Buscar:ca ra j

Standard black vinyl is limited to 500 copies. Digipack CD. It’s two years since CONNECTIVITY (2021) smashed into the top 40 and debuted at #1 in the UK download chart, propelling the fiercely independent voice of GRACE PETRIE from critics’ choice to the main stages of major festivals across The UK and Ireland, Australia and Canada. For a seasoned road dog who spent almost 15 years clocking up tours with the likes of Billy Bragg, Frank Turner and Hannah Gadsby, the COVID lockdowns were like a cage for Petrie and when restrictions lifted, she hit the road harder than ever, armed with her most searing and successful record to date, and determined to make up for lost time. Sell-out headline tours across the UK, Australia, Canada and New Zealand followed, with audiences from Melbourne to Toronto mesmerised by the ferocity of her socially urgent lyricism and the barnstorming power of her live show. But travelling the globe hasn’t diminished her laser focus on the political issues plaguing the UK, with two more Prime Ministers, endless blunders and evermore division seen since she last swapped microphone for pen and paper. Now the songwriter is back - stronger, older and a whole lot angrier than ever before. As right wing ideologues trade in suspicion and cynicism, tearing communities apart against a backdrop of crumbling public services, the ordinary folk of Britain continue to suffer the consequences of corruption and individualism. From within this maelstrom of despair comes BUILD SOMETHING BETTER - the new, uncontainable album from Grace Petrie. Recorded raw and unflinchingly with folk-punk legend Frank Turner in the producer’s seat, BUILD SOMETHING BETTER is a return to blistering protest form for Britain’s most relevant political songwriter, a decade after being hailed as “a powerful new voice”, (The Guardian) and “a millennial’s Billy Bragg” (Huffington Post). In a world that seems to make less sense than ever, these are songs made to both holler along to from the crowd barrier and to tear up with on a lonely late night train. A record for everyone whose broken heart beats for, and whose boots stomp in time with, the hope a brighter tomorrow. “An effervescent charm-bomb of a performer” - The New Yorker. Headline Tour: 21st Feb Belfast - Oh Yeah Centre 22nd Dublin - Whelan’s, 24th Manchester - Academy 2, 28th Kendal - Brewery Arts 29th Edinburgh – Summerhall 1st March Gateshead – Glasshouse 6th Birmingham - Glee Club 7th Leeds - Brudenell Social Club 8th Nottingham - Rescue Rooms 9th Liverpool – Philharmonic 13th Oxford - The Bullingdon 14th London - Islington Assembly Hall 15th Brighton - Concorde 2 16th Norwich - Norwich Arts Centre 20th Cambridge - The Junction 21st Portsmouth - Wedgewood Rooms 22nd Exeter – Phoenix 23rd Bristol - Trinity Centre

Svart Records to release new album by rising stars of eclectic heavy rock, Messa on the 11th of March 2022. Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next. New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation.

Italian hard techno DJ-producer MAIKE DEPAS announces EP "Rave the Planet" (out 29 February) ahead of MAIKE DEPAS 2.0 audio-visual makeover

"Depas strikes a fine balance between raw energy and subtle melodic hooks." (DMY)

"Throughout the pounding track Midnight Ride, the Italian beatsmith expertly blends lush synths with intricate rhythmic components and gritty bass." (EDM com)

"Depas' approach to techno is a veritable melting pot of influences, blending sounds from the 80s and 90s with contemporary symphonic and cinematic elements." (Magnetic Mag)

Upon the return from the dark and dreamy regions of his previous EP "Euphoria", Milanese hard techno DJ-producer MAIKE DEPAS (Michelangelo De Pasquale) announces new EP "Rave the Planet", out 29 February via The Innovation Studio, ahead of MAIKE DEPAS 2.0 audio-visual makeover. Sending tremors through the electronic underground scene, Depas joins Kobosil and In Verruf in carrying the torch of uncompromising Berlin techno while keeping his feet firmly planted in the melodic 1990s trance of Push, Jam & Spoon, and Cygnus X.

Introducing his new heavy-duty fusion of face-melting techno and trance carrying "Go Hard or Go Home" warning sign, Depas makes the crowd grind their teeth with a behemoth of an opener "Heartbreaker" only to fill the dancefloor with dread on the shiver-inducing "Vortex", a power move designed to set the scene for the title track"s fervent rave sermon delivered in a cyborg voice by Depas, followed by the erotic undertones of throbbing closer "Float Together" including the blistering remix by the Italian DJ Amstra.

"Rave the planet / Stay together / In techno we trust / Rave the planet" - MAIKE DEPAS, Rave the Planet

At its core, "Rave the Planet" is Depas" personal paean to the true spirit of the original rave culture as represented by Lukas Havlik"s (Ludenworks) Luis Royo-esque artwork of a pulsating cybernetic planet of complex, interconnected nerve fibres wrapped around the Depas globe logo. “As a raver, you feel this sense of unity with community and it"s similar to a religion we"ve had for thousands and thousands of years,” Depas compares. “We are the planet, we are the culture, so both are the reflection of ourselves in the wider world.” For Depas, the concept of solidarity runs deep within techno culture. Coming right from the heart, Depas is driven by the opportunity to bring people together for one thing and one thing only: “Just for the love of techno and to celebrate the music in a club.”

"As a raver, you feel this sense of unity with a community similar to a religion we"ve had for thousands and thousands of years." - MAIKE DEPAS

"Rave the Planet" is released in conjunction with MAIKE DEPAS 2.0, a tectonic audio-visual shift that entails a wide array of digital content as varied as DJ sets live streamed from Berlin"s Teufelsberg and other dystopian locations around Europe as well as enhanced PR-photos featuring cyberpunk-inspired outfits designed by Demobaza, a cyberpunk-inspired casual couture brand best known for their sustainable Dune X Demobaza collection. Over the course of upcoming metamorphosis from a flesh-and-blood individual into a mysterious CGI character, Depas is another step closer to revolutionising the dance music scene through the metaverse.

The newly reborn Danish label, tech-nology, is reintroducing itsfirst two releases.
Tech-nology is thrilled to reintroduce the world to the groundbreaking debut releases from 2003.

This was the first release on the label bearing the title "RedSector" and catapulted tech-nology into the music scene with adistinctive blend of warm, raw, and captivating machine funk, fusing elements of techno and electroclash. The title track"Valyom" reach third place on Ricardo Villalobos' chart, while"Echo Dreams" became an enduring electro classic.

