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7 years after debut album “Universes” on Ninja Tune, Seven Davis Jr. returns with the official follow up titled “I See The Future” on his own Secret Angels imprint.

The 11 song adventure provides a fun concentrated blend of deep house, soul, disco, funk, electronica and underground textures. The album brings together Sev’s different flavors into a finely aged familiar yet new atmosphere.

First two tracks “Records” featuring L3ni (member of Natasha Diggs Soul In The Horn collective in New York) and “U Already Know” featuring bassist Neil White (half of Canadian Rock duo The Carps), were originally produced in London early 2016 at a studio provided to Jr. by Domino Publishing located in the basement of a run down home rumored to formerly belong to The Rolling Stones.

Title track “I See The Future” was produced in Houston Texas early 2017 and features fellow Texan Oye Manny (Sure Shot, Secret Angels), who co-produced the track. “Figure It Out” featuring LA soulful house DJ Juliet Mendoza (Dusk Recordings), was recorded early 2021 post-lockdown. While “Escape The Matrix” was a demo produced around 2013 then reworked in 2020.

“Share Your Toys” featuring Toribio (front man of NYC live band Conclave), “Boys & Girls” and “N’Joy” were all produced in Los Angeles late 2019 pre-covid. “Mission Completed” was produced during 2020 in Seattle Washington, where Sev spent lockdown. “Let’s Travel...” the most recent of the recordings, was produced in Houston Texas over the summer of 2021 in a hotel room during a road trip.

Closing track “New Life, Who Dis” was produced in early 2019 and has a different origin. The moody instrumental was first made for a celebrity that Sev had been invited to ghost produce for. We cannot mention said celeb (because, NDA). After many sessions it became clear the celeb only wanted criminally watered down and copy cat ideas. So Sev respectfully declined the invitation and decided to save this track for something special.

All vocals were recorded between 2020 and 2021 after Sev recovered from Covid, gratefully with no long term damage. A situation that caused him to retrain his vocals and breathing skills. An experience that he considers to have had a rejuvenating effect on his life.

Cover art by Carlos Parra (a.k.a Kako, Sure Shot, Secret Angels)

“The album’s called *I See The Future* because it’s mostly a collection of songs I’d been keeping in my vault for whatever reason. Instrumentals I’d been really sitting on, letting cook longer than usual. Songs that needed more time, in this case years, to form. Usually it hasn’t taken too long to get ideas out but for this project I wanted different results. Plus so much happened in the world it’s made me become a different person/artist. So my process is different. All in all it’s fun uplifting vibes about enjoying life and moving on to better, hope people pick up on that. ” - Sev

Diskotopia is ecstatic to launch our 11th year with a bombastic new LP from label co-founder BD1982. Initiation Insight follows 2021's seminal Distance Vision LP - which garnered inclusion in Bandcamp's Best Electronic Music, JunoDaily's Best New Albums, and coverage in The Wire, RA, and Louder Than War - surveying the previously-plotted sonic ley lines and expanding upon them in drastically robust and kaleidoscopic directions.

Musically, the tracks across Initiation Insight have been composed with an ear towards ritualistic structures, with the album's themes touching upon spirituality, hermetic philosophy, dreams, and human evolution in the face of impending natural destruction.

On this release, BD1982 favors stylistically nomadic production and a drive for emotion over genre constraints to explore further depths of songwriting and structures not yet heard in his previous material. Tribal-informed industrial and molten-electro styles coalesce with both future-facing and ancient-rooted textures – spread across an underlying current of soundsystem-savvy sonics.

Initiation Insight proves to be another major step in the evolution of BD1982's sound, a caustic yet covalent natural mutation that will appeal to fans of Killing Joke, My Bloody Valentine, PJ Harvey, Cabaret Voltaire, Samhain, and Tricky alike.

Mastered by Dominic Clare at Declared Sound.

Available as a limited-edition cassette.

The second strike of Leipzig’s new electro offshoot sets
Friedrich Ernst on the offensive. With these four new tracks
he progressed his sound signature from a playful but
reected 8bit world soundtrack on SELF001 to a rm and
gritty b-boy attitude. With SELF002 the do-it-yourself label
team of DJ Unisex and Friedrich Ernst back up nothing less
than their label mission: "We believe in the human mind as a
self-learning system" – and it has the basement dance in the
eye. Classic electro otakus will parté about the succinct
elements that ts each other seamlessly on Class Beat while
the groove remains alert and phantasmagoric. Back 2 The
Ol_ Skool invites two breakdance crews to battle out who
owns the oor: the pale electro robot boys on the left and the
hoover sound loving UK hardcore girls on the right. Wildstyle
is the living proof that a tight 808 groove still smashes
especially hard when complimented with a proper breakbeat.
Best played loud and from vinyl. The last bit of the whole
enchilada is almost tranquilizing until you realise how far
your stone rolled already. Rhythm Control is a crowd pleaser
with endless qualities. Collaboration partner Dominik
Widmann delivers the stunning artwork again for their
ongoing conceptual series with his acrylic paintings.
Included as A2 inlay print in every record.

