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World-renowned horn player Mats Gustafsson teams up with Joachim Nordwall to create THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE- an avant-garde masterpiece. Gustafsson and Nordwall push their instruments to the limit, almost mirroring the title of the record by "reaching across space and time". The duo creates a sense of vast, three-dimensional auditory expanses. "This is where acoustics and analog synths meet. It is unique music. Unheard Vibes. Perfect for special venues and good PAs..." -Gustafsson & Nordwall. We encourage listeners to take multiple journeys through the expansive spacial exploration that is THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE. Joachim Nordwall has been active in creating psychedelic electronic music since the late 80s- A cornerstone of the Swedish musical underground, exploring the extremities of guitar music with The Skull Defekts and solo recordings as The Idealist that access the spiritual and political dimensions of electronic music and dub. Nordwall also runs the esteemed and boundary pushing iDEAL Recordings, cementing his position as a major player in the contemporary scene. Mats Gustafsson is a prominent figure in the modern jazz scene, working as a composer, improviser, and saxaphone player. He has been involved in hundreds of projects, including work with Sonic Youth, Neneh Cherry, Peter Brötzmann, and Merzbow, as well as being an active member of groups such as FIRE!, The END, and Swedish Azz.

World-renowned horn player Mats Gustafsson teams up with Joachim Nordwall to create THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE- an avant-garde masterpiece. Gustafsson and Nordwall push their instruments to the limit, almost mirroring the title of the record by "reaching across space and time". The duo creates a sense of vast, three-dimensional auditory expanses. "This is where acoustics and analog synths meet. It is unique music. Unheard Vibes. Perfect for special venues and good PAs..." -Gustafsson & Nordwall. We encourage listeners to take multiple journeys through the expansive spacial exploration that is THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE. Joachim Nordwall has been active in creating psychedelic electronic music since the late 80s- A cornerstone of the Swedish musical underground, exploring the extremities of guitar music with The Skull Defekts and solo recordings as The Idealist that access the spiritual and political dimensions of electronic music and dub. Nordwall also runs the esteemed and boundary pushing iDEAL Recordings, cementing his position as a major player in the contemporary scene. Mats Gustafsson is a prominent figure in the modern jazz scene, working as a composer, improviser, and saxaphone player. He has been involved in hundreds of projects, including work with Sonic Youth, Neneh Cherry, Peter Brötzmann, and Merzbow, as well as being an active member of groups such as FIRE!, The END, and Swedish Azz.

Elias Devoldere is the drummer in bands such as Nordmann, Hypochristmutreefuzz, Suwi, Robbing Millions, and John Ghost. Following an ep, Kaiku, released last summer, Bloomed > Exploded is his debut full length as a solo artist. Besides writing and singing, he composed, played, recorded, and produced the bulk of the ten songs himself. 'Everything blooms', he explains the title of his first album. 'Until it explodes, and something else is able to grow from it'. In this case, what came full cycle is an intimate coming-of-age album of intangible atmospherics, crisp melodies, and understated rhythmical patterns.

BLOOMED >

'As a kid, I just wanted to play football, you know?', says Elias. 'But when I was eight years old, my parents made me choose between drawing school and music school'. And thus began a dedication to rhythm for Elias. At 18, he enrolled at the Royal Academy of Fine Arts in his hometown of Ghent, opting for a jazz education. 'Not because I aspired to become a master 'jazz drummer', but to learn music, to become a good musician'. It was at the academy that, after an impromptu jam session, Nordmann first came together. The exhilarating instrumental quartet went on to win second place at the prestigious Humo's Rock Rally in 2014, and released three albums to critical acclaim, with a new one in the works.

Devoldere, in the meantime, had completed his degree with a craving - ironically - for music. 'I was in over my head with jazz for such a long time, and went on an epic discovering spree. Moses Sumney, James Blake, Kendrick Lamar, Connan Mockasin... Lots of stuff I had missed over the years. In a way, I reconnected with the kind of music I was into before jazz dominated my life. Pink Floyd was my first love, for instance, and later Radiohead proved to be a game changer. Diving back into those kind of sounds, I was feeling the urge to follow my old dreams, of being a solo artist - or something more than 'just' a drummer, anyway. So I bought a guitar, an interface for my laptop, and started writing'.

EXPLODED

When he released his 5 track ep Kaiku in the summer of 2021, it summarised a lot of firsts for Elias. First time writing lyrics, first time as a lead vocalist, first time recording his own songs all by himself. The songs had been around for a while, but taking those leaps took a long time. 'Making the ep helped me to find my voice, in every way possible'. Still, in the aftermath of the pandemic, the songs on Bloomed > Exploded sprouted in a time of upheaval. 'Musically the album is quite serene, gentle even. But the themes speak of internal unrest and uncertainty. There are a lot of questions on the album, as it turned out. Duality, as the title suggests, coming from the struggle between a wish to turn everything upside down and a search for peace. Honestly: the prospect of my 30th birthday was messing with my head too'.

Recording during a period of solitude in France, Elias initially relied heavily on synthesizers and drum machines. 'Explode / Boalis was one of the first songs I wrote for this album, and pivotal for its atmosphere, based mostly on electronic elements. Later, I did use 'real' drums on most of the other songs, though, and contributions from other musicians, but the overall mood is very cohesive'. 'Pure', that's how Bruno Ellingham, the UK engineer who mixed the album, described it. Much to the delight of Elias, who reached out to Ellingham because of his previous work with bands such as Massive Attack and Portishead. 'Hearing the end result, I thought he really captured the essence of the original demo's. For me, that adds to this album being a sincere reflection of my true self. 'Take a dive/ Into the place where it's more quiet', as I sing in the last song, that kind of sums it up for me'.

