Cerca:z ev

Die US-Progressive-Metal-Pioniere und Innovatoren PSYCHOTIC WALTZ machen endlich ihren gesamten fesselnden und zeitlosen Backkatalog weltweit über InsideOutMusic wieder verfügbar. In zwei Wiederveröffentlichungs-Schritten (Mai & Juli 2024) werden die klassischen ersten vier Alben der Band - "A Social Grace" (1990), "Into The Everflow" (1992), "Mosquito" (1994) und "Bleeding" (1996) - neu gemastert von Patrick W. Engel / Temple Of Disharmony als 2CD Digipaks mit viel seltenem oder bisher unveröffentlichtem Bonusmaterial sowie erweiterten Layouts erhältlich sein, und die Hauptalben werden zusätzlich als Ltd. Gatefold-LP-Editionen auf 180g-Vinyl neu aufgelegt. Eine zusätzliche Demo-Raritäten-Zusammenstellung (mit einem Teil des Bonusmaterials) mit dem Titel "To Chase The Stars (Demos 1987 - 1989)" wird ebenfalls als Ltd. Gatefold 2LP Edition erhältlich sein, was diese Re-Issue-Kampagne zu einem aufregenden und unverzichtbaren Projekt sowohl für langjährige Kenner der Band als auch für neuere Mitglieder der ständig wachsenden progressiven Musikgemeinde macht.

Jon Hopkins' neues Album RITUAL ist ein 41-minütiges Epos, das das musikalische Bindeglied zwischen seinen Vorgängeralben Immunity von 2013 und Singularity von 2018 und dem Music For Psychedelic Therapy von 2021 ist. Es besteht aus Subs die klingen, also of sie aus einer Höhle kämen, hypnotischem Schlagzeugspiel und transzendenten Melodien. Das spannungsgeladene, eindringliche und letztlich triumphale Werk ist ein Höhepunkt der Themen, die er in seiner 22-jährigen Karriere erforscht hat, und bildet das kinetische Gegenstück zu Music For Psychedelic Therapy von 2021.

RITUAL ist ein einziges Stück, das sich in acht Kapiteln entfaltet und durch Tiefe und Kontrast besticht. Mit Zeremonien, spiritueller Befreiung und der Reise des Helden als Inspiration, zapft es eine uralte und ursprüngliche Energie an und wird am 30. August von Domino veröffentlicht.
SIDE D:

Etched / BLANK

Jon Hopkins' neues Album RITUAL ist ein 41-minütiges Epos, das das musikalische Bindeglied zwischen seinen Vorgängeralben Immunity von 2013 und Singularity von 2018 und dem Music For Psychedelic Therapy von 2021 ist. Es besteht aus Subs die klingen, also of sie aus einer Höhle kämen, hypnotischem Schlagzeugspiel und transzendenten Melodien. Das spannungsgeladene, eindringliche und letztlich triumphale Werk ist ein Höhepunkt der Themen, die er in seiner 22-jährigen Karriere erforscht hat, und bildet das kinetische Gegenstück zu Music For Psychedelic Therapy von 2021.

RITUAL ist ein einziges Stück, das sich in acht Kapiteln entfaltet und durch Tiefe und Kontrast besticht. Mit Zeremonien, spiritueller Befreiung und der Reise des Helden als Inspiration, zapft es eine uralte und ursprüngliche Energie an und wird am 30. August von Domino veröffentlicht.
SIDE D:

Etched / BLANK

Acid-washed motorik drone with buried vocals from experimental duo.
Follows up, thirteen years later, from critically acclaimed album Common Era.

Realistic IX, the third full-length by the duo of Michael Jones and Turk Dietrich aka Belong, is both an expansion and excavation of their signature acid-washed songcraft.

Bleached guitars, metronomic drums, and buried voices rev, swirl, and seethe across shifting gradients of haze and hypnosis, alternately driving and diffuse. Melodies surge closer to the surface, flexing their form before resubmerging into quickening currents of feedback. Elsewhere the elements dissipate into a dusk of murk and microtonalities, electricity liberated back into infinite night.
Although it’s been thirteen years since Belong’s prior Kranky offering, Common Era, none of the duo’s rare synergy has decayed in the interim. Jones and Dietrich’s commitment to oblique states of motorik drone and liminal emotion continues to evolve and unfold, increasingly tactile and unreal, an alluring glow glimpsed through fogged windows at witching hours.

