandteil des amerikanischen Indie-Undergrounds. Ihre zahlreichen Bandcamp-Veröffentlichungen und ihr Debüt bei dem Indie-Label Zentropy aus dem Jahr 2014 führten dazu, dass sie als "Poet laureate of New York City DIY" bezeichnet wurde. Ein solches Etikett ist eine Menge für junge Schultern, aber es ist schwer zu leugnen, dass sie einen einzigartigen Einfluss auf die zeitgenössische Popmusik hatte. Wenn die Vorstellung, dass eine junge Frau in ihrem Schlafzimmer einen Synthesizer in die Hand nimmt, ein paar Songs ins Internet stellt und schnell zum Superstar wird, heute gang und gäbe ist, dann liegt das daran, dass Kline und ihre Kolleginnen das (weibliche) DIY-Genie normalisiert und verherrlicht haben, lange bevor sie in den Marketingbüros der Major-Labels an die Pinnwände geheftet wurden. Seitdem hat sich viel verändert: Nachdem Frankie Cosmos in den letzten zehn Jahren eine Handvoll verschiedener Permutationen durchlaufen hat, besteht die Band heute aus vier Mitgliedern: Greta Kline, Alex Bailey, Katie Von Schleicher und Hugo Stanley. Kline ist die einzige Konstante, aber Stanley, Bailey und Von Schleicher sind wichtige Mitstreiter, und es wäre falsch, die Namen "Greta Kline" und "Frankie Cosmos" synonym zu verwenden. Kline ist nach wie vor die primäre Songschreiberin, und die Musik auf "Different Talking" wurde von der Band als Ganzes arrangiert, aber dies ist das erste Album, das von der Band selbst aufgenommen und selbst produziert wurde. Nicht zufällig fühlt es sich wie eine reinere, destilliertere Aufnahme an. "Es fühlt sich an wie die beste Version von dem, was ich machen wollte, seit ich ein Teenager war", sagt Kline. "Obwohl dies in einem Wohnzimmer aufgenommen wurde, ist es so originalgetreu wie alles, was wir im Studio gemacht haben."