Hailing from Belgium, Valyom, also known as Filip Vandendriessche, had already left a strong mark on the music landscape under the moniker DJ Valium. He had previously released with the German label International DJ Gigolo Records and emerged as one of the first Belgian artists to contribute tothe Detroit sound with releases on Teknotika Records.

Filip Vandendriessche has been a fixture on record labels and event flyers since the early '90s when, fueled by his passion for dance music, he co-founded the UFO parties in the western provinces of Belgium. These early gatherings laid the foundation for a global journey that took him to some of the most iconic underground parties labels worldwide.

Tech-nology is proud that Valyom was the first artist to be released on the label.

Red is also the colour of love!

The newly reborn Danish label, tech-nology, is reintroducing its first two releases.

The second release on tech-nology back in 2003 by El Far, alsoknown as Bjorn Svin, stands as a true techno masterpiece andis now rereleased as the label has been relaunched in 2023. Bjorn Svin has taken the lead again, contributing a remix that kick-starts the label in 2023 with TN EDITS 02 Lotte kaersa:"Prov og gor li'som jeg" - played by Luca Bacchetti at Burning Man 2023.

Additionally, the track gained attention on the latest Michael Meyer podcast,

But this is all about the beginning of the label and the beginningon the dancefloor Bjorn Svin was one of the first electronic musician in Denmark spearheaded an uprising Scandinavian rave scene, developinga unique, recognizable sound inspired by Detroit techno and British early IDM pioneers: playful and melodic but simultaneously groovy and entrancing.

In 1997, April Records released Bjorn Svin's debut full-lengthalbum Mer Strom; the opening single became an unofficialanthem for the entire generation of Scandinavian ravers.

Tech-nology captured a mature Bjorn Svin in 2003 and releasedwhat is arguably his best techno track ever produced, featured on this EP that highlights his techno skills under the moniker El Far. This authentic techno experience transports you back to theorigins of electronic dance music, going back to the old abandoned warehouses where social and casual dancing defined the essence of the scene.

Yet, the record captures what it is still all about, the love to themusic, the love on the dancefloor, this is him, her and wet area.

Gute Laune garantiert: Von Reggae kann man eigentlich nie genug bekommen. Wer trotzdem noch Lücken in der Sammlung hat oder, völlig zurecht, es anstrengend findet eine Playlist oder ein Mixtape zu erstellen, der kommt mit "Reggae Greatest Hits" durch jede Jahreszeit.

F8 . Liam Melly - Energy
F9 . Armin Van Buuren - Space Case
F10 . The Obsessed - Free Yourself
F11 . Ie Shuuk & B Stylezz - Konje
F12 . Armin Van Buuren - Lose This Feeling (Maddix remix)
F13 . Armin Van Buuren - Lose This Feeling (Dimension remix)
F14 . Armin Van Buuren - AI Vs Humanity (A State Of Trance Year mix 2023 outro)

‘The Best’, the global smash hit track by Tina Turner that still resonates to this day through dance floors, sporting arenas, radio stations and beyond. To commemorate this incredible record, and the career of one of the most iconic and important performers in the history of popular music, ‘Simply The Best’, was reissued on 22nd November 2019 on double gatefold LP four days before Tina Turner’s 80th birthday. This blue double gatefold LP will be back in circulation on 8th March 2024.



‘Simply The Best’ is an 18-track collection of some of Tina Turner’s best-loved songs including ‘What's Love Got To Do With It’, ‘I Don't Wanna Lose You’, ‘Steamy Windows’ and ‘Private Dancer’. Originally released in 1991 and gaining multi-platinum status around the world, it spent over two years in the UK charts and is one of the best selling best-of compilations of all time.



Tina has sold over 200 million records and has had ten UK top ten hit singles and nine UK top 10 albums and was the first female artist to have a top 40 hit in six consecutive decades in the UK. Her albums combined are 20x platinum in the UK and 9x platinum in the US whilst also achieving huge sales throughout the rest of the world. She has won eight Grammy Awards and been nominated for 25. She was inducted into the Rock & Roll Hall of Fame in 1991, has stars on the Hollywood Walk Of Fame and St. Louis Walk of Fame. Her 1988 Break Every Rule tour, broke the world record for the largest paying audience at a solo concert, with 184,000 at the Maracanã in Rio de Janeiro and Rolling Stone Magazine named her #17 in 100 Greatest Singers of All Time and #63 in 100 Greatest Artists of All Time.

With his Disco Deception album, Prince Fatty (who links up with Shniece for the occasion) delivers a captivating blend of disco-infused reggae and soulful grooves. Each track resonates with his signature low-end energy, and is fuelled by Fatty's impeccable production and Shniece's soul-stirring vocals. From funky basslines to shimmering horns, the album captures the essence of classic dub and ska while infusing it with modern flair and plenty of hooky horns and melodies. Shniece's dynamic range and emotive delivery elevate each song to really create a magnetic atmosphere that keeps listeners engaged from start to finish, all with character to spare.

Alternative pop duo, YOVA release their brand new album ‘Dreamcatchers’ on 1st March 2024. Featuring nine tracks the album was written over a nine year period stretching from the duo’s inception in 2014 through to 2022. The album was recorded and mixed 2021-23 between home studios in Dorset and London. Discussing the themes behind the record YOVA explain: “The lyrics of the songs delve deeply into our lost and unrealised dreams and ideals, whether from a personal perspective or within a more global context. The tracks relate to how our dreams are caught then nurtured, realised, abandoned or destroyed. This can apply to our personal lives, but it equally informs our helplessness and on-going quest for self-identity at a time of deep geopolitical and ecological uncertainty.” Produced by YOVA in collaboration with Rob Ellis, Alex Thomas and Martin McDougall, the record features the duo’s earlier singles “Dreamcatchers”, “Hurt Like No Hurt” and “Feel Your Fear” alongside six brand-new tracks. YOVA assembled a collective of like-minded musicians to create the sonic tapestry of Dreamcatchers including Terry Edwards (NIck Cave, Gallon Drunk, The Jesus & Mary Chain), James Sedwards (The Thurston Moore Group/ And This Is Not This Heat), Rob Ellis ( PJ Harvey, Marianne Faithfull), Daniel O’Sullivan ( Grumbling Fur, Tim Burgess), and Alex Thomas (John Cale, Anna Calvi). YOVA are Jova Radevska and Mark Vernon. With Vernon a seasoned veteran of the alternative music scene who has managed and recorded with John Cale and co-produced tracks on PJ Harvey’s debut album ‘Dry’, a chance encounter with Macedonian vocalist and songwriter Jova paved the way for their bewitching collaborative project. Their debut album ‘Nine Lives’ was released in late 2021 to praise from the likes of Louder Than War, Electronic Sound and MOJO, with the latter hailing the album as “a beguiling debut from a duo of sonic adventurers” in their four star review

Carribean, Jazz, Afro, Reggae - das ganze Spektrum der Weltmusik, raffiniert und genial verschmolzen mit Electronica. A08 ist das Brainchild der beiden Berliner Dirk Leyers und DJ Nomad. Früher bekannt als "AFRICAINE 808" - das Studio/Live-Musikprojekt mit einem Album und verschiedenen EPs auf NYC's Golf Channel Recordings und Vulcandance.

