Cerca:attac

Not content with a double 12” of acid drenched delinquency, Schrödinger’s Box have drafted in four 303 addicts to bring their own acrid fire to Hard Ton’s Bigger is Better.

To get the bitter ball rolling, Larionov opens. Known for his dark electro and EBM leanings, this reinterpretation of “Transcend Your Body” is a bruiser of throbbing pulses, lancing lines and stabbing synths to pierce the fog and strobe. Rude 66 follows with his beloved vocoder doing battle with Massimo Bastasi’s original vocals. The result is a duel of distant rhythms and shimmering wordplay. The flip sees Nightwave on the attack. Brawny beats elbow lyrics in this driving audio onslaught. Bulging rusted basslines crush speaker cones as a blistering remake takes hold, blasts of body bending brutalism turning Hard Ton’s original into an even sweatier brute. An artist born and raised on analogue squawk and squelch finishes. Posthuman, one of the infamous figures behind the I Love Acid nights, takes the tongue-in-cheek Brit Pop flashback of “Girls and Boys” and contorts it into a grimy Chicago jam.

”Omnium Gatherum” bietet mit seinen 16 Tracks ausweitläufigen Prog-Jams, schwindelerregenden PopNuggets, gummibeinigen Hip-Hop-Odysseen und reinen Thrash-Metal-Passagen sowohl für Gizzard-Fans als auch für Neulinge jede Menge Stoff zum Kauen.

Typischerweise verfolgen Gizzard-Alben ein einziges Thema oder einen Stil - zum Beispiel die Öko-Metal-Barrage von ”Infest The Rat’s Nest”, der New-AgeTrance-Pop von ”Butterfly 3000” oder die endlosen Garagen-Prog-Verrenkungen von ”Nonagon Infinity” -
ein Teil des Nervenkitzels von ”Omnium Gatherum” wiederum war für die Gruppe die Möglichkeit, neue Ideen zu entwickeln, ohne sich zu verpflichten, ein ganzes Album in dieser Richtung zu liefern.


Es ist der perfekte Einstiegspunkt für Neulinge und ein solider Leckerbissen für treue Fans. ”Omnium Gatherum” war als Kompendium unveröffentlichter Songs gedacht, die auf früheren GizzardAlben keinen Platz gefunden hatten, und schon bald schrieb und nahm die Gruppe neue Songs für das schnell wachsende Album auf. Die Tracks wurden im Gizz-Hauptquartier, aber auch in ihrem legendären, inzwischen verlassenen Clubhaus in der 253 Lygon Street aufgenommen.

Textlich sind die Themen vielfältig, doch die Sorge der Gruppe um das ökologische Wohlergehen des Planeten bleibt eine Konstante. Einige
Tracks kehren zu den Synthie-Psych-Visionen von ”Butterfly 3000” zurück, andere greifen die fiebrige Thrash-Metal-Attacke auf, die Gizzard auf dem 2019er Album ”Infest The Rat’s Nest” prägte.

Limited edition picture disc in full colour printed sleeve

Covered In Stars featuring members of Luna, Spacemen 3, Slowdive, Spectrum, Add N To (X), The Vacant Lots, Spiritualized, Slipstream and more.

This is a wonderfully colourful, beautiful fun and powerfully transcendent album by Fuxa, Featuring driving drum machines, gritty fuzz bitten guitars on The Sun Is Shining and Mary, 80's neon midnight post-punk disco grooves on Shadazz and perfectly blissed out floating in space vibes (Help Me Please and Cluster Fuxa). The synths shimmer and elevate, guitars attack and sparkle and the vocals deliver dark romanticism which evoke often David Cronenberg inspired fantasies such as photographs of car crashes, crushes on perfect strangers and unknown futures. 
 - Simon Scott (Slowdive)


Fuxa returns in 2022 with a new album  'Covered In Stars'
 
Eight new songs and several years in the making, of what can best be described as a full on sonic explosion. Mixing space-rock elements, krautrock rhythms, punchy beats and swirling electronic sweeps and beeps that would make for a perfect soundtrack for any warp speed travelling cosmonauts with phasers set to fun!!
 
For the past 25 years Fuxa front man Randall Nieman has no doubt been on a cosmic journey in sound and space. from his early beginnings a part of Detroit locals Windy and Carl as a guitarist/synth player, running and releasing close to 100 releases on his own label Mind Expansion, to later joining Sonic Boom's (Spacemen 3) group Spectrum for close to a decade. Performing the songs that Spacemen taught him touring across North America and Europe as well as recording and releasing several releases with Sonic under the Spectrum moniker. 
Randall has since worked with and released numerous amounts of material with the likes of Martin Rev (Suicide), The Telescopes and Dean and Britta (Luna) to name a few.
 
It is no surprise that Randall would once again build this new album with friends that he became close to over the years musically and there's certainly no shortage of indie royalty star power on this album
 
Produced by Randall Nieman, Richard Formby and Stefan Persson.
Mastered by Simon Scott (Slowdive)
This album features guest appearances from Britta Phillips and Dean Wareham (Luna), Ann Shenton (Add N to (X)), Mark Refoy and Jonny Mattock (Spiritualized, Slipstream), Roger Brogan (Spectrum/Dean Wareham), Jared Artaud (Vacant Lots) and more! Each adding an unmistakable and timeless element that Fuxa's core members have created. 
It would be hard not to notice the sheer aesthetic glory of this release as once again Randall has chosen the amazing James Marsh (most would remember him as the phenomenal artist responsible for all the Talk Talk albums over the years. His artwork is not only featured on the jacket but on both sides of the limited edition picture disc vinyl.
Covered in stars is a celebration of 25 years of music and friendships made along the way. 

Ladies and gentlemen, welcome to the Fuxa! 

Das letztes Studioalbum „We Are Not Your Kind“ erschien im Jahr 2019.

Einen ersten musikalischen Vorgeschmack auf das neue Album lieferte Slipknot mit der vorab veröffentlichten Single „The Chapeltown Rag“, bei der die maskierten Mannen in gewohnter Slipknot-Manier auftreten und jedes Metal-Herz höher schlagen lassen.

Sid Wilson von Slipknot: „I don’t think everyone will ever be disappointed with what we do because we’re going to stay true to ourselves and do the music that we feel is necessary to get it all out. You know what I mean? It’s kind of a therapy session as well. I think when they listen to it, it comes through that way and not approaching it from the perspective of a rock star and what we think that the world would think of us for doing certain kind of creativity. We just want to give the most honest representation of ourselves on the whole as we can.“

Gleichzeitig zum PreOrder Start Woche erscheint auch die zweite Single-Auskopplung des Albums mit dem Titel “The Dying Song (Time To Sing)”



Das Album erschint in 3 Formaten.

Das Cover sowie Packshots der Vinyl sind im Attachement beigefügt.

Das letztes Studioalbum „We Are Not Your Kind“ erschien im Jahr 2019.

Einen ersten musikalischen Vorgeschmack auf das neue Album lieferte Slipknot mit der vorab veröffentlichten Single „The Chapeltown Rag“, bei der die maskierten Mannen in gewohnter Slipknot-Manier auftreten und jedes Metal-Herz höher schlagen lassen.

Sid Wilson von Slipknot: „I don’t think everyone will ever be disappointed with what we do because we’re going to stay true to ourselves and do the music that we feel is necessary to get it all out. You know what I mean? It’s kind of a therapy session as well. I think when they listen to it, it comes through that way and not approaching it from the perspective of a rock star and what we think that the world would think of us for doing certain kind of creativity. We just want to give the most honest representation of ourselves on the whole as we can.“

Gleichzeitig zum PreOrder Start Woche erscheint auch die zweite Single-Auskopplung des Albums mit dem Titel “The Dying Song (Time To Sing)”



Das Album erschint in 3 Formaten.

Das Cover sowie Packshots der Vinyl sind im Attachement beigefügt.

A violin, a fife, and the endless sky opens up to us. Two voices cross it, a duet of swallows playing their perpetual encounters, joined by percussion that crashes like waves on jagged coasts. This is the opening of the album Déliryom, the beginning of this "watia watia" - meaning joyful mess or tasty mishmash, opened by six "zoreys": in Reunion Island Creole, it means metropolitan people from France. But these zoreys claim their creolity as a family of the heart, a chosen homeland. And they celebrate it. Rosemary Standley (Moriarty) and Marjolaine Karlin met at a concert where Reunionese maloya was resounding in Paris. It was in 2008, and their fascination for the island, its rhythms, its language born for poetry was bound to bring them together. A character too, a majestic poet and celestial wanderer, who for them would be a spiritual father - Alain Peters. Or rather his ghost, since he died in 1995 of a heart attack, leaving behind a daughter and some twenty songs that have shaped a fertile horizon for all the musicians of the Reunion Island... and elsewhere! Six years after giving birth to their first album (Zanz in Lanfèr, 2016), the two singers continue this great journey, exploring other pieces forged over the years, always alongside percussionist and rhythm doctor Salvador Douézy, and new zoreys who have joined them. There is Gérald Chevillon, who plays bass saxophone, Chadi Chouman as a guitarist who has no equal in awakening the colors of his native East, and finally Jennifer Hutt, whose energetic violin evokes the Cajun colors of New Orleans. For even if this new album tells of other facets of the Peters totem, it also ventures towards other Creole lands, other islands where music and song are much more than entertainment: they are a way of being in the world.