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui not only the musician, but the man someone whose age hasn’t altered any of his freshness or authenticity

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui not only the musician, but the man someone whose age hasn’t altered any of his freshness or authenticity

Reissue of the Count Basie Orchestra's 1970 album 'High Voltage',
arranged by Chico O'Farrill and featuring Eddie "Lockjaw" Davis, Cecil
Payne, Joe Newman, Freddie Green and Harold Jones among others
When in January, 1970 Count Basie entered the studio with his 17-piece big band
to record 'High Voltage', he ushered in the last full decade as bandleader of his
Orchestra. The Orchestra had left its imprint on the sixties by recording with the
likes of Frank Sinatra and Ella Fitzgerald. There would be more great albums with
star vocalists in the seventies, but the band's purely instrumental works, which
had begun in 1965, would also continue. Back then Basie had engaged acclaimed
Cuban composer/arranger Chico O'Farrill to arrange the music for such concept
albums as "Basie Meets Bond" and "Basie's Beatle Bag", transforming them into
crossover gems.
On 'High Voltage' O'Farrill demonstrates his affinity to Basie's big band sound, this
time with a repertoire of standards. For this album, Basie specifically chose
pieces the band had never recorded in their more than 30-year existence. This is
saying something, since the band covers such an impressive span of jazz history,
from the beginning of the swing era to the bop-influenced bands of the 50's on
through to the present album.
The Count's new drummer Harold Jones propels Fred Fisher's "Chicago" with a
tremendous drive. The Rogers and Hart classic "Have You Met Miss Jones"
features beguilingly dense deep- register horn lines and an almost languorous
piano, and Eric Dixon's tasty flute solo spices up "The Lady Is A Tramp". With its
smoky sophistication, Eddie Lockjaw Davis' Tenor dominates "Bewitched",
whereas guest trumpeter Joe Newman's muted tongue-in-cheek solo highlights
"Day In Day Out". Of course, Basie himself also steps forward: for instance, on the
Fats Waller-like intro to "I'm Getting Sentimental Over You", and with the playful
grace notes on "If I Were A Bell"." Reminiscent of the Las Vegas shows the band
performed with Frank Sinatra, "Get Me To The Church On Time" is also a
masterful dialogue between the horn sections.

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui not only the musician, but the man someone whose age hasn’t altered any of his freshness or authenticity

‘Hive Mind Records are here to help you through the winter months with this generous helping of Wet Tuna with their signature deeply fried rural psychedelia.

Matt Valentine (MV) and Pat Gubler (PG Six) have been jamming together since the mid '90s, floating around in the US psych-folk scene, playing together in Tower Recordings and separately with influential underground crews Woods, The Golden Road, Garcia Peoples and The Weeping Bong Band. Both MV and PG Six have been prolific with their solo work and over the years they've recorded for labels such as Ecstatic Peace, Drag City, Woodsist, 3 Lobed, and Crash Symbols and we are very happy to be joining such esteemed company.

On these recordings, made during the first months of the COVID lockdowns in the forests of the Vermont wilderness, MV and PG Six handle the guitars and synths but they're joined by fellow forest freaks S. Freyer Esq, Jim Bliss, Coot Moon and Carson 'Smokehound' Arnold on bass and drums. Brought to you in their patented mind-expanding SPECTRASOUND, Eau'd To A Fake Bookie Volumes 1 & 2 delivers an irresistible gumbo of deep, cosmic psychedelia, primitive drum-machine grooves and woozy country-funk jams. These 6 songs are cover versions of artists as diverse as The Blackbyrds, Michael Hurley and Jimmy Cliff, but stretched out over 4 sides, the album is entirely Wet Tuna - loose, free-flowing and lots of fun!’

