Buscar:you re me

Ulver geben heute bekannt, dass ihr klassisches Promo-Tape aus dem Jahr 1993 auf Peaceville Records neu aufgelegt wird. 2023 markiert dreißig Jahre seit der Aufnahme und die Platte zeigt Ulvers Black-Metal-Wurzeln, bevor die Band begann, sich außerhalb der Grenzen des Genres zu entwickeln.

Weithin bekannt für hochkarätige Klanglandschaften und exquisite experimentelle und elektronische Kunst als Teil ihrer kontinuierlichen und sich ständig verändernden Entwicklung, verschmolzen Ulver's Anfänge ätherischen Black Metal mit zarten Folk-inspirierten Passagen. Trotz der rauen Kanten sticht das Material der Band mit seinen höchst unkonventionellen Kompositionen im Vergleich zu den primitiveren und roheren Angeboten anderer schnell aufstrebender Acts in der norwegischen Szene jener Zeit hervor.

Vargnatt war Ulvers erster Ausflug in die Wildnis und ein außergewöhnliches Debüt-Demo, das das verwendete, was zu einem Grundelement ihrer legendären Trilogie (Bergtatt, Kveldssanger und Nattens Madrigal) werden sollte, nämlich akustische Gitarren inmitten melodischer und oft komplexer und verworrener Arrangements, die mit einem bereits fortgeschrittenen Grad an Musikalität gezaubert und vorgetragen wurden, mit dem unheimlichen Gesang des langjährigen Frontmanns Kristoffer Garm" Rygg. Zu dieser frühen Inkarnation von Ulver gehörten auch Carl-Michael Eide von Aura Noir / Ved Buens Ende am Schlagzeug sowie Robin "Mean" Malmberg (von den norwegischen Pionieren Mysticum) am Bass.

Das auf dieser Platte enthaltene Audiomaterial besteht aus Originalmaterial, das vom Original-DAT stammt. Die Veröffentlichung enthält außerdem den Bonustrack "Vargnatt", der 1993 live bei Bootleg TV in Oslo aufgenommen wurde und aus der Nationalbibliothek Norwegens stammt.

Kristoffer "Garm" Rygg äußerte sich wie folgt zu der Wiederveröffentlichung:
Das ist das erste, was wir als Ulver aufgenommen haben. Wikipedia sagt, es sei unser zweites Demo, aber es ist unser erstes und einziges. Stovner, Oslo, 1993, zwei-drei Tage, wham, bam, thank you mam, mit sehr wenig oder gar keiner Erfahrung. Wir waren Kinder, 17-19 Jahre alt, und haben das Wasser getestet. Abgesehen vom Gesang und einigen merkwürdigen musikalischen Entscheidungen muss ich sagen, dass ich mich heute weit weniger dafür schäme, als ich es wahrscheinlich in den Neunzigern tat, und ich muss darüber lächeln, dass diese Aufnahme 30 Jahre später immer noch aktuell ist. Es erfüllt mich mit Freude (und etwas Traurigkeit), die verrückten Launen und Dinge, die wir erlebt haben, in relativ unberührter Form wiederzuhören. Peaceville, der Hauptlieferant vieler unserer Lieblingsplatten von damals, leistet hervorragende Arbeit bei der Wiederveröffentlichung einiger dieser alten Underground-Tapes. Also, nach ein paar limitierten Auflagen, "warum zum Teufel nicht", oder? (Kristoffer Rygg, Ulver)
Tracklisting

Jetzt, wo der Spätsommer/Herbst langsam ausfadet, denkt man, Herr Jemine, jetzt kommen sie wieder, die kalten dunklen Tage, eigentlich wollte ich doch nie mehr frieren. Also, aber genau jetzt, zur rechten Zeit, kommt Paul mit einer neuen Platte um die Ecke, die sich um dich legt wie eine wärmende Decke, tröstet und dich sanft mit in den in den Herbst nimmt. 9 klassische Pop Songs, die sich Zeit lassen und Ruhe ausstrahlen, mit grossen Melodiebögen und aufgeräumten, eleganten Arrangements. Sie handeln von Abschieden, neuen Freunden, sind Melancholie und Zuversicht. Das Ende des Sommers musikalisch umgesetzt. Brian Wilsons Surfs Up und die grossen europäischen Chansonballaden eines John Cale oder Gilbert O'Sullivans und der One Man Beatles Pop von Emitt Rhodes kommt einem in den Sinn und doch schreibt nur Paul Abbrecht diese ganz besonderen Sloe Paul Songs, die es eben nur hier gibt.

