Cerca:wild summer

Foehn & Jerome feat. Sonya Zlo - Macho Madness (PFFD003)

Berlin, Summer 2025 - A raw, hypnotic, and deeply conceptual collaboration is about to make waves. Austrian DJ and producer duo Foehn & Jerome, residents of Berlin's iconic Club Der Visionaere and founders of the Perfumed Freedom label, team up with Ukrainian artist and producer Sonya Zlo to present "Macho Madness" - a wild and genre-bending release born from an unfiltered studio jam that spiralled into something bigger. In addition to their experimental project Space Curls, with which the three artists also perform live shows, Sonya, Fabian, and Jerome have been working on their new techno/house project.

In a world where stereotypes wrestle for power, "Macho Madness" challenges everything we thought was normal. Overblown masculinity, the illusion of strength, and staged rituals of dominance – that is what we call the "Macho Madness".

Foehn & Jerome, known for their electrifying DJ sets, have been shaping Berlin's underground scene for over a decade. Sonya Zlo, who moved to Berlin from Kyiv in 2022, stumbled upon their gig by chance - and what started as a conversation about track ID's turned into a full-on collaboration.

"Working with Foehn & Jerome has taught me so much," says Sonya. "I come from a jazz background, so this was completely new territory for me - but bringing my melodic instincts into this heavy, industrial sound was crazy exciting".

Following Perfumed Freedom's recent releases "The Frisbee of No Return" and "Hermanngirl", the new record "Macho Madness" will be released in summer 2025. Play it, stream it, or pick up the limited vinyl - just don't expect anything ordinary.

Turning heads with their unique blend of garage, psych, punk rock Bad Bangs played across notable festivals and club shows throughout a 23 show run in 2024. Making waves at Left of The Dial (NL), Leffingeleuren (BE), Truenorayo (ES) and Gliding Barnacles Festival (PT) Bad Bangs make a charging return to the 2025 European Summer festival circuit. Their 2024 sophomore release Out Of Character was the first offering since their debut album Character Building. Somewhere between punk and country, folk and psych, Bad Bangs find themselves Out Of Character. The Melbourne based outfit's sophomore album bends across genres to form a unique soundscape of their own. Live tracking with the masterful Paul Maybury (Cash Savage & The Last Drinks, The Murlocs) captured the bands enigmatic live energy, whilst mastering by Jim Diamond (Ghetto Recorders, The White Stripes, The Dirtbombs, The Gore Gore Girls) secured the signature gritty sound of Bad Bangs. The album arrives with the punchy, punk-laced opening track Contest, which questions the fabric of an industry hell bent on image and conformity, and concludes with the psych infused Wild Mess which laments the shifting state of the natural world. Themes of social and environmental unrest swirl in the undercurrent of an album reflecting on immediate frustrations and personal reflection. With a staple cult following in their hometown of Melbourne, Bad Bangs have supported a high caliber of contemporaries over the years such as Shannon and The Clams, The Murlocs, Rolling Blackouts Coastal Fever and Chastity Belt. Bad Bangs Out Of Character is set for re-release through Beast records (FR) and locally released via Blossom Rot Records (AU&NZ) (Snowy Band, Cassie Ramone and more) Bad Bangs are part of Ya Ya Yeah's booking roster throughout EU. Bad Bangs members are Shelby De Fazio, Tim Ryles, Sophia Lubczenko and Gab Portocarrero.

Following the resounding success of the first volume, which sold 600 copies during its confinement, Aktshun returns with a second E.P. featuring 6 vibrant, eclectic tracks. This new opus is rooted in smooth Detroit house, high-energy disco-funk, the wild nights of Paradise Garage and the unique ambience of Bronx block parties.
The Aktshun duo, formed by Marotti - producer and creator of electronic instruments - and Marrrtin - DJ, graffiti artist, producer and member of Funky Bijou -, unite their passions for house, disco, hip-hop, funk and musical illustration to offer a rich and captivating sonic experience.
The first track, “Light Headed”, featuring the American singer Saucy Lady, priestess of modern funk, who has collaborated with E Live and J-Zone, among others, blends frenzied percussion, warm Fender Rhodes chords and a heady melodic chorus, ideal for rocking dancefloors this summer.
“Respect” offers a hybrid fusion of house and disco, where we imagine Moodymann crossing paths with Chromeo, buoyed by a hypnotic Moog solo.
“Vibration” pays homage to Loleatta Holloway and her iconic ‘Love Sensation’, evoking David Mancuso's legendary evenings at the Loft, between gospel and dance.
“Brokjazz” has a deep house vibe, blending tropical vocals with bewitching sensuality.
“Chaussette” offers an irresistible jazz-funk groove, while ‘Gonalate’ is inspired by classic disco-funk sounds, with a piano reminiscent of the legendary compositions of bands such as Change, D-Train and West End Records legends.
Finally, the cover of this new E.P. is signed by Brazilian artist NIHAO, bringing a unique and colorful visual touch to this musical creation.