Recorded in 1991 by the quintet of vocalist Billie Ray Martin and Birmingham-based electronic musicians Brian Nordhoff, Joe Stevens, Les Fleming and Roberto Cimarosti, Electribal Soul was conceived as the sequel to the band’s 1990 debut album, Electribal Memories.
Electribal Memories had yielded the hits ‘Talking With Myself’ and ‘Tell Me When The Fever Ended’ and pushed Electribe 101 to the forefront of a crossover electronic scene that fused dance music with pop savvy. They were snapped up by Phonogram, managed by Tom Watkins and hailed as “the next band to meet the Queen” by i-D. The band took the coveted support slot for Depeche Mode on their epochal World Violation tour and supported Erasure at Milton Keynes Bowl. Seen as the next big thing, everything pointed toward enduring critical success for Electribe 101, and the band settled into putting their second album together.
“There was a degree of confidence among us when we came to write the second album,” recalls Billie Ray Martin. “To me, the songs we put down sound like some of our finest moments.” More immediately lush and warm than the dancefloor-friendly structures of Electribal Memories, the clue to the sound of Electribal Soul lies in the second word in its title: soul. Songs like the aching sensuality of opening track ‘Insatiable Love’ or the emboldened defiance of ‘Moving Downtown’ showcase Billie Ray Martin’s distinctive vocal range as it moves from haunting quiet to dramatic, euphoric rapture. Lyrics from ‘Moving Downtown’ had found their way into ‘Pimps, Pushers, Prostitutes’ by S’Express, and the song would appear as ‘Running Around Town’ on Martin’s 1996 solo album. The strikingproduction on the version of the song presented on Electribal Soul suggests classic late sixties soul influences, such as those of legendary Motown producer Norman Whitfield, with the long shadow cast by Kraftwerk never being far away.
‘Deadline For My Memories’, the song that provided the title for Martin’s first solo album, was originally intended for the second Electribe 101 album. Its lyrics document a sense of freedom and liberation from the darkness of a bad relationship, accompanied by jazzy piano and organ sounds over a quiet rhythm and discrete electronics. In contrast, ‘A Sigh Won’t Do’ finds Martin in soothing vocal mode, despite its devastating message about the final ending of a strained relationship, her lyrics framed by restrained and subtle beats and sounds.
To spend time with Martin’s voice on Electribal Soul is to find yourself moved deep into the ordinarily impenetrable emotional corners of your own psyche. “I was into big ballads at the time and listening to all kinds of US and UK singers, and I was also young enough to want to prove myself as a belter of ballads,” explains Martin of the classic soul edge the album showcased.
Electribal Soul heads into darker territory with ‘Hands Up And Amen’. Originally written by Martin in Berlin in the period before moving to London and forming Electribe 101, the song was then perfected and enhanced by the band’s production nous. ‘Hands Up And Amen’ savagely documents the mugging of a woman in Queens, NY at gunpoint, only to resolve itself with a middle section that nods reverently toward gospel tradition. The song coalesces around a regimented break and burbling synths, finally ending with layers of urgent synth sounds.
Meanwhile, a cover of Throbbing Gristle’s ‘Persuasion’ takes us into a seedy world of sexual coercion and creepy infatuation, predating Martin’s chilling version of the track with progressive house unit Spooky two years later. Supported by a minimal, nagging rhythm and barely-fluctuating sounds, Electribe 101’s take on ‘Persuasion’ makes for uneasy listening, even though Martin manages to inject a sort of twisted sympathy for the protagonist as the song progresses.
That Electribe 101 were as comfortable offering complicated, nuanced tracks like ‘Persuasion’ alongside pop house bangers like ‘Space Oasis’ – written by Billie Ray Martin with Martin King before Electribe 101 was formed – is testament to the way the band wove their way effortlessly through electronic music reference points. Framed by light, jazzy piano melodies and string sounds, the energy of ‘Space Oasis’ soars so high that it could easily reach the moon, while highlighting how well-suited Martin’s voice has always been to club music. We hear the same reminder of her dance music credentials on ‘True Memories Of My World’, finding her describing a Hollywood actress who reflects on being used by directors to sell her ‘tears’.
Hooking up with the Birmingham-based Nordhoff, Stevens, Fleming and Cimarosti after placing a Melody Maker ad in 1988 (“Soul rebel seeks musicians – genius only”), it was clear that Martin had found a group that recognised the unique power and importance of her voice. Having worked with genres as diverse as reggae, rock and R&B, the four producers proved to be perfect collaborators, presenting carefully-sculpted backdrops that emphasised the towering emotional dexterity of her voice.
“Listening back to these tracks now, I was reminded of what a bunch of great musicians they were,” says Martin. “They had a rule that if a part still sounded good after a day or two then it could stay. If it bothered the vocals, it would go.” Even more so than on Electribal Memories, Electribal Soul places Martin at the captivating centre of these pieces, surrounding her voice with everything from dubby rhythms to chunky R&B beats to nascent trip hop breaks; wiry, acid-hued synths uncoil gently without ever dominating, while horn samples and lush, disco-inflected strings provide a rich, naturalistic accompaniment for Martin’s emotional outpourings.
The band finished mixing the album at London’s Olympic Studios in 1991. They were assisted by Apollo 440’s Howard Gray on production duties for ‘Deadline For My Memories’, ‘Insatiable Love’ and ‘Space Oasis’, with Gray supported by talented engineer Al Stone. Pre-release promo tapes were issued and an enthusiastic energy started to build around the band’s anticipated second album.
It was not meant to be. Against a backdrop of a worsening relationship with Tom Watkins, and a disinterested Phonogram, instead of receiving a positive reaction to the new tracks, Electribe 101 were swiftly dropped by their label. Electribal Soul languished, unreleased, and the band yielded to pressures that had been building and split up. After collaborating with Spooky and The Grid, Billie Ray Martin went on to release her seminal debut solo album in 1996, with it securing the era-defining hit ‘Your Loving Arms’, while the other group members continued to work together as The Groove Corporation.
Thirty years after the songs were recorded, we’re now finally able to hear what the second and final chapter of Electribe 101’s story sounded like. Electribal Soul shows that the band had really only just got started when they dropped their first album in 1990. Heard only by a select and privileged few, what followed elevated the band’s music to a completely new level, making Electribal Soul musical buried treasure of the most precious and rare variety.
Electribal Soul will be released on LP, CD and digital formats on 18th February 2022 through Electribal Records. The physical formats include extensive liner notes from Billie Ray Martin, and the album sleeve features unseen archive photographs by Lewis Mulatero from the original 1990 sessions with the band that were never used in the sleeve designs for Electribal Memories.

Les Disques du Crepuscule present a new, remastered vinyl edition of Quart de Tour, Mon Amour, the highly collectible debut album by enigmatic Belgian duo Piscine et Charles, originally released by the label in 1984.

This remastered 2021 reissue retains the original cover art, as well as adding text and previously unseen images from the Piscine et Charles archive, plus a digital copy (MP3). A limited edition of 500 copies only has been pressed on turquoise vinyl.

A duo comprising Dominique Outers and Luc Raemdonck, Piscine et Charles taped their debut album at Daylight Studio in Brussels with engineer Didier de Roos (Univers Zero, Tideline), along with several guest musicians and classical singer Lucie Grauman. A concept album of sorts, Quart de Tour, Mon Amour (which translates as Quarter Turn, My Love) combines literary lyrics with music described as a ‘neat fusion of coldwave, electronics and lounge-jazz, predating acid-jazz by about five years and conjuring impressive atmospheres.’