“I want it to feel like you’re right there in the room with us.” And in 10 songs and 40 minutes, Wunderhorse capture the raw power and energy that has set them apart as one of the most formidable live acts of recent years. With rugged hooks, unfiltered noise, and fierce melodic sensitivity, Midas rips up the script of traditional second albums and establishes the band as an endlessly addictive and rousing generational talent.
In late 2022, the release of their debut album Cub saw singles ‘Purple’ and ‘Leader of the Pack’ dominate radio airwaves. Landmark performances filling Glastonbury’s Woodsies Tent (FKA John Peel Stage) and selling out London’s Kentish Town Forum months in advance followed tours with Pixies and Fontaines D.C. and stadium appearances with Sam Fender, signalling the band’s arrival as one of the most prominent and exciting new guitar acts in the UK.
With Grammy Award-winning producer Craig Silvey (The Rolling Stones, The National, Florence + The Machine) on board for their sophomore record, the band looked to do something different. Their goal – in the very same studio that Nirvana put In Utero to tape and PJ Harvey recorded the Mercury Prize-nominated Rid of Me – was to push themselves outside of their comfort zones.
“There’s absolutely no faking on this record,” ends Slater, “it's not supposed to be perfect; it’s supposed to be a snapshot, even if it is a bit of an ugly portrait. That's how it was then, and that's how you're gonna see it.” And it sounds like you’re right there in the room with them.

"WINDSWEPT is yet another creative vehicle for the esteemed Roman Saenko, known worldwide for his pioneering work in Drudkh, Precambrian and Hate Forest among others. While most of his musical creations stem from black metal, thankfully, WINDSWEPT is consistent in this regard and unapologetically restrictive, retaining Saenko's characteristically hypnotic riffing coasting atop a wintry atmosphere.

Now, after a couple albums with Season of Mist, WINDSWEPT join forces with PRIMITIVE REACTION, who released the debut album of his PRECAMBRIAN project in 2020, with the brand-new mini-album "Der eine, wahre König". Uniquely, this four-song / 28-minute recording features two equally esteemed vocalists - Winterherr of Paysage D' Hiver, and Meilenwald of Ruins of Beverast - with both men splitting duties evenly.

Indeed, with such a structure, "Der eine, wahre König" is a portrait of evenness: unwavering, unflinching, immovable, engrossing. Movement manifests in subtlety, as is Saenko's stock in trade; further and deeper listens reveal a wealth of nuance even if it's not always apparent. All four tracks comprising the record feature all-German lyrics, evoking a different-yet-related sense of austerity from the mainman's proudly Ukrainian ruminations, and both vocalists rise to the challenge of pushing their respective throats to the limit whilst remaining rooted to WINDSWEPT's core consistency. That "Der eine, wahre König" attacks from the very first second and successively expands, concluding with the near-11-minute "Jedes Todes Lohn", and retains its a stute balance of urgency and epicness speaks to Saenko's never-faltering mastery.

Oasis’ debut album ‘Definitely Maybe’ celebrates its 30th anniversary this August. The fastest-ever selling debut in the UK on release, this seminal album marked the point when Oasis became a cultural phenomenon. Including the classic singles ‘Supersonic’, ‘Live Forever’ and ‘Cigarettes And Alcohol’, its songs sound as fresh and relevant as they did in 1994. Having sold over 6.9 million copies globally, it also sits as the 2nd most streamed album of the 90’s (following Oasis’ (What’s The Story) Morning Glory? at no.1). New 30th anniversary formats released to celebrate this landmark date include a Limited Edition deluxe 4LP and 2CD featuring including the previously unreleased and discarded original recording session from Monnow Valley along with outtakes from Sawmills Studios plus a demo of Sad Song featuring Liam’s vocal - all recently mixed for this release by Noel Gallagher and Callum Marinho. LP formats also include a retail exclusive coloured vinyl format – Digsy’s Dinner inspired “Strawberries and cream” pink and white marble 2LP. All versions feature brand new artwork by the original art designer Brian Cannon for Microdot and original sleeve photographer Michael Spencer Jones, plus new sleeve notes.

Leyya made it - das Duo tourte weltweit, spielte große Festivals und wird von Kritiker:innen hochgelobt. Mit ihren jeweils anderen Projekten und Produktionen zeichnen sich Sophie Lindinger (My Ugly Clementine) und Marco Kleebauer (Sharktank, Produktion für Bilderbuch, Faber u.v.m.) in den letzten Jahren auch außerhalb von Leyya als musikalische Genies aus und sollten die Wiener Independent-Szene nicht nur erobern, sondern prägen. Ihre Ankündigung, vorerst keine Konzerte mehr zu spielen, ist jedoch keinesfalls als Rückschritt, vielmehr als ein Schritt zur Seite zu sehen: "Wir sind endlich wieder bei uns selbst angekommen und es fühlt sich richtig an", so das Duo und produziert als Auszeichnung der Aussage innerhalb einer Woche beinahe ein ganzes 16-Track-Album. Half Asleep ist Bremse, Innehalten und Reflexion, eine Besinnung an die Gegenwart.