One of the most violent thrash metal albums ever! Raging riffs, outraging drums, screaming solos and totally pissed vocals. Total aggression! Death metal wouldn’t sound like it does without that album. Then the 10 tracks on this legendary album... Let’s start with Side A: The opener “Malleus Maleficarum/Anthropomorphia” sets the tone and remains a classic to this day, with a switch after 50 seconds and then a full on thrash attack only comparable to the best and most intense moments on “Pleasure to Kill”. The mid-tempo part and the solo’s/leads are haunting still and hint at more melodies to come in the future. “Parricide” is brutal Thrash, surely echoing a bit of Slayer/Infernal Majesty as well, but just very intense and brutal. Next up is “Subordinate to the Domination”, another bulldozer song, that simply pounds you into ashes, very thrashy, but also brutal. As a short intermezzo we get “Extreme Unction”, which with it’s one and a half minute echoes a bit the crossover/thrash metal attitude of the late 80’s, and it is in its intensity and compactness a strange, yet fitting track that leads us to the closing song on Side A of the LP (yep, bands did think on closers on album sides when vinyl was the standard)... “Commandments” that is, starting with its acoustic intro, fully bursting out after 35 seconds into one of the standout songs of this album, to some possibly the best song on the album (who am I to disagree) because it is one of those brutal thrash songs that is among the best ever recorded, and a song that everyone knew back then, because of the “Stars on Thrash” compilation.

Jeff Beck and Johnny Depp tapped into the frustration of living through the pandemic in 2020 with their well-timed cover of John Lennon’s “Isolation.” The Grammy winning guitarist and Hollywood Vampires co-founder are back with their first album together, appropriately titled, JEFF BECK AND JOHNNY DEPP. On the new record, Beck’s first studio effort in six years, the artists coax unexpected performances from one another on 11 covers and two originals that touch on everything from Celtic and Motown to John Lennon, the Beach Boys and The Velvet Underground.

The result is a wild roller coaster ride through different genres where hairpin juxtapositions deliver some of the album’s biggest thrills. A remarkable example comes early on when the industrial stomp of Killing Joke’s “Death And Resurrection Show” gives way to the intense heartache of Dennis Wilson’s “Time.” Each performance stands on its own, but the sharp contrast created by sequencing them together heightens the emotional impact of both songs.

The duo recorded most of the album in Beck’s studio over three years while Depp lived on and off in the guitarist’s English cottage. Robert Adam Stevenson co-produced several tracks on the album and engineered many of the sessions remotely from Depp’s studio in Los Angeles. When the basic tracks were finished, they were fleshed out by musicians who’ve played with Beck through the years, including drummer Vinnie Colaiuta and bassist Rhonda Smith.

The album title will be “18.” The cover illustration (attached) was done by Jeff’s wife, Sandra and pictures them when they were both 18. Here’s Jeff’s comment on the title from the PR: Beck explains the album title: “When Johnny and I started playing together, it really ignited our youthful spirit and creativity. We would joke about how we felt 18 again, so that just became the album title too.”

LP comes with a Side D etching in triple gatefold jacket + full album download. The Will to Live was produced by Titus Andronicus singer-songwriter Patrick Stickles and Canadian icon Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter’s Hotel 2 Tango recording studio in Montreal. Drawing on maximalist rock epics from Who’s Next to Hysteria, Bilerman and Stickles have crafted the richest, densest, and hardest hitting sound for Titus Andronicus yet. All at once, the record matches the sprawl and scope of the band’s most celebrated work, while also honing their ambitious attack to greater effect than ever before. “It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA,” quips Stickles, “but the pursuit of Ultimate Rock knows no borders. ”For his recent stretch of personal stability, he credits a newfound domestic bliss and steadfast mental health regimen (“Lamictal is a hell of a drug”) as well as the endurance of what has become the longest-running consistent lineup of Titus Andronicus—Liam Betson on guitar, R.J. Gordon on bass, and Chris Wilson on drums. On the crueler side of the coin, however, The Will to Live was created in large part as an attempt to process the untimely 2021 death of Matt “Money” Miller, the founding keyboardist of the band and Stickles’ closest cousin. Stickles explains: “The passing of my dearest friend forced me to recognize not only the precious and fragile nature of life, but also the interconnectivity of all life. Loved ones we have lost are really not lost at all, as they, and we still living, are all component pieces of a far larger continuous organism, which both precedes and succeeds our illusory individual selves, united through time by (you guessed it) the will to live.” “Naturally, though, our long-suffering narrator can only arrive at this conclusion through a painful and arduous odyssey through Hell itself,” he qualifies. “This is a Titus Andronicus record, after all.” When Titus Andronicus made their long-awaited return to the stage in 2021, it was to celebrate the anniversary of their landmark breakthrough The Monitor, and the act of playing that material before an ecstatic audience left the band determined to deliver an album that would reach for those same lofty heights, relying this time less on the reckless fire of youth and more on the experience and perspective at which a band only arrives with a thousand shows under their belt. Through this golden ratio, Titus Andronicus have arrived at the peak of their creative powers. From its adrenalizing opening instrumental “My Mother Is Going to Kill Me” to its wistful closing benediction “69 Stones,” The Will to Live conjures a vast landscape and sends the listener on a rocket ride from peak to vertiginous peak. Rock fans will find themselves a feast, whether they crave barn-burning rock anthems such as “(I’m) Screwed” and “All Through the Night,” rapid-fire lyrical gymnastics (“Baby Crazy”), symphonic punk throwdowns (“Dead Meat”), or an adventurous excursion into the darkness that delivers thrills as it breezes boldly past the 7 minute mark, “An Anomaly.” As if that wasn’t enough gas for the tank, The Will to Live features sterling contributions from members of the Hold Steady, Arcade Fire, and the E Street Band, as well as duets with the aforementioned Betson, former Titus Andronicus drummer Eric Harm, and Josée Caron of the Canadian rock band Partner. The album comes packaged with gorgeous triple-gatefold artwork by illustrious illustrator Nicole Rifkin, a Hieronymus Bosch–inspired triptych which mirrors the three-part structure of the narrator’s perilous voyage across the corresponding three sides of vinyl. All together, this esteemed ensemble, with Stickles and Bilerman determined and defiant at the helm, have found The Will to Live—now, the question is… will you?

SIDE A 1. My Mother is Going to Kill Me 2. (I’m) Screwed 3. I Can Not Be Satisfied 4. Bridge and Tunnel SIDE B 5. Grey Goo 6. Dead Meat 7. An Anomaly SIDE C 8. Give Me Grief 9. Baby Crazy 10. All Through the Night 11. We’re Coming Back 12. 69 Stones SIDE D Etching

Before New Zealand's Salad Boys, there was T54, also fronted by Joe
Sampson, joined by Matt Scobie on drums and Sam Hood on bass - T54
featured a visceral, sonic guitar sound, perhaps out of step with most of
the Flying Nun bands at the time
Joe describes T54 as being stuck in the wrong era somewhat yet enduring well in
NZ for those who bought the music and saw us live at the time. Originally
released in 2011, Ally is proud to bring you an expanded and remastered limited
vinyl edition of their first ep that also includes several demos and live tracks. Be
prepared to be wowed by this noisy three piece from Christchurch influenced by
classic NZ bands who also have three members (The Clean) or numbers in their
name (The 3Ds) -- like The Clean, The 3Ds, and other NZ greats, T54 will not
disappoint!
Tracks: Birds / Julie K / CR Model / Vehicle / Singer in Mouth / Death Drive / CR
Model / Life Is Swell / O Nina / Fred Gavin / Kill Red / Julie K / Le Snack / Choose
Your Own Ending / Localism / Soon I'll Be Nicking Speed Boats / House Music /
Julie's Last Wish / Nurse Jen / Christian Dale