An incredibly special project between decorated Manchester punks Loose
Articles and lauded Marseille rapper NADIR, the inviting clash of cultures
come together in a beautiful smash hit - penned as a love letter to
Manchester and Marseille, merging culture, camerarderie and football
You try genre defining this one??? The B Side remix by The Beatmasters is currently
bouncing across dancefloors across the UK and France.

Hikmah is an astonishing solo piano work from virtuosic and far-ranging
sound scientist; deep and compassionate thinker and musical treasure: Pat
Thomas
Pat Thomas was Born in Oxford, UK to Antiguan parents on July 27, 1960.
Interestingly, just over 4 months separate his birth to that of fellow modern piano
master Matthew Shipp (Dec 7, 1960) - whose The Piano Equation was TAO Forms
inaugural release. Thomas is most certainly among the Black Mystery School Pianists
of which Shipp elucidates in the title essay of his recently published first book.
Eight thoroughly focused improvised and otherwise compositions recorded at Fish
Factory studio in London. The album's title, Hikmah, means "wisdom" in Arabic. The
title is also presented in two different forms of Arabic calligraphic script on the cover
artwork. This album brings the information. The vibrantly living jazz tradition and new
modes of expression in abundance are brought forth from a lifetime of work and a
decades long devotion to Sufism, understanding that the practice and performance of
this music is an elemental form of spiritual practice. As William Parker writes in the
liner notes, "the music becomes the prophet and the prayer all in one gesture." And,
"If you haven't yet heard the music of Pat Thomas, get hip to it quickly."
Attuned American audiences are most likely to have become familiar with Pat
Thomas through his work with the quartet [Ahmed] , whom over recent years have
amazed with their mesmeric, long-form explorations on the compositions of Ahmed
Abdul-Malik, and more recently, Thelonious Monk. Their debut US performance took
place in March 2025, and TAO Forms were lucky members of the rapt audience at
Roulette in Brooklyn that night; the group flew to Knoxville the next day to perform to
an equally rapt audience at Big Ears.
Available on 6- panel digipak CD printed on heavyweight board, with liner notes by
William Parker and LP with insert featuring liner notes by William Parker & Pat
Thomas Discography + download card. Ltd edition of 500.

Portland ist einer der überzeugendsten Indie-Exporte Belgiens. Mit einer Mischung aus cineastischem Pop, melancholischem Folk und festivaltauglichem Rock feierte die Band ihren Durchbruch 2019 mit ihrem Debüt „Your Colours Will Stain“ und dem Nachfolger „Departures“ (2023). Bekannt für ihre zarten Harmonien und emotionsgeladenen Live-Shows, wurde Portland von europäischen Trendsettern hoch gelobt und stand auf Bühnen von Rock Werchter bis Eurosonic. „Champain“ ist ihr bisher persönlichstes und furchtlosestes Werk.

„Champain“ ist Portlands drittes Album und die erste Songsammlung, die nach dem Kampf der Singer-Songwriter Jente Pironet gegen Hirnkrebs entstand. Es ist ein Album, das die Narben der letzten Jahre deutlich sichtbar trägt, aber gleichzeitig eine unbändige Lebensfreude ausdrückt. Es liest sich wie das ehrliche Reisetagebuch einer wandernden Seele, von der Bühne ins Krankenhaus an den Schreibtisch und wieder zurück. Vom Fallen – hart und tief – und dem Wiederaufstehen. Von einem Sänger und einer Band, die durchhalten. Und das Ergebnis zeigt: Portland hat noch nie so energetisch, reifer und reicher geklungen wie auf diesen 10 neuen Songs.