Though they may not have intended to do so, Naptown's trinity, also known as 81355 (pronounced BLESS), rang out as revolutionaries with their 2021 debut record This Time I'll be of Use. When Oreo Jones, Sirius Blvck, and Sedcairn come together, genre evaporates into enthralling poeticism and sonic hypnosis. Their sophomore LP Bad Dogs, releasing July 11th on Joyful Noise Recordings, acts as an expansive continuation of 81355's signature sound: an angelic, gritty, enthralling urban hymnal for the disillusioned mind. The history of 81355 stretches far back into the history of Naptown's creative scene. Jones and Blvck struck a match as one of Indy's most influential hip-hop collectives, Ghost Gun Summer, before they brought on Sedcairn (Moose Adamson) in 2020. Before Adamson infused 81355 with his melodic soundscapes, he produced Grampall Jookabox, an underground indie meets jangle pop project. Though they may be known primarily for their musical notoriety, the members of 81355 are steadfast in their commitment to uplifting their community with collective creative expansion. Sean (Oreo Jones), alongside his partner Jane Sun Kim, produces and curates Chreece, the largest Midwestern Hip-Hop festival hosted in the heart of Naptown. Niq (Sirius Blvck) is pivotal in the empowerment and advancement of Indy Hunger Network, a local non profit that addresses food insecurity across Indianapolis. Moose (Sedcairn) is a key contributor to Joyful Noise, an Indy based independent label cutting records for artists of all genres. For the first time, the project's live band is part of the production, with Sharlene Birdsong on bass guitar, Dimitri Morris on guitar, and Pat Okerson on drums. The Bad Dogs listening experience also seeps into visual realms: a short film titled Sleep Study will be released in tandem. Sleep Study_soundtracked, written, and produced by 81355, who also star in the film alongside friends and fellow artists from the community_features afrofuturistic sci-fi undertones that explore the toxifying implications of algorithmic control, postmodern brain rot, and late-stage capitalism. As the texturally emotive punctum of its cover art (painted by Stockholm based artist Julia de Ruvo) conveys, the heart of Bad Dogs draws its perseverance from the wild reservation dogs pulsing through the rust-hued indigenous lands of New Mexico and beyond. They are untethered in their roaming, sacred in their fierce communal belonging, yet undefined by a physical place. A vital essence mirrored by 81355: boundaryless, primal creative cultivation that defies what some may attempt to categorize as hip hop or progressive rap.

Limited Vinyl Box Set including 6x olive 12” vinyl & download code

Cocoon Recordings presents: Cocoon Compilation V

Back for the summer season, Cocoon Recordings proudly unveils the next chapter in its iconic compilation series. With its 22nd edition, Cocoon Compilation V once again bridges past and future, showcasing the essence of electronic music’s constant evolution. True to the spirit of the label, this handpicked collection delivers a diverse, emotional, and forward-thinking selection that drifts through shimmering currents, pulsating machinery, and moments of pure release.

Delenz & Zeitstill set the tone with “Place To Be”, a smooth and warm opener that invites the listener into a meditative microcosm. What starts as dreamy minimalism steadily unfolds into deep, shimmering depth. A sublime invitation to get lost in sound. Superpitcher takes us further into the mist with “Dream B”, an ethereal and cinematic dreamscape that floats between melancholy and magic. Its stretched textures and hypnotic pacing form a gentle passage into inner space.

