Cerca:vessel

The Telescopes Radio Sessions collects together the essence of three live session recordings in 3 different countries over a three year period between 2016-2019. This is the third in a series of radio session releases from Tapete Records that have so far included The Monochrome Set and Comet Gain. More session releases are being lined up for the rest of the year and beyond - enjoy the sonics and stay tuned. Over the years I have read a lot on people’s impressions of The Telescopes. Some folk think it’s a collective, others imagine it used to be a band and feel nostalgia towards what they consider to be the original line-up (even though many had come before, during and since) and some people refer to it as currently a solo career. In a way this is all true and none of it is. When faced with these kind of questions, along with questions about the style of music that The Telescopes make I often say The Telescopes house has many rooms, which explains things perfectly for me but for people on the outside looking in it only serves to increase their confusion. For me, confusion isn’t such a bad thing. Everything is born into confusion, the sense we try and make of that chaos is interesting and excites me. The universe often disorientates, it sends me a jumble of thoughts and impressions coupled with a feeling of something I need to express… if I could only decipher the encryption. This is how The Telescopes music comes to be and it is also how The Telescopes came to me. I regard The Telescopes as an entity of it’s own that introduced itself in my darkest hour and I was chosen as its vessel. From the second it arrived I was obsessed to the point where there was nothing else. A bit like having an imaginary friend. As the obsession grew it began to infect others, everybody loved my imaginary friend and wanted a piece of it. As its success grew however, so did the corruption, until one day the entity fell silent. The silence lasted for years, I tried everything to reconnect but it was having none of it. I had been a bad caretaker, I had let the house become infested and I had lost my way. This epiphany served to remind me of simpler times when anything felt possible with this entity by my side. It had trusted me with something so simplistically profound and I had let it down. The realisation of this was a eureka moment. I am not The Telescopes, I never was and never will be, I am the caretaker, the lighthouse keeper and if a job is worth doing it is worth doing well. With this dawning, I felt a crack open up in the cosmic egg and a familiar confusion in my head. The entity had returned. It was time to start untangling its tangled threads once more, to make sense of what it was saying, this time without corruption. It’s all about listening. I listen to what my cosmic friend sends me and channel this expression into what you hear through your speakers. It may take one person to achieve this, it may take more. There is no set line up or instrumentation that can hold The Telescopes. Whatever it takes to hit the zone, whatever is available, absolute focus is imperative. Sometimes it takes sabotage to keep that line of vision intact, there is no room for preconceptions or complacency in making the music. The Telescopes music is the now

incarnate and a state of total being is necessary to achieve. From the outside looking in... again, it’s all about listening. What comes through your speakers is the only thing that matters. The music either reaches you or it doesn’t. Everything else may seem interesting or confusing but ultimately it is corruption. So if you’ve bought the record, read the sleeve notes and bought a ticket to see a live show, don’t be surprised if the line-up is or isn’t the same as the recording. The only thing that is for sure is that The Telescopes as an entity is speaking to you in its own voice in every scenario.
Of course the difference between albums and live shows is that you can play the record over and over again to the point where you know every line and every note that was played. Whereas with live events you are left with an impression that can only be replayed in your mind. It can be frustrating at times. When you are touring with a great line-up and feel like something exciting is happening, you want everyone to hear it, not just the people at the shows but the people that couldn’t make it on the night as well. There is no guarantee that there will be the same line-up at a live show as there is on the album. This is why live sessions are important, they document a side of things that is often fleeting. Here we have three sessions, all different people transmitting The Telescopes sound on each. Some are regulars, some dip in and out and some were just passing through. In each case The Telescopes chose them as their vessel and as the lighthouse keeper I did everything I could to help them on that journey while trying to be a good caretaker to the house of many rooms. The Telescopes have been invited in for many sessions over the years, the first two were for John Peel on BBC Radio 1. We also recorded a session for Marc Riley and Mark Radcliffe before their
celebrity when they had a show on BBC Radio Manchester. We could have compiled this album from those sessions, it was certainly considered but Tapete and myself believe this selection gives an exciting glimpse into that fleeting side of The Telescopes in a constant state of flux that is left mostly to myth and imagination. For those who listen to the records but have never had the chance to take in the live experience, welcome to the other side. For those that follow us live, here’s a little reminder and a keepsake. Infinite suns. Stephen Lawrie February 2024.