More than two years after the release of 'Impressões de Outra Ilha', Discrepant's head honcho returns home under his birth name with the appropriately titled 'Exotic Immensity'. Conjured from the seeds of an exhibition of dioramas at Le Bon Accueil in Rennes, this double LP feels quietly epic in scope, a sprawling travelogue through imagined scenarios and what if possibilities. Discarding the more rough around the edges collages of previous works under a myriad of aliases - Discogs it, if you will -, Cardoso's approach here is more meticulously composed, with seamless transitions within his own personal soundworld giving way to this hallucinated landscape of field recordings, subtle electronic tweaks, cascading patterns, queasy ambiences and kösmiche-like synth harmonies.

Perfectly embodied in Evan Crankshaw's cut up poem, filled with occult and sci-fi references such as Agrippa's Book of the Occult, William Blake's Book of Urizen, Dr. Moreau or 50's pop-science books, the music on 'Exotic Immensity' transverses time and cartography in a deeply personal matter, from the cricket-like textures and reverse loops of 'Réplica(s)' until the closing moments with the touching chord progression and mangled voices of 'Pó Nuno'. In-between, the foghorn meets bass clarinet melody of 'Ossos' recalls the unassuming but essential harmonic patterns of Laurence Crane, surrounded by an almost percussive sheet of field recordings that drift into the gliding synth tones of 'Desumanização (I & II)' until tape orchestral swells carry us into the aether. 'Aquário Novo Mundo' brims in an undisplaced cartography, from electronic marimba stabs to synth choirs, the call of the loom to labyrinthine keyboard harmonies and underwater radiance. Are we still here? Somewhere? The muffled looped rhythmic sequence of 'Imagem/Miragem', cut by the glow of cascading synths doesn't offer a reply. Nor does it need to.

'Exotic Immensity' exists on the perpetual outside. Blessed be Cardoso for showing us a way in.

Limited to 350 copies

Stop what you're doing and give us your full attention because Hell Yeah mainstay My Friend Dario's new album Senza Estate is going to define the sound of summer 2024. It's an eclectic eight-track collection that has something for everyone and is inspired by dreamy Italian soundtrack composers Piero Piccioni and Umiliani.

Curveball Italian talent Dario is a real dance floor don who collides acid, nu-disco, breakbeat and electro. His take on Balearic is unique and always sends dance floors wild, as proven with his last outing Food For Woofers Vol 2 earlier in the year. His new album is the sound of life by the Mediterranean, Balearic audio pleasure for daytime dreaming and nighttime dancing with vocal tracks written and performed by the UK's Space Echo Records associate Darene Obika.

Dario hails from Catania on the island of Sicily and his inspiration for Senza Estate, which translates as 'without summer,' was an imaginary holiday, weekends at the seaside, car journeys in the sun, relaxing sunsets and late-night dancing. 'For five years, I worked in a shop six days a week so despite living on a Mediterranean island I could never enjoy these things. Instead, I locked myself in the studio and jotted down the ideas, sensations, melodies and rhythms I had about another lost summer.'

'Keep On Cruising' is a downtempo opener with innocent synths that are filled with hope and promise for the warm months ahead. 'Zingarella' is a wide open sea view with wispy pads, seductive flutes and jazzy melodies that bristle with life and the tropical title cut gets more dancey on shuffling broken beats and radiant synth glows. There's a seductive laid-back cool to the tumbling keys of 'Marittimo' and 'What You Need' is a horizontal groove with loved-up vocals, 'Falò' pairs sensual acoustic guitar with work with pillowy drums and 'Il Pianeta Proibito' layers up sci-fi synths and stuttering bass into a bubbly sound that leads to cosmic take-off. 'Acid Panorama' is the melancholic closer which hints that the summer sun is setting one final time after weeks of carefree fun.

But the good news is, you can repeat the joys of My Friend Dario's masterful Senza Estate over and over again.

"Every Tree Shall Fall: One", the debut release by Black x Sea, is a captivating 22-minute journey of five seamlessly connected tracks.

Chris Crisci of The Appleseed Cast and Gabriel Wiley of Mineral blend soothing dream pop with dynamic post-electronic elements, creating an immersive, ever-evolving soundscape.