LOST SONGS – 10 unveröffentlichte Lieder von Mikis Theodorakis, arrangiert und gespielt von Henning Schmiedt

Zum 100. Geburtstag von Mikis Theodorakis (29. Juli 2025) erscheint bei Intuition Records ein besonderes Album: LOST SONGS – vierzehn bislang unveröffentlichte Kompositionen des weltbekannten griechischen Komponisten, erstmals präsentiert in einer außergewöhnlichen Klavier-Version von Henning Schmiedt. Der Berliner Pianist und Komponist beschreibt die bislang unbekannten Lieder wie folgt: „Diese Melodien sind so großartig, dass man sich wundert, dass sie noch nicht existierten. Jetzt wissen wir, dass es sie doch gab.“ 2008 kam es im Athener Studio von Mikis Theodorakis zu einem besonderen Moment: Henning Schmiedt spielte dem Komponisten persönlich seine Klavier-Versionen der LOST SONGS vor. Theodorakis, der sich an einige der Lieder erinnern konnte, an andere nicht, hörte aufmerksam zu, machte Anmerkungen und gab Hinweise, die direkt in die abschließende Gestaltung der Stücke einflossen, so dass LOST SONGS als posthum veröffentlichtes Album gelten kann. Diese Lieder dokumentieren die musikalische Reife und Ausdruckskraft von Mikis Theodorakis bereits in jungen Jahren: Die meisten der LOST SONGS entstanden Anfang der 1940er-Jahre – ein eindrucksvoller Einblick in die frühen Kompositionen eines der bedeutendsten Komponisten des 20. Jahrhunderts. Die Lost Songs werden nun zu seinem 100. Geburtstag veröffentlicht.
Rezensionen
»Schmiedt überzeugt nicht nur durch sein sensibles und nuanciertes Klavierspiel, sondern auch als einfühlsamer Interpret, der das Werk und die geistige Welt Theodorakis’ genau zu verstehen scheint.​« (jazz-fun.​de, Juli 2025)

TRON: Ares (Original Motion Picture Soundtrack)
24 neue Tracks von Nine Inch Nails: das Duo aus Trent Reznor und Atticus Ross veröffentlicht am 19.
September 2025 sein Album zum Disney-Kultfilm „TRON: Ares“, inklusive der neuen Single „As Alive As
You Need Me To Be”. Damit setzt die Band eine erfolgreiche Soundtrack-Geschichte fort: ihre vorherigen
Untermalungen zu Filmen wie „The Social Network“ (2010), „Soul“ (2020) oder „Challengers“ (2024)
wurden unter anderem mit zwei Oscars, drei Golden Globes, einem Emmy und einem Grammy ausgezeichnet. Die düstere Industrial-Handschrift Trent Reznors fängt die Stimmung der Sci-Fi-Reihe „TRON“, für
deren letzten Film Daft Punk komponierten, perfekt ein. Reznors Einfluss auf die alternative Musikwelt ist
seit den späten 80ern ungebrochen: mit Hits wie „Closer“ und „Hurt“ sowie Alben wie „The Downward
Spiral“ kombinierte das Mastermind elektronische Sounds mit Rockmusik wie nie zuvor. „TRON: Ares“ ist
die erste NIN Veröffentlichung seit fünf Jahren und liefert gleich 70 Minuten neue Musik – erhältlich ab
dem 19.09. auf CD und Vinyl.

Acclaimed electronic musicians, producers and sound architects Max Cooper and Rob Clouth team up for a new collaborative EP; a dark, playful four-track dive into ambient, breakbeat and techno’s subconscious flow, featuring a standout vocal performance from South London rapper FLOHIO.