Despite failing to reach a wide audience at the time, the album has since become a sought-after collector’s item, with the title track recently appearing on acclaimed anthology set Uneven Paths: Deviant Pop From Europe on Dutch label Music From Memory. ‘A very unique sound, Piscine et Charles explore a poetic, romantic and enigmatic musical realm where synth-pop meets jazz and spoken word.’

Speedcore masterpiece from the US crazy crews !!

Constructions seeks to explore the world of pulsing rhythms, gritty synth lines and corny vocals. Through a nostalgic glance towards the 80’s italo disco era Love a la Carte attempts to recreate the almost naive atmosphere that was unavoidable through 80’s music charts, while Over These Hills is a contemporary boogie tune partly inspired by the likes of Sade, Chic and even Tears For Fears. Assault, a synth dominated piece of storytelling, samples dialogue from John Carpenter’s 1976 cult classic Assault on Precinct 13, and Mechanical Bird is an instrumental journey through various electronic soundscapes.

2022 Catalog Vinyl Re-Pressings, mastered for VINYL by DAVE OTERO (Khemmis, Cephalic Carnage, Cattle Decapitation, Allegaeon and more). HUMANURE is the fourth full length release from Metal Blade Records' CATTLE DECAPITATION. The album features guests performances by Gabe Serbian, Justin Pearson and Robert Bray of The Locust. Many view HUMANURE as the turning point in CATTLE DECAPITATION's development from underground vegan and animals rights activists to grind / death metal hierarchy. HUMANURE undoubtedly set the tone for Cattle's subsequent rise, situating the band in 2022 as one of the top in the field.

This special Record Store Day 5 x 45s collection comes packaged in a limited-edition Brazil 45 clamshell collector’s box.

The long-running relationship between Masters At Work and Mr Bongo has been a fruitful affair. Beginning in the 90s, it has included releases such as their seminal 'Brazilian Beat' 12" featuring Liliana, their magnificent rework of Atmosphere’s ‘Dancing In Outer Space’, and their recent hit Surprise Chef remixes 12". The influences of Brazilian music is evident in their DJ sets and productions, take the poly-rhythms of the 'Nervous Track’ as a prime example. We couldn't think of anyone more fitting to curate the third volume in our "Brazil 45 Boxset Curated by" series than one half of the MAW duo, the mighty Kenny Dope.

For his volume of the series, Kenny selected 10 knockout tracks from the golden era of Brazilian music. As you would expect from such a legend, he surpassed the brief of simply compiling the tracks, as he re-edited and remixed a number of his favourites especially for this boxset. Amongst these exclusives is a blazing, heavy psych-funk remix of Antonio Carlos & Jocafi's 'Quem Vem Lá’, and a hip-hop breakbeat bounce woven into Luli Lucinha E O Bando's folky-MPB beauty 'Flor Lilás’. Di Melo and Miguel De Deus are also given the Dopeman remix and edit treatment.

Kenny's selections pull out some forgotten classics and recently overlooked gems, many of which were once top of the want-lists for collectors in the 90s. These include Milton Banana Trio and the irresistible version of 'Berimbao' by Jayme Marques. Along with the Brazilian funk and jazzy-bossa dancefloor-oriented tracks, Kenny has also chosen the leftfield, deeper, trippy psychedelic folk sounds of Papete.

As with previous volumes, the selections are very personal and represent the individual sound and taste of the selector digging from the rich tapestry of Brazilian music. Its unique palate and stamp are exactly what you would expect from a Master At Work.

Nach seinem letzten Album Singularity und der kürzlich erschienenen Piano Versions EP - nicht zu vergessen die Meditations-Stücke aus dem Jahr 2020 - beschreitet Jon mit Music For Psychedelic Therapy, wie der Titel schon vermuten lässt, klanglich und philosophisch einen neuen Weg. MFPT umfasst Jons Reisen durch geografische und kosmologische Spektren und ist eine unnachahmliche und allumfassende Reise an und für sich. Jon Hopkins erklärt: "Like everyone, I went through a lot of intensely heavy stuff in the last year. Somehow this music flowed through me in that time. I honestly have no idea where it came from - the whole creation process happened in something of a trance. I felt driven by a force way beyond myself and it was unforgettable…."

Format: 140G schwarze 2LP im Gatefold Sleeve inklusive Downloadkarte

'Their Dark Dominion' charts the haunted history of Clapham Wood in Sussex, a paranormal hotspot linked with tales of UFO sightings, mysterious disappearances, unexplained deaths, and dark worship. In 1978, local investigator Charles Walker was contacted by a black magic initiate who claimed that the woods were being used for dark rituals and animal sacrifice by The Friends of Hecate - a secretive occult group whose number were said to include those at the highest levels in society. “We will stop at nothing to ensure the safety of our cult!” The soundtrack to an imaginary documentary or TV series circa 1987 - the year in which the area’s ‘demonic connection’ was severed by the great October storm - ‘Their Dark Dominion’ conjures digital synthscapes and swirling gothic guitar to invoke an ethereal atmosphere of supernatural menace.

Griffit Vigo has been producing music since 2004 and spearheaded the sound of gqom in the early 2010s alongside artists such as DJ Lag, Rudeboyz, Emo Kid, and Dominowe. Predominantly releasing on Gqom Oh!, it was Vigo’s singles ’Ree’s Vibe’ and ‘DJ’ that cemented his reputation and helped gqom go on to become something of a global phenomenon with its intense, heavily syncopated style of dance music filtering into the work of producers around the world.