Previously only available as a digital release, Lucid Express’ Floret, has been remastered and expanded to include remixes from a host of
international, acclaimed shoegaze and dream pop artists. For the first
time on vinyl, the limited (500) edition orange vinyl will be released March

3, 2023 (Kanine Records).

Lucid Express is five young dreamers who create a stunning airy blend of shoegaze and indie pop amongst the skyscrapers, mountains, and packed alleyways of Hong Kong. The name itself a modest mission statement of the band’s intent: lucid in the poetic sense of something

Hailing from Essex, the six-member band officially formed in 2015. What originally started off as a few studio sessions between producer Tom and vocalist Alex Osiris, soon turned into a full-blown musical project. The established band line up was finalised after the additions of producer and musicians Tom Donovan, Cameron Morrell and Jonny Poole for what was meant to be a one-off festival performance which subsequently turned into a full-time project due to the undeniable chemistry shared on and off stage. The addition of in-house production and live instruments allowed the band to develop their alternative style of hip-hop that is truly unique and undeniably authentic.

A Late Lunch’ is the soundtrack to Akiko Iimura’s eponymous movie realized in 1978. It is based on acoustic instruments and field recordings, brilliantly reconfigured and mixed by Bekaert to create a surreal, immersive soundscape. The technique used includes superposition and speed change of recordings, radical sound effects and juxtapositions of sounds. The players were prominent musicians of the 1970’s, including Maggi Payne, George Lewis, David Rosenboom and Blue Gene Tyranny.

‘A Summer Day at Stony Point’ was composed in 1969, with participation of David Behrman, Shigeko Kubota and Charlotte Warren. The piece was commissioned by English composer Hugh Davies who presented it at the Harrogate festival the same year. Stony Point is a small village in New York State where John Cage co-owned a small pseudo-commune art resort where like-minded artists gathered. ‘A Summer Day at Stony Point’ is nothing more than a page of a journal, a fragment of a notebook that utilizes a series of sound sources recorded at Stony Point on one beautiful day in the summer of 1968. Other electronic sound sources were recorded at the Brandeis University where Alvin Lucier was professor. The final realization of the piece was done at Henri Pousseur’s APELAC Studio in Brussels, 1969.

The soundtrack for Akiko Iimura’s ‘Mon Petit Album’ was composed on the basis of a simple description of the technique of the film and its time span. It includes David Behrman on alto, from an outdoor recording at Stony Point, plus excerpts from a Transition concert in London, the band Bekaert formed in 1971 with Michel Herr, Takehisa Kosugi and Ryo Koike, both members of the Taj Mahal Travelers. The atmosphere is quiet and pastoral throughout with a very dreamlike flavour.

Jacques Bekaert (1940-2020) was a man of many gifts: author, journalist, composer, photographer, visual artist, wine connoisseur, radio talk show host, diplomat and expert in Southeast Asian affairs. His whole life Bekaert has been actively involved in music but not much of his work got recorded or published. In the early 60’s Bekaert studied with Pousseur and through his frequent visits to the US he became friends with artists like John Cage, David Tudor, Charlotte Moorman and most of all David Behrman with whom he had a close friendship ever since. Bekaert helped organize the first European tour of The Sonic Arts Union (David Behrman, Robert Ashley, Gordon Mumma, Alvin Lucier) and in the early 70’s he formed the group Transition (with Belgian jazz pianist Michel Herr, Takehisa Kosugi and Ryo Koike, both members of the Taj Mahal Travelers). His meeting with Japanese experimental film-maker Akiko Iimura resulted in two film soundtracks featured on this one of a kind discreet avant garde album.

When asked in a 1979 interview about his double life as a musician and a journalist, Bekaert replied, “I suppose they’re both unsafe, unstable, questioning jobs—composing and reporting. Journalism takes me to places, shows me the world as it is. My music is my wish for the kind of world I’d want to live in. The little peaceful state I dream for everyone, where you can be yourself, and happy, and as collective as possible without giving up total privacy.”

Originally released in 1981 on the Belgian Igloo label this reissue comes with the same sleeve as originally designed by Alain Géronnez.

Inspired by three movies of avantgarde cinematographer Maya Deren (At Land, Ritual in Transfigured Time and A study in Choreography for Camera), Francesca Bono (vocalist, performer, founder of Ofeliadorme and member of the Donnacirco collective) and Vittoria Burattini (percussionist, multi-faceted drummer and member of influential Italian avant-rock band Massimo Volume) created a dense hypnotic transfixing collection of songs based upon the sole use of the Juno 60 synthesizer and the organic linear pulsating sound of a drum kit.