Recorded over a series of spontaneous London sessions, “8 Billion Realities” channels years of creative exchange between two of the genre’s most quietly innovative artists and is a result of a decision between the longtime friends to refrain from conceptual overthinking in favour of instinct and joy.

As long-time admirers of each other’s audio/visual work, Cooper and Clouth collaborated in London together after both emerging from intense, idea-heavy album cycles. What followed was a series of exploratory sessions, half-improvised, half-built around half-formed thoughts.

The result is a club-ready EP that feels alive and human: imperfect and hypnotically rich.

“Rob Clouth has been one of my favourite electronic music producers since I first heard his work in 2011,” says Cooper. “His work is more full of ideas and structure than anyone else.” “We were both coming from extensive conceptual studio albums and both in the mood for simplifying things and having some fun with the music, so that’s what we did”.

For Clouth, no stranger to Max Coopers Mesh label having previously released an array of EP’s plus his 2020 debut album “Zero Point” this record marks a new chapter, both creatively and personally.“Something pretty new for me is collaborating,” he says. “You kind of have to when to stop, because if you develop an idea all the way to its endpoint, the other person has nowhere to jump in.”

The first “A Moment Set Aside” began as a break from another idea, a live, unplanned improvisation based around arps and ambience. “The track was written in about as long as it took to play it,” says Cooper. “It was pulled from a 1 hour recording session, more or less as you hear it… the energy and excitement grew as the unplanned moment bore some magic.”

“The lesson being that sometimes it’s helpful to set aside a moment without forcing results, and let the subconscious have something to say.” What followed was darker, heavier. “Asymptote” is detuned techno. Subversive and euphoric in its descent. “We found a sort of brain mangling, half consonant, half wandering detuned techno pulse, which we started chatting about being a sort of pit of spiralling body parts we were falling into,” says Cooper. “It was a lot of fun to work on and let loose with bigger kicks than I usually ever get to unleash.”

Then came “8 Billion Realities”, featuring a standout rap performance from FLOHIO; an emerging figure in the UK grime and rap scene. The track was inspired by conversations about algorithmic echo chambers and hyper-personalised online worlds. Frantic, direct, and South London to the core, FLOHIO brings this tension to life. Her sharp, intense flow cuts through distortion and rhythm, landing the track somewhere between chaos and control instantly making it one of the most striking moments in either artist’s catalogue. “A different reality for all 8 billion of us,” says Cooper. “We weren’t sure if it would work… but there was something about the energy of the percussive idea and the story which felt like it might fit.” “Then FLOHIO had a play with it and straight off the bat absolutely killed it, not just with the lyrics and energy, but the harmonising too, it was a beautiful process.”

The final piece on the EP “Candeleda” originated from Clouth’s solo experiments with a live rig made entirely of vocals and keys, using his self-developed “cheatbox” system. “He put forward a beautiful stumbling melodic sequence which we bounced back and forth adding harmonies and synth layers,” says Cooper. “It rounds off a collection covering some of the breadth of music that we both love.”

"Love it! Electronic wonkiness at its finest" - Richard Norris (The Grid)

TEA, CAKES AND THE (WO)MAN MACHINE

Curtain Twitcher could only have emerged from Sheffield.
A female electronic duo whose corrupted downtempo post Balearic chug pulses and wobbles, throbs and twitches - full of fat noises and bolshy Moogery.
It's human and appealingly analogue. More Delia Derbyshire's Radiophonic Workshop than DAF, More Tangerine Dream than Depeche Mode. Not your average bloketronica.

Frankly this music doesn't behave itself in any way you might expect. Plugged in post rave pop can be far too orderly. Music should be messy. Even on occasion revealing a tune your mum could hum.

"Leap The Dips" emerged from machine jamming with a creative freedom that only comes from friendship. That friendship is a musical one but it's also real and genuine: "We’ll talk about pretty much owt if you provide the tea and cakes".

Sex Tags UFO presents the second instalment of the non stop ongoing HOUSE music collaboration between the Burger man and DJ Sommer! Music created as house music as a FEELING!