There’s no escaping the motherlode - that eternal continuum of high drama and overheated amp stacks fit to raise the pulse and revivify the spirits. It’s merely an unmistakable band chemistry that transforms base hard rock into gemstones, and this process is an increasingly rare phenomenon in the here and now. Luckily for Stockholm’s alchemists LUGNET, they are one of the few. Here in these steamrollering grooves and strident anthems is just the kind of swagger and bravado on which rock built its foundations in the ‘70s, yet without any of the cliches or the bloated self-importance. The roots of LUGNET may be visible to see, and the primal stomp of early Deep Purple, the apocalyptic sermonising of Black Sabbath and the cinematic majesty of Rainbow can easily be detected in the almighty sturm-und-drang. Yet this sound is delivered with charisma and maverick energy that effortlessly summons fresh vibrant life to a classic form. The spark that lit LUGNET originates in 2009, when Fredrik Jansson-Punkka (also drummer of Angel Witch, and whose storied history includes stints in Witchcraft, Abramis Brama and Count Raven) met bassist Lennart ‘Z’ Zethzon at Sweden Rock Festival and the two first discussed getting together to jam. Three years later this finally came to fruition and guitarists Bonden Jansson and Mackan Holten joined the fray, alongside vocalist Roger Solander. An original plan to play ‘70s blues-rock with Swedish lyrics was ultimately warped and transformed into the monumental attack of 2016’s self-titled debut proper on Pride & Joy Music. The road to ‘Nightwalker’ saw changes afoot in the band, as Solander was replaced by the soulful pipes of Johan Fahlberg, who matches the swashbuckling charm of the Dio/Coverdale tradition with flourishes and personality all his own, whilst Bonden Jansson made way for wunderkind new guitarist Matti Norlin. This was a quantum leap on from the debut, replete with fiery interplay and incisive song writing, from the slow Zeppelin-esque catharsis of ‘Death Laughs At You’ to the monstrous ‘Stargazer’-esque grandeur of the mellotron-assisted finale ‘Kill Us All’. The aftermath saw Lugnet traverse from strength to strength, a notable highlight being packing out their tent at Sweden Rock Festival in 2018 even whilst a certain Birmingham-birthed Prince Of Darkness himself occupied the main stage across the field. Michael Linder (formerly of Troubled Horse) soon replaced Mackan Holten, and this line-up has subsequently amassed enough material for two albums, with all members throwing their hat into the ring song writing-wise. One of these ‘Tales From The Great Beyond’ has already been recorded at SolnaSound Recording with the dream-team of Simon Johansson (Wolf/ Soilwork) and Mike Wead (King Diamond/ Mercyful Fate) at the helm / mixed by Marcus Jidell (Avatarium/ Candlemass). Just like for the debut album, the front cover artwork was designed by Vance Kelly. Whatever the future holds for Lugnet, only a fool would bet on the result not being a spectacular explosion of righteousness. This machine is firing on all cylinders, and rockers of all persuasions would be well advised to get on board or get out of the way. Track listing: Still A Sinner; In Harvest Time; Another World; Out Of My System; Svarv; Eaten Alive; Pale Design; I Can’t Wait; Black Sails; Tåsjö Kyrkmarsch

This split album featured the Italian composer Gigi Masin on side-a with delicate piano movements rippling above undulating electronics. Its second track 'Clouds,' has become an ambient standard with Bjork, Nujabes and cloud-rap duo Main Attrakionz all sampling its rich and euphoric tones.

Side-b belonged to Charles Hayward and the twenty three minute sound portrait 'Thames Water Authority'. A founding member of post-punk and avant groups This Heat and Camberwell Now, Hayward's natural inclination towards percussive instrumentation is highlighted by shape-shifting cymbal recordings that trace the expansive systems that meander beneath Greater London.

P-VINE is thrilled to reissue Les Nouvelles Musiques de Chambre Volume 2 on limited edition vinyl with an iconic Japanese obi strip attached.

PRONTO are back, this time seeing Greenskeepers don James Curd team up with Grammy award-winning Marius De Vries. Alongside composing the scores for a whole host of big films, De Vries has produced for the likes of Massive Attack, Madonna, David Bowie, Bjork, Pet Shop Boys to name but a few. So you know a matchup with Chicago house head Curd is going to hit with something special.

A disco-infused house bomb with a very special guest on those sweet vocals, ‘Auditory Gates’ gets the remix treatment from two producers at the top of their game, Jacques Renault and Oliver Dollar, who each put their trademark spin on it.

repress soon!

"Platform 23 presents the 2nd collection of songs selected from the Alternative Funk series released Vox Man and VP 231 Records. Originally appearing in 1985 across 1 vinyl and 2 cassette albums these cult collections have long been in collectors (and bootleggers) sights and finally see the first official reissue. As with Volume 1 (PLA023) the series covers the weird, wonderful, esoteric, exotic and quirky sound and puts them in a reset context that immediately gives clarity of the original's curation.

This volume opens with some DIY electro stealers, first with Dee Nasty's Orientic Groove, where the early French hip-hop pioneer lays down a battle commence of beats, slapped bass and YMO keys, before the second offering from Scoop! and their rap attack, juxtapositions the past series and leads to label heads Vox Populi! & Man and their continued look at the rudiments of cut up manipulation and scratch techniques. The avant rappears with 3M's percussive marker and legendary Amus Tietchens' is ever challenging, before Melsjest's post-punk meets the Weirmar possibly steals the side as Vox Pop spoken outro joins those (micro)dots.

The cult of Randall Kennedy returns with another garage-fuzz gem. His stories for wackos'n'weirdos end all too soon and are followed by Liquid Liquid's Dennis Young, diving deep with Intuition, before Stanalis returns with another winner. Bene Gesserit is a killer and welcome addition, before Kosa return with more industrial clippings and volume 2 heads to the door with Capital Funk's electro-punk bomb - possibly the series champion - while the slap bass-scratch of California's Psyclones leads to a music hall end in the homage to mum's favourite, Chukk.

What these Volumes again highlight is how the DIY aesthetic of so many independent labels was supplemented and spread via collections of friends, contemporaries and often, literally pen pals, to mail in their offerings that are then picked for wider ears. While some of these artists have become known, just as many are who and whats, but they sit side-by-side as warranted and often killing the scene of what Axel and co sought to be ... the Alternative Funk."

'Body Riddle', ein Highlight des frühen Clark-Katalogs, von Produzenten wie Arca, Rustie und Hudson Mohawke als massgeblicher Einfluß bezeichnet, wurde unter persönlicher Betreuung von Clark neu für mehr Dynamik remastered und erscheint erstmals wieder seit 16 Jahren.

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BIO: Chris Clark arbeitet seit 20 Jahren mit Musik und Ton. Schon in jungen Jahren wurde er von Warp Records gesignt und veröffentlichte bis dato 13 Alben und eine Vielzahl an EPs und Singles. Sein jüngstes Studioalbum 'Playground In A Lake' für das Klassik-Label Deutsche Grammophon verschmolz sein Markenzeichen, die elektronische Musik, mit den Streichertönen des Cellisten Oliver Coates, der Geigerin Rakhi Singh und des Budapest Art Orchestra.

Nach seiner ersten Filmmusik für die Sky/Canal+ TV-Serie 'The Last Panthers' schrieb Clark die Scores zu 'Rellik' (BBC1/HBO) und das Drama 'Kiri' (Channel 4/Hulu). Kürzlich lieferte er die Filmmusik für Apple TV+ 'Lisey's Story', basierend auf Stephen Kings gleichnamigem Roman, sowie für 'Daniel Isn't Real', einem psychologischen Horrorfilm von Spectre Vision, der Produktionsfirma des Nicolas Cage-Kultfilms 'Mandy'. Dieser OST wurde ebenfalls von der Deutschen Grammophon veröffentlicht.

Chris arbeitete mit der Choreografin Melanie Lane zusammen und vertonte 12 zeitgenössische Tanzprojekte, darunter die Aufführung ihres Soloprojekts 'Tilted Fawn' im Sydney Opera House und zuletzt 'Personal Effigies', das im März 2018 mit dem Kier Choreographic Prize ausgezeichnet wurde, sowie 'WOOF' für die renommierte Sydney Dance Company.

Chris' umfangreiches Verzeichnis an Remixen für Künstler wie Thom Yorke, Massive Attack, Depeche Mode, Max Richter, Battles und Nils Frahm wurde 2013 als Doppelalbum 'Feast / Beast' veröffentlicht.