Franz Ferdinand announce ‘Hits To The Head’, a 20-track greatest
hits collection showcasing the world-conquering success of the
band’s career to date.
 Released on Domino, ‘Hits To The Head’ also features two brandnew tracks - ‘Billy Goodbye’ and ‘Curious’, produced by Alex
Kapranos, Julian Corrie and Stuart Price (Dua Lipa, Madonna, Pet
Shop Boys).
 Armed with an astute sense of what constitutes the ‘classic pop song’
(famously proclaiming that they write music “to make girls dance to”),
the music of Franz Ferdinand continues to resonate globally and over
the course of nearly two decades they’ve become, commercially and
critically, one of the biggest UK bands in the world, selling over 10
million albums, 1.2 billion streams to date, 14 Platinum albums,
winning Brit, Ivor Novello and Mercury Prize awards, Grammy
nominations and selling six million tickets for their incendiary live
show worldwide.
 Deluxe CD in hardback book-style sleeve with 48-page case-bound
booklet with liner notes by JD Beauvallet plus lyrics.
 CD in standard jewel case with clear tray and 24-page booklet with
liners by JD Beauvallet.
 2LP into black poly-lined inner sleeves plus 16-page booklet with
liners by JD Beauvallet and digital download card.

Wir erbauen unser neues Imperium aus der Asche eines alten“ – mit diesen Worten kündigt die GRAMMYprämierte, schwedische Instanz der theatralischen Rockmusik, GHOST, die bevorstehende Veröffentlichung ihres fünften Studioalbums, IMPERA, an, das am 11. März über Loma Vista Recordings erscheint. Nachdem der Vorgänger, das 2018 für das beste Rock-Album mit einem Grammy nominierte PREQUELLE, im 14. Jahrhundert und zur Zeit der europäischen Pest-Pandemie angesiedelt war, sehen sich Ghost mit IMPERA wortwörtlich hunderte von Jahren in der Zeit nach vorn katapultiert. Das Ergebnis ist das ambitionierteste und textlich prägnanteste Werk in Ghosts Album-Kanon: Im Verlauf des 12-Song-Zyklus‘ von IMPERA, entstehen und vergehen Imperien, betreiben Möchtegern-Messiasse ihre (gleichermaßen monetär wie spirituell motivierten) Hype-Marktschreiereien und werden Prophezeiungen gemacht, während das Firmament mit Himmelskörpern von göttlicher und menschgemachter Natur erfüllt wird. Das thematisch aktuellste Ghost-Album bislang spielt sich vor einem hypnotischen, düster-bunten melodischem Hintergrund ab, was IMPERA zu einem unvergleichlichen Hörerlebnis macht.

Wir erbauen unser neues Imperium aus der Asche eines alten“ – mit diesen Worten kündigt die GRAMMY prämierte, schwedische Instanz der theatralischen Rockmusik, GHOST, die bevorstehende Veröffentlichung ihres fünften Studioalbums, IMPERA, an, das am 11. März über Loma Vista Recordings erscheint. Nachdem der Vorgänger, das 2018 für das beste Rock-Album mit einem Grammy nominierte PREQUELLE, im 14. Jahrhundert und zur Zeit der europäischen Pest-Pandemie angesiedelt war, sehen sich Ghost mit IMPERA wortwörtlich hunderte von Jahren in der Zeit nach vorn katapultiert. Das Ergebnis ist das ambitionierteste und textlich prägnanteste Werk in Ghosts Album-Kanon: Im Verlauf des 12-Song-Zyklus‘ von IMPERA, entstehen und vergehen Imperien, betreiben Möchtegern-Messiasse ihre (gleichermaßen monetär wie spirituell motivierten) Hype-Marktschreiereien und werden Prophezeiungen gemacht, während das Firmament mit Himmelskörpern von göttlicher und menschgemachter Natur erfüllt wird. Das thematisch aktuellste Ghost-Album bislang spielt sich vor einem hypnotischen, düster-bunten melodischem Hintergrund ab, was IMPERA zu einem unvergleichlichen Hörerlebnis macht.

If this word "music" is sacred and reserved for eighteenth and nineteenth century instruments, we can substitute a more meaningful term: organization of sound.
- John Cage

Kista returns from a long hiatus with his first ever all instrumental LP.

Songs From The Seas Edge takes us on a journey into the mind of producer and Graffiti Writer Kista.

It's an album where all his early influences or things that intrigued him, all come together, his love for Sc-Fi Movies, Hip Hop, 80's Arcade Games, John Carpenter Soundtracks and Films (you will notice a few vocal samples from his films nestled away among the songs) and many other things that influenced him growing up as a kid.

In a world now dominated by Playlists and the digital age, Kista took a step back to try and make an album that all fitted together, a concept album based around living on the coast as a kid in the 80's.
“ I started going through samples i put aside years ago and started to go back to them, to try and make them all fit and blend together to form an instrumental album”.

“It's kind of hard to explain where Songs From The Sea's Edge fits to my previous work” explains Kista
“ I wanted to make something for myself that I could then share, a journey, something to listen to from start to finish,with certain samples making an apperance in more than just one track.

Songs From The Sea's Edge has an hypnotic and haunting synergy to it, it's atmospheric, melodic but is still firmly rooted in Kista's love for Hip Hop.