The energy intensifies with Patrice Bäumel’s “Nat”, a sophisticated tension-builder with a subtle pulse and haunting atmospheres. Sound waves that breathe, evolve, and subtly command movement. Sawlin switches gears with “Der Jasager”, a deep technoid beast that hits with low-end pressure, modulated percussions, and gritty textures and spooky features. Raw, physical, and unrelenting.

A bright contrast comes from DC Salas and his track “Escapism.” Psychedelic, synth-heavy, and effortlessly groovy, it channels the playful side of electronic storytelling. It channels a trancy 90s flair with its vibrant energy, brilliant use of choir bits, and irresistible vibe that transports you back to a golden era. With Tal Fussman’s “Eyes”, we’re taken into euphoric territory. This stomper is a conversation between piano and strings, rising above crisp grooves, weaving emotion and momentum with finesse.

On the second half of the journey, legendary Ken Ishii teams up with Yuada to deliver “Split Second,” a bold, wild and crazy techno excursion full of mechanical grace and Japanese precision. An ode to organized chaos. Marcel Fengler’s “Aura” follows, powerful and deep, pushing air like an engine through tunnels of tension and light. The blend of rhythm and sentiments is a masterclass in functional elegance and states of mind.

Impérieux brings us “Kala,” a track both twisted and beautiful. Its detuned hypnotic melodies and skewed harmonics are unsettling in the best way while the unconventional rhythms cloak the entire track in a mysterious aura. It creaks and twists toward transcendence, underscored by primordial flute sounds. A fractured lullaby for the club. Joe Metzenmacher injects wildness and attitude into the mix with “Da Freak.” Fuzzy, distorted synths collide with a funky bassline, sharp guitar stabs, and mad bleep effects, bringing the raw groove and dancefloor chaos of a bygone funk era into a futuristic setting.

Joseph Capriati debuts on Cocoon with “Cosmopop” and surprises with an unexpected stylistic shift. Capriati explores a more melodic, emotionally driven sound. Subtle harmonies meet a warm, rolling groove. It’s a bold and personal statement, showing a new side of an artist who continues to evolve beyond expectations. To close, Matthias Schildger offers “Distorter,” a raw and emotional cut that leaves room to breathe while keeping the mind spinning. It begins with beautiful pads, before distorted kicks drop in, yet the track retains a certain tenderness, like the feeling of sitting at a tranquil, untouched nature spot, surrounded by the beauty of the world. A grand finale to a compilation that refuses to settle.

From sunrise moments to peak-time madness, Cocoon Compilation V captures the full spectrum of what dance music can be. Transcendent, visceral and endlessly evolving. This isn’t just a collection of tracks. It’s a curated experience for the body, the mind and the soul.

Stirring, snaking riffs, set closer to Josh Homme’s sun-bleached Joshua Tree compound, than the English Channel-lashed grin-and-bear-it character of Cleethorpes, sound the return of Lincolnshire teen-trio, Revivalry as they get set for 2025. Rushing and rattling into 2025, targeting fresh terrain as last year’s land grab of main stage festival and support slots becomes yesterday’s news, most recent single "Lost"'s three-and-a-half minutes of abandon pushes at the door of another sunny season of big shows and wild memories. School was out in 2024 as the teenagers took off from their hometown to first tackle the festival fields of Kendal Calling last summer, becoming the youngest ever band to play the Main Stage, having been hand-picked by bookers who spotted them mid-flow at one of their earliest shows. With trailblazing single, The Town, accompanying them on their way as thousands of new music-hungry gig goers caught the band on stages of increasing scale, their online listeners kept pace. Touring from sweaty venues to major outdoor support slots, their impressive run included a first, major Manchester headline, playing at Deaf Institute as the year met it’s festive close. Delving into record collections and distinct individual tastes, the three members of Revivalry refer with comfort to Rage Against The Machine and Bring Me The Horizon, as easily as fellow documentarians of youth, Arctic Monkeys or Supergrass, when discussing their beyond-years writing.