'What's always set Clark apart is his eclecticism, dynamism, and flair for the dramatic... His tracks don't drop as much as they slip or swerve... He'll end a techno album with eight minutes of beatless, sky-cracking ecstasy and it will make sense. He's allergic to the idea of standard sounds and presets. And unlike many of his more insular peers, Clark can be open to sentimentality — not schmaltz — as much as a belief in humanness and all its inexact wonder. In electronic music's never-ending battle between man and machine, he's seeking a third way.' - Pitchfork

Tape
"Samples, movies and beats. That's the essence of Dead End's brand new LP titled Kino Vol.1. The Portuguese producer takes the chair and delivers a masterful performance that combines music and cinema. Kino Vol.1 is a multidisciplinary album built around samples picked from some of his most loved blockbusters and inspired by iconic movie clips. For the occasion, Saturate's Instagram profile has turned into a video gallery, featuring footage from cult movies and series such as The Office, Sicario, A Fistful Of Dollars, perfectly synched with Dead End's productions.
The album experience itself resembles that of a mini-series like Netflix's Love Death Robot or Oat Studios, where every episode is a story on its own, written and shot in a different way. The fourteen tracks, or episodes as I like to call them, range from heavy club to hip hop and halftime. Some are more colorful and atmospheric like the ending tripled composed by 'Cocoon,' 'Voyage' (feat Dj Ride) and 'Flowers Bloom'. These cuts seem to come off reflective and introspective movies. Others are way heavier, as they were made straight for fighting and chase scenes. In this group, you can count 'Melee Attack,' 'Though Break,' 'Stealth', 'Thin Ice'. My favorite instead are those which set up an ambiguous and sinister mood. 'Bullit Drift,' 'The Fog,' 'Shindeiru,' 'The Road,' all these episodes could fit very well in both mental thrillers (a la Nolan) and unconventional psycho/horror movies. They build a palpable tension that successfully keeps me on my toes as I expect a jump scare or a sudden plot twist to come in at every second given.
In conclusion, Dead Ends' Kino Vol.1 has the virtue of creating a listening experience that, thanks to its references to the world of cinema, becomes interactive and involves the listener in first person. It's impossible not to try to figure out from which films the samples are taken or to try to imagine which scene would be perfect for a specific track."

A band who have never stood still creatively, EBM is a breathlessly heavy step up and Editors’ most leftfield material yet – a thrilling, unrelenting thrust of full-bodied electro-industrial rock. The album title is an acronym of Editors and Blanck Mass, but also a knowing reference to Electronic Body Music, the potent sound that originated in the 1980s and which has hugely influenced Editors’ new material, where the synths of bands like Nitzer Ebb, Front 242 and DAF hammer darkly amongst smoke machines, strobe lights and the smell of leather.

A band who have never stood still creatively, EBM is a breathlessly heavy step up and Editors’ most leftfield material yet – a thrilling, unrelenting thrust of full-bodied electro-industrial rock. The album title is an acronym of Editors and Blanck Mass, but also a knowing reference to Electronic Body Music, the potent sound that originated in the 1980s and which has hugely influenced Editors’ new material, where the synths of bands like Nitzer Ebb, Front 242 and DAF hammer darkly amongst smoke machines, strobe lights and the smell of leather.

P-VINE is thrilled to reissue Anime that Jazz: Evening! as a limited edition LP for the first time with an iconic obi strip attached. As with the preceding Ghibli Jazz series, All That Jazz is tied together by the soothing vocals of Yukiko Kuwahara who completes the core set-up of piano, bass and drums.

Toronto-based musician and producer David Psutka aka ACT! (fka Egyptrixx / Anamai / Ceramic TL) will release his latest project ‘Strange Bounty / About Life’ for his own Halocline Trance imprint.

‘Strange Bounty / About Life’ is Psutka’s debut album proper as ACT! following the release of the “sonic mixtape” ‘Universalist’ in 2018 and the augmented reality soundtrack ‘Grey Matter AR’ in 2021; a series of Snapchat filters created by artist Karen Vanderborght and soundtracked by ACT! which explored the poetic and existential potential of AR and social media.

The new album represents a refinement of aesthetic and compositional ideas that exist across Psutka’s various projects and collaborations. It is a bold blend of new psychedelia braided with ecstatic groove. It’s a collage of physical sound, composition and freeform electronics that is simultaneously original, bold, and balmy whilst retaining a certain timeless familiarity and the obvious, indelible hallmarks of Psutka’s creative vision.

“‘Strange Bounty / About Life’ is in some ways my most refined record. The previous period of solo material was quite experimental and spontaneous, whereas this was written slowly and with more intentionality, and as a result, feels very clarified. Robin Dann of Bernice, and Alanna Stuart of Bonjay both contributed lovely vocal work to the record and it was written and performed primarily on guitar. I think it is fair to call this an 'experimental guitar record'.” David Psutka (ACT!)

On opener ‘Oblivion Shuffle’ synths trickle and squelch beneath vintage arcade bleeps, an off-kilter rhythm and mournful vocals. The palette of faintly dystopian electronics, unnerving ambience and scorched, wonky rhythmic pulses reoccur across the album on tracks like ‘Separation Code Is Togetherness Meta’, ’50 Million Motives For Making’, ‘Peace Javelin Heaven Bound’ and ‘Street Racer’.

Elsewhere on the record the guitar is more obviously prominent, and its presence allows the thematic subtleties of ACT’s music to flourish. It becomes clear after numerous listens that there is a push and pull at play across the whole project; one of optimism vs existentialism, of anxiety vs hope - a consistent theme of Psutka’s back catalogue. The track titles themselves even begin to reveal juxtaposition contained within and a deeper inspection of the lyrics reveals more.

‘Lotto’ and ‘Rebuild Your Body’ and title track, ‘Strange Bounty / About Life’ all feature slick classic soul hooks, silky vocals and smooth Balearic guitar licks over the idiosyncratic beats and distinctive electronic instrumentation. A perfect melding of the two seemingly disparate stylistic directions on the album. A real testament to the refinement promised by Psutka on this project.

In addition to ACT!, Psutka has released music with numerous projects including Anamai, Egyptrixx and Ceramic TL, he has collaborated widely with artists such as Junior Boys, Ipek Gorgun, and Kuedo as well as Jessy Lanza (2016) and an official remix for Massive Attack’s ‘Hymn of the Big Wheel (2012). The contributions on this album, from Robin Dann and Alanna Stuart, reflect the deeply collaborative nature of the Halocline Trance label and the Toronto creative scene more broadly.

Many of Psutka’s releases have received critical acclaim from media outlets such as Pitchfork, Exclaim, The Quietus and Resident Advisor. As a live performer, he has toured extensively including performing at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival. He’s also presented sound installations at various institutions such as Galeria Civica Commune di Modena, and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. Now a creative collective and label, it has grown to include a diverse array of artists including Casey MQ, Xuan Ye, Myst Milano, Colin Fisher and others. The label is described as “genre-agnostic” and conceptually open, supporting work across a wide spectrum of creative fields including soundtrack recording, AR design and traditional artist albums. Their impeccable roster also includes, theorist/improviser Eldritch Priest, and AR/VR artist Karen Vanderborght. In recent years, Halocline Trance has established itself as a platform that facilitates many of Canada’s most exciting creative music projects. Many of the releases have received critical acclaim from outlets including Pitchfork, Exclaim, Bandcamp and Resident Advisor.

It’s common knowledge that KOMPAKT’s TOTAL series serves as our yearbook, a musical wrap up of the past 12 months. Therefore it doesn’t come as a surprise that this year’s edition is informed by another pandemic year, where dancefloors were still mostly deserted and the devastating developments in Eastern Europe. Kompakt’s A&R team still kept on foot on the imaginary dancefloor, while scouting different realms apart from the big room euphoria. Anyway, brain dance has always been a key ingredient to our catalogue.

The Voigt brothers are opening this years vinyl edition in an unusually romantic fashion. ‘Why’ combines a bubbly FM bassline with lush washes of looped guitars. High off the (presumably high) heels of her recent album ‘Jesus Was An Alien’ she delivers a spanking new excursion into her sonic world, ‘The Hill’. Our Mexican friend Rebolledo makes his first ever solo appearance on TOTAL with his trademark hypnotic desert sound. Jürgen Paape is calling a spade a spade with ‘Le Monde À Changé’ – The world has changed indeed. Our prodigal son, Matias Aguayo, returns to the mothership with ‘Cinco Y Rojo’. An exercise in Chicago-esque groove theory paired with a cheeky visitor from Denmark. Spot the reference and win a pair of hooves. It’s hard to find a quality party around Cologne without Jonathan Kaspar on its bill. Rightly so, as he continues to hone his craft as an impeccable DJ and producer. Michael gives the tremendously talented Danish singer songwriter eee gee a proper Mayer treatment and Kompakt founding member Jörg Burger closes off the festivities with a groovy midtempo chugger that reminisces ‘Blue Lines’ era Massive Attack as much as the late Andy Weatheralls low slung psychedelia.