These apparent limitations set the scene for an incredibly rich and rewarding voyage that immediately establishes a strong identity that oscillates between circular dream soundscapes and psychedelic rhythmic architectures. Bono / Burattini excels in threading magical images where objects transform without warning (Your House Is A Ghost) and collapse into kosmische grooves (La Trama Del Desiderio) or when humming electronics mold into temporal dimensions (Sogno Nel Vigneto). Burattini’s astonishing use of the drum kit and her mallet driven timbre produce space and tension (Dinner Illusion) perfectly complementing Bono’s synthesized realm made of nuance and reflection (Dancing Demons). One of the album’s key elements is the sparse use of Bono’s singing, an intricate mix of measured phrasing, breathing, spiral structures and extrasensorial-like choirs that seem to reference the rich Italian tradition of cosmic jazz, library music and the unmatched work of the RAI engineers in the 70s working with Gruppo Di Improvvisazione Nuova Consonanza, Morricone, Daniela Casa. The driving Can-like pulse of Le Ossa shows force and flow while Stella’s haunting piano recreates a futuristic horror-movie OST.

Suono In Un Tempo Trasfigurato is beautifully recorded and mixed by Italian composer Stefano Pilia, a perfect match for Bono / Burattini’s sonic explorations and for a record that intersects experimental wave, alien grooves, contemporary electronics and futuristic sci-fi. Their blend of analog electronics and organic pulses place them in a time out of joint where dancing remains the one constant ritual.

Black 2 LP mit 18 Hits
Diese legendäre Greatest Hits-Sammlung wird zum ersten Mal auf Vinyl veröffentlicht. Sie enthält 18 Klassiker wie "I Want You To Want Me", "Surrender", "The Flame" und viele mehr. Plus Track-by-Track Liner Notes von der Band

A studio album recorded by Gilberto with arrangements by for Verve in 1967, Astrud Eumir Deodato and Don Sebesky, Beach
Samba successfully showcases the singer’s soft, soothing, playful, ethereal voice. The program consists of laid-back beach bossa nova tunes. The opening track, “Stay”, is a true highlight, while
“Beach Samba” is a wordless delight and “Canoeiro” rolls the Portuguese lyrics into a snaking rhythm. A real standout is “You Didn’t Have to Be So Nice,” a duet with her then-six-yearold son. Gilberto’s vocals are backed by a sumptuous Brazil pop-cum-U.S.
orchestration feel (Ron Carter and Toots Thielemans are among the sidemen, as well as Brazilian stars Marcos Valle and Claudio Slon). Some of the more pop choices are also remarkable, particularly
Tim Hardin’s gorgeous “Misty Roses.” Beach Samba was included in the book 1001 Albums You Must Hear Before You Die.

Limited first pressing on clear vinyl. Dick Stusso's third album is a document of slow mental unraveling with a world in perpetual decay as its backdrop. With S.P., California-based singer and songwriter Nic Russo has created his most out-there and toothsome record to date, plunging his listeners into a strange and thrilling new world at every opportunity. S.P. is the first Dick Stusso record in four years, following his stellar Hardly Art debut In Heaven from 2018-but this latest missive is more of an indirect sequel to the buzz-building 2015 release Nashville Dreams / Sings the Blues, diving deeper into the fictional character Dick Stusso's crumbling psyche and dystopian surroundings. If our introduction to Dick was someone trying to pursue their dreams and turning into a failure as a result, S.P. reflects the moment where, in Russo's words, "The character is becoming unlikable. He's succumbing to what is taking place around him."Nearly half of its 18 songs-spanning countrified rock duets, Guided by Voices-recalling anthems, and outro noise-burst sound experiments-were completed before the pandemic, when Russo decided to take a beat and allow the music to sprout new, weird buds in his rehearsal space. With mixer Andrew Oswald accentuating the record's unique feel, S.P. bridges the gap between the ultra lo-fi confines of his 2015 debut Nashville Dreams / Sings the Blues and the lush echoes of In Heaven, with a few helping hands to fully flesh out Russo's vision. Grace Cooper (The Sandwitches, Grace Sings Sludge) contributes vocals to "Dinner for Two" and "Self Reflection (Deep)," while his father Marc Russo-a Grammy-winning saxophonist who's currently touring with the Doobie Brothers-lays down expert horn arrangements on "Garbagedump #1." The myriad of twists and turns on S.P. further establish Russo as a fascinating craftsman who's never bound to do the same thing twice.

It seems like an age since Icelandic producer Adalsteinn Gudmundsson's last album as Yagya, 2020's "Old Dreams and Memories." The first album to be released on his own label Small Plastic Animals it was followed by the four-track "Always Maybe Tomorrow" EP in 2021. "Faded Photographs" is his ninth studio album, the most involved and time-consuming project to date and collaborative on a scale not seen since 2012's "The Inescapable Decay of My Heart." It also marks an exceptionally confident return to the art of song-writing, but where that earlier album was a more upbeat dub techno-pop affair, "Faded Photographs" is nostalgic, wistful, reflective and steeped in poetic romanticism. Gudmundsson's love of the art of the album is also more pronounced here than ever before, almost every single track tied together by the particularly unifying use of triplet rhythms in combination with 4/4 beats, beguiling hushed vocals and enveloping, molten dub bass tones. Combined with a typical dedication to sound design and production, "Faded Photographs" is rendered an utterly seamless experience, demanding to be heard as a whole. Written and produced when we had become more distant and disconnected from one another than ever before, "Faded Photographs" brings together and showcases an ensemble of artists in a spirit of collaboration that flies in the face of adversity, a true product of its time.

Named after their infamous Brixton club night, Basement Jaxx’s second album Rooty saw Basement Jaxx continue to push the boundaries of pop and club music. The album mixes classic house with generous lashings of punk, funk, R&B, jazz, hip hop, 2-step and pop song-craft in a mad genre crash that works like a charm. It features the massive tracks “Where’s Your Head At”, “Romeo” and “Do Your Thing”.