There’s a particular magic that happens when seasoned producers with global roots come together under a shared ethos - not for hype, but for connection. That’s precisely what MISINGO represents. A cross-continental studio experiment born out of Covid-era isolation, the group spans hemispheres and histories: Yorkshire's Doorly, L.A. legend Gary Richards (aka Destructo), and Australian duo Colour Castle. Their debut offering, Give You Love, lands via UK House Music institution Hard Times Records, and it’s as emotionally resonant as it is built for the floor.

Anchored by a slow-burning acid line and moody, immersive synthwork, 'Give You Love' carries the DNA of classic house without feeling like pastiche. DJ Rae’s smokey vocal, recorded in Doorly’s Ibiza studio, sets the tone - raw, intimate, immediate. Gene Farris enters with a gravelly, magnetic counterpoint, flipping the call-and-response into something spiritual. It’s a record that feels both new and deeply lived-in, a jam session from afar that somehow lands with unity and purpose.

For the remix suite, Hard Times dig into family ties and deliver a heavyweight lineup that spans generations of dance music lineage.

First up, DJ Pierre, the Phuture pioneer himself, brings a Wild Pitch revision that is pure summer sleaze and shimmer. Glistening keys, kinetic snares, and a syrup-thick bassline collide in a mix that’s tailor-made for golden-hour sets and open-air systems.

DJ Romain brings that New York swing. All velvet chords, stabbing pianos, and organ swells that spiral skyward. It’s gospel-house energy that doesn’t need to shout to be heard, a reminder that soul still moves the dancefloor.

Closing out the package is Charles Lavine of Soul Clap fame, whose Boston-bred funk sensibility steers things into new territory. He strips back the mix, lets Rae’s vocal ride the groove, and injects a subtle bounce that turns heads and hips in equal measure.

With 'Give You Love', MISINGO and Hard Times haven’t just released a single, they’ve bottled a moment: one born of distance, stitched together with soul, and destined for collective release on dancefloors worldwide.

65 years ago, on October 17th, 1959, Cliff Richard and The Shadows hit the No. 1 spot in the UK with ‘Travellin’ Light’. This was the first single credited to Cliff Richard and The Shadows – re-named from their original title - The Drifters.
This notable anniversary will be marked with a brand-new collection which focuses, for the first time, solely on Cliff’s output with The Shadows (or The Drifters for pre-October ’59 releases). All their classic hits are included going right the way up to their 2009 reunion; making it the most comprehensive Cliff Richard & Shadows collection to date.

Welcome to this wild ride of cheese, wooden shoes, green gold and a whole lotta Dutch rock 'n roll attitude! This album is a high-octane compilation where today's garage, beat and rock'n'roll artists pay tribute to the rich history of Nederbeat and pop Each covering a classic Dutch tune with their own twist, companied with their own original. Think of it as a musical time machine with a detour through the gritty, reverbing walls of Studio Teepdek, guided under strict supervision by studio guru Arjan Spies and released by Soundflat Records / Topsy Turvy Records; home of the best contemporary Dutch artists. Buckle up, because you're about to hear the Netherlands' musical past and present collide in a glorious explosion of sound with a shot of cheap adrenaline.Enjoy the ride and to turn it up to 11.

The Krontjong Devils:The Greatest thing to come out of Holland since the Dutch Treat! Playing Surfmusic since 1991 and still going strong! Mooon: This young power trio consists of brothers Tom and Gijs and their cousin Timo. These cats take you to the Golden Age of pop music: the psychedelic boom of the 60's and 70's. The Kryng:Three jinxed no-good guys with an insatiable appetite for great popsongs. Their ace in the hole is singer/ guitarist/ cult- hero Mark ten Hoor, an extraordinary craftsman //when it comes to writing catchy and powerful songs. Fleur:She has the looks, the moves and a voice that sounds like a cool breeze on a hot summer day. The Heck:High pace, hectic, energetic and wild 60's garagepunk outfit all the way from Klazinaveen. Feel free to place them somewhere in between The Sonics and Reigning Sound. Frankie:The young and aspiring talent Frankie from the Eindhoven writes double edged songs like a head in the clouds and roots from your feet. Written like a dream but grounded in reality. Les Robots: Mechanical men from outer space, stationed in Rotterdam, presumably programmed by legendary producer Joe Meek to make astonishing instrumental music.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