Es ist allgemein bekannt, dass die TOTAL Reihe eine jährliche Positionsbestimmung des Kölner Labels KOMPAKT darstellt und der Jahrbuch-hafte Charakter war ja auch immer beabsichtigt. So wundert es wenig, dass man TOTAL 22 die Irrungen und Wirrungen des zweiten pandemischen Jahres 2022 deutlich anhört. Die A&R Abteilung des Labels hatte zwar – trotz geschlossener Clubs – weiter mindestens einen Fuss auf dem imaginären Tanzboden, aber man spürt, dass es ein eher verhaltener Jahrgang geworden ist. Dance Tracks brauchen einen entsprechenden Resonanzraum – und der war zumindest bis zur Deadline dieser Platte kaum gegeben. Aber Kopfdisco gehörte schon immer zum kompakten Repertoire. Letztlich entsteht in diesem vom Big Room los gekoppelten Bereich meist die interessanteste Musik.

Die Gebrüder Voigt eröffnen TOTAL 22 auf einer unerwartet romantischen Note. Quirlige FM Bässe schmiegen sich an verhuschte Gitarrenloops, so dass es eine wahre Freude ist. Perel hat gerade ihr fulminantes Album “Jesus Was An Alien” abgeliefert und spurtet bereits mit Siebenmeilenstiefeln (oder vielleicht auch Pumps?) zum nächsten Ziel: ‘The Hills’. Unser mexikanischer Freund Rebolledo ist erstmals solo auf einer TOTAL zu finden und beschwört mit ‘The Sharper Image’ seinen hypnotischen Prärie Sound herauf. Jürgen Paape nennt das Kind direkt beim Namen: Le monde a changé… Die Welt hat sich verändert – ein Kommentar zum Zeitgeschehen, der keiner Erklärung bedarf. Nach längerer Abstinenz hat Matias Aguayo wieder am Mutterschiff angedockt. ‘Cinco Y Rojo’ ist ein Lehrstück in Sachen Chicago-esquen Grooves, kombiniert mit einem frechen Besucher aus dem Dänemark der 80er. Findet die Referenz und gewinnt ein paar nagelneuer Hufen. Es ist derzeit schwer eine qualitativ hochwertige Party im Rheinland zu finden, auf der Jonathan Kaspar nicht spielt. Zurecht, denn er schärft seine Skills als DJ und Produzent wie ein Sushi Chef sein Messer. Michael Mayer dreht die überaus talentierte Singer Songwriterin eee gee auf links und überlässt seinem Weggefährten Jörg Burger das letzte Wort. "Crawling Up That Hill’ ist ein slicker Midtempo Groover, der in seiner behutsamen Psychedelik irgendwo zwischen Massive Attack in der ‘Blue Lines’ Epoche und Andy Weatherall changiert.

Gold Vinyl

10 brand new recordings from the legendary Jamaican singer and longtime Massive Attack collaborator, Horace Andy, produced by Adrian Sherwood.

Midnight Rocker has been approached in a similar fashion to the late-career quality that Sherwood coaxed out of Lee "Scratch" Perry with the Rainford and Heavy Rain albums, assembling a crack team of players and spending many months perfecting performance, arrangements and mixing. The result is a remarkable suite of tracks that sparkle with superb musicianship, carefully crafted production and Horace’s beautiful vocals.

The material includes revisiting and updating a few classic Horace Andy songs such as “Mr. Bassie”, but the bulk of the tracks are brand new compositions with contemporary messages, such as “Watch Over Them” and “Materialist”. The pair have also versioned “Safe From Harm”, a much-loved early single by the group that Andy is most associated with – Massive Attack.

“On-U Sound are very proud to present a truly wonderful album with one of the all-time great singer-songwriters in the rich history of Jamaican music, Horace Andy. This is a true gold star performance, and I’m very proud of it.” Adrian Sherwood.

Vessels promise an escape from responsibilities towards the landscape, they facilitate our avoidance of conscientiously feeling our attachment to the mainland. The visual nothingness of deep water and clean horizons fools the brain and delivers a treacherous feeling of independence.

We ignore the truths expressed by landscapes, so we mould them into urban projects for our strange desires. We clean up the irrationalities by which nature constructs itself. Then we look up to the skies, where the abstractions we have to draw in our minds should reside and inspire us.

We peer into the various shades of blue above the waters, the emptiness guarantees possibilities of our abstractions becoming realities. The apathetic stare into neat, straight horizons transforms our ancestral landscape into dirt and danger, when looking back to it.

To be on a ship under quarantine, is an upside down experience, for the promised escape has turned into a forced paralysis. The Lima flag (? - ? ?, in morse code), presented on the outer sleeve of this record, indirectly demands of all passengers to stay aboard and contemplate their escape from the land they now desire to return to.

These four piano pieces could be considered as a classical sonata (allegroadagio-scherzo-rondo). In a recital they are accompanied by four video pieces by artist Karl Van Welden. We picked the videos out of his extensive archive, choosing images intuitively while listening to the piano music. The theme of ships relating to quarantine thus came unannounced but of course, we were in the middle of the pandemic at the time.

Solastalgia was already waiting as a title for the new album before march 2020. I first came across the word in Underland, a book by Robert Macfarlane (2019). He defines the word as "The unhappiness of people whose landscapes are being transformed about them by forces beyond their control". These forces and this unhappiness are, I believe, what constitutes the modern human. Solastalgia, about the music We haven't found them yet, the words to talk to each other about the worrying signs of climate change. Feeling worried when walking on autumn leaves in the beginning of August should be completely normal. But how do we communicate about it? We don't want to be just the next hysterical doomer.

With this music I try to focus on the climate pain itself, gently inviting the listener to investigate their latent feelings of unease and growing concerns about the environment. As in real life, we circumvent the real issues because they are just too big, there are no words, no expressions yet.

This album tries, in four different attempts, to carve out a path towards communicating about a deeper pain that eventually will connect us all. My general method is to start with a comforting melody, full of fake nostalgia, which, after changing gear to autodestruct mode, morphs into a painful question mark.

The first part sets off with an idyllic melody, accompanied by repeated notes, as a far, muted echo of an alarm. The melody starts to explain itself painfully into a dissonant whirlwind in the high register, sounding not unlike Ravel's Gaspard de la Nuit bravura. In the second piece a warm Beatles like melody (And I love her) gets confronted with the weird hippie mantra of a later Lennon song War is over, if you want it. Sentences get reduced to syllables and result in lonely notes that crash and shiver under the burden of too much meaning. Like Shostakovich's latest work, the Sonata for viola and piano.

The descending melody of Bach's Erbarme dich, Mein Gott is echoed in the upper and lower voicings of the third piece, juxtaposed to a typical, threatening Ennio Morricone Western dotted rhythm accompaniment. This rhythm eventually evolves into citing the 1972 Captain Beefheart early ecological warning song Blabber and Smoke (there's a big pane/pain in your window, it's gonna hang you all,... dangle you all). Towards the middle of the piece, the music explodes and the three layers get dispersed all over the keyboard in a virtuosic maelstrom towards another painful question mark. The bitter answer is going back to business with a barely noticeable citation of the first notes of the RZA's Liquid Swords album.

The final piece is some kind of mantra, the same 7/4 pulse all throughout the piece. The dampers of all A's and B's on the keyboard are released by the middle pedal, thus sustaining an ever present resonance. Melodic cells alternate in shifting quantifications with small, bell like percussive cluster playing. While composing this piece an image crept up: walking out of the church on Sunday morning, tolling bells enthusiastically moderating the churchgoers' small talk in the local dialect. Apparently I have tried to evoke this kind of conversation, but injecting it with fictitious alarming conversation topics, the contemporary.

Frederik Croene (August '22)

This album presents two multichannel works recorded at the seminal INA GRM Studio in Paris and ZKM Institute in Karlsruhe respectively, mixed to stereo at the composer's Cellule 75 Studio in Hamburg with excellent mastering by Rashad Becker. While his releases under the Black To Comm moniker often touched the fringes of acousmatic techniques and Musique Concrete this is Richter's first foray into a more abstract spatial music.

Recorded in the week leading up to the Paris terror attacks at the GRM studio, "Diode, Triode" (21:57) is loosely based on a reading of (and, in parts, a failure to understand) "Le Parasite" (1980) by Michel Serres, a philosophic metaphor about human interaction and communication (which can also be interpreted as a lyrical essay on capitalism; part confusion, part enlightenment).

As core elements Richter is using speech synthesis and the transformation and distortion of concrete sounds, instruments, voices and breathing. Abstract incognisable sounds are combined with strings, reeds and percussion while dismembered musical fragments emerge and vanish rapidly. Chunks of interfering noise are followed by long periods of silence; chaos and order are alternating. Choirs of synthetic and processed human voices are recounting stock market values, seemingly random sequences of numbers and inscrutable lyrics while parasitic sounds are trying to crack, collapse and fractionise the compositional stream and sonic interactions. Finally, a haunting piano chord is wrestling with a broken Publison machine. Like the book, it's part confusing, part enlightening - and a radical piece of sonic art.