"Tools of Oppression / Rule by Deception" is the new full length album by The Hope Conspiracy. The album was engineered by Kurt Ballou and Zach Weeks at God City Studios. Artwork for the release was created by acclaimed artist Alexander Heir (Death/Traitors). This is true sonic violence aimed at political division, economic manipulation, war profiteering, media propaganda and other vile forms of global oppression. Air raid sirens wail as the foreboding "Those Who Gave Us Yesterday" and "The Prophets and Doom" explode forth like burning shrapnel. The hell ride continues with "A Struggle For Power" and "Live In Fear", two vicious blasts supercharged with malice and contempt. "Shock By Shock" and "Of A Dying Nation" introduce doom and gloom heaviness, grinding down the tempo to a mid-paced barrage. "Confusion/Chaos/Misery" picks up the pace, going scorched-earth policy on the sociopolitical nightmares that ensnare us all while "Broken Vessels" plows into overdrive about the opioid crisis and addiction as a whole. This leads to "The West Is Dead" a dystopian hook laden hardcore anthem, and epic closer "The Specter Looms"; An ominous soundtrack to the steady decline of our modern age. There is no question, The Hope Conspiracy is back to make a cold hard statement about existence in the end times.

ora’s most innovative modern exponent bathes in communion with a re-imagined classical guitar, unveiling a new and previously unsuspected musical universe. In a meeting between instruments, not traditions, these maestros emerge from quite different and distant musical worlds. Ballaké Sissoko’s kora tradition and lineage traverse the once powerful West African empire known as Kaabu. South African Derek Gripper’s roots are in European classical guitar but infused with a unique jeli music mastery that takes guitar’s modern history in a captivating new direction.

But we are not hearing these traditions in dialogue: these masters meet on the sonic groundings of the kora, instrument of the griots, resonant vessel of the sacred and profane, sound carrier of history and wisdom. Through two decades of commitment and study, it is to this terrain that Gripper brings his guitar to meet its multi-stringed cousin.

The two men do not share a spoken language, but if it is true that music speaks universally, then they were already involved in profound dialogue long before they met for the series of London concerts which yielded this recording session – a session which matches deep communion with sparkling improvisation, which pushes a living tradition into brand new sonic spaces, and opens a live and direct channel of communication between kora and guitar. In the complex web of theme and variations spun by Sissoko’s twenty-two strings and Gripper’s six, a new African string theory is elaborated.

“Musically we tested each other,” says Sissoko, explaining that the most magical aspect of their encounters are spontaneity. “We have the mastery of our instruments, the technique and a good ear. Derek is very curious, that’s very important.”

“He’s just such a good listener,” says Gripper about Sissoko. “It’s not what he plays, it’s how he plays it. He’s an amazing interpreter, the prime master of timbre.”

Recording by Taylor Pollock at Platoon Studios, London.
Mixed, edited and produced by Derek Gripper.
Mastered by Murray Anderson at Milestone Studios, Cape Town.
Produced for vinyl by Chris Albertyn and Matt Temple at Matsuli Music.
Mastered for vinyl and lacquers cut by Frank Merritt at The Carvery, London.
Vinyl pressed at Pallas GmbH, Germany.
Sleeve notes by Francis Gooding, French translation by Paulo Goncalves.
Cover design by Toby Attwell at Twoshoes, Cape Town.

Xciot EP is the first release by Pyramid Of Nahash (Pyramid Of Knowledge and Nahash), who in this project for Asphalt Records, tag team to merge breakbeat science and bass experiments with classic analogue Trance and early Ambient-Techno melodies. The result is a cinematic, sci-fi safari through outer space in a futuristic hardcore vessel.