On October 21, 2022, Merge Records will release Pigments, the debut collaboration between New Orleans electro-revival dynamo Dawn Richard and multi-instrumentalist, producer, and composer Spencer Zahn. Pigments is a project about the power of self-expression through living art, through motion. It's also a love letter to New Orleans, Louisiana. Not strictly classical, jazz or ambient electronica but rather a body of "movements," Pigments is an expressive soundscape that is an immersive passage through the city as seen through the eyes of a young Black girl with dreams to paint her future with the pigments given to her. Richard explains: "Spencer wanted to create one long piece of music that would ebb and flow around my lyrics and emotions, which tell a story of growing to love my own skin. I wanted my voice to be moss surrounding the roots of Spencer's compo - sitions, never forcing the moment to fill every space but rather reveling in the openness of thought and breath." Zahn agrees, saying, "I wanted to work with all these different textures, tones, and colors to have a new sound to frame Dawn's voice and lyrics. To hear a lone clarinet as the breath fades and a cello continues its melody to cue Dawn's vocal entrance is unlike any other record she has made. These are things that excite me as a composer but more as a listener. I hope that other listeners feel the same." Coming on the heels of Dawn Richard's critically acclaimed Merge debut Line, Pigments will introduce listeners to a different facet of Richard's outrageous talent and bring Zahn's thoughtful creativity to a new audience.

Cansu Ak, Tolga Horasanli and Mehmet Koray Erol came together in 2019 to produce their own music with creating the band "oldu o zaman". Since they gathered as a band, 2 songs written, composed and arranged by them have been released by Avrupa Müzik. After that, the band decided to make their mutual dream which is covering and arranging Turkish traditional well-known folk songs with psychedelic and electronic elements to create a unique sound with their own touch. There was a psychedelic music trend in 70"s used in traditional Anatolian folk songs. Oldu o Zaman rearranged famous tavern song "Sigarasi Yaldizli" and a well known Turkish gipsy song "Mastika" by using this trend in electronic form.

Le Motel and Bruce Wijn met at school, during a school art trip to Munich. They went separate ways for a long time.

Hailing from Brussels, Le Motel's world is a vortex of sight and sound that takes in the many and varied corners of the planet. As a music producer and film composer his versatility has taken him to festivals and clubs in every direction as naturally as he has ventured out to the less accessible areas of the globe as a field recordist. It's somewhere in between these spaces that Le Motel operates, gathering unique experiences and sounds to channel through his studio.

Bruce Wijn is a Brussels-based guitarist who played in several postrock kind projects such as Sound Film, 52 Commercial Road, or more shoegaze Lazy Sin. These collaborations gave him the opportunity to perform in various locations in Belgium, France, England, and the USA. As a musician, his focus has always been attracted by progressively built rhythmic melodies, which would eventually turn into long reverberated or distorted swells, or the otherway round.

All these experiences brought them both to the idea of scoring movies with different yet similar approaches.

That's how their first collaboration happened as Le Motel was working on the soundtrack of the movie Binti, and invited Bruce Wijn for the track Exode, in 2018. Since then, they've been working on other scoring projects, such as the feature film 'Aller Retour' more recently.

Alongside the movie scoring activities another audiovisual live project was born, in collaboration with Antoine de Schuyter and his mesmerizing images.

This one is more focusing on tape textures, field recordings and glitchy effects in order to build atmospheric tracks that they decided to bring together in a first E.P. 'MAAR'.

'MAAR' is elaborated as a soundtrack for an imaginary journey between cold seas and volcanoes explorations.

From the first echoing sounds of playing kids on the shoreside in the opening track 'La Perche' Le Motel & Bruce Wijn let you slide in a technicolor dreamworld, reverbing slowly innocent childhood memories into a chilled, out of range, future.

'MAAR' dives deep into a kaleidoscopic microcosmos watching Nautilus playing hide and seek with 'Captain Ahab' floating on sonic breaking waves, while seagulls gently spread their wings flying through the breezy and misty clouds of Blankenberge.

Lava vulcanica slowly melts in the sad euphorica of the cold North Sea, crystallizing sounds only Le Motel and Bruce Wijn can deliver.

"Dans cent ans" is not a record: it’s a talisman.
Flavien Berger doesn’t make music, he makes time machines.
In 2015, he released his first album, Leviathan, which he’d imagined like a moment suspended into the bowels of present time.
In 2018, Contre-Temps, his critically acclaimed second album, was narrated like a flashback.
Dans Cent Ans (“In 100 Years”) ends this trilogy and launches into the future with the grace of a poisonous serpent.
Flavien had just finished producing Pomme’s last album and was simultaneously scoring Céline Devaux’s feature film Tout le monde aime Jeanne, when he recorded this album, during six months of isolation.
In the garret of a Belgian house in construction, these 12 tracks were born, close to the sky, both direct and mysterious.
Because Flavien Berger knows how to make machines sound sensual (a key example is the pop song “D’ici là”) and dares to interweave electronics, chanson and art music, organic instruments and synthetic choirs, without ever falling into parodic territory.
Because his voice, more precise, unreverbed, and close-mic’d than ever, sings to our ears – using multisyllabic rhymes (“Trop ivres pour te plaire / Tropiques du cancer”) and surrealist imagery (“la neige restera rose” – “the snow will remain pink”) – stories that feel unknown yet obvious.
And like both previous albums ended with a long eponymous track like a breath of air, “Leviathan” and “Contre-temps”, so does “Dans Cent Ans”, a 15-minute long saga where vocals, wind instruments and machines converse, as if Debussy, Etienne Daho and a Sufi Dervish met in a dream.
After listening to this album, the vertigo of love and the collision of times are one and the same.
In one hundred years, music will survive us all, and its dangerous beauty will awaken other lives. In the meantime, Flavien Berger keeps stunning ours.