"We are buried within ourselves; we send out signals, gestures, and sounds indefinitely and uselessly. No one listens to anyone else. Everyone speaks; no one hears; direct or reciprocal communication is blocked." (Le Parasite)

"Diode, Triode" was premiered on the Acousmonium at INA GRM's Akousma Festival in Paris, January 22, 2016 alongside new works by François Bayle, Robert Hampson, Leo Kupper and Ragnar Grippe.

The second piece "Spiral Organ of Corti" (17:00) has been composed in 2014 for the 47-speaker Klangdom concert hall at ZKM Karlsruhe at the foot of the Black Forest (where Richter was born and raised).

How does one listen with closed ears? Sine tones, alienated human voices and breathing noises build a labyrinthine puzzle alternating between the natural and the artificial. Human sounds merge with winds and strings, sine tones morph into metal sounds. Acoustic illusions confuse the listener, and dense noise-clouds slowly emerge from deceptive silence. Deep base sounds define space. Temporary focus glides into chaos. "Spiral Organ of Corti" is yet another extended composition that proves Richter is on a path of his very own.

"Spiral Organ of Corti" is dedicated to the late Gary Todd.

"Tongues that came from wind and noise. To speak in tongues after the fire." (Le Parasite)

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and under the Mouchoir Ètanche and Jemh Circs monikers for his own Cellule 75 imprint. He collaborated with visual artists such as Ho Tzu Nyen, Jan van Hasselt and Mike Kelley. Under his own name he is composing for film and installations.

repress

"The haunting ambience of Beat fit somewhat with the then-popular Massive Attack and Portishead, but the album's subsonic drone made it more of a minimal mood piece than a collection of songs." MAGNET

The second in a trio of albums released by the core duo of Lawrence Chandler and Martha Schwendener, Beat is without doubt their definitive artistic statement.

Coming 20 years to the day of its original release, this is the first time this album has been available on vinyl in almost two decades, and the first ever U.S. vinyl release. (Was released here on Beggars Banquet, original copies very hard to find..)

The second album from New York City's Bowery Electric was released in late 1996, less than 15 months after their self-titled debut, but it found them having traveled light years musically in the interim, the group having seemingly decided to see how far they could take the guitar/ bass/ drums/ vocal setup into the atmosphere.

Every aspect of their approach had been refined and focused: squalling, distorted guitars had been transformed into hazy, sensual sheets; the live drums transmuted to sampled rhythms more in debt to the blossoming downtempo sound of the day; bass lines reduced to their most basic diagrams; vocals submerged to become one with the narcotized fog of the instruments; even the lyrics were reduced to a few minimal lines used sparingly so as not to overshadow the dynamic.

Beat is a lush and dense mantra of shadowy percussion, barely-there vocals and immersive drones that envelops the listener in an opiated blanket of sound.

quotes:

"Bowery Electric have made something utterly astonishing here. So deep, so wide, and somehow as intimate as a train crash. The first six tracks are just the most crushingly beautiful thing I've heard in 1997; the last five are even better. Good god, THIS IS IT." Melody Maker

"While cymbals shower down over the songs like a torrent of shattered glass, their austere beauty is never static. Ambience has rarely sounded so messy." Exclaim

A near-perfect mix of shifting dance beats, menacing electronic drones, analogue bleeps,
syncopated rhythms and ethereal vocals." Now UK

A legendary indie audio artist blurring his lifelong attachments, from spontaneous composition (in the late 70's with John Zorn) to experimental rock (with Bongwater and other bands in the 80's) alongside his recent inquiries into the intricacies of ambient-folk songcraft (with his most recent solo LP, "And The Wind Blew It All Away"), Kramer continues to explore the possibilities of shaping naturally occuring aural landscapes into intoxicatingly affecting music. Sound and language - not just melody and ambient textures - has been his raw material for decades. He nowjuggles them more deftly than ever on his newest ambient opus. In the ten compositions that comprise this new LP, mournful at times yet mysteriouslylife-affirming and generous in their scope, Kramer sees films where there arenone, and composes his accompanying ambient soundtracks in a state of interrupted grace. Words, text, complete screenplays, character arcs, shooting scripts and storyboards swirl through his head as he puts his imagery to sound, and the results evoke a world in which moths, drawn to the bright flickering lightsof Cinema and the low humming lights of Dreams, in Kramer's own words, "...might never die". The LP's nature reveals an interior dialogue between musician and choice. Each piece represents Kramer's encounter with the blank canvas of silence that greets him as a composer. Embracing sounds as objects and instruments of Truth, the end result of his process is as much about what is absent and what has been removed or edited away than what is left in its wake as artifacts of emotion. These pieces are the Spring frost of lost imaginings, vanitas to broken connections, visions nearly unrecordable by the human eye. Kramer envisions a music that functions to stoptime, as an event that always plays in the present and never needs a past to give it a reference point. It is music that communicates in the most intimate way possible, as intricately and as deeply as the way it blossoms and shifts and evades categorizationwhen exposed to thin air. Drawn toward the light of a multitude of influences, we hear echoes of the feverishly frozen dreams of composers Morton Feldman, Terry Riley, Brian Eno and Arvo Part, melting alongside the surreal cinemas of David Lynch and The Brothers Quay, all parts converging to evoke a time and place that does not exist outside of the mind's eye of the listener. These ten works are fluid adventures in fathomless landscapes, emotions distilled and offered as a paintless painting without a physical home. Each individual composition is an offering to a future memory, a chalice to be filled with the listener's own reactions to them. As a whole, the ten pieces form an image of ten circling planets in an expanding galaxy that colors itself anew with each subsequent listen. Movement, grace, and Peace.

4 LP set is for Indies only until further notice. Unravelled: 1981–2002 shines a loving light on lo-fi pioneers Tall Dwarfs, the prized New Zealand duo of Chris Knox and Alec Bathgate. The collection, available as a 4-LP or 2-CD box set, compiles songs from Tall Dwarfs' two decades of recordings. The vinyl edition includes a 20-page collector's booklet of photos, comics, posters, and other ephemera. The songs on Unravelled: 1981–2002 were curated by Alec Bathgate, who also designed the box set packaging; Chris Knox suffered a debilitating stroke in 2009 just as they had started work on a new album. The collection captures the different sides of the Tall Dwarfs in 55 songs. Though the band was an excuse for two good friends who lived in different cities to get together, drink beer, watch shitty old movies, and do some recording and drawing, Tall Dwarfs created music unlike anyone else. Capturing the initial excitement of creation and taking pride in what they did, Knox and Bathgate showed a whole generation of musicians what could be done at home on a 4-track and what magic could be made if you mixed pop melodies and hooks galore with homemade sounds. After a failed flirtation with success in their previous band Toy Love, Knox and Bathgate formed Tall Dwarfs in 1981, opting to record themselves on a 4-track reel-to-reel. New Zealand’s AudioCulture wrote of the duo’s project: “Early live performances were a ramshackle work in progress. Knox described them in an interview with American magazine Forced Exposure as ‘two minutes of song followed by five minutes of fucking around,’ and they dismayed many Toy Love fans—but the pair had no interest in a career spent in pubs cranking out ‘Pull Down the Shades.’” Tall Dwarfs was meant to be a one-off, but after the founding of their New Zealand label Flying Nun, they continued to record music for the next 21 years, releasing seven EPs and six albums. Their process was spontaneous, with songs being recorded as they were written. Typically, Bathgate would work up something on guitar while Knox provided vocals, lyrics, and tape loops. Then they added any sounds that seemed necessary to finish a song, using whatever was lying around: pans, chairs, baby rattles. Though Tall Dwarfs could be weird, they were never too experimental; Knox and Bathgate both loved melody too much (“Beatlesque” appeared more often than any other adjective in their reviews).

From a Balkan basement comes an EP so filthy that we had to cover the record with a color photo. KRI records first installment oscillates between EBM and electro, ready for sweaty dancefloors and those extra long afterhours needing some “warm leatherette”. A well crafted five tracker journey is a debut collab by two veterans, Christian Kroupa discovering his darker shades coming off of an LP on Natural Sciences under his Alleged Witches moniker, while Le Chocolat Noir is no stranger either with seals of approval on Return to Disorder and L.I.E.S among others. Get ready for plenty of melodies, massive chords and menacing vocals spiced with an epic acid remix by the Mannequin boss Alessandro Adriani.