AFRICAINE 808 begann als ein Experiment, bei dem es den beiden gelang, das rhythmische Erbe der Weltmusik mit dem Zeitgeist und der Ästhetik der elektronischen Tanzmusik zu verschmelzen. Nach zehn erfolgreichen Jahren, in denen sie als Live-Musikprojekt rund um den Globus tourten, einem hochgelobten Doppelalbum, fünf EPs und Remix-Arbeiten für Legenden wie Tony Allen, Amadou & Mariam und viele andere, beschlossen die beiden, ihren Sound für ein neues Album neu zu erfinden und dabei Jazz und karibische Musik neben ihren "klassischen" Arbeitsgenres der elektronischen Welttanzmusik zu erkunden. Für die Produktion holten sich A08 eine illustre Schar von Gästen in die Bandbesetzung, darunter Künstler aus Kolumbien, Ghana, Kenia, Trinidad und Deutschland. Das Ergebnis ist "Waiting For Zion", ein Doppelalbum, das im Winter 2023 auf Compost Records erscheinen wird. Als Live-P.A. treten A08 entweder als Soundsystem mit Dirk Leyers und DJ Nomad auf, die live spielen und auflegen, oder als Live-Act mit Live-Percussion.

Nobu welcomes Japanese sound artist Doltz to his Bitta imprint for a full pack of hypnotic techno. Doltz started his musical career in 1998 as a drummer in a hardcore punk band, and had a fateful encounter with DJ Nobu, who shares the same musical roots, when they were billed alongside each other at a party called 'Broad' in Fukuoka-city in the winter of 2022. Impressed by Doltz's live performance, DJ Nobu immediately booked him for his residency party 'reprise' at Womb Tokyo. Set the stage for Doltz's sensational debut in Tokyo. The two hit it off and began exchanging tracks, with DJ Nobu actively playing out Doltz's tracks while touring across the world and receiving a good response. This first EP on Bitta consists of four of such tracks that were tested and proven. Doltz has already released several deeper techno and ambient works under the alias, but his encounter with DJ Nobu has allowed him to show his new potential on trippy and powerful tracks that are more dancefloor-oriented, and he has made rapid progress as an electronic music producer over the past year. More to come.

Following a first iteration which set the tone for our newly-minted Heimat series in explosive fashion, here comes the much anticipated second batch of our zeitgeistian take on today's scene's, its current potential and destination. Showcasing productions from artists keen to roll up their sleeves and sail into the impassible status quo, this new number packs the kind of red-hot hammering and cutting-edge punch we've been so adamant to push and defend over the past decade. Berlin-based French producer Arkan steps in first with a proper magnetic depth charge. Dwelling the darker layers of our ocean floor as its name suggests, 'Submarine' is pure hypnotic material geared up for heavy-duty boogie in the warehouse. Filling its ballast tanks with a hefty deluge of muscular bass onslaughts, sonar-like bleeps and untamed cascades of loopy arps, this one rolls and pitches like a haunted ship on predator mode. Adding his dynamic pulse and mind-bending spin to the A-side, Frameworks & Untertwegs bossman Decka cuts a path of straight mental obliteration as he smashes the doors of the club wide open and parades all guns blazing with the unapologetic crusher that is 'Circumvent'. A no-holds-barred workout for the strong stomachs, churning out fiery bars of kick-drum/squelchy bass contrast with in-your-face swagger. Switching on to the flip side, there's Manchester's Yant cruising with the ebulliently dynamic (no shit, Sherlock) tune, 'Moving'. A multidirectional concerto of pong-like modularity and racing synth arpeggios flying off like coloured bricks in a Tetris game gone absolute batshit. The kind of hi-intensity burner that'll awaken any lukewarm mid-set flow with its bouncy unpredictability and ruthless forward-pushing thrust. Rounding it off on a further minimal note, Amsterdam up-and-comer Hitam treats us to an inch-perfectly engineered finale with a stripped-back - yet, absolutely not hollow - bomb, 'Venusian Winds'. Gutsy that one sure is, with its metronomic step ticking at near-cyclonic speed and cleverly arranged, subtly FX-coated funk keeping things both suspenseful and focussed thru and thru. A sleek combo of pared-down brutalism and masterly executed analogue tailoring altogether. All dressed in clear purple marbled wax for the occasion, "Heimat II" shall please both the techno purist and visual aesthete in you with its velvet touch and effortless chic.

The trio's debut album, "Live from St. Hanshaugen," was recorded in Liv's living room just a week after they started playing together. In contrast, "Ville Blomster" represents the result of a year of frequent touring, practice, and studio time. The trio has developed its own expression, allowing room for exploration and improvisation. The title "Ville blomster" symbolizes the wild and improvised side of their music, along with the beautiful and simple melodic elements (the flowers) that stand out. The album was recorded at Athletic Sound in Halden with Dag Erik Johansen in May 2023. Much of the music was written just before, and the album's tracks range from rhythmic, catchy tunes inspired by pianists like Keith Jarrett and Brad Mehldau to more melancholic, airy compositions like "Vår" (Spring) and "Ødemarka."(Wasteland) Regarding the writing process, Liv says, "All the songs, except for 'Ødemarka' and 'Du og jeg, baby,' (You and me, Baby) were written in my apartment in the center of Oslo. I like to open the windows and listen to life outside, sitting alone at the piano for hours, searching for an idea with a clear character." Liv Andrea Hauge (b.1995) is an Oslo-based musician originally from Mosjøen in Nordland. She studied jazz piano at the Norwegian Academy of Music and, despite her young age and career, has made a mark with Kongle Trio (with Veslemøy Narvesen on drums and Øystein Skjelstad Østensen on bass) and Ladybird Orchestra. In 2022, she released the album "Live from St.Hanshaugen" with the Liv Andrea Hauge Trio, recorded in Liv's living room. The album was acclaimed as one of the best Norwegian jazz albums of the year. In 2023, she released the album "Hva nå, Ekko?" on Odin, with Marte Eberson, Ragnhild Moan, Signe Emmeluth, Torstein Lavik Larsen, Fredrik Luhr, and Andreas Winther. This music was a commissioned work by the Festspillene Helgeland and toured in the summer of 2022, visiting the Kongsberg Jazz Festival, Oslo Jazz Festival, and Hemnesjazz. The album's second single, "Again," was praised in Dagsavisen as "a candidate for Song of the Year in a more just world." Georgia Wartel Collins - Double bass August Glännestrand – Drums Liv Andrea Hauge – Piano

Five albums, sixty tracks and still counting. Cool Million are back with a new album!