Remixing duties have been handed to a second collaborative effort: RVSHES (Logos and DB1), who in their Recombination Mix, carve, bend and reshape the original material into a rugged, angular, yet melancholic techno artefact.

Aspernamentum is the creation and vision of multi-instrumentalist D. Johansson. In a scene flooded with vague mindsets and a artificial approach to meaningful and pure black metal, Aspernamentum carves it's own path fuelled by the true essence of Satanism. "Primal Judgement Manifesto" is the culmination of a seed planted years ago. It's the first step and presentation of Aspernamentum and it signifies the core elements of the true spirit of black metal. Primal, simple and honest.

Aspernamentum is the creation and vision of multi-instrumentalist D. Johansson. In a scene flooded with vague mindsets and a artificial approach to meaningful and pure black metal, Aspernamentum carves it's own path fuelled by the true essence of Satanism. "Primal Judgement Manifesto" is the culmination of a seed planted years ago. It's the first step and presentation of Aspernamentum and it signifies the core elements of the true spirit of black metal. Primal, simple and honest.

Introducing the next release in Names You Can Trust's long-running collaboration with the prolific and symbiotic musical universe of Bogotá, Colombia. Mau Gatiyo y Los Años Maravillosos formed in 2021, arising from the very same fertile ground of the Teusaquillo neighborhood that has spawned many records and musical mischievousness. At the heart of this experimental movement is what can only be described asTropicanibalismo, where a deep hunger for the roots of Colombian tropical music are only satiated by dissecting it, consuming it and ultimately creating something new again as some kind of untraditional, unholy, and yet referential form of musical sustenance.

Within this concept, there's a clear lineage of inspired and visionary artists that have been featured throughout NYCT's record catalog for the last 15 years that includes luminaries Frente Cumbiero, Meridian Brothers, and Romperayo. Each of these artists' tentacles have touched several parallel projects from their talented neighbors and friends, and whether through production, playing, engineering, or mixing, these collaborations have heavily contributed to a very fruitful and colorful scene that could only exist within Colombia's capital, while also gaining notoriety in the nooks and crannies of northern latitudes like New York, Chicago, and Los Angeles.

Mau Gatiyo, a talented accordian player and vocalist, together with his group (translated as The Wonder Years), is precisely one of these projects, a collective that has found their calling in the echoes of thevallenatosandcumbiasthat once populated the nation's airwaves throughout the 20th century. It's a traditional format that has always lent itself to storytelling, whether it be anecdotes about daily life, or using one's voice to raise uncomfortable questions in protest against the system. This is where Mau Gatiyo's poetic, almostnew wavetimbre finds a lane of its own, straddling a 2020s societal landscape under the guise of ostensibly old-time accordion music.

The debut 7-inch from the group, an excerpt from their recently released album Baño Unisex, was recorded at Mambo Negro studios by Ivan Medellin (La Sonora Mazurén) and mixed by Eblis Alvarez of Meridian Brothers, both familiar names and contributors to the NYCT catalog. Alvarez himself, who has emerged in recent years as an international beacon of this new tropical avant-garde, is no stranger to flipping traditional styles on their head, or at least respectfully off-kilter. Mau Gatiyo y sus Años Maravillosos proves to be another great vessel for this veryBogotano expression, draping the classical playing of its group members in a modern day cosmopolitan expression of righteousness, both outwardly in their dashing, performative fashion sense, and lyrically with their cheeky "420, Reloj"ganja-tune promotion – or even their outward dissenter objections to paramilitary and firearm power in "Poder Militar."

Ultimately, these songs lie at the crossroads where two cultural eras connect and become something unique, a protestation one with performance, dance, and artistic expression. This cathartic ritual of protest has a storied history in music, and these two new entries into the NYCT catalog will hopefully find their place amongst a modern day canon, or at the very least, have your feet moving and your head nodding in just approval.

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her." Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson"s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus. But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment." While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha. Over the past decade, she"s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson"s 2016 breakout single "Work." Additionally, she"s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there"s no sound Wilson can"t adapt to and sprinkle her cyan-colored magic over.