Ever since Tsuyoshi Hamada, better known as Dayzero dropped his now-sold-out first ZamZam “Orbit Dub” b/w “Theory Dub” in 2020 we’ve been eager to bless listeners and dancers with a next chapter of his unmistakable, menacing 140 dubs, and that Part 2 is finally here. In the two years since his first Zam he’s worked with Sentry, Vomitspit, Endz, and most recently branched out with an EP of leftfield styles & textures for Bristol’s legendary Livity Sound. Now he's back on 7" vinyl with a pair of stompers just the way we like them.

“Word sounds and power gonna mash them down” couldn’t be a more choice sample to lace “Pages” with, a skanking behemoth of 140 energy powered by swaggering kick & sub, reverb soaked snare, driving shaker, scratchy guitar licks, and mad delays twisting out at bewitching angles.

“Sen” counts off through a dodgy radio frequency, flying low and dropping into a ruff attack of dirty drums & bass, shifting, off-beat mid-range melodics, sleigh bell and percussion cutting through the hazy sonic miasma threatening to envelop the tune. At once eyes-down and hands-in-the-air, Dayzero strikes again with a guaranteed high score in the dance.

Strictly limited to 700 copies for the world. No digital, no repress. Art, design & two-color screen print by Polygon Press. Mastered at Precise, Pressed at Third Man.

New pressing on double coloured vinyl, (Disc one White & Disc two Pink), Gatefold sleeve, DL card. René Laloux’s celebrated 1973 sci-fi animation ‘La Planète Sauvage (Fantastic Planet)’, is overhauled with a re-imagined soundtrack by electronic modernists Stealing Sheep and legendary sound innovators The Radiophonic Workshop. This exclusive release is part of Fire Records’ re-imagined score series. “No institution has had a greater impact on the development of electronic music than the BBC Radiophonic Workshop.” The Vinyl Factory. It’s a real pre-Avatar conundrum that Stealing Sheep, with the help of Bob Earland, Dick Mills and Roger Limb from the Radiophonic Workshop, unravel. Creating an ethereal excursion that’s narrated by Roger Limb; like a futuristic Martin Denny, or Dr Who gone ambient techno, with a hint of Forbidden Planet 50 years on. It’s an analogue swirl set in an off-world paradise; a field recording from the future. This is a creative, generation-spanning, union brought together to score this unique cult film. A must for fans of psyche electronica and Stealing Sheep’s formidable ‘Big Wows’ album. “Stealing Sheep devour a broad range of styles, incorporating everything from the dark dance-pop of Grace Jones to the experimentations of Radiophonic Workshop pioneer Delia Derbyshire and John Carpenter soundtracks.” The Guardian // ‘La Planète Sauvage’ is a thing of ambient beauty punctuated with electronic earworms that switches from intensely ominous to otherworldly dream like moments. Track listing: Side A A1 Opening Credits A2 The Chase A3 Saved/Captured A4 The Bracelet A5 Council of Draags pt.I A6 Terr & Tiwa A7 The Knowledge pt.I Side B B1 The Fight B2 The Knowledge pt. II B3 The Initiation B4 Escape B5 The Big Tree B6 The Ritual B7 The Duel Side C C1 Theft/Zarek C2 The Bird C3 The Free Oms C4 The Purge C5 The Journey to Ygam C6 Council of Draags pt.II Side D D1 The City of Free Oms D2 Robot Attack D3 The Fantastic Planet D4 The Final Battle D5 Terr D6 End Credits

Still Life has been shaped by Katuchat's various musical influences: Arca, Vegyn, Sophie or Boards of Canada, artists who inspire him in the production of complex and detailed rhythms. For his first album, he wanted to experiment with more melodious sounds but also to diversify his music by collaborating for the first time with other artists (Chester Watson, Lia...).

Music being omnipresent in his daily life, his inspirations are as multiple as indefinable. We find them in what surrounds him, in the places, the interactions, the events which, unconsciously, directed the creation of the album. This idea inspired the artistic direction of "Still Life": the music is kind of a time capsule, which we can listen to again later to rediscover past moments of life, remembering the circumstances in which we first listened to it, and in his case, created it. Electronic music allows the listeners to attach their own interpretation and their own emotions, be they joyful or more melancholic.

-Heavy Metal Sampler mit Underground-Hits und Kultsongs
-umfasst die „goldenen Achtziger“ mit Stücken von 1981 bis 1988
-Vinyl only (keine digitale Version)!
-EYECATCHER: attraktives Cover mit Hommage an die Serie
„Stranger Things“
-bedruckte Innenhülle mit Essay über den 80s Metal und viele Fotos
-mit einem neuen Vinyl-Remaster des Manilla Road Klassikers
„Necropolis“
Trotz dem Vinylboom, der in szenestarken Musikrichtungen
noch deutlicher ist als in der Popmusik, gab es in den letzten
Jahren bisher wenige Compilations auf LP. Dabei waren
Zusammenstellungen ein ebenso wichtiger Teil der Siebziger und
Achtziger, eben in der Zeit, als die Schallplatte das gängige Medium
war und ein Mixtape eben nur ein Tape war.
„Heavy Metal Things“ spielt natürlich auf die erfolgreiche TVSerie „Stranger Things“ an, die in den Achtzigern spielt und bei
den Jugendlichen einen ganz eigenen Lifestylewunsch erzeugt hat.
Trotz der spannenden Handlung erlebt man eine Zeit, die in einigen
Punkten doch einfacher und entspannter war – trotz dem Kalten
Krieg und unsicheren Atomkraftwerken. Die Schallplatte (und
erstaunlicherweise sogar die Kassette) gehört in diese Zeit, die sich
mit der Hochphase des Heavy Metal überschneidet. In Szenekreisen
taucht daher oft die Floskel „goldene Achtziger“ auf, denn so
ziemlich jedes Metal-Subgenre wurde hier erfunden oder klang
wenigstens bereits an. Ein ruppiger, teils noch von der Gesellschaft
geächteter Stil wurde zu einem kommerziellen Erfolg. Auch die
Neunziger, gespickt mit Grunge und Crossover, konnten die Rückkeh
des traditionellen Heavy Metal in den 2000ern nicht verhindert. Und
durch die Serie „Stranger Things“ werden Jugendliche auf Songs un
Bands aufmerksam, die in Folge nach über 30 Jahren wieder in die
Charts schiessen.
Trotzdem ist die LP „Heavy Metal Things“ keine Compilation mit
den großen Hits der Mega-Acts in diesem Segment. Im Gegenteil!
Hier wird gezeigt, welche spannenden Acts aus den USA und
Europa zunächst nicht mit dem Massenerfolg gesegnet waren,
allerdings von neugierigen und interessieren Genrefans mittlerweile
entdeckt wurden. So konnte man auch in den letzten Jahren Bands
wie Manilla Road bei Festivals wie dem Hellfest, Sweden Rock
oder Maryland Death Fest sehen. Kultgruppen wie Griffin (USA),
Witchfynde, Malleus oder Dark Wizard kehrten auch zu den
Bühnen zurück. Der Underground ist im Heavy Metal in der Tat
eine größere Sache, als man bei dem Begriff zunächst annehmen
müsste.

Grammy nominated, Love Scenes features Diana's mastery of the romantic ballad in an intimate piano trio setting with Russell Malone on guitar and Christian McBride on bass.

"When my producer, Tommy LiPuma, and I were deciding on the songs for my newest album, it never occurred to me that the songs we ultimately chose would be all about love. I selected songs that I personally liked, and that had a special meaning for me. However, as is often the case during the creative process, a connection among the songs just seemed to organically appear. The songs are indeed about romance. But to me there is a broader and more personal attachment to each of the songs than the standard definition of romantic love might imply. I think that these songs represent the strength of love, including the love of family and friends. But rather than describing my own thoughts about each song, it is my hope that all of you who listen to the music and read the lyrics will discover and imagine your own personal "love scenes" among the mountains, oceans, rain and gardens of these songs." - Diana Krall

Grave Digger sind seit über 4 Jahrzehnten ein fester Bestandteil der deutschen Heavy Metal Szene. Chris Boltendahl, Axel Ritt, Jens Becker und Marcus Kniep sind nicht nur im Live-Bereich eine feste Größe, sondern liefern auch regelmäßig hochwertige Heavy Metal-Alben ab. Auf ihrem neuesten Album "Symbol Of Eternity" spinnen sie die Geschichte der Kreuzritter weiter... nachdem sie sich bereits auf dem Album "Knights of the Cross" damit befasst haben, widmen sie sich nun erneut der der sagenumwobenen Geschichte der Templer.

Messerscharfe Riffs, opulente Chorarrangements und die markante Stimme von Chris Boltendahl sind Bestandteile von Grave Diggers neuem Werk. Alle Markenzeichen, die die Band seit 4 Jahrzehnten auszeichnen, werdem auf dem neuen Album fortgeführt und machen "Symbol Of Eternity" zu einem originellen und harten Album. Und doch stehen neben den gnadenlosen Riffs, wie im eröffnenden Headbanger "Battle Cry", immer wieder melodische Refrains im Vordergrund... harte Doublebass-Attacken, gepaart mit Midtempo-Songs und dem fast schon doomigen Titeltrack lassen jedes Headbangerherz höher schlagen.