LIMITED EDITION single-sided White Vinyl LP with screenprinted B-Side

On Hindsight, Nick Zanca's first album as a singer-songwriter, Zanca leads a crack band of musicians from all over New York's musical map. After nearly a decade making electronic music under the name Mister Lies, Zanca began focusing his energies as a producer, working with adventurous up-and-coming artists such as Wendy Eisenberg and Lucy Liyou and sculpting songs of his own. Hindsight moves boldly beyond the synthetic textures of his early career, blending AOR, jazz fusion, electroacoustic improv, and even musical theater into wholly organic music. He examines age-old quandaris from his own unique viewpoint: the dehumanizing effects of industry and capitalism, a childhood developmental diagnosis, a difficult romantic situation. It's unapologetically itself, honest - and relatable. It doesn't equivocate: Zanca's world is ours, too.

OFAMFA by CHILDREN OF THE SUN

Original released in 1971 by the BAG groups (Black Artist Groupe) own label "Universal Justice Records" this album has for years been an impossible to find/listen to album, and this is its first reissue ever ..

Ofamfa by The Children Of The Sun, a band lead by poet/musicien Ajule/aka Bruce Rutlin Is a heady mix of poetry/jazz/political songs/ and a document of a comunity avent. The BAG group being about all the arts theater and dance.

The Muse/icians on the album are….

Rashu Aten / conga, small instruments

Oliver Lake / soprano &Alto sax, flute, poems, small instruments

Floyd LeFlore/ trumpet, small instruments

Ishac Rajab/ Trumpet

Arzinia Richardson/ bass, small instruments Vincent Terrell / cello

Charles "bobo" Shaw / drums, small instruments

Ajule / poetry, arrangements, small instruments, drums

The way you're saying it, "prolific" isn't the right word for The Bug Club. You've got to say it with the trademark Welsh lilt and pay due homage to this inimitable band's origins in the renowned hit factory of Caldicot, South Wales. Do that, and you're about right with how to summarize a group who've released ten singles, two albums, two EPs, three things nobody knew how to describe, and an album under a different band's name, all since 2021, and while playing 200+ gigs a year. Initially comprising the songwriting core of Sam Willmett (vocals/guitar) and Tilly Harris (vocals/bass) with Dan Matthew (drums), The Bug Club started plying their trade in 2016. They were signed by UK label Bingo Records in Autumn of 2020. BBC 6 Music's Marc Riley was an early champion, hammering the single, booking the band in for a session as soon as it was allowed, and rightfully praising songwriters capable of singing the whole alphabet in a two-minute song and making it work. Third LP On The Intricate Inner Workings Of The System - their first for Sub Pop - sees the band serve up a beefy slab of their speciality Modern-Lovers-meets-Nuggets garage rock. There's B-52's call-and-response fun mixed with AC/DC power chord grunt. Leaning towards fast-paced punk, opening double salvo "War Movies" and "Quality Pints" sets out the stall: duel vocal piss-taking, surreal takes on everyday topics that go full circle and become profound, riffs all day long and then all the next day too. "Quality Pints" deals with the pressing concerns of any conscientious touring outfit, taking to heart the rule of the three R's as penned by renowned fellow pints fan Mark E. Smith of The Fall. Repetition, repetition, repetition. If it's that important, which it is, it's worth saying again. "War Movies" dresses distorted chugging with a comprehensive 'best of' list for the genre, with Sam Willmett offering a solo casually chucked out in a way that will make your dad promptly give up any resurgent guitar playing ambitions. And "A Bit Like James Bond" tackles the UK's sleaziest undercover export at the same time as the embarrassing ego problem that besets much of its population - but it's only heavy(ish) in the fun, loads-of-riffs sense. So, that's what they've been finishing up during their massive month-long break from gigs. In a bid to avoid being branded layabouts, The Bug Club will support their upcoming Sub Pop release with a springtime tour of the UK and Europe beginning May 10, before heading out to the US in September.