Drumcode’s beloved A-Sides compilation makes a welcome return after a two-year absence, with a mammoth 25-track feast covering every shade of the techno spectrum split across seven, 12 inch parts. The project was devised in 2012 as a way of showcasing the wealth of strong material Adam Beyer receives each year, which due to Drumcode’s busy release schedule, might not otherwise find a home on the label. Since then, it’s grown to become an essential fixture on the techno release schedule and a marker for where the genre stands in any given year.

No holds barred for part 7's opener from A.D.H.S. – Razor, acid arps and monster synthwork a plenty, before an oscillating peaktime stormer courtesy of Julian Jeweil – Pulsation. Flip it for Marco Faraone’s ever intensifying head spinner ‘Dream’ before Gary Beck closes it out with a swirling warning call ‘Ship Went Down’.

Following the release of their 2021's critically acclaimed album The Black Stone Affair, instrumental cinematic-soul outfit Whatitdo Archive Group unleashes two startling new singles: "Forbidden Cove" and "The Cashmere Chamber", out on limited edition 7'' on March 24th via Record Kicks. The 45 is limited to 500 copies worldwide and it is just an appetizer of the upcoming new album Palace Of A Thousand Sounds, scheduled for release on May 5th, 2023. Whatitdo Archive Group previous 45s went sold out in weeks and are currently very in-demand from collectors and djs.

On side A, we find the first single "Forbidden Cove". We are immediately greeted with top-notch production that feels like we stumbled upon yet another lost rarity, but this time from the heyday of American "exotica" music from the mid-century movement of the early '60s (think Martin Denny and Les Baxter). The twist here is that the underlying tone is dark, heavy and cinematic. WAG flexes their compositional chops and maturity with clever arrangements, a tight rhythm section and dreamy vibraphone that lead us to dense Arthur Verocai-esque orchestral arrangements and hypnotizing eastern flavors.

From the first notes of the Javanese metallophone, Whatitdo Archive Group welcomes you into "The Cashmere Chamber", on side B of the 7''. Less a room and more an auditory experience, "Chamber" skillfully guides you deeper into its world complete with menacing drums and bass, sinister vibraphone melodies and a haunting choir. But this driving force of the rhythm section isn't enough for WAG; we see the song quickly blossom into an adrenaline pumping guitar feature layered expertly with a Turkish baglama saz and percussion. This track is a sample-worthy heater for any DJ.

The new album Palace Of A Thousand Sounds will be available May 5th, 2023 on limited edition LP, CD and digital platforms. Palace Of A Thousand Sounds finds Whatitdo Archive Group entrenched deeper in the worlds of mid-century exotica and library music—from the Tropicalia-steeped Amazon to the minor key tonalities of the far-out Near East.

Steeped in obscurity, a cult following of crate-diggers and musical oddity collectors has been brewing over the mysterious releases of the Whatitdo Archive Group. Surfacing in 2009 from the high deserts of Reno, NV USA, this three-piece recording collective (Alexander Korostinsky, Mark Sexton and Aaron Chiazza) focuses solely on curating, performing and preserving esoteric soundtrack, library and deep-groove collections. As an onlooker, it's hard to tell whether the music they are procuring is actually archival, music of their own creation, or both. Their debut LP The Black Stone Affair, the formerly lost soundtrack music of a once-shelved Italian cinematic masterpiece, was released in 2021 and received praise from the likes of Wall Street Journal, Mojo Magazine, Uncut, Shindig and Blues & Soul Magazine, BBC 6 (UK), FIP (FR), KCRW (US), JazzFM (UK) and more. Two years later, the Whatitdo Archive Group is back. Get ready for an exotic adventure with their sophomore full-length effort: Palace of a Thousand Sounds.

Official reissue of Civilistjävel!'s first, self-titled archival LP in sky-blue embossed sleeve, 500 copies.

A minor masterpiece of high-lonesome, ultra-spacey existential electronics, recorded in the ‘90s and early 2000s, the music on this album had never been heard outside the Swedish artist’s private tape/CD-R trading networks until 2018 - when London’s Low Company presented it in a hand-assembled vinyl edition of 250 with scant context or biographical info. Some people understandably thought the project might be a ruse - was it really plausible that material this accomplished and affecting had fallen under the radar for 20-odd years? Implausible, perhaps, but true nonetheless. Five years on we know that Civilistjävel is indeed the real deal: the alter ego of a discreet but by no means reclusive solo artist based in Uppsala who has for decades been quietly honing his craft without worrying about who's listening. Since 2019 he has become more visible: performing live several times in and around Europe, and last year releasing a brand new studio album, Järnnätter, on Felt Records. Meanwhile Low Company has put out four subsequent, vinyl-only volumes of archival material. These have increasingly tended towards the more rhythmic/techno-oriented impulse in Civilistjävel, so it’s interesting to return now to Volume 1: comprised of the most introspective and isolationist of his works, tapping into deep wells of northern European melancholy. It’s a music made with no audience in mind, but simply to suit itself: cold-world kosmische, intimate minimal synth etudes, bowled percussion clusters and impossibly yearning, 30-days-of-night ambient dronescapes. Created mostly using a Juno60 and Korg MS20, and home-recorded to DAT (crackles and surface-noise preserved intact), you can hear in these seven expansive instrumentals unconscious echoes of Serge Bulot and Anna SjalveTreje’s crepuscular dream-sequences, Scandinavian black metal's mist-cloaked forest-fantasies, the austere dub-techno of Thomas Köner and Basic Channel, and the gristly, consumptive concrète of Nurse With Wound and Asmus Tietchens.