"Different Talking", das sechste und bisher beste Album der vierköpfigen New Yorker Indie-Rock-Band Frankie Cosmos, scheint über Zeit und Raum hinweg zu existieren, so wie wir alle es irgendwie tun. Es ist eine Sammlung von Fragmenten und Erinnerungen, erinnerten Orten und neu interpretierten Gefühlen, die sich zu einem leuchtenden, summenden Ganzen zusammenfügen: eine robuste, weltgewandte Indie-Rock-Platte über das Altern und den Lauf der Zeit, die es dennoch schafft, sich hochaktuell zu fühlen. Die Sängerin, Gitarristin und Songschreiberin von Frankie Cosmos, Greta Kline, gilt seit langem als eine der gewandtesten und notwendigsten Autorinnen zeitgenössischer Indie-Musik, doch auf "Different Talking" werden ihre Texte etwas weicher, und der schräge Zynismus, der die letzten Alben prägte, weicht nun einer Anerkennung der großartigen und notwendigen Fehlbarkeit des menschlichen Gehirns und Herzens. "Different Talking" als Rückkehr zur alten Form oder zumindest zur üppigen Direktheit früherer Frankie Cosmos-Platten zu bezeichnen, wäre unhöflich, aber auch völlig falsch: Wie "Different Talking" deutlich macht, kann man nie mehr zu der Bequemlichkeit und dem Mut seiner frühen Zwanziger zurückkehren, aber diese Person lebt irgendwie immer in einem, egal wie sehr man sich verändert. Bei Different Talking geht es darum, diese Person zu finden, sie zu ehren und von ihr zu lernen. "Ein großer Teil des Albums handelt davon, erwachsen zu werden und herauszufinden, wie man sich selbst erkennt - wie zum Beispiel: 'Was ist ein Weitermachen?'", sagt Kline. "Wie kommen wir weiter, wenn wir süchtig nach einem Kreislauf sind, der uns in unserer Vergangenheit verfolgt? Das Schreiben von Songs ist nur ein Weg, um das zu überwinden". Kline ist seit ihren späten Teenagerjahren ein fester Bestandteil des amerikanischen Indie-Undergrounds. Ihre zahlreichen Bandcamp-Veröffentlichungen und ihr Debüt bei dem Indie-Label Zentropy aus dem Jahr 2014 führten dazu, dass sie als "Poet laureate of New York City DIY" bezeichnet wurde. Ein solches Etikett ist eine Menge für junge Schultern, aber es ist schwer zu leugnen, dass sie einen einzigartigen Einfluss auf die zeitgenössische Popmusik hatte. Wenn die Vorstellung, dass eine junge Frau in ihrem Schlafzimmer einen Synthesizer in die Hand nimmt, ein paar Songs ins Internet stellt und schnell zum Superstar wird, heute gang und gäbe ist, dann liegt das daran, dass Kline und ihre Kolleginnen das (weibliche) DIY-Genie normalisiert und verherrlicht haben, lange bevor sie in den Marketingbüros der Major-Labels an die Pinnwände geheftet wurden. Seitdem hat sich viel verändert: Nachdem Frankie Cosmos in den letzten zehn Jahren eine Handvoll verschiedener Permutationen durchlaufen hat, besteht die Band heute aus vier Mitgliedern: Greta Kline, Alex Bailey, Katie Von Schleicher und Hugo Stanley. Kline ist die einzige Konstante, aber Stanley, Bailey und Von Schleicher sind wichtige Mitstreiter, und es wäre falsch, die Namen "Greta Kline" und "Frankie Cosmos" synonym zu verwenden. Kline ist nach wie vor die primäre Songschreiberin, und die Musik auf "Different Talking" wurde von der Band als Ganzes arrangiert, aber dies ist das erste Album, das von der Band selbst aufgenommen und selbst produziert wurde. Nicht zufällig fühlt es sich wie eine reinere, destilliertere Aufnahme an. "Es fühlt sich an wie die beste Version von dem, was ich machen wollte, seit ich ein Teenager war", sagt Kline. "Obwohl dies in einem Wohnzimmer aufgenommen wurde, ist es so originalgetreu wie alles, was wir im Studio gemacht haben."

A l’occasion des 20 ans de cet album devenu culte, Record Makers réédite une version spéciale anniversaire limitée (vinyles transparents – 500 exemplaires) qui ravivera la flamme des fans de la première heure, des nouveaux fans et des collectionneurs. "Vive la Vie" est aujourd’hui un album référent pour les amateurs de rap, reconnu par ses pairs lyricistes, c’est un de ses albums qui marquent à jamais une époque, celle des années 2000 et de son rap aux rimes fines et puissantes.



Le 15 novembre 2004 sortait "Vive la Vie" le premier album du Klub des Loosers.



On ne présente plus le Klub des Loosers et son unique membre Fuzati. Pourquoi ? parce qu'on en a un peu honte quand même. Imaginez un jeune versaillais que tout prédestinait à devenir écrivain maudit ou chanteur d'un groupe de pop répétant dans le garage parental le dimanche de 16h à 20h. Le genre de type qui passait ses samedis après-midi à la bibliothèque municipale, ses samedi soir à boire de la bière dans les squats de jeunes où on recense une fille pour dix mecs et où la phrase qui revient le plus souvent est "qui roule un joint ?"

Imaginez maintenant que ce type ait une illumination, au milieu de ces jeunes que tout prédestine à la réussite (HEC, science-po) et qui lorsqu'ils se retrouvent ensemble ne savent pas faire autre chose que de se défoncer. "Nous sommes un klub de loosers".