Following on from his Mesh debut Jinjé returns with Escape from Luna, a four-track EP expanding further on the infinite sonic worlds of his solo production work.

Lead single and opening track ‘BBLO’ launches with a voyage into detailed textural layers, gliding through microscopic ambient-leaning compositions before dropping into a weighty electronic beat with touches of electro and dub.

As a founding member of the Leeds-based experimental band Vessels - an act acclaimed for their ability to defy categorisation - Lee Malcolm is no stranger to breaking the boundaries of genre. With his solo project, Jinjé, he delves into atypical sonic wanderings that navigate between acoustic and electronic, synthetic and organic, employing a learned ear for the fusion of seemingly disparate elements. For this latest release on Mesh, he hones in on these moments of coalescence, fusing various stylistic pieces together with an infectious sense of optimism and an open mind.

Jinjé steers his work across various genres not out of a desire to be referential, but out of a necessity to explore the peculiar spaces that sit between. Implementing this approach with a great understanding of musical production and spatial composition, ‘Escape from Luna’ stands as a crucial documentation of his craft.

Manchester independent Dark Red Records brings it's 4th instalment in the form of a multi-artist EP from Ego-Free Sequences, rising new French talent Sqimer (also on mastering duties for this release) and label regular Darsk, all coming together to provide a satisfyingly varied selection of dark, meditative Drum & Bass and Jungle tracks which meld together classic breaks and editing with a distinctly modern and experimental approach, all finished in a wholly organic and listenable style. Feedback and support has been very strong across the board with two tracks played by scene legend Klute on his Kool FM show in February.

Total Reality is the sound of a group in constant forward motion, finding new sounds and new ways to express their joy and catharsis in making music together. On album opener 'Slug' the band sing ‘I’m feeling like a slug so I gotta visit the doctor’, and though reliably tongue-in-cheek you get the feeling they mean it - the members using Dr Sure’s Unusual Practice as a vessel to lift each other up while unpacking the collective fatigue of life in late-capitalist society. “A mood like that, you're apt to stay in it, not dial your way out. Despair like that, about total reality, is self-perpetuating." - Philip K Dick On their third LP Total Reality - a title ripped from the classic sci-fi novel ‘Do Androids Dream of Electric Sheep?’ - Dr Sure's Unusual Practice tackle lofty issues through a hopeful lense, avoiding the often cynical pastiche of modern punk music. Total Reality touches on varied influences - proto-punk to post-punk, new wave to no wave, krautrock to trip-hop - to concieve something fresh and inspired. Beginning in 2018 as a solo project, here Dougal Shaw is joined by an ever-expanding collective. In addition to a core band (Jake Suriano, Miranda Holt, Tali Harding-Hone, Mathias Dowle) the new record features contributions from Jack McCullagh (Cracodile), Stu Patterson (The Empty Threats/Placement), Alannah Sawyer (Babyccino/Mouseatouille), as well as Shaw’s partner Alivia Lester, and baby Blue - who also adorns the album cover. An almost polar approach to the band’s acclaimed second LP ‘Remember The Future? Vol. 2 & 1’, which was tracked live in a recording studio, Shaw refers to Total Reality as a ‘collage album’. There are pieces of pandemic-era demo’s; drum machines coexisting with a live-tracked rhythm section; fresh collaborations; layers of guitars, synths, horns and percussion; collected field recordings and samples - all cut and glued in Shaw’s home studio to realise an expansive and colourful record.

Following on from his Mesh debut Jinjé returns with Escape from Luna, a four-track EP expanding further on the infinite sonic worlds of his solo production work.

Lead single and opening track ‘BBLO’ launches with a voyage into detailed textural layers, gliding through microscopic ambient-leaning compositions before dropping into a weighty electronic beat with touches of electro and dub.

As a founding member of the Leeds-based experimental band Vessels - an act acclaimed for their ability to defy categorisation - Lee Malcolm is no stranger to breaking the boundaries of genre. With his solo project, Jinjé, he delves into atypical sonic wanderings that navigate between acoustic and electronic, synthetic and organic, employing a learned ear for the fusion of seemingly disparate elements. For this latest release on Mesh, he hones in on these moments of coalescence, fusing various stylistic pieces together with an infectious sense of optimism and an open mind.