Press play and enjoy.

re-release Find the Greatest Movie Scores selected by CINEZIK in an new Wagram Vinyl Collection!

IDRIS MUHAMMAD was born Leo Morris in New Orleans in 1939. He mastered the drums at a very early age and can be heard on Fats Domino’s “Blueberry Hill” at just seventeen! His early career was steeped in R&B before moving to New York to emnbrace the jazz scene. “I’m A Believer” is the perfect fusion of the two genres and features the sublime vocals of his wife Dolores LaLa Brooks of the Crystals (aka Sakinah Muhammad).

Our chosen B-side by Chicago soul singer JEAN SHY is the rare modern soul masterpiece “What Can I Do I’m So In Love With You” reissued here for the first time.

In the small inland town of São Domingos on Cape Verde's Santiago Island, The Ano Nobo Quartet delivers a fresh take on Koladera, a guitar-driven, subtly rhythmic sound of a lighter spirit. Their sound tells a global story with Cape Verde at its center, a creole melting pot in the middle of the Atlantic attracting the best from four continents: hypnotic, haunting Koladera guitars inflected with twangs of Salsa Cubano, Spanish Flamenco, Brazilian Samba Canção, Jamaican Reggae, Argentine Tango, Mozambican Marrabenta, and finished with a dash of Black American Blues. It's all here. Absent percussion, the quartet's sound still drips with rhythm. Rich, raw acoustic music you can dance to.

This album was recorded in three locations on Santiago Island: at homes, by the sea, and on the volcanic hills of Cape Verde. Each location used a mobile recording studio equipped with different mics placed near and far to capture both the Spanish and Chinese-made guitars and the natural environment that shapes the saudade, a melancholic longing, of Koladera. Each space has its own atmosphere heard in the interludes.

A double LP pressed at 45 RPM for an even silkier listening experience and packaged in a luxurious matte-laminated gatefold with a high quality 12-page booklet along with a hardcover bookcase CD with a 24-page booklet.

All music composed and arranged
by Jacob Karlzon
String arrangements on "Promises
Kept?, "Steps & Stages?, "To the
Moon and Back?
by Nils-Petter Ankarblom
Produced by Jacob Karlzon & Lars
Nilsson

The next ten-inch cut of the Time Is Now series comes courtesy of Nicky Soft Touch. These four tracks are a taste of things to come, handpicked from an as-yet-unannounced double LP the
Bristol native has had in the works since 2019.

Nicky Soft Touch's recent outings include two dusty hip-hop dubplates on London's Ghost Notes Worldwide; for Lonely City Sampler he explores a more British sound. Using a tape deck and a pile of old jungle tapes, cut-up snippets were crafted into an audio collage balancing ambience with rave style crescendos. Driving dubwise bass dominates 'Lost In A Sea Of Rolling Eyes'
while disrupted breakbeats meet stuttering chords in 'Lonely City Cut 4'. The closing track's
garage-inflected UK techno beat is haunted by spaced out diva vocals, a melancholic mover for
city nights.

Lonely City Sampler drops December 10th via Time Is Now.

The Piper At The Gates Of Dawn. The classic 1967 album remastered in 2017 from the original MONO analogue tapes by James Guthrie, Joel Plante and Bernie Grundman, issued on heavyweight 180 gram vinyl.

Amsterdam based DJ and producer Perdu aka Alain van der Born returns to Live At Robert Johnson for his second release: On his Illusion Of Choice EP, Perdu drives his sound one notch harder, yet retains his trademark 1980s tinged vibe. Perdu has already secured releases on DGTL Records, Heist and Let’s Play House amongst others, and surely is a keen producer to keep your eyes and ears on.

A1 Archi gets into gear with a straight and focused beat arrangement. It’s a trippy uptempo vibe, intertwined by a slightly modulated Arpeggio-Bassline and its transposed twin figure.

A2 Grey Rush features a filtered broken beat, quickly rushing inbetween sprinkled effects and noises, off into a resonating Bass figure and outstanding melodic arrangement, both which dominate the better part of this energetic track.

B1 Sitrao doesn’t hesitate long in letting a pounding Kick Drum escort you right into an uptempo Cosmic vibe. It’s that arpeggiated Bass, catchy melody and silky pads, which might just get those hands in the air again.

B2 Blue Rush is a subtle variation of Grey Rush, omitting the resonating Bass figure. Yet it doesn’t compromise its level of energy, as this keeps the beat stand out contoured, compared to its twin track Grey Rush. credits

Seit jeher ist die Natur für den Künstler Dominik Eulberg eine Quelle für Inspiration, ein Ort der Kraft und des Rückzugs. Nun veröffentlicht der studierte Naturschützer sein sechstes Album: Avichrom. Dieses Kunstwort bedeutet soviel wie "Vogelfarben". Denn Eulberg widmet sich diesmal den Farben im Gefieder von Vögeln, von deren über bordenden Vielfalt es elf in die deutschen Namen heimischer Vogelarten geschafft haben, von Grünfink, Goldregenpfeifer über Blaumeise bis hin zu Purpurreiher und Schwarzhalstaucher. Sie dienen ihm als Führer auf seiner musikalischen Expedition in die Ornithologie. Eulberg zeigt sich hier als ein hart arbeitender Handwerker, als jemand, der alle Schritte der Produktion von Grund auf beherrscht und versessen an kleinsten Details feilt. Avichrom ist in dieser Hinsicht konsequent für den im Westerwald lebenden DJ und Produzenten: ein Werk, das im besten Sinne des Wortes zeitlos ist. Es läuft nicht Trends der Gegenwart hinterher, sondern schreitet auf dem eigenen Weg voran, den Eulberg seit frühester Karriere eingeschlagen hat und der ihm zahlreiche Preise und Chartplatzierungen eingebracht hat. Entstanden ist mit Avichrom ein Album, das schon beim allerersten Hören berührt, das aber dennoch bei jedem weiteren Mal neue Details offenbart. Ähnlich wie bei einem Gang durch die Natur zeigen sich immer neue Strukturen, immer andere elaborierte Verästelungen denjenigen, die genau hinhören: erst mit der Zeit zeigt sich die wahre Schönheit, die sublime Komplexität.