"2" A Jungle Brother The Jungle Brothers' 1988 debut, Straight Out The Jungle, was important for many reasons. It was sloppy and goofy but had moments of real focus and social consciousness. It was a true kitchen sink' record, that caught a rap fanbase enraptured by Eric B. & Rakim, Public Enemy and Boogie Down Productions a bit off-guard. Also of note, beyond the excellence of the album itself, the Jungle Brothers were the fulcrum for what would become the Native Tongues movement - they came first, De La Soul and A Tribe Called Quest followed, under their guidance. By 1989, the group had even more confidence, plus a Warner Bros. contract and advance in their back pocket. They used it to great advantage on the self-produced and criminally underrated Done By The Forces Of Nature, expanding their sonic palette and continuing their Afrocentric approach to music and life. Singles like What 'U' Waitin' 4' and Doin' Our Own Dang' (with De La and Q-Tip, alongside Monie Love) showed the group's fun side, which has also lead the way in the hip-house' movement. But things weren't all fun and games, as deeper, more pensive album tracks like Black Woman,' Beeds On A String,' and Acknowledge Your Own History' show. It was another accomplished mix of fun, frolic and knowledge-of-self, proving that you could be serious in the rap game but still let off steam and fill the dancefloor. Done By The Forces Of Nature stands as one of the most cherished hip-hop documents of the late '80s among true-school heads, and this edition is the perfect way to revisit this classic thinking-man's (and woman's) rap platter. Issued for the first time ever on 2-LP with the original picture sleeve artwork, it also comes with a reproduction of the original insert, with credits and lyrics.

First ever vinyl edition of Deuce’s only album from 1995 (UK Album Chart #18). Specially
pressed in Dayglo lime green vinyl. The Phil Harding (PWL, East 17, 911, Boyzone) and Ian
Curnow written and produced album contains all of Deuce’s Top 40 singles chart hits ‘Call
It Love’ (UK #11), ‘I Need You’ (UK #10) and ‘On The Bible’ (UK #13) and, for the first time,
also includes, as a bonus track, their fourth and final single ‘No Surrender’ (UK #29) as
produced/mixed by PWL legends Mike Stock and Matt Aitken.
Deuce were the brainchild of pop impresario Tom Watkins (Pet Shop Boys, Bros, East 17,
Electribe 101). Remastered by Kinky Roland.

Steve Moore returns to the library music fold and it's a total doozy: Cursed Objects is truly sensational prog-synth-wave. Featuring epic electronic explorations with chamber music and symphonic flourishes, it's our favourite thing Steve has ever done. In keeping with the horror heat of the music contained within, this vinyl release is frighteningly limited, with just 500 pressed for the world.

New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. Steve’s music has found a home across hallowed labels like Future Times, Mexican Summer, LIES, Static Caravan, Kompakt, Death Waltz, Ghost Box and, of course, Be With Records.

Steve released Cursed Objects for fresh library label Fold. Run by ex-KPM head Paul Sandell, it's a library with values we can all get behind. It's the first production music platform working exclusively with independent labels, publishers and artists to create a truly authentic artist-led sound, at production music rates. Here's what Steve had to say: "I had worked with Paul before, at KPM. After he left, he mentioned that he had started a new library - Fold - and I was very interested in being a part. And I happened to be working on a bunch of music at the time that I thought could fit." So here we are!

The LP opens by letting in "The Uninvited One". Calm and relaxed arpeggiated synths build around sweeping strings and plucked harp to create a mystical and hopeful feel. The title track sees dark synths merge and swell with a piano, string and harp melody that is dark, mysterious and brooding. "Evolutionary Steps" is an electro synthwave track that builds with epic strings and beats, offering an expansive and dreamy approach with a mystical and driving rhythm. Next up, "The Icarus Feather" is daring, pulsing and cinematic synthwave that builds with arpeggiated synths to a hopeful end. "Daily Affirmations" offers calm and meditative ambient synths with plucked harp and strings for a reflective, peaceful, daydreamy feel.

“Mesmer's Bauble” ushers in side two, its dark synth backing builds with plucked harp and strings building with a sense of unknown and dread; it's introspective and heartfelt. "Quiet Springs" is all mystical synths, harps and strings, building to an epic panoramic scope with a hopeful and poignant atmosphere. "Festival Of Samhain" presents a dark and brooding piano melody which builds with synths and strings to create a slow and desolate feel. "The Icarus Feather (Revisited)" is epic building synthwave with arpeggiated synths and strings and a driving rhythm - the beat builds with the strings entering a forceful and marching mood. To close, "Shard Of Medusa" rides a serious and dark piano melody and, in concert with harp and strings, it creates a suspenseful and solemn atmosphere.

Steve recorded Cursed Objects, as always, at his home studio in Albany, NY. For synths, he mostly used his trusty Prophet 6, as well as his Moog Minitaur and lots of Korg Polysix too. But he also utilised a lot of virtual instruments - he doesn't have the budget for a full string section, or a harpist, alas.

The album’s cover was designed by Chris Stevenson. The artwork is a nod to first wave cyberpunk and in particular Neal Stephenson’s Snow Crash and the idea of mind viruses and cursed data. Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at AIR Studios to be pressed in the Netherlands by Record Industry. Far from being cursed, this is another future classic library LP.