Ten years ago the euro soul duo Cool Million released their first album 'Going Out Tonight' on UK soul label Expansion Records. The album took the soul crowd by surprise, cause who were these guys that out of the blue, could recreated the soulful sound of the 80's hey day like no other?

The answer to that question is; Rob Hardt and Frank Ryle. One a super musician from Germany with skills you can only dream of. The other a Dj/musicfreak from Denmark with a masterplan – both of them with tons of dedication and passion for thier craft.

Thier passion and ambition have kept them in the came for a decade and they have worked with a long list of artists, some known some not, some forgotten some on their way up! The list include names such as: Jean Carne, Keni Burke, Shirley Jones, Eugene Wilde, Meli'sa Morgan, Rena Scott, Leroy Burgess, Peggi Blu, Yvonne Gage, Marc Evans, Alton McClain, Kenny Thomas, Lisa Stansfield, Tom Moulton, Joey Negro, Dimitri From Paris and John Morales, Glenn Jones, Marc Sadane, Tim Owens, Gavin Christopher, Michael Jeffries.

Cool Million tells that they feel privileged and humble when they look at the list of names they have worked with over the ten years. Futhermore they add; 'Who would have thought that two dudes from northern Europe would be able to create music with people that talented, we hope we could do it, when we started but that we actually done it, is amazing and wonderful'.

Reflecting on the first decade of Cool Million it's fair to say that Rob & Frank are two determined and ambitious gentlemen with extraordinary talent.

So what can Cool Million tell us abouth their new album? 'It's a classic Cool Million album where we work/collaborate with various artists, staying true to our original concept both in terms of genre and how we think a album works best. Having say that we think that our fans will be a little surprised with the fact that this is our slowest album to date. We believe we have more variety than ever and it's a fact that the music on the new album is slowed down in terms of more ballads and mid-tempo songs compared to our other albums'.

'The reason for this development is that we wanted to try something that was a little out of our comfort zone. Also we felt that we wanted to prove that we can do quality slow jams aswell. You could also argue that is's beause we both turned fifty this year.. haha'.

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

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

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

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

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

Emotional Rescue takes another trip into the twisted world of post-punk dubs, electronics and oddities here at the hands of DJ, collector and radio host Gary The Tall. The original comes from German duo and new wave innovators Die Radierer whose pop-reggae jam 'Batman' is irresistibly catchy with its low-slung beats and lazy, sun-kissed melodies.

It appeared on 1983's In Hollywood and was recorded at their home studio on a Tascam 4-track cassette recorder. Gary The Tall's remix finds him teaming up with Aaron Coyles under his new alias of Exotic Gardens and the results are loopy and dubbed out to perfection.

The third album by RICO FRIEBE is a clearance, an outcry, an universe within itself, a hope and a message at once – sending out ANTHEMS FOR A LOST GENERATION!

After his preceding albums of intimacy WORD VALUE and FACES MEET, based on personal tragedies and the accompanying struggles, RICO FRIEBE has something to tell to a whole generation and delivers ten radiant and distinct top-notch productions that find a most modern and futuristic sound within different styles of pop music while his soft and emotive voice is hovering above all.

Originally, ANTHEMS FOR A LOST GENERATION has been recorded as an acoustic double-album, but RICO FRIEBE threw it all out, wrote new songs and found a truly more fitting sound after he realised that there could only be one musical outcome to tell these stories: Songs like BAD SEED, I LIKE MEMES, REDO, GAMES or LAZY, BORED AND SAD are milestones of capturing a complete zeitgeist and beyond. Each line within the lyrics is taken from close and personal experiences and interactions that made him undergo a whole spectrum of emotions, creating deep worries and sadness, but also a far hope.

Feel lost? Be found! With ANTHEMS OF A LOST GENERATION...

Elite Controller’ c/w ‘Softness on the Other Side’ is the second 7” single containing two of four tracks produced by transcontinental duo ‘Gruuel’, featuring James Vinciguerra and Beau Wanzer, between 2019 and 2023. The duo appear here in an expanded form with third member and Vinciguerra ‘Act Now’ collaborator Tarquin Manek, heard as multi instrumentalist jack-of-all-trades performing guitar, bass guitar, synthesiser and bass clarinet to accompany Wanzer’s hazy drum machine patterns and Vinciguerra’s mutated vocals.

The single is the first release on Elations Recordings’ ‘Deviations’ imprint, focusing on the outer realms of experimentation and fringe expression. Two subterranean, science-non-fiction snapshots capturing the spirit of the forward looking art-experimental groups of the late 1970s and early 1980s that were lumped in with the punk movement.

The a-side ‘Elite Controller’ is the more immediate of the two tracks; a paranoid fever dream of raw, psychedelic guitars underpinned by dub bass and Vinciguerra’s deranged mutant vocals; while the b-side ‘Softness on the Other Side’ takes a more self-reflective turn. A passive, spoken word cautionary telling of the dangers while searching for personal nirvana accompanied by Manek’s tortured bass clarinet impressions. Recommended for fans of Chrome, Tuxedomoon or K. Leimer’s experimental “artificial” band ‘Savant’.

“Though seeing they do not see, though hearing they do not hear or understand.”

NYC-based producer/visual artist Nathaniel Young returns with the sophomore 12” under their techno-focused alias, Guilt Attendant. “A Flower Wilts Under The Heat Of The Son” is cut from the same cloth as 2020’s “Suburban Scum” where Young delves into overtly religious motifs and ideological critique of their cult-like upbringing. Here, though, Young challenges themself and the listener to seek hope and resolve rather than hatred and contempt.