Our Lowriders album is an amalgam of the two “This Is Lowrider Soul” CDs. We have chosen 14 tracks that represent the sounds loved by Los Angelenos, often of Mexican descent, that emanate from their fabulously designed motors while cruising Whittier Boulevard in East LA or, say, Van Nuys Boulevard in the northwest of the city.

The classic Los Angeles vocal group the Superbs are featured here on their glorious ‘It Hurts So Much’, but it is mainly the records discovered by sweet soul collectors that dominate. The Carnival label has a great reputation on this scene; Lee Williams & the Cymbals’ ‘Please Say It Isn’t So’ and ‘Follow Your Heart’ by the Manhattans are a pair of killer ballads perfect in tempo and harmony for the cruisers. Other East Coast offerings include the Persians’ captivating ‘Here It Comes’ and two gems which were only on master tape prior to their Kent releases – Melvin Hicks & The Versatiles’ ‘I’m Just Passing Time’ and the similarly unknown outfit the Exceptions, with the wailing ‘So Much In Love’.

Chicago has always been a breeding ground for black harmony groups. The Esquires saw much success at Bunky; ‘No Doubt About It’ was their equally great first release at Wand. Little Ben & The Cheers hailed from the same city; their ‘I’m Not Ready To Settle Down’ fetches big bucks due to Lowrider demand, as does ‘What Am I Gonna Do’ by the mysterious Houston Outlaws – their origins are uncertain, but must be Midwestern. The Vanguards hailed from Indianapolis and deservedly charted with ‘Somebody Please’, licensed to LA’s Whiz label. All of their seven singles on Lamp are also fine, harmonic soul tracks. The Lovers were a Bay Area group who recorded in Los Angeles with the maestro Arthur Wright; their ‘Someone’ was tipped for the charts when licensed to Philips, but flopped, leaving it ripe for revival by the soul connoisseurs. Like the Lovers, the reputation of Reuben Bell’s ‘It’s Not That Easy’ has grown over the decades and a record once considered common can now fetch hundreds of dollars – class will out.

Modern metallers DAGOBA are back! After putting their stamp on the metal scene with a unique blend of metal and neckbreaking grooves, relentlessly touring and sharing the stage with legendary acts like Metallica, Machine Head and In Flames, DAGOBA have signed with leading Austrian metal label Napalm Records and are prepared to hit the next level. The French four-piece returns with the band’s most ambitious material yet: punishing vocals, groove and modern metal infused guitars and hard-hitting production shows DAGOBA on top of their game, pushing boundaries and incorporating electronic elements seamlessly into a unique modern metal formula. Vocalist Shawter impresses with a high variety in his singing by covering a wide span from intense and deep growls, strong shouts and precise clean vocals. The album starts off with an electronic intro that bursts into the massive attack „The Hunt“, that has already been released in July 2021 as a standalone single and includes all the significant trademarks: melodic passages with clean vocals alter with intense breakdowns and all of this underlined with electronic elements. This mixture leads to a catchy sound as showcased on the dramatic „Bellflower Drive“ or the melodic „City Lights“. Furthermore the sound of DAGOBA stands out for dominant drumming that oscillates between double bass, blast beats and forward going up tempo drumming as it occurs on „The Last Crossing“ or „Sunfall“. Between all the action, there is also space for calmer parts such as the interlude „Break“ or the track „On the Run“ that begins with female vocals that gradually build up into another hymn lining up brilliantly with the other songs of the album. DAGOBA manages the balancing act between harsh breakdowns, dense soundwalls and grooving passages with ease. Even on its hardest passages, the album never gets too enigmatic - quite the opposite: One smashing track is followed by the next, the record just flies by and leaves no time to breathe. By Night is a beast of an album showcasing how far DAGOBA can take electronic influences on the upcoming material – a must-have for true fans of modern metal! alone!

Regal shares the final remix EP of his debut album, "RWYS Remixes Pt.03". With reworks from Alignment, Thomas P.Heckmann, _asstnt & Roll Dann, Sita Abellan & the Involve Records head himself.

Regal's "Remember Why You Started" LP faces its final rework. The last package welcomes Regal and Sita Abellan, Thomas P.Heckmann, _asstnt & Roll Dann and Alignment to shine their production skills to the Spanish techno luminaries first album.