Sie maschen's noch einmal. THE SOUND OF MONEY mit "Two: Rhyme On". Die Band aus dem Münchner Pop-Underground - genauer: mit Albert Pöschl, direkt aus dem Kern des faszinierenden Echokammer Labels, Claudia Kaiser, ex-Moulinettes, mit der aparten Stimme, die an eine Münchener Nico ohne den Drogen BS erinnert und Martin Lickleder, der für Wortakrobatik, Referenzspielereien und flotte Discostreicher berüchtigt ist - mit der Weiterführung ihres spielerischen, nicht minder faszinierenden Konzeptes: An Anagrammatical Exorcism of the 70s. Sie nahmen die Titel ihrer 12 Lieblingsalben aus den 70ern als DNA - und schüttelten die Buchstaben kräftig durch! Heraus kamen 12 neue Titel, für neue Songs. Im Jahr 2017, auf ihrem Album MORE? WHY NOT! haben sie das Gleiche mit den 60ern gemacht. Jetzt toppen sie den Spaß sogar noch. Kurz zurückgespult, 2017: Pu?nktlich zum 50-ja?hrigen Jubila?um des Summer of Love 1967 pra?sentieren The Sound of Money 2017 ihre Konzeptplatte "More? WHY NOT! - AN ANAGRAMMATIC EXORCISM OF THE 60S". Dazu stellen sie die Titel von 12 ihrer Lieblingsplatten aus diesem Pop-Ur-Jahrzehnt zu Anagrammen um - und schwuppdiwupp hatten sie 12 Titel fu?r ganz neue Songs: Aus "Pet Sounds" wurde "Nude Spots", aus "Piper At the Gates of Dawn" wurde "Tiger T - Death Happens to a Few", aus Bobbie Gentry's "The Delta Sweete" wurde "Let's Eat The Weed",... 2025: Geradezu u?berpu?nktlich vor dem 50-ja?hrigen Punk-Jubila?um sind sie wieder zur Stelle: Am 23.5. wird, wieder über das Hamburger BB*ISLAND Label "TWO: RHYME ON - AN ANAGRAMMATIC EXORCISM OF THE 70s" erscheinen - mit Anagrammen von David Bowie bis Chic, von Nico bis Slits, von Bob Marley bis Kraftwerk. Beispiel? Aus "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" wird "Dr. Dr. Themefart, Frustrating Himself, Posed as Gay Old Nazi SS".Exodus von Bob Marley wird zu Sex Duo. (Die beiden songs sind schon mal als Singles / videos veröffentlicht ) Und wie die Titel-Buchstaben haben sich auch Musik und Text zu einem schillernden, grotesken Kaleidoskop klassischer 70s-Popstile zurechtgeschu?ttelt: Landwirtschafts-P-Funk, Finanzcasino-Gospel- Disco, Anti-Pogo-Postpunk, zweifelnder Heimcomputer-Dub-Jazz, der gesamte Bowie in dreinhalb Minuten ru?ckwa?rts ... Nicht nur Live eine Wilde-Maus-Fahrt des Pop-Glam in Mu?nchner Underground-Allstar-Besetzung: CLAUDIA KAISER: Gitarre, Bass, Gesang ALBERT PO?SCHL: Bass, Gitarre, Gesang MARTIN LICKLEDER: Geige, Mundharmonika, Gesang TOM WU: Schlagzeug FRANZISKA ERDLE: Percussion SVENJA PFEIFER: Keyboards, Gesang

AAA Gripper have seemingly dropped out of nowhere but the story goes back. The idea was conjured in the summer of 2023 at the first Wrong Speed Records festival in the town of Glastonbury. Inspired by a weekend of radical sounds and fine company a decision was made - 'let's try something'.
Recording hours and hours of bass and drums in deep Somerset then editing it down to a sharp and concise 32 minutes. From Can's Lost Tapes boxset to No Means No's 0+2=1 via a thousand song structure decisions. Wild guitar strafe and precise hyper vocal added. Nine tight tunes magically appeared. The band raised a glass of tea. The band was born. The 'something' had worked.
We Invented Work For The Common Good is a deep dive into the world of the working person. How we end up. Why we climb onto the conveyer belt and never get off. The front cover is one of many of the same photo taken every day, on the walk to work, the dark mills looming - KEEP THEM BUSY, THEY WON'T RISE UP.
Music is therapy. They think it's part of the bread and circuses. We know it's armour. We know it's weaponry.
Gigs being planned.