Considering its sometimes-monolithic sound palette, the timeless sub-genre of dub techno has long stood as a versatile vehicle for exploring and expressing a wide range of emotions. From mourning those we’ve lost, to somber reflection, to hope and celebration–all united by warmth, soul, and perhaps most importantly, groove. This versatility has underpinned Young’s affinity for the dub techno framework, and this collection of tracks is the culmination of material that they’ve long aspired to manifest. Atop this foundation, Young explores the place of acceptance and understanding that they’ve ultimately had to reach in relation to their religious upbringing and the inherent dualities that plague dogmatic religious circles and our beloved dance-floor communities alike.

“A Flower Wilts Under The Heat Of The Son” places a heavy emphasis on groove and swing while attempting to stretch the limits of classic dub techno tropes. Through creative melodic layering, swung low-end, and syncopation, these tracks hope to offer a fresh take on the sound while remaining solely devoted to the dancefloor.

Through their design work for Dais Records and Hospital Productions, Young had the pleasure of crossing paths with the recently departed Juan Mendez (Silent Servant), who graciously contributed a striking, cacophonous, and noise-laden remix. Given Mendez’s expansive and diverse body of work, as well as his own affinity for dub techno, Juan’s contribution could not be more harmonious. A singular talent and an extremely kind, generous soul, Juan will be dearly missed.

Rest in peace Juan Mendez, 1977-2024

Rare as hen's teeth digital dancehall from out of late 80s/early 90s NYC, via Cooly aka Koolindian aka Super Cat's cousin Andrew Maragh, originally released on his own Mad Indian Records - reissued here for Death Is Not The End sub-label 333.

Maragh sang in church choirs and on soundsystems in Jamaica before moving to New York in the 1980s where he quickly became involved on the underground music circuit, taking inspiration from his cousin the legendary Super Cat. "Freedom" was penned while he was incarcerated, and details the unfairness of the judicial system at that time, alongside the heartfelt need to "hustle everyday to make ends meet, whether that's picking up scrap metal or cutting lawns or voicing dubplates, whatever you do to make a dollar", says Maragh.

Having bought an Ampex tape in Manhattan, Maragh headed over to the legendary Philip Smart's HC&F studio on Long Island with the intention of laying down his lyrics on the version to Dennis Brown's "Children of Israel". After hearing the song however, Smart went ahead and built this one-away "Freedom" rhythm on the spot. The track was then carried to Count Shelly's Super Power Records where it was then pressed & distributed as the first and only release on the Mad Indian label around the turn of 1989/1990.

Freestyle comes correct again with a killer slice of 1987 UK Street Soul from Purely Fizzycal, originally issued on the duo's own Pure Impact Productions label.

North Londoner Trish Langley met South Londoner Ash Kamat initially in the the mid 1980s on Tin Pan Alley, while Ash was working at Rod Argent's keyboard shop and running UK soul-focussed zine Soul Trade, and the quickly began working together. Handling the programming and production, Ash says his inspiration came from a mixture of London pirate radio sounds and the US-based sounds of Kashief, Jimmy Jam & Terry Lewis etc. While Trisha's vocals and melodies were influenced by growing up listening to her parents reggae records, plus her brother's taste for the likes of Brothers Johnson, Maze, Isley Brothers, and a little lovers rock such as Janet Kay - which, together with Ash's raw drum machine sounds, bears all the hallmarks for this uniquely UK take on soul.credits

Rhino rediscovers the magic of Madonna's "Celebration" album with an upcoming 4LP repress, releasing on 1 March 2024. This album highlights the chart-topping success of Madonna in the UK, offering a carefully curated collection of her greatest hits across four discs. It's a nod to the enduring influence of the Queen of Pop, who recently performed six dates at the O2 for her Celebration world tour.

The repress has been hotly anticipated from fans and we plan to run heavyweight online promotion including new content from the Madonna socials.

Pissed Jeans has never been a band that goes halfway-they're known for their feral vocals, biting lyrics, buzzsaw guitars, and unhinged live shows, and their sixth album, Half-Divorced is no exception. These songs skewer the tension between youthful optimism and the sobering realities of adulthood, and when viewed through frontman Matt Korvette's scowl, everything takes on a level of violent absurdity. Pissed Jeans' notorious acerbic sense of humor remains sharper than ever as they dismember some of the joys that contemporary adult life has to offer, from helicopter parents to stolen catalytic converters to being $62,000 in debt. On "Seatbelt Alarm Silencer," Korvette growls, "Call it a death drive but that ain't fair / Drive implies I'm headed somewhere." Korvette, Brad Fry (guitar), Randy Huth (bass), and Sean McGuinness (drums) weren't in any rush to finish Half-Divorced, which was recorded by Don Godwin at Tonal Park in Takoma Park, Maryland. "We're not the kind of band that bangs out a new record every two years," Korvette said. "Pissed Jeans is truly like an art project for us, which is what makes it so fun." This lack of restraint rages within the songs that unexpectedly veer into classic hardcore punk territory-often coming in at under two minutes long and erupting like the "butane tank explosion" Korvette sings about in "Junktime." In the last song, "Moving On," Korvette sneers, "Cheesing into my camera phone / Pretending that I'm not alone / Life's the first thing that we all postpone." One gets the sense that Pissed Jeans refuses to "postpone" life in quite the same way-life, like art, is something that happens now, not later. - Chelsea Hodson

Pissed Jeans has never been a band that goes halfway-they're known for their feral vocals, biting lyrics, buzzsaw guitars, and unhinged live shows, and their sixth album, Half-Divorced is no exception. These songs skewer the tension between youthful optimism and the sobering realities of adulthood, and when viewed through frontman Matt Korvette's scowl, everything takes on a level of violent absurdity. Pissed Jeans' notorious acerbic sense of humor remains sharper than ever as they dismember some of the joys that contemporary adult life has to offer, from helicopter parents to stolen catalytic converters to being $62,000 in debt. On "Seatbelt Alarm Silencer," Korvette growls, "Call it a death drive but that ain't fair / Drive implies I'm headed somewhere." Korvette, Brad Fry (guitar), Randy Huth (bass), and Sean McGuinness (drums) weren't in any rush to finish Half-Divorced, which was recorded by Don Godwin at Tonal Park in Takoma Park, Maryland. "We're not the kind of band that bangs out a new record every two years," Korvette said. "Pissed Jeans is truly like an art project for us, which is what makes it so fun." This lack of restraint rages within the songs that unexpectedly veer into classic hardcore punk territory-often coming in at under two minutes long and erupting like the "butane tank explosion" Korvette sings about in "Junktime." In the last song, "Moving On," Korvette sneers, "Cheesing into my camera phone / Pretending that I'm not alone / Life's the first thing that we all postpone." One gets the sense that Pissed Jeans refuses to "postpone" life in quite the same way-life, like art, is something that happens now, not later. - Chelsea Hodson