Jinjé steers his work across various genres not out of a desire to be referential, but out of a necessity to explore the peculiar spaces that sit between. Implementing this approach with a great understanding of musical production and spatial composition, ‘Escape from Luna’ stands as a crucial documentation of his craft.

Canadian performer and composer Sarah Belle Reid’s 2021 acclaimed album, first time on vinyl, expanded with two new incredible songs, remastered featuring new artwork. From distant ocean song to the clang and howl of a murky forgotten memory, MASS is a dreamlike collage of shrill shrieks, gasps, corroded brass choirs, and melting modular synth soundscapes, all heard through a mist of hiss and noise. Fused with equal parts spastic improvisation, shrouded ritual, and meticulous arrangement, it presents a sonic topography at once tongue-in-cheek, sensitive, and nightmarish. With discordant chorales and angular trumpet improvisations churning in an ever-evolving wash of whispers and howls, MASS is a collection of three hazy, harsh, and frightful sound worlds. With tracks meandering between aggressive rhythms, eerie ambiances, and abrasive cut-up electronic textures, MASS draws inspiration from early tape music, horror film soundtracks, and grindcore. It was assembled between listening to extended doses of Else Marie Pade, Daphne Oram, Eliane Radigue, the Locust, Edgard Varèse, Maryanne Amacher, Dick Raaijmakers, Naked City, Mr. Bungle, and Thomas Ankersmit, bringing a little bit of all of them along with it. MASS was recorded and mixed over the course of three weeks in January–February 2021 while in the midst of a cross-country move. Recorded entirely in short-term housing away from her studio (and most of her instruments), Reid relied exclusively on her voice, trumpet, flugelhorn, household objects, and Make Noise's Strega semi-modular synthesizer for all sound materials. Original sound materials were recorded loosely and independently with little to no overdubbing, instead relying on meticulous editing and processing in the manner of classic tape music.

Canadian performer and composer Sarah Belle Reid’s 2021 acclaimed album, first time on vinyl, expanded with two new incredible songs, remastered featuring new artwork. From distant ocean song to the clang and howl of a murky forgotten memory, MASS is a dreamlike collage of shrill shrieks, gasps, corroded brass choirs, and melting modular synth soundscapes, all heard through a mist of hiss and noise. Fused with equal parts spastic improvisation, shrouded ritual, and meticulous arrangement, it presents a sonic topography at once tongue-in-cheek, sensitive, and nightmarish. With discordant chorales and angular trumpet improvisations churning in an ever-evolving wash of whispers and howls, MASS is a collection of three hazy, harsh, and frightful sound worlds. With tracks meandering between aggressive rhythms, eerie ambiances, and abrasive cut-up electronic textures, MASS draws inspiration from early tape music, horror film soundtracks, and grindcore. It was assembled between listening to extended doses of Else Marie Pade, Daphne Oram, Eliane Radigue, the Locust, Edgard Varèse, Maryanne Amacher, Dick Raaijmakers, Naked City, Mr. Bungle, and Thomas Ankersmit, bringing a little bit of all of them along with it. MASS was recorded and mixed over the course of three weeks in January–February 2021 while in the midst of a cross-country move. Recorded entirely in short-term housing away from her studio (and most of her instruments), Reid relied exclusively on her voice, trumpet, flugelhorn, household objects, and Make Noise's Strega semi-modular synthesizer for all sound materials. Original sound materials were recorded loosely and independently with little to no overdubbing, instead relying on meticulous editing and processing in the manner of classic tape music.