On behalf of re:discovery records, it is with great excitement that we announce the 1st of a 3EP set highlighting the music on 1990's Norwegian electronic act Neural Network. In 1993-1995 they released 2 full albums or Origo Sound that featured label mates Biosphere. In 1993 they opened up for Prodigy and shared the bill with other seminal acts like AFX, Autechre, Orbital and H.I.A among other heavyweights. However, their 2 full albums 'Brain-State-In-A-Box' & 'Modernité' did not get picked up by any other label or distributer and their popularity stayed regional. In fact a 3rd album was never released (Until part 3 comes from this series!) and sadly they went their separate ways to form other electronic acts in 1997. We hope to shine a bright light on their early music. Side A features the wonderful aquatic adventure in 'Aqueous' followed by a shift into the sci-fi realm with the mysterious 'Mechanical Heart'. Two great examples that show off the group's deep post rave sound for the future. A real melding of styles. All 3 EP's have inserts where the band shares their memories of the early days.

All these tracks in the series are placed on vinyl for the first time with fantastic artwork by UK's Grid Pattern. Dare to Dream! Its not only our credo at re:discovery records but it's also our goal in hearing music that was made for the stars.

Orange Vinyl

The garage -psychedelic French duo The Liminanas straddles since 2009 the boundary between psychedelic ,shoegaze,garage & French yé-yé up to cool vocals . Quintessentially French but first known at the start in the US before hitting homeland France. 7 studio albums so far, 2 rare tracks compilations, many Eps,some OST, collabs such as L’Epée with Anton Newcombe & Emmanuelle Seigner : time for a first time Best of, and actually more than a Best of : Double Cd , Ltd Triple Vinyl& Digital editions offer 12 exclusive bonus tracks -new songs + rare songs when they called themselves les Bellas, before The Liminanas-.
“Electrified” also includes 23 classics songs , with featurings such as Peter Hook, Anton Newcombe and French pionners Laurent Garnier, Etienne Daho & Pascal Comelade.
Features liner notes written by Iggy Pop, Peter Hook & Keith Streng (Fleshtones) : because it’s only rock’n’roll.

Lonely Planets Rec re-welcomes stargazer Jack Roland for its 8th release. The Amsterdam-based producer blasts off with an irresistible fabric of futuristic Midwestern electronics. Each cut is programmed in a disc- scratched techno dreamscape, smearing elements of braindance and electro into a shoegazy gauze. Warping us through a totally fabricated time bending vision, destining us into a final recollection of irony and elegance. It felt like a kiss.

Paolo Aniello FKA New Digital Fidelity returns one final time since his last appearance on Italian Synth Planetarium – Sistema 1 in 2020 and readies some serious and sexy goodness for 2023.

“Gonna Touch The Sky” marks his debut on Moods & Grooves and there is no doubt that it will literally make you touch the sky! The EP opens with the reshape from none other than deep house legend Fred P. When it come to (ultra) deep house beautiness, Fred is the real don. Melodic, dreamy and groovy. Simply what you would expect from him and what he does best.

To follow is the original mix, awash in syncopated tribal rhythms, gorgeous female vocals and a rich tapestry of ethereal pad. “Gonna Touch The Sky” is a dancefloor-pleasing Afro house cut à-la Ron Trent/Trinidadian Deep featuring Sasha Paige on lead vocal and Rhia Reneè on background vocals that bubble over a deep, tribal groove.

On the flip, “Make Up Your Mind” takes tribal rhythms to a new, more mental level. It’s an Afro-Chi-meets-Detroit affair. The percussive rhythms and energy that constantly interplays with the synth line create an uplifting basement tune that could safely run at opening, peak time, or closing time. Last but not least, “Horizon” speaks for itself. It will definitely transport you to new horizons, toward a tropical beach at sunset, closing this incredible journey.

What's that old saying again? "The more things change, the more they
stay the same"--right? When it comes to Michigan based metal outfit For The Fallen Dreams, perhaps a more fitting--but just as timeless--adage would be "change is the only constant".

With a career defined by constant progression and dedication to refining and rejuvenating their unique brand of aggressive, passionate metal, For The Fallen Dreams have consistently demonstrated an incredible ability to adapt and evolve their sound and dynamic despite overwhelming adversity-- and all without sacrificing the core components of their sound.

Built around explosive breakdowns, gut- wrenching grooves and lyricism that touches on everything from an introspective glimpse into the human condition to brotherhood and camaraderie, these Midwestern masters of metal have made themselves a staple within the international heavy music community.

What's that old saying again? "The more things change, the more they
stay the same"--right? When it comes to Michigan based metal outfit For The Fallen Dreams, perhaps a more fitting--but just as timeless--adage would be "change is the only constant".