Comme il n'aime pas trop les gens, Fuzati fondera un klub dont il sera le seul membre. Comme il n'a pas de guitare que le hip hop est son seul ami il se dit qu'il fera ça comme musique. Bah oui c'est sympa le hip hop. Comme on lui a dit qu'il n'avait pas une tête de rappeur et que les casquettes à l'envers lui vont mal il ne montrera jamais son visage et portera un chapeau. S'en suivra un parcours classique de MC underground qui rappe pour la rue (mais aussi les avenues) et représente ses refrés illégalement enfermés derrière les murs des prépas t'as vu. Mixtapes, nombreux freestyles dans l'émission Greckfrite diffusée sur la chaine internet Canalweb, concert à la MJC de Versailles mais aussi dans un entrepôt désinfecté à Dunkerque.



En 2003 Il signe sur le label parisien Record Makers parce qu'on lui a appris qu'il ne fallait pas trop se mélanger avec les gens d'autres milieux. Sortiront deux EP, "Baise les Gens" et "La Femme de Fer" qui sont déjà des classiques pour au moins 32 personnes. La même année sort également l'album de l'atelier "Buffet des Anciens Elèves" auquel il participe avec Tékilatex du groupe TTC, James Delleck, Cyanure et deux producteurs de talent, Tacteel (Lex Records) et ParaOne (Institubes). En juillet 2004 sort le maxi du Klub des Loosers où collaborent MF DOOM, légende hip hop, et Jean-Benoit Dunckel, moitié du groupe AIR.

Editions Mego reissue the 2001 release Asuma by Finnish artist Ilpo Väisänen. Originally released on CD this is the first ever vinyl issue, remastered by Rashad Becker. 2001 is a landmark year for the artist following a wave of success from the notable outfit Väisänen formed alongside Mika Vanio, Pan Sonic (as they were now known then). Following a string of highly acclaimed and influential releases such as “Vakio”, “Kulma”, “A’ and “Aaltopiiri” Pan Sonic had toured the globe extensively leaving a trail of blown expectations and rumours of all manner of objects in venues cracking or falling apart due to the immense sound the duo concocted with their unique instruments.

Taking a break from the ecstatic cacophony of Pan Sonic, Väisänen retreated to work on a solo release which conjured the spirits of the former outfit whilst simultaneously carving out a more personal take on these new electronic forms.

Asuma is a precise study of drones, rhythms, clicks, ambience and gentle confusion. Whilst inhabiting a zone of abstraction the results also move in a natural field as Väisänen’s native Finland permeates these recordings as much as the idea of experimentation itself.

Autioitu 1 opens the album as delicate pinball rhythms bounce across the spectrum as a hairy drone hovers underneath. The mood is both intriguing and unsettling. Tukahduttaja is a delightfully disorientating sound sculpture that is hard to pinpoint what it actually is. Klikki is comparable to a microscopic version of Pink Floyd’s “Several Species Of Small Furry Animals Gathered Together In A Cave And Grooving With A Pict”. Asumaton is a foreboding miniature acting like a segway to Vallitseva which embraces the icy clicks that punctuates much of the Pan Sonic output. Arvioimaton Ongelma is an audio riddle whilst Jaettu jitters around a dancefloor crawl. Autioitu closes proceedings as a gentle ambient thumper. Asuma is awash with contradiction and mystery. This is time wrapped in twisted turns and rewards a neat payoff for those interested in the absolute fringes of electronic ‘dance’ music.

What's Not To Love? is an album of music from John C. Reilly's vaudeville-inspired show where he embodies a character called Mister Romantic. Mister Romantic marks the Academyr, GRAMMYr, and TONYr award nominee's most personal project to date. The show, which was created to foster empathy and love for one another, has been described by Vanity Fair as "fiercely funny," while Theaterly hailed it as one of the best performances of 2024 following a one-night show in New York City. John is backed by a band of multi-time GRAMMYr-winners performing songs from the Great American Songbook as his character sets out on a mission to get someone (anyone!) to fall in love with him.