Full of collaborations with fellow artists, incl. Thor Harris, Meredith Yayanos, Matt Lebofsky, Dominique Leroni Persi, & members of Kitka Eastern European Women’s Choir. RIYL: Primus, King Crimson, Frank Zappa, Mastodon, Bauhaus. After thirteen years of hibernation, Sleepytime Gorilla Museum, the most gloriously uncategorizable American band in existence, has emerged from stasis to proudly announce the imminent release of their fourth studio album, of the Last Human Being. The album marks the first release of AVANT NIGHT - a new imprint headed by Nick Ohler and facilitated by Joyful Noise Recordings. Sleepytime Gorilla Museum, comprised of multi-instrumentalists and rotating vocalists Nils Frykdahl, Carla Kihlstedt, Michael "Iago" Mellender, Matthias Bossi, and Dan Rathbun, plays an arsenal of instruments ranging from the somewhat standard (drums, electric guitars, bass, electric violin) to the rare (bass harmonica, nyckelharpa, marxophone) to the homemade (Slide-Piano Log, Electric Pancreas, Pedal-Action Wiggler). The group has consistently evaded easy categorization, garnering accolades from across the aisles of contemporary classical music, prog rock, industrial music, metal, avant-garde improv, and more. Their music, in turns bashing and bucolic, enveloping and unsettling, tends towards long-form epics interspersed with mysterious field recordings. "As this slow-rolling planetwide Anthropocene Extinction event deepens, Sleepytime's work has only grown more resonant, more prescient," offers Mer Yayanos, current symposiarch and secretary of the Museum's long standing social math club, the John Kane Society. "What better time for them to Bring Back the Apocalypse than right now, with a new full-length record that integrates the past and the future?" "SGM creates a cohesive statement of virtuoso metal musicianship with the avant garde focus of an art-rock collective." Pitchfork // “I love this style of music –it has great power, great musicianship and great bass playing by Dan Rathbun, sometimes on instruments he built himself. One thing you gotta love about music: this band may have been influenced a bit by King Crimson, but then I, a member of King Crimson, was very much influenced by them” Tony Levin (bassist, King Crimson

Full of collaborations with fellow artists, incl. Thor Harris, Meredith Yayanos, Matt Lebofsky, Dominique Leroni Persi, & members of Kitka Eastern European Women’s Choir. RIYL: Primus, King Crimson, Frank Zappa, Mastodon, Bauhaus. After thirteen years of hibernation, Sleepytime Gorilla Museum, the most gloriously uncategorizable American band in existence, has emerged from stasis to proudly announce the imminent release of their fourth studio album, of the Last Human Being. The album marks the first release of AVANT NIGHT - a new imprint headed by Nick Ohler and facilitated by Joyful Noise Recordings. Sleepytime Gorilla Museum, comprised of multi-instrumentalists and rotating vocalists Nils Frykdahl, Carla Kihlstedt, Michael "Iago" Mellender, Matthias Bossi, and Dan Rathbun, plays an arsenal of instruments ranging from the somewhat standard (drums, electric guitars, bass, electric violin) to the rare (bass harmonica, nyckelharpa, marxophone) to the homemade (Slide-Piano Log, Electric Pancreas, Pedal-Action Wiggler). The group has consistently evaded easy categorization, garnering accolades from across the aisles of contemporary classical music, prog rock, industrial music, metal, avant-garde improv, and more. Their music, in turns bashing and bucolic, enveloping and unsettling, tends towards long-form epics interspersed with mysterious field recordings. "As this slow-rolling planetwide Anthropocene Extinction event deepens, Sleepytime's work has only grown more resonant, more prescient," offers Mer Yayanos, current symposiarch and secretary of the Museum's long standing social math club, the John Kane Society. "What better time for them to Bring Back the Apocalypse than right now, with a new full-length record that integrates the past and the future?" "SGM creates a cohesive statement of virtuoso metal musicianship with the avant garde focus of an art-rock collective." Pitchfork // “I love this style of music –it has great power, great musicianship and great bass playing by Dan Rathbun, sometimes on instruments he built himself. One thing you gotta love about music: this band may have been influenced a bit by King Crimson, but then I, a member of King Crimson, was very much influenced by them” Tony Levin (bassist, King Crimson

Lès Modernos present a psycho-geographic trip to Andalusia, a journey recomposed in a green Corolla. Mechanized and pastoral collages. Miniature songs, luminous yet just a little heavy, from the great theater of life. Car radio samples, recorded from the passenger seat of the Father's vehicle. Al-Mutreb Abul-Loul, Big City Orchestra, Eric Copeland, Bertold Brecht, Sachiko Matsubara, Hopeton ‘Scientist’ Brown, Cabaret Voltaire (Red Mecca), a French singer resolutely of the now (or Jonathan Richman). Fears greater than us, heredity, death, love, oblivion. And this fever which always consumes us.Tracklisting: 1. laques1 2. corolla1 3. soleil pour toi 4. habitat1 5. Grisou 6. la superlegion 7. corolla2 8. au cabanyal 9. laques2

"BI-CENTENNIAL - 1976" has been comped on the fourth volume in the "CAN YOU FEEL IT" compilation series. The flip side, "LOVE ONE ANOTHER", was featured on "COUNTDOWN TO... SOUL 2". Now available on a good old 45 RPM single re-issue.

The "Economix" EP is a cherished item among collectors, embodying a golden era of rave. Released in 1992, it's oftencompared to other iconic EPs of the time, like 2-X-Treme's 'X-tremity EP' The tracks "Loop" and "Panic" particularly stand out for many.

"Loop" garners attention for its sampling of The S.O.S. Band and Alexander O'Neal's "The Finest", while "Panic" is notable for its two distinct samples: one from Hijack's "TheBadman Is Robbin'" and another from MC Duke and DJ Leader1's "I'm Riffin".

This hand stamped run of white label red vinyl represses catersto the enduring demand among the oldskool rave aficionados. Each track on the EP showcases a blend of hardcore, jungle,and house vibes, contributing to its revered status within the oldskool rave community.