Grave Digger waren noch nie so abwechslungsreich und scheuen sich nicht, auch mal weit über den Tellerrand zu schauen - wie beim Bonustrack "Hellas Hellas", einer Coverversion des griechischen Superstars Vasilis Papakonstantinou, bei der Chris zum ersten Mal in seiner Karriere griechisch singt und für den die Band sogar Vasilis für einige Gesangspassagen gewinnen konnte!

Öffnet eure Ohren und Augen, wenn das neue Album am 26. August weltweit in den Läden steht und ihr eine weitere Reise in die geheime Welt der Templer unternehmen könnt. Der König ist tot… lang lebe der König!

Grave Digger sind seit über 4 Jahrzehnten ein fester Bestandteil der deutschen Heavy Metal Szene. Chris Boltendahl, Axel Ritt, Jens Becker und Marcus Kniep sind nicht nur im Live-Bereich eine feste Größe, sondern liefern auch regelmäßig hochwertige Heavy Metal-Alben ab. Auf ihrem neuesten Album "Symbol Of Eternity" spinnen sie die Geschichte der Kreuzritter weiter... nachdem sie sich bereits auf dem Album "Knights of the Cross" damit befasst haben, widmen sie sich nun erneut der der sagenumwobenen Geschichte der Templer.

Messerscharfe Riffs, opulente Chorarrangements und die markante Stimme von Chris Boltendahl sind Bestandteile von Grave Diggers neuem Werk. Alle Markenzeichen, die die Band seit 4 Jahrzehnten auszeichnen, werdem auf dem neuen Album fortgeführt und machen "Symbol Of Eternity" zu einem originellen und harten Album. Und doch stehen neben den gnadenlosen Riffs, wie im eröffnenden Headbanger "Battle Cry", immer wieder melodische Refrains im Vordergrund... harte Doublebass-Attacken, gepaart mit Midtempo-Songs und dem fast schon doomigen Titeltrack lassen jedes Headbangerherz höher schlagen.

Grave Digger waren noch nie so abwechslungsreich und scheuen sich nicht, auch mal weit über den Tellerrand zu schauen - wie beim Bonustrack "Hellas Hellas", einer Coverversion des griechischen Superstars Vasilis Papakonstantinou, bei der Chris zum ersten Mal in seiner Karriere griechisch singt und für den die Band sogar Vasilis für einige Gesangspassagen gewinnen konnte!

Öffnet eure Ohren und Augen, wenn das neue Album am 26. August weltweit in den Läden steht und ihr eine weitere Reise in die geheime Welt der Templer unternehmen könnt. Der König ist tot… lang lebe der König!

Grave Digger sind seit über 4 Jahrzehnten ein fester Bestandteil der deutschen Heavy Metal Szene. Chris Boltendahl, Axel Ritt, Jens Becker und Marcus Kniep sind nicht nur im Live-Bereich eine feste Größe, sondern liefern auch regelmäßig hochwertige Heavy Metal-Alben ab. Auf ihrem neuesten Album "Symbol Of Eternity" spinnen sie die Geschichte der Kreuzritter weiter... nachdem sie sich bereits auf dem Album "Knights of the Cross" damit befasst haben, widmen sie sich nun erneut der der sagenumwobenen Geschichte der Templer.

Messerscharfe Riffs, opulente Chorarrangements und die markante Stimme von Chris Boltendahl sind Bestandteile von Grave Diggers neuem Werk. Alle Markenzeichen, die die Band seit 4 Jahrzehnten auszeichnen, werdem auf dem neuen Album fortgeführt und machen "Symbol Of Eternity" zu einem originellen und harten Album. Und doch stehen neben den gnadenlosen Riffs, wie im eröffnenden Headbanger "Battle Cry", immer wieder melodische Refrains im Vordergrund... harte Doublebass-Attacken, gepaart mit Midtempo-Songs und dem fast schon doomigen Titeltrack lassen jedes Headbangerherz höher schlagen.

Grave Digger waren noch nie so abwechslungsreich und scheuen sich nicht, auch mal weit über den Tellerrand zu schauen - wie beim Bonustrack "Hellas Hellas", einer Coverversion des griechischen Superstars Vasilis Papakonstantinou, bei der Chris zum ersten Mal in seiner Karriere griechisch singt und für den die Band sogar Vasilis für einige Gesangspassagen gewinnen konnte!

Öffnet eure Ohren und Augen, wenn das neue Album am 26. August weltweit in den Läden steht und ihr eine weitere Reise in die geheime Welt der Templer unternehmen könnt. Der König ist tot… lang lebe der König!

Grave Digger sind seit über 4 Jahrzehnten ein fester Bestandteil der deutschen Heavy Metal Szene. Chris Boltendahl, Axel Ritt, Jens Becker und Marcus Kniep sind nicht nur im Live-Bereich eine feste Größe, sondern liefern auch regelmäßig hochwertige Heavy Metal-Alben ab. Auf ihrem neuesten Album "Symbol Of Eternity" spinnen sie die Geschichte der Kreuzritter weiter... nachdem sie sich bereits auf dem Album "Knights of the Cross" damit befasst haben, widmen sie sich nun erneut der der sagenumwobenen Geschichte der Templer.

Messerscharfe Riffs, opulente Chorarrangements und die markante Stimme von Chris Boltendahl sind Bestandteile von Grave Diggers neuem Werk. Alle Markenzeichen, die die Band seit 4 Jahrzehnten auszeichnen, werdem auf dem neuen Album fortgeführt und machen "Symbol Of Eternity" zu einem originellen und harten Album. Und doch stehen neben den gnadenlosen Riffs, wie im eröffnenden Headbanger "Battle Cry", immer wieder melodische Refrains im Vordergrund... harte Doublebass-Attacken, gepaart mit Midtempo-Songs und dem fast schon doomigen Titeltrack lassen jedes Headbangerherz höher schlagen.

Grave Digger waren noch nie so abwechslungsreich und scheuen sich nicht, auch mal weit über den Tellerrand zu schauen - wie beim Bonustrack "Hellas Hellas", einer Coverversion des griechischen Superstars Vasilis Papakonstantinou, bei der Chris zum ersten Mal in seiner Karriere griechisch singt und für den die Band sogar Vasilis für einige Gesangspassagen gewinnen konnte!

Öffnet eure Ohren und Augen, wenn das neue Album am 26. August weltweit in den Läden steht und ihr eine weitere Reise in die geheime Welt der Templer unternehmen könnt. Der König ist tot… lang lebe der König!

Grave Digger sind seit über 4 Jahrzehnten ein fester Bestandteil der deutschen Heavy Metal Szene. Chris Boltendahl, Axel Ritt, Jens Becker und Marcus Kniep sind nicht nur im Live-Bereich eine feste Größe, sondern liefern auch regelmäßig hochwertige Heavy Metal-Alben ab. Auf ihrem neuesten Album "Symbol Of Eternity" spinnen sie die Geschichte der Kreuzritter weiter... nachdem sie sich bereits auf dem Album "Knights of the Cross" damit befasst haben, widmen sie sich nun erneut der der sagenumwobenen Geschichte der Templer.

Messerscharfe Riffs, opulente Chorarrangements und die markante Stimme von Chris Boltendahl sind Bestandteile von Grave Diggers neuem Werk. Alle Markenzeichen, die die Band seit 4 Jahrzehnten auszeichnen, werdem auf dem neuen Album fortgeführt und machen "Symbol Of Eternity" zu einem originellen und harten Album. Und doch stehen neben den gnadenlosen Riffs, wie im eröffnenden Headbanger "Battle Cry", immer wieder melodische Refrains im Vordergrund... harte Doublebass-Attacken, gepaart mit Midtempo-Songs und dem fast schon doomigen Titeltrack lassen jedes Headbangerherz höher schlagen.

Grave Digger waren noch nie so abwechslungsreich und scheuen sich nicht, auch mal weit über den Tellerrand zu schauen - wie beim Bonustrack "Hellas Hellas", einer Coverversion des griechischen Superstars Vasilis Papakonstantinou, bei der Chris zum ersten Mal in seiner Karriere griechisch singt und für den die Band sogar Vasilis für einige Gesangspassagen gewinnen konnte!

Öffnet eure Ohren und Augen, wenn das neue Album am 26. August weltweit in den Läden steht und ihr eine weitere Reise in die geheime Welt der Templer unternehmen könnt. Der König ist tot… lang lebe der König!