An album for sleeping and waking, walking and driving, hunting and fishing, for loitering outside a roadhouse on the haunted tundra. Okay in elevators, not great for dinner. On Caveman Wakes Up, Friendship’s new album and second for Merge Records, the band’s historically capacious definition of country music grows wider still. Shambolic guitars are offset by flute pads, bleary poetry is set against a Motown rhythm section, a song about Jerry Garcia and First Lady Betty Ford fades out with a drum solo, like if Talk Talk came from a dingy Philadelphia basement and was fronted by James Tate. Songwriter Dan Wriggins’ ragged baritone cuts through eleven murky, swirling country-rock songs with profound lyrical substance and sincerity. Like an alarm clock incorporated into the edge of a dream, Caveman Wakes Up belongs equally to the conscious and subconscious mind, fraught with background, steeped in reference and experimentation, delivered casually and as a dire warning, dedicated, above all, to music’s creative soul. Over the years, dedication has paid off. Friendship has become a kind of reverse supergroup,
wherein the band itself and each individual member are located centrally in an increasingly prominent scene of young folk and country musicians and songwriters. Drummer Michael Cormier O’Leary leads the instrumental collective Hour and, along with bassist Jon Samuels, runs Dear Life Records, home to friends and peers who count Friendship as a major influence including MJ Lenderman, Florry, and Fust. (Samuels also plays lead guitar in MJ Lenderman and the Wind). Guitarist Peter Gill’s band 2nd Grade records prolifically. Wriggins began writing the songs of Caveman Wakes Up on a downtuned classical guitar of Lenderman’s and finished on a barely tuned piano in an apartment he shared with Sadurn’s G DeGroot.
In the summer of 2023, Wriggins had just left the Iowa Writers’ Workshop, where his love for poetry and mistrust for the academic poetry world grew in tandem. A relationship fell apart, and Wriggins crashed for several weeks at Lenderman and Wednesday’s Karly Hartzman’s home in North Carolina, where he recorded the first demos of “Resident Evil,” “All Over the World,” and “Love Vape.” Wriggins returned to Philadelphia, and the band got to work on new ideas, finally tracking the album in five days with engineer Jeff Ziegler (Mary Lattimore, War on Drugs). Wriggins recorded vocals with Love the Stranger engineer Bradford Kreiger, and organ, violin (Jason Calhoun), and flute (Adelyn Strei) were recorded by Lucas Knapp in a West Philadelphia church.

On And the Wind (Live and Loose!), the Asheville-based Lenderman handles most of the playing, but with The Wind, it"s a multi-headed beast. This live album is culled from sold-out summer 2023 shows on a brief headline run during what some might call a wild-*ss couple of months. It captures a near-euphoric moment in time - dizzying and exhausting and, most of all, having some real true-blue f**king fun with your best friends. It"s 90s college rock meets Americana hootenanny, an electrifying piece of the MJ Lenderman lore that needs to be experienced live with a light beer in-hand - but in the interim, And the Wind (Live and Loose!) does its best to commit the scene to tape.

Canadian bowed guitarist and multi-instrumentalist C. Diab announces his fifth album Imerro, out February 16th, and presents the trip-infused lead single 'Lunar Barge'.

(Real name) Caton Diab creates soundscapes that evoke the spectacular wilderness of his childhood home in northern Vancouver Island. Incorporating experimental textures, folk overtones and tape manipulations, C. Diab uniquely finds the unseen spaces in-between, and fittingly dubs his creations "post-classical grunge". Imerro explores new sonic realms and is the culmination of a sound world that Diab has built up since the critically acclaimed 'No Perfect Wave' (2016, Injazero) and subsequent releases 'Exit Rumination' (2018), 'White Whale' (2020) and 'In Love & Fracture' (2021). The Wire calls it "ambient music in the best sense - music for living, which can be both non-invasive and immersive...epic"

Imerro was recorded in late July and August of 2021 at Risque Disque Studio in Cedar, BC, during the summer's unprecedented second "heat dome", which saw temperatures soaring to over 40 degrees. Recorded with regular collaborator and engineer Jonathan Paul Stewart, the pair journeyed by boat to the studio to a place with minimal distraction with a plan of "simple ecstatic improvisation." Diab explains: "I wanted to place myself in a space for creation with little thematic pretence, with the belief that music 'shows its face' as you move along. I would pick up an instrument, whether I had experience playing it or not, and make a sound. If it wanted to be played, it would play."