‘THE CONGREGATION - Jazz Alliance International’ compilation is the latest offering from Mono Jazz label. Compiled by Massimiliano ‘Jazzcat’ Conti - a DJ, broadcaster and internationally respected
selector with over 150,000 followers on Mixcloud - and featuring liner notes by Paul Bradshaw (from the iconic ‘Straight no Chaser’ magazine), ‘THE CONGREGATION’ is an innovative, largely
contemporary selection of tracks that they feel is representative of the current era - a true manifesto of the international jazz scene of the present days.

The release was received with great enthusiasm by some of the leading DJs and music critics of the scene – from the UK, to Germany, to Japan – getting early radio support by Patrick Forge (NTS), Colin
Curtis (Hitmix Radio), Kevin Beadle (TWR), Rainer Trüby (Compost Records), Shuya Okino (Kyoto Jazz Massive), Raffaele Costantino (Rai Radio 2), Ilya Rasskazov (Headz.FM), Michael Rütten (Soul Searching), David Patterson (JFSR), Simon Harrison (Basic Soul) & more.

Built around a near mythical, unreleased song by Japanese producer Yellowtail featuring legendary beat generation jazz singer Mark Murphy, the selection of tunes contained in this album ventures far and wide. Soulful offerings by Anthony Joseph and Jimetta Rose & The Voices of Creation, percussive and spiritual renditions by the likes of Malcolm Strachan, Right Tempo’s own Francesco Sotgiu and Nicola Conte, Latin-flavoured explorations by Mexican giant Tino
Contreras and Acid Jazz’s signed Mama Terra and a hip-hop spiced cut by Portuguese producer Azar Azar are some of the many moods that can be found in ‘THE CONGREGATION’

Partiboi69 strikes poses, chords and hot irons. Australia’s spiciest export since INXS’s front man is a sensation on many (meta-)levels. Musically, aesthetically and hedonistically exhilarating, the man’s man shows his sensitive side on Running Back. Four tracks answer the Call of the Void with a showcase of sounds and moods that are as much informed by the rules of old school dance music (Bodies) as they draw inspiration from classic rave closing tracks (Playin’), plangent pop (Feel This) and a former new romantics band that just discovered house music pre-internet (Call of the Void): surprisingly serious and simultaneously not-so-serious. Composed and executed with serious songwriting skills and an uncanny feel for the aural world of Running Back Records. A mutual pleasure, indeed.

Short: Partiboi69 strikes poses, chords and hot irons. Showing his sensitive side for Running Back with four tracks that are as much informed by the rules of old school dance music (Bodies) as they draw inspiration from classic rave closing tracks (Playin’), plangent pop (Feel This) and a former new romantics band that just discovered house music pre-internet (Call of the Void). A sensation on many meta-)levels and a mutual pleasure, indeed.

DECEPTION ISLAND homes in on their minimal synth approach, with italo disco and darkwave being the main components of the album.

The subject matter of Lee’s lyrics range from upbeat to melancholic. Her work covers a range of personal and social issues, including current affairs and social commentary.

They are telling the stories of darkish shades of love, everlasting longing and solitude. They mirror the brutal part of human nature as well.

The cover art, created by Joan Pope, is a piece of art to praise in its own right. Flowers are above a skull, an easy symbol of life and death. Multiple hands caress the objects while down below is a naked woman lying down. She reaches up towards the skull while the skull if it had eyeballs, stares back at the figure. It’s simple and odd, yet eye-catching, and the static that lines the cover art makes it seem like it’s floating in space.

The Hardcore Vinylists are one of, if not the the biggest groups on facebook catering to Vinyl Djs spinning the classic sounds of early 90s Uk rave and new material made in the old skool style.The Hardcore Vinylists record label showcases new and emerging talent from producers connected to the group and here Zhute fresh from a previous vs Ep with Bino is back with 3breakbeat retro rave tracks with big pianos, big vocals and breakbeats firing off.

Tritt mit Tamás Kátais visionärem Projekt in das Reich des Avantgarde-Metal ein: Thy Catafalque. Seit mehr als zwei Jahrzehnten leistet Thy Catafalque meisterhaft Pionierarbeit im Bereich der extremen Metal-Musik.
Die Reise geht weiter mit Thy Catafalques zweitem Meisterwerk Microcosmos, einer Offenbarung, die die Dichotomie zwischen Black Metal und Avantgarde-Kunst fein ausbalanciert. Das ursprünglich 2001 erschienene Album erforscht strukturierte thematische Elemente, die vom Weltraum und dem weiten Kosmos inspiriert sind. Eine klangliche Entdeckungsreise, die die rastlose Abnutzung von Tremolo-gezupften Zweiklängen und subtil eingemischten Blastbeats beibehält, während die psychedelisch klingenden Gesänge, die den charakteristischen Sound von Thy Catafalque ausmachen, beibehalten werden.
Jetzt präsentiert Season of Mist stolz die offizielle Wiederveröffentlichung von Microcosmos und stellt damit sicher, dass dieses bahnbrechende Werk für die Nachwelt erhalten bleibt. Fans, sowohl erfahrene als auch neue, können in die Feinheiten von Kátais visionären Kompositionen eintauchen und die Verschmelzung von Aggression und Kunstfertigkeit erleben, die Thy Catafalque ausmacht.

Witch Trials will release his anticipated new EP CANNIBAL CULTURE on his own label, MYRYRS. The upcoming EP spans genres and journeys between contemporary dance, electronic, house, and breakbeat - showcasing the progression and expansion of a stand out artist continuing to evolve and reinvent his craft.

The new EP from Witch Trials delivers a time-traveling thrust of rave culture, melodic riffs and atmospheric beats that would work the dancefloor as hard as a solitary listener at home– experiencing the tracks in confinement.

“CANNIBAL CULTURE… it’s the voices in your head that guide you, the demons in the night or day I overcome, the time I close curtains to obscure the light. It's the carnivorous force that kills, it’s the kindness of the crowd on the dancefloor, it’s also the power to continue to create. After the madness, anxiety, and constrictions within or outside of my mind, life goeson.” - WITCH TRIALS

London-based, American-born, and Irish-raised artist Witch Trials releases the visual for his new EP CANNIBAL CULTURE. Confusing the lines that bound or bind art and music, the visual captures the fusion of trauma, light after dark, and a chthonic realm of solitude. The photographic concept and the sound world push distinct interpretations of the mediums and work alone or in harmony.

Atlanta's original Eccentric Soul labels, Jesse Jones' Tragar & N ote concerns captured critical regional R&B, soul, and funk from 1968-1976. Compiling 34 tracks and sprawled across two LPs, this 15 year anniversary deluxe edition appears on vinyl for the first time. Featuring rareas- hens-teeth 45s by Eula Cooper, Tee Fletcher, Richard Cook, Frankie & Robert, Tokay Lewis, Nathan Wilkes, Chuck Wilder, Bill Wright, Sonia Ross, Sandy Gaye, Four Tracks, Young Divines, and several others we can't fit on a h ype sticker.