Footballhead is a Chicago-based alternative rock band headed by singer/ songwriter Ryan Nolen - At its heart, the band is a vessel to toil forward through internal and external insecurity It also serves the unrelenting spirit of new- millennium Midwestern youth, with MTV and skatepark dreams in the core of their memories. By blending pop structures with alt and emo sounds, Footballhead channels the frantic, dramatic, and anthemic to map the pressure points of existence. It's outcast music, revitalized in search of a modern, blissful awakening. Nolen was a skate kid from the western Chicago suburbs; the one who only kicked it with older neighborhood kids. The punkish attitude of late-90s and earlyaughts alt- rock galvanized Nolen, from the infectiously fun music down to the fashion.

A teenage relocation to Palm Springs, CA coincided with Nolen inundating himself with all the music he could: Warped Tour, 411 videos, Limewire, and the like. The Footballhead ethos comes from this comfort zone of pop impulses and raucous energy, carried by a DIY spirit that grants Nolen the autonomy to facilitate honesty and reflection. Joined by Adam Siska, snow ellet, Liam Burns, and Robbie Kuntz, Footballhead crafts supercharged rock songs like brief, open secrets. However weathered one is from their struggles and mistakes, this music offers unbridled fun as a reprieve, and salves for the shaken. These are your old friends inviting you in to commiserate, elevate, and believe.

More Than Ten Years Since He First Emerged On Skull Disco, Appleblim Presents His Debut Album. The Label He Co-founded With Shackleton Was The First The World Heard Of His Productions, But Laurie Osborne's Innate Relationship With Electronic Music Culture Reaches Back Much Further Than Those Groundbreaking Early Days Of Dubstep. Early Days Spent Soaking Up Hardcore, Jungle, Techno And Plenty More Besides Were Fundamental Foundations From Which To Spring Into The Then-unknown Realms Of Sub-low Half-step Club Music. At That Time Fwd>> And Dmz Were The Church For This Ritualistic Sound, And Appleblim Was A Regular Fixture At Both.

As Dubstep Matured, Magnified, Mutated And Meandered, So Appleblim Moved Beyond Skull Disco To Explore Different Avenues Of Expression In The New Many- Layered Club Music Landscape. His Own Apple Pips Imprint Was A Natural Vessel On Which To Explore The Emergent Fusions Of Hardcore-derived Sounds And The Us-born House, Techno And Electro, While Labels Such As Aus Music Equally Provided A Home For His Work (often Alongside Komonazmuk). Meanwhile Long-standing Collaborations With Alec Storey (al Tourettes / Second Storey) Finally Manifested In The Hyper-modern Mind-twist Of Also, Captured As An Album On Legendary Rave Label R&s.

More Recently It's Been Possible To Hear Appleblim Delve Into Electro-acoustic And Ambient Production Alongside Bassweight Sounds On Tempa, One Of The Original Bastions Of Dubstep Culture. As The Existing Boundaries Between Genres, Cultures, Eras And Scenes Continue To Dissolve, On His Debut Album Appleblim Offers Up A Fresh Approach That Brings Some Of The Foundational Sound Ethics Of Rave Culture Into A Modern Framework.

Hardcore Breaks Are Still A Regular Sound Source In Contemporary Club Tracks, But On Life In A Laser It's Instantly Apparent That Appleblim Has Moved Beyond Choosing Popular Drum Samples To Truly Tap Into The Elusive Feeling Engendered By The Music Of The Era. It's A Tricky Feat To Manage, But In The Pie-eyed Chords Of ignite', The Subby 808 Tom Basslines On nci' Or The Mr. Fingers Synth Flex On manta Key' The Sonic Finish Sports The Same Understated Grit And Grime That Made Those Early Records So Timeless. There's Still Space For Modernism, Not Least On Snaking 2-step Killer i Think We'll Let The Gas Sort This One Out', But It's Offset By A Layer Of Dust, Not To Mention An Inherent Moodiness That Can't Be Faked.