2025 Repress in Arctic Pearl Vinyl
Alles fließt, nichts bleibt wie es ist. Diese philosophische Erkenntnis gilt auch für das dritte Studioalbum der aufstrebenden niederländischen Rockband DOOL. Der treffende Titel "The Shape of Fluidity" zielt keineswegs nur auf die musikalische Innovation. Sondern das Album dreht sich um Themen wie persönlicher Wandel, physische Veränderung, psychologische Weiterentwicklung und die sich erneuernde Welt um uns herum. DOOL und insbesondere Sänger/in und Gitarrist/in Raven van Dorst stellen Fragen: Wie wirkt sich der Wandel auf uns aus? Wie bleiben wir uns selbst in einer Welt treu, die so unglaublich herausfordernd und aggressiv gegenüber dem Individuum ist? Wir müssen so fließend wie Wasser sein, um in diesem Ozean von Möglichkeiten und Ungewissheiten erfolgreich zu navigieren - und Frieden mit Chaos und Unbeständigkeit zu schließen. Musikalisch setzen DOOL den auf den beiden vorangegangenen Studioalben eingeschlagenen Weg fort, der emotionale Rockmusik mit Elementen aus dem Metal kombiniert. Dabei demonstrieren die Niederländer eine auffällige Reife und Kontrolle im Songwriting, die aus Jahren der Erfahrung gewachsen sind. "The Shape of Fluidity" zeigt eine eklektische, aber nahtlose Verschmelzung von Progressive und Post-Rock sowie Doom und Heavy Metal, die mit einer stets präsenten Eingängigkeit und hintergründigen Dynamik kombiniert sind. Es ist offenkundig, dass sich das Album thematisch mit dem Konzept der Identität vor dem Hintergrund einer sich ständig verändernden Welt befasst. Die Texte des Albums sind eng mit der Biografie von Leadsänger/in Raven verknüpft. Von Geburt an intersexuell, entschieden die Ärzte chirurgisch, dass der Säugling als Mädchen durchs Leben gehen solle. Dies führte zu einer Existenz auf der Suche nach der eigenen Seele, dem Kampf gegen Tabus und die Überschreitung von Grenzen, bis Raven vor kurzem beschloss, das zurückzufordern, was andere versuchten hatten, ihnen wegzunehmen - und ihre hermaphroditische Natur zu akzeptieren. Der Bandname DOOL leitet sich vom niederländischen Wort für "Wandern" ab. Bereits das im Jahr 2017 erschienene Debütalbum "Here Now, There Then" landete einen sofortigen Volltreffer. Der frisch-wilde Rock- und Metalsound aus den Niederlanden wurde von den renommierten deutschen Magazinen Metal Hammer und Rock Hard zum "Album des Monats" gekürt. Auch Vice (US), Aardschok (NL) und De Volkskrant (NL) überschütteten die junge Band mit Lob. Mit ihrem zweiten Album "Summerland", das 2020 erschien, übertrafen DOOL die ohnehin schon hochgesteckten Erwartungen. Es gab weitere "Album des Monats"-Auszeichnungen in den deutschen Magazinen Rock Hard (10/10) und Sonic Seducer sowie eine #2 Soundcheck-Position in Metal Hammer (DE) und Metal.de, und eine weitere #1 im polnischen Metal Hammer - mit einem Berg herausragender Kritiken auf beiden Seiten des Atlantiks. Mit "The Shape of Fluidity" bieten DOOL sehr viel mehr als nur verdammt coole Musik. Die zusätzlichen Dimensionen von Tiefe und Bedeutung sind Teil ihres einzigartigen Reizes und kommen auf dem neuen Album deutlich zum Vorschein. Mögen sich alle, die wandern, unter der fluiden Flagge von DOOL versammeln!