With a career defined by constant progression and dedication to refining and rejuvenating their unique brand of aggressive, passionate metal, For The Fallen Dreams have consistently demonstrated an incredible ability to adapt and evolve their sound and dynamic despite overwhelming adversity-- and all without sacrificing the core components of their sound.

Built around explosive breakdowns, gut- wrenching grooves and lyricism that touches on everything from an introspective glimpse into the human condition to brotherhood and camaraderie, these Midwestern masters of metal have made themselves a staple within the international heavy music community.

- 2023 repress -

After his successful "Iron Dreams EP" from 2020, Regent steps up for his 2nd EP on Planet Rhythm. The "Obsidion EP" features 4 tracks that will trigger some emotional responses in future warehouse situations.

Luv*Jam presents The Legend Of Gelert 3000.8 ‘Tryfan’ with Lootbeg.

Anti lockdown nip alert. Lootbeg climbs out of lockdown hibernation and delivers a record to make us wiggle our hearts out with a gigantic dizzy sunbeam smile... Time to climb the 8th highest peak of the 3000’s - Tryfan with its two distinct large slabs marking the summit “Adam & Eve”, not forgetting the widely recorded “cannon” stone too. This is the 8th summit and 8th record of a highly collectable 14 piece series brought to you from the very same NiP headquarters that brought us Crow Castle Cuts and Blind Jacks Journey... Extra Peaky Nippiness from the ever secretive Rucksack Club.

Pressed on super duper yummy yellow vinyl, like the dream house classic “Blorp93” from Gnork!

When Italian composer Bruno Bavota and Dutch songwriter Chantal Acda first met several years ago, they knew almost instantly that they wanted to make music together. Bavota was already a fan of Acda's dreamy, orchestral folk, and in Bavota's intimate, picturesque piano compositions, Acda saw a potential for collaboration that was begging to be explored. As it would happen, the inherent loneliness and isolation of the COVID-19 pandemic would provide a most unusual opportunity to craft an album together - without ever being ion the same room. Originally conceived as a brief two- or three-song EP, A Closer Distance is the result of a month of seemingly endless and effortless creative connections between Bavota and Acda. Spawned from the opening piano phrase that became the album's title track, the nine songs that make up A Closer Distance were written and recorded by Bavota and Acda in their respective homes. No stranger to long-distance collaboration - having worked with an array of artists from Alan Sparhawk and Mimi Parker of Low to guitar legend Bill Frisell - even Acda was surprised by the ease and pace with which A Closer Distance came together: "This all came so weirdly natural. It woke up a part of me that had been asleep for a while." Mostly built around Bavota's solitary piano arrangements and Acda's layered, ethereal vocals, the songs on A Closer Distance reflect the intimacy and tranquility of their conception. It is a magical collection that connects to the listener with the same air of comfort and familiarity that inspired its creation.

We are thrilled to announce the release of the first ISARN record P0X by the label head PARALLX. This highly anticipated release marks PARALLX's start of his label, and we couldn't be more excited to share his unique blend of genres and his vision of the label.

With this record, PARALLX draws inspiration from early 2000 techno mixed with bits of EBM, infusing his tracks with a powerful, nostalgicially futuristisc sound that is both familiar and fresh. The production is impeccable, with a level of detail and nuance that is a testament to PARALLX's experience and expertise.

a A1 Die Schattenlaufer Im Strom Der Zeit
b A2 Methane 1/11 [Curse Of Coal]
[c] B1 10000°C [Fever Dream]
[Anthrazit]

Death and Vanilla return with 'Flicker', presenting their unique pop music that defies categorisation. Housed in a beautifully austere post-ironic de-constructed sleeve; 'Flicker' is a modern reflection on these difficult times. World crises notwithstanding, they return reborn, re-arranged and revitalised after assimilating dub reggae, the motorik spirals of Can, the modal meander of Philip Glass and The Cure's dreamier pop sounds; plus the twice removed symphonic ambience of Spiritualized and Talking Heads under heavy manners from Brian Eno. By osmosis their period of transition since 2019's much darker 'Are You A Dreamer?' has hatched new eclectic electronica anthems riddled with melody lines, and layered for lush love. - Forming in Malmö, Sweden, Death And Vanilla gravitated towards vintage musical equipment; from vibraphone, organ and mellotron, to tremolo guitar and Moog synthesisers. Soaking up soundtracks from the 60s and 70s, listening to library music, kosmiche, French Ye-ye pop and 60s psych, Marleen Nilsson, Anders Hansson and Magnus Bodin were fashioned by the city's austere industrial past and flat pack present, and all in the shadow of the Orsesund Bridge that links their dreamworld to mainland Europe and a darker reality. Death And Vanilla at once sound like everything is possible; but nothing else at all. There is a flicker of hope for everyone. - "Deploying vintage instruments in their quest for melancholic utopia." Electronic Sound * "Baroque pop through a dreampop filter." The Guardian Ltd Indie Retail Only Yellow Vinyl LP including DLC!