Another four track EP smashing out some fine underground house music, all with the mix of DJ Sommers studio skills and old-school hardware approach, and the Burger man's wonky touch! The almost weekly live session recorded in DJ Sommer's studio, then arranged and mixed at Casa de Fett bare some fruits, and here is their first record!

The first track on this EP, a deep and mellow house groover, with some trippy beats and percussion that keeps it moving. Deep pad, with a light and engaging melody on top. A real house groover to start the night.

The second cut, the energy shifts! A power infused feel good house track with spacey elements, timeless and simple 909 kick, a catchy bass line, swinging hi-hats for the groove, a strong classic snap. Added with some keyboard infused organ melody, and a 303 bass line. Sparkled with some synth EFX to give it a feeling of Galaxy!

One the flip side we go back to the depth. A deep tribalistic and dubbed out house track. Simple by all means. A moving and grooving beat added with a simple but catchy pad that brings everything together! Simple, pure and groovy!

The last tune on the EP, another uplifting energy driven house track! Classic US house style, with the driving, and swinging beats to make you move. With an uplifting organ pad, and some additional party oriented flute action! A real underground party smasher!

Just as previous time, versatile, simple, raw dance floor oriented HOUSE EP made in and for the underground!

Enjoy!

Featuring the UK No.1 singles “Goodbye” and “Holler” / “Let Love Lead The Way”, this special reissue is housed in a gatefold sleeve and includes four collectible art prints – one for each girl, exclusive to this 2025 pressing.

The third drop into the Poorly Knit ocean, sees Bruce washed ashore with three silted and barnacled explorations into dub techno, ambient and beyond.

Seizing the microphone for the first time since his sophomore album Not Ready For Love, Bruce weaves a seductive siren song with Golden Water Queen, treading sweet nothings into the bubbling abyss. Sinking further into the deep, The Hand fizzes and froths at the fringes of nothingness, born from the wishing of a softer and more insidious soundtrack to Denis Villeneuve’s Dune. Then finally the waves are parted with DHam’s Jam, bobbing along 8 minutes of bouncing kick and prancing percussion, pulling you with peaceful buoyancy along the dancefloor, into “the zone.”

With a continued emphasis on the importance of physical medium within dance music, the 12” is pressed with eco-friendly “Eco-Mix” reground PVC and sleeved in DIY lino printed sleeves.

Das in Australien gegründete und in LA ansässige Duo VOWWS meldet sich mit I'll Fill Your House With an Army zurück, ihrem bisher ehrgeizigsten und am besten umgesetzten Album.

I'll Fill Your House With an Army ist der Höhepunkt der kühnsten Ideen der Band und zeigt, wie VOWWS, bestehend aus Rizz und Matt James, ihre charakteristische „Death-Pop“-Ästhetik vertiefen: eine genreübergreifende Mischung aus industrieller Elektronik, alternativem Rock, cineastischer Nostalgie und melancholischer Pop-Sensibilität. Co-produziert von Billy Howerdel (A Perfect Circle) und mit Gastauftritten von Josh Freese (A Perfect Circle, NIN, Devo) und James „Munky“ Shaffer (KORN), ist das Album eine Reise durch Sehnsucht, Entfremdung und die surreale Schönheit des Chaos.

Dieses Album zeigt perfekt die dynamische Bandbreite des Duos: von verzerrter Intimität bis hin zu gewaltigen Klangattacken reflektieren VOWWS ein zerbrochenes Spiegelbild des modernen Zustands - romantisch, aber desillusioniert, viszeral und doch seltsam erhebend.

Nachdem sie sich durch Touren mit den Deftones, Twin Temple und Poppy bereits eine kultige Fangemeinde erspielt haben und gerade einen bahnbrechenden Live-Auftritt im Golden Gate Park neben System of a Down und The Mars Volta absolviert haben, sind VOWWS bereit, ihr Vermächtnis mit dieser Veröffentlichung zu zementieren. Ihr künstlerisches Ethos, unbeugsam in einer Ära der Wegwerfbarkeit, hat sie auch in die Welt der High Fashion geführt, wo sie mit Comme des Garçons, Givenchy und Byredo zusammenarbeiten.