This Fine Balance Of Rave Romanticism And Future-minded Approaches Binds Together In A Cohesive Conceptual Statement. First And Foremost It's Appleblim's Personal Reflection On The Music That Has Moved Him On Countless Dancefloors Since His First Flirtations With Soundsystem Culture. At The Same Time The Canny Influx Of Modern Ideas Into The Soundworld Of The 90s Genuinely Results In A New Proposition, Making For A Perfect Fit On The Modern-day 'ardcore Fetishists Label Of Choice, Sneaker Social Club. Many May Claim To Draw On Old-skool Influences In Their Modern Trax, But Take One Listen To flows From Within' And You'll Feel The Same Time-slipping Surge Of Future-shock As The Ravers At Lost, Dreamscape, The Dungeons, Clink Street, Blue Note And All Those Other Iconic Spots.

Grilchy Party presents another epic from Da Buze Bruvaz own Clever 1 and mysterious production wizard Lord Beatjitzu. This new adventure follows where the last one, Perverted and Drunken, left off. They have cooked up another album following the footsteps of their classic Perverted and Drunken LP. This new adventure follows where the last one left off. Introducing Master Sip, Legendary Teacher Of Bruce Lo Da First Drunken. It is illuminating one of the many chambers of their Drunken Fly Chi style, the martial arts mind states of Clever 1 and Lord Beatjitzu combining as the "Fly Chi School Of Da Drunken Artz". The duo pops the listener in the face With vicious, bloody Nunchuck Lyrics over high-velocity, swift kick-in-the-chest production. With these seasoned masters of their perspective arts, they form a powerful, unstoppable combo and truly take no prisoners in this Action-Packed sophomore foray. It's a pure Saturday morning Kung Fu sound theater where Wing Chun enters the world of Drunken Fist on Wax. Beware as you enter the Dojo and watch your step!

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.

LIMITED RED COLOURED VINYL!
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.

Das eindringliche, grandiose neue Hulder-Album "Verses in Oath", das in den tristen, kalten Monaten des nordwestlichen Winters entstanden ist, stellt die bisher majestätischste, ungezähmteste Manifestation der Band dar, auf der neues Territorium in Brand gesetzt und mit Schwert und Schild erobert wird.

Im Jahr 2022 veröffentlichte Hulder das 5-Track-Mini-Album "The Eternal Fanfare", das eine neue Phase in der rasanten Entwicklung des Projekts einläutete. Die Band setzte die Live-Bühne in Flammen und tourte das ganze Jahr über durch Nordamerika, bis ins Jahr 2023 hinein, wo sie auch zum ersten Mal in Europa auftrat.

Angespornt durch diese edlen Siege wurde der Boden für die Ungeheuerlichkeit von 'Verses in Oath' bereitet. Aufgenommen von Hulder, wurde der Mix und das Mastering der Kultlegende Ahti Kortelainen von den Tico Tico Studios in Finnland anvertraut, dessen überwältigende Liste von Credits sich über Jahrzehnte erstreckt und unter anderem Barathrum, Belial, Impaled Nazarene und Moonsorrow umfasst. Das Ergebnis ist sowohl schonungslos brutal als auch wehmütig beschwörend; schwarzes Blut auf weißem Schnee.

Die uralte, von Trauer erfüllte Melancholie und der brodelnde Geist, die das Wesen von 'Hearken The End' ausmachen, durchdringen das gesamte Album und sind mittlerweile ein grundlegendes Detail in der Identität von Hulder, deren Wurzeln tief in längst vergessenem Boden liegen. Und während die schneidende Grausamkeit und das zerrissene Fleisch von "Vessel of Suffering" und "Enchanted Steel" eine räuberische Barbarei beschreibenwillkommen heißen, ist es die Verbindung all dieser Elemente, die "Verses in Oath" in das zeitlose Pantheon der stärksten Black Metal-Linie stellt.

Während sich der Black Metal in unzähligen Ablegern und Subgenres bis zur Unkenntlichkeit weiterentwickelt hat, ist Hulder fest in der zerstörerischen Vorherrschaft, den Ritualen und Traditionen des Genres verwurzelt und trägt die Fackel seiner Ursprünge und seines Erbes erhaben empor. Und dennoch verblüfft "Verses in Oath" mit dem bösartigen Geist kreativer Autonomie und individueller Freiheit, der notwendig ist, um die wahren Höhen des Genres zu erreichen.