Hotlanta Orange Marble Color Vinyl.
Atlanta's original Eccentric Soul labels, Jesse Jones' Tragar & N ote concerns captured critical regional R&B, soul, and funk from 1968-1976. Compiling 34 tracks and sprawled across two LPs, this 15 year anniversary deluxe edition appears on vinyl for the first time. Featuring rareas- hens-teeth 45s by Eula Cooper, Tee Fletcher, Richard Cook, Frankie & Robert, Tokay Lewis, Nathan Wilkes, Chuck Wilder, Bill Wright, Sonia Ross, Sandy Gaye, Four Tracks, Young Divines, and several others we can't fit on a h ype sticker.

Faye Webster hat heute ihr neues Album “Underdressed At The Symphony” für den 01. März 2024 bei Secretly Canadian angekündigt und teilt gleichzeitig ihre neue Single “Lego Ring (feat. Lil Yachty)”.

Eine Art Unbeschwertheit, allerdings mit melancholischem Rückgrat, ist die treibende Kraft hinter dem Song, auf dem Atlanta-Multikünstler Lil Yachty zu hören ist.

Im zugehörigen Musikvideo spielen Faye und Yachty ein Videospiel, bei dem Fans die Möglichkeit haben, über diesen Link mitzuspielen.


Faye Webster - “Lego Ring (feat. Lil Yachty)” (Official Video)


Die Songs von Faye Webster sind ein direkter Draht zum menschlichen Unbewussten, und "Underdressed at the Symphony" dokumentiert, was passiert, wenn man beginnt, aus den Trümmern der alten Routinen ein neues Selbst aufzubauen. Schon ihre zuvor veröffentlichten Songs "But Not Kiss" und "Lifetime" zeigen das selten erforschte Gebiet emotionaler Intimität, in dem Verlangen und Leidenschaft im Konflikt mit Trost, Verständnis und sogar platonischer Liebe stehen. Diese Themen finden sich in “Underdressed at the Symphony” wieder, zusammen mit hyper-spezifischen Symbolen, die ein Bild von Websters Leben zeichnen, wie z.B. "eBay Purchase History" oder die Objekte, die sie bei "Lego Ring"begehrt.



“Underdressed at the Symphony” wurde mit ihrer langjährigen Band in den Sonic Ranch Studios in Texas aufgenommen und schwelgt in Experimentierfreudigkeit, Verspieltheit und Abenteuerlust. Vocoder-Momente, Schnörkel eines Orchesters, gruselige Harmonien und Synthesizer kommen zum Vorschein, ohne die räumliche Qualität von Websters früherer Musik zu beeinträchtigen, sodass ihre Texte nach wie vor genügend Raum haben, mit zusätzlichen Bedeutungsebenen an die Oberfläche sprudeln. Matt „Pistol“ Stoessels Pedal Steel-Klänge sorgen für genau den richtigen Schimmer, während Nels Cline von Wilco seine unbestreitbar gefühlvollen Fingerfertigkeiten zu einer Reihe von Songs beisteuert. Das Zusammenkauern an der buchstäblichen Grenze zwischen den USA und Mexiko bot den Musiker*innen Raum zum Isolieren, Konzentrieren und Experimentieren. Alle Songs auf diesem Album sind Live-Aufnahmen, von denen einige bereits beim ersten oder zweiten Take aufgenommen wurden und Websters Talent zeigen, aus einem ganz bestimmten, scheinbar kleinen Moment eine universelle Erfahrung zu ziehen.

Faye Webster hat heute ihr neues Album “Underdressed At The Symphony” für den 01. März 2024 bei Secretly Canadian angekündigt und teilt gleichzeitig ihre neue Single “Lego Ring (feat. Lil Yachty)”.

Eine Art Unbeschwertheit, allerdings mit melancholischem Rückgrat, ist die treibende Kraft hinter dem Song, auf dem Atlanta-Multikünstler Lil Yachty zu hören ist.

Im zugehörigen Musikvideo spielen Faye und Yachty ein Videospiel, bei dem Fans die Möglichkeit haben, über diesen Link mitzuspielen.


Faye Webster - “Lego Ring (feat. Lil Yachty)” (Official Video)


Die Songs von Faye Webster sind ein direkter Draht zum menschlichen Unbewussten, und "Underdressed at the Symphony" dokumentiert, was passiert, wenn man beginnt, aus den Trümmern der alten Routinen ein neues Selbst aufzubauen. Schon ihre zuvor veröffentlichten Songs "But Not Kiss" und "Lifetime" zeigen das selten erforschte Gebiet emotionaler Intimität, in dem Verlangen und Leidenschaft im Konflikt mit Trost, Verständnis und sogar platonischer Liebe stehen. Diese Themen finden sich in “Underdressed at the Symphony” wieder, zusammen mit hyper-spezifischen Symbolen, die ein Bild von Websters Leben zeichnen, wie z.B. "eBay Purchase History" oder die Objekte, die sie bei "Lego Ring"begehrt.



“Underdressed at the Symphony” wurde mit ihrer langjährigen Band in den Sonic Ranch Studios in Texas aufgenommen und schwelgt in Experimentierfreudigkeit, Verspieltheit und Abenteuerlust. Vocoder-Momente, Schnörkel eines Orchesters, gruselige Harmonien und Synthesizer kommen zum Vorschein, ohne die räumliche Qualität von Websters früherer Musik zu beeinträchtigen, sodass ihre Texte nach wie vor genügend Raum haben, mit zusätzlichen Bedeutungsebenen an die Oberfläche sprudeln. Matt „Pistol“ Stoessels Pedal Steel-Klänge sorgen für genau den richtigen Schimmer, während Nels Cline von Wilco seine unbestreitbar gefühlvollen Fingerfertigkeiten zu einer Reihe von Songs beisteuert. Das Zusammenkauern an der buchstäblichen Grenze zwischen den USA und Mexiko bot den Musiker*innen Raum zum Isolieren, Konzentrieren und Experimentieren. Alle Songs auf diesem Album sind Live-Aufnahmen, von denen einige bereits beim ersten oder zweiten Take aufgenommen wurden und Websters Talent zeigen, aus einem ganz bestimmten, scheinbar kleinen Moment eine universelle Erfahrung zu ziehen.