The word "amateur" originates from the Latin word "amator," meaning "lover" or "admirer". This Latin term is derived from "amare," which means "to love". The French adopted "amateur" from Latin, and the English then borrowed it from French, initially retaining the sense of someone who loves or is devoted to something. Over time, the English usage of "amateur" also developed a meaning related to a lack of professional skill or experience. How did a word derived from love become a slur? Is love really so defenseless? They say love conquers all, but in reality isn’t love quite ridiculous? It has no intention, no motive, no agenda. How could it possibly prevail? It can’t be bought or sold, or so they say.Its mere existence can't be proven or even measured. What an impossible thing. Trying and failing, time and time again, no wonder cynicism always seems to win. I see “amateurism” as a delighted, even foolish, protest. Protest against everything. Of what’s expected of someone, or expected of someone to desire or strive for. To be elite, to be expert, to be professional, to be a master, to excel and succeed. Where’s the joy in that? I just want to have fun. I want to want. I want to love. And keep doing it, forever. I want to have fun, even when it’s tiring and sometimes even heaven is boring as hell. I want to be bad. I want to do my own thing. “I vant to be alone”. I want to be someone so dedicated to their passion that it starts to seem like there’s something wrong with them. All the way. We can take it all the way, and never get it back. ” - Molly Nilsson Amateur is the 12th studio album by Molly Nilsson. Deep in the teeth of a career that threatens to tip into something resembling a “legacy,” Molly Nilsson celebrates with an album recorded instinctively, quickly and bursting with so many moments of emotional brilliance and clarity it may be her greatest yet. Hers has been a career spent reaching out, perennially powerful in her earnestness, a warrior ridiculously defenceless and armed with a glittering sincerity. Shearing herself of the machinations of the music industry, recording at home, writing direct to the heart. Amateur is a jubilee for losers. A treatise in 13 songs, Amateur states clearly that we should live our life with eternal curiosity, offers us an open hand of comradeship out of the rat race. The songs on the album are both some of the most personal of Nilsson’s career and the most anthemic. First single How Much Is The World asks us to re-evaluate value in the face of a Neo-liberal system squeezing the life out of our loves. Pulsing opener Die Cry Lie satirises the commercialisation of emotion in the form of a shout-along diss-track. With a pounding rhythm track held down by gorgeous chord changes, heartbreaker Valhalla carries the torch for the main themes of the album: never growing up, making mistakes with kindness, moving on. When the drums crash in on the line “It’s going to get better now, you’ll see, going to be much better off without me” there is a world of feeling swirling about in the vocal delivery. One reading of the track might be that it’s a break up song but the subtext is classic Molly Nilsson: by living truthfully, making mistakes, we’re active agents against the myriad oppressions of the world. All The Way takes the theme for a run into the eternal sunset. It’s a manifesto for living fully. “Take it all the way, and never get it back” - it’s the process that’s the important point. The journey not the destination. Big Life, follows on like a part 2: An ode not only to Molly Nilsson’s career of endless gigs, endless connections with people, it’s a massive ode for following your dreams, doing it yourself. Closer The Bitter End is a powerful anthem for friendship, another definition of love infused in Nilsson’s work, A beautifully poignant ode to comradeship til the end, it seems to be the songwriter approaching aging, approaching life’s inevitability with the same vigour and earnestness, the same love of life she enjoyed at the onset of her career. There are moments on Amateur shrouded in reverb, slightly out of focus, forcing the listener to step deeper into the Mollyverse.. Nilsson’s open-armed beseeching to the world permeates every beat, every chord. These are songs exploding with life: the chunky, aggressive bassline on the punker Get A Life can’t hide its massive, catchy chorus. The sweeping Swedish Nightmare might be a tongue-in-cheek self-reference, but at its heart it’s a song about the duality of living life large, what is a dream, what is a nightmare? Molly Nilsson says you can’t have one without the other, and why would you want to? Here’s to making mistakes.