Regal & multi-faceted Spanish artist Sita Abellan collaborated for the rework of "Cult Of Personality". Their rendering leans heavily into the realm of electro, with heavily distorted synth lines marching through like a freight train. Darting keys rush and reverberate back upon themselves before a powerful female vocal sample takes over from the male voice that commanded the original. Germany's Thomas P Heckmann takes on "Before I Die". Heavier and beefier than the original, the kick drum and baseline of Heckmann's remix take control and dominate the landscape. He retains Pau's distinct vocals, leaving a familiar dash of the original in this bolder rework. Percussion takes a front seat in this version, with snare drums and cymbals combating the bitter main synth melody.

Straight from Madrid's underground scene are producers _asstnt & Roll Dann, who team up for the remix of "Respect". A cut up, distorted rework that grows darker and more robust throughout. Bottomless kick drums ring out, while a heavily distorted electric guitar sample brings grime and a sonic haze to the track. The American male vocal sample is kept on from the original and remains even more powerful in it's reworked state than before. Italian producer Alignment wraps up with the accurately placed track "The Last Dance". In this final remix of the series the kick drum received a complete overhaul, instantly pivoting the track into a darker place. Only the curious melodic key sequence pours light into the track and brings with it an overwhelming sense of positivity to the closer. The baseline backs up the melody before percussion breakdowns take centre stage and the two fight for dominance until the final beat.

Die internationale Power-Metal-Formation kehren zurück mit ihrem kraftvollsten und ideenreichsten Werk ihrer bisherigen Karriere, mit massenhaft tollen Gitarrenriffs, groovenden Rhythmen und hymnischen Melodien.

„Diesmal haben wir wirklich an jeder Stellschraube gedreht, um das bestmögliche Resultat zu bekommen. Und ich denke, der große Aufwand hat sich nachweislich gelohnt!“ so fasst Bassist und Gründer Mario Lochert das die Arbeit des Kommenden Serious Black Albums „Vengeance Is Mine“ zusammen.

Einer der neuen Songs der kommenden Serious Black-Studioscheibe ‚Vengeance Is Mine‘ nennt sich ‚Album Of Our Life‘ und trifft damit wohl den Nagel auf den Kopf, zum einen ist der internationalen Power-Metal-Formation um Bassist und Gründer Mario Lochert das wohl kraftvollste und ideenreichste Werk ihrer bisherigen Karriere gelungen, andererseits geht es textlich in für die Band bislang unerforschte Tiefen. Lochert: „Wie nie zuvor habe ich diesmal Einblicke in mein Innen- und Privatleben zugelassen, also: wie ich denke, wie ich fühle, wie ich bin, und wie schwierig es sein kann, eine Band am Laufen zu halten, wenn es einem selbst nicht gutgeht. Die Texte auf ‚Vengeance Is Mine‘ spiegeln die zurückliegenden vier, fünf Jahre wider. Dies wiederum hatte natürlich Auswirkungen aufs Songwriting, das noch intensiver und emotionaler geworden ist.“ Mit dem ausdrucksstarken Timbre von Sänger Nikola Mijic, den rasanten Riffs und Hooks ihres Gitarristen Dominik Sebastian, vielen treibenden Grooves von Schlagzeuger Ramy Ali und dem abwechslungsreichen Songwriting von Bassist und Bandleader Mario Lochert avanciert ‚Vengeance Is Mine‘ zum Paradebeispiel eines tiefmelodischen und zugleich kraftstrotzend-dynamischen Power-Metal-Albums.

Die internationale Power-Metal-Formation kehren zurück mit ihrem kraftvollsten und ideenreichsten Werk ihrer bisherigen Karriere, mit massenhaft tollen Gitarrenriffs, groovenden Rhythmen und hymnischen Melodien.

„Diesmal haben wir wirklich an jeder Stellschraube gedreht, um das bestmögliche Resultat zu bekommen. Und ich denke, der große Aufwand hat sich nachweislich gelohnt!“ so fasst Bassist und Gründer Mario Lochert das die Arbeit des Kommenden Serious Black Albums „Vengeance Is Mine“ zusammen.

Einer der neuen Songs der kommenden Serious Black-Studioscheibe ‚Vengeance Is Mine‘ nennt sich ‚Album Of Our Life‘ und trifft damit wohl den Nagel auf den Kopf, zum einen ist der internationalen Power-Metal-Formation um Bassist und Gründer Mario Lochert das wohl kraftvollste und ideenreichste Werk ihrer bisherigen Karriere gelungen, andererseits geht es textlich in für die Band bislang unerforschte Tiefen. Lochert: „Wie nie zuvor habe ich diesmal Einblicke in mein Innen- und Privatleben zugelassen, also: wie ich denke, wie ich fühle, wie ich bin, und wie schwierig es sein kann, eine Band am Laufen zu halten, wenn es einem selbst nicht gutgeht. Die Texte auf ‚Vengeance Is Mine‘ spiegeln die zurückliegenden vier, fünf Jahre wider. Dies wiederum hatte natürlich Auswirkungen aufs Songwriting, das noch intensiver und emotionaler geworden ist.“ Mit dem ausdrucksstarken Timbre von Sänger Nikola Mijic, den rasanten Riffs und Hooks ihres Gitarristen Dominik Sebastian, vielen treibenden Grooves von Schlagzeuger Ramy Ali und dem abwechslungsreichen Songwriting von Bassist und Bandleader Mario Lochert avanciert ‚Vengeance Is Mine‘ zum Paradebeispiel eines tiefmelodischen und zugleich kraftstrotzend-dynamischen Power-Metal-Albums.

Das Four Tet Album aus dem Jahr 2005 gibt es jetzt wieder als Nachpressung auf Domino!