Dream Dancing have been on the hunt for something special and find it with the return of Blueless.

On the A side, two highly sought after tracks originally released on her own Capture Records in 2007.
'Groove Me' is a stunning emotive deep tech house moment which will raise the hairs on your neck on every listen.
'OK' enters more club territory, still keeping within the soulful spectrum. Restored and remastered from Blueless' own vault.

On the B side, 'Trueness' and 'Outsounding' are both fresh from the studio, offering organic rhythms, effortlessly gliding with classy musical atmospheres and warm rolling grooves.

Almost 20 years between the productions, Blueless remains true to her unique soulful style with these much welcomed heartfelt, timeless and deep sounds.

Something old, something new, all Blue!

The Klinik are Dirk Ivens(vocals) and Marc Verhaeghen (music). Also featured on Fear is Eric Van Wonterghem (sequence and percussion), Guy Drieghe cover design on Fear. Luxury package design and reconstruction by Pieter Willemen, All tracks remastered as " like you have never heard them before" by Pieter Dewagter early 2025.

In May, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, Dreamweaver will drop in September, on Friday the 13th.
Featuring 10 tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour.
Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. The third track in the opening trifecta, "Dreamweavers" finds its footing with a percussive soft trot, which starts after what feels like a shortwave radio scan in search of the right chords, eventually dialing in a weightless voice. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst.
Dreamweaver is about to enter its next phase. With the hatch blown off of the portal, the noisy "I Give My Tears," driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant.
A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentemøller, but is also much more psychedelic than previous offerings.
Dreamweaver will be released on Trentemøller's own In My Room label. It is an exceedingly immersive experience, bound to release any dormant hallucinations you may be harboring.

Downwards present Alexander Tucker in metamorphosis from psych folk to techgnostic bard, aided by notable guests – Justin K Broadrick, Regis, Phew, Karl D’Silva, JJOWDY, and Elvin Brandhi – in a quest for disordered convention and new thrills. One up to Tucker’s outings for Alter and The Tapeworm, and spiritual successor to his »Nonexistant« trio on Downwards, »Clear Vortex Chamber« is an enigmatic take on the brownfield edgelands where the eldritch intersects electronic heck. Decades of work spread between hardcore punk, psych rock, folk, and drone — including work with Stephen O’Malley (Ginnungap) and Neil Campbell (Astral Social Club, ESP Kinetic) — feed forward into this album’s unsteady machine rhythms and cranky junkyard atonalities, where Tucker panel-beats aspects of his previous sound with a newfound industrial thrust and cyber-punky lust that suits him dead well.

A crafty example of how to mutate without losing sight of yourself, the album’s eight parts feel like a cyborg patching itself into modernity. On opener »Udug« Tucker’s signature falsetto peals from a A Scanner Darkly-style scramble suit of stereo-strobing electronics, setting a melodramatic, neo-gothic tension that riddles the album thru the knotted, fractured industrial dancehall bullishness of »Mallets« with Yeah You’s feral gob Elvin Brandhi, via a pair of standout »Fedbck« parts with Tucker’s personal idol, Justin K Broadrick (Godflesh, Jesu, and the rest), featuring the Brum deity’s claw-handed riffs and howl on the first, and smeared with Karl D’Silva’s brass in its noctilucent second part.

Regis also proves a staunch foil for the album’s most robust, club-ready cut »Zona«, hammered out from buzzing metallic drums and monotone bass drones, and pitting his severed vox against Tucker’s own androgynous harmonies to recall aspects of The Ephemeron Loop via British Murder Boys, whilst scene legend, Can and Ryuichi Sakamoto spar Phew (aka Aunt Sally) ideally tempers the flow in a relatively soothing »Sansu«, sharing more cyber-romantic, recombinant sentiments with the channelling of Robert Wyatt gone Funk Bruxaria on »Folded«.