"Dans cent ans" is not a record: it’s a talisman.
Flavien Berger doesn’t make music, he makes time machines.
In 2015, he released his first album, Leviathan, which he’d imagined like a moment suspended into the bowels of present time.
In 2018, Contre-Temps, his critically acclaimed second album, was narrated like a flashback.
Dans Cent Ans (“In 100 Years”) ends this trilogy and launches into the future with the grace of a poisonous serpent.
Flavien had just finished producing Pomme’s last album and was simultaneously scoring Céline Devaux’s feature film Tout le monde aime Jeanne, when he recorded this album, during six months of isolation.
In the garret of a Belgian house in construction, these 12 tracks were born, close to the sky, both direct and mysterious.
Because Flavien Berger knows how to make machines sound sensual (a key example is the pop song “D’ici là”) and dares to interweave electronics, chanson and art music, organic instruments and synthetic choirs, without ever falling into parodic territory.
Because his voice, more precise, unreverbed, and close-mic’d than ever, sings to our ears – using multisyllabic rhymes (“Trop ivres pour te plaire / Tropiques du cancer”) and surrealist imagery (“la neige restera rose” – “the snow will remain pink”) – stories that feel unknown yet obvious.
And like both previous albums ended with a long eponymous track like a breath of air, “Leviathan” and “Contre-temps”, so does “Dans Cent Ans”, a 15-minute long saga where vocals, wind instruments and machines converse, as if Debussy, Etienne Daho and a Sufi Dervish met in a dream.
After listening to this album, the vertigo of love and the collision of times are one and the same.
In one hundred years, music will survive us all, and its dangerous beauty will awaken other lives. In the meantime, Flavien Berger keeps stunning ours.

Hit-writing anti-icons, Das Koolies emerge to explode three decades of digression as Super Furry Animals with their electronic depth-charge debut EP: The Condemned. Huw Bunford, Cian Ciarán, Dafydd Ieuan and Guto Pryce restore original Furry vision with techno-inspired, heavy-tech sound inspired by illegal rave roots.

A past fades out for a future to begin as the long-running, secretive DAS KOOLIES ‘dream project’’, emanating from Cardiff’s post-industrial docklands, delivers its first consignment of complex, wired euphoria: The Condemned. Chains of decayed connection and shackles of genre-expectation are audibly broken as Huw Bunford, Cian Ciarán, Dafydd Ieuan and Guto Pryce re-route their paths as notorious scientists of sound, taking the outside lane to arrive close to where it all began for Super Furry Animals.

Soldering human touch to synths and samplers, Das Koolies come through on their manifesto pledge of incinerating acoustic guitars while unsafely loading as much noise- making machinery onto their studio mains supply as possible. The Condemned, a confrontational, synth-driven outsider anti-anthem comes through as a warm-blood-on-cold- steel rope act of strict automation and humanity, commanding computers and code to find compromise with Ieuan and Bunford’s vocals.

Strawberries ripen in the spring. Or so they used to, in a more reliable world, one that seems to be rapidly receding in our collective rearview mirror. Presently, “spring” is a troubled concept — fraught with anxiety. Our seasons, if they are seasons at all, are paradoxical. Crops fail, or they ripen prematurely, all at once, and into a burst of rot. Impossibly, somehow, the supermarket shelves stay stocked (mostly, for now at least), and there are buckets of strawberries on every corner. But, of course, their nature is suspect. And they don’t taste like they used to. Or maybe that’s just ruinous nostalgia. But somewhere along the way we certainly lost something. Everybody knows.

Strawberry Season (Leaving Records, November 9 2022) responds tenderly to this sorry state of affairs, not with false comfort — nor escapism. Rather, the album conveys, often wordlessly, that there remains an abundance of sweetness amidst our increasing unease. While much of twentieth century American popular and folk music may have dwelt on the beauty and plenitude of the prairie, More Eaze applies a similar Romantic focus to the small bursts of fecundity that now hide in plain sight. Blending found sound, generative music, a knack for elegant, classically-informed melodic arrangement, and a sort of Liz-Fraser-by-way-of-hyperpop approach to vocals, Strawberry Season offers unique solace — providing an occasion for the kind of deep listening that our overstimulated and undernourished spirits require if there is to be any hope at all (and of course there must be hope).

More Eaze (serving as composer, songwriter, multi-instrumentalist, producer, and sound artist) guides us incrementally to this locus of attentiveness. Strawberry Season begins with the softly sweeping gentle pets. Early intimations of Velvet Underground give way, indeed, to a string arrangement that John Cale might have saved for Paris 1919. The second track, Suped, features a kaleidoscopic swirl of grocery checkout scanners that eventually coalesce and release with the subtle strumming of a harp. On known, in the midst of a nearly elegiac outflow of feeling, a shower starts to run. Someone steps inside, pulling the curtain back, sending the plastic rings clattering. Moments later, the unmistakable sound of the showerer blowing their nose — an inclusion that is at once light-hearted and jarringly, movingly intimate.

Strawberry Season’s second to last song, low resolution at santikos, serves as a sustained meditation on all that has come before it. Building slowly throughout its nine minutes, teetering, at times, on the edge of danceability, it dissipates suddenly, and Strawberry Season concludes with the rustling of clothes, snippets of distant conversation, creaking floorboards, an exhale and a sniff. There is a feeling of having arrived, of temporary reprieve in the face of uncertainty. A hint of a season yet to come, or one that is perhaps only now accessible in dreams.

Oriental Beat by Hanoi Rocks gets the redux treatment, officially mixed and revived from the original sessions, and released on March 17th on deluxe vinyl, CD and digital formats. The CD and vinyl come with the song lyrics, checked and approved by Michael Monroe. Dubbed the “re(al) mix”, this 40th anniversary edition was mixed by Petri Majuri at E-Studios in Finland in collaboration with the band. Vocalist Michael Monroe calls this release “the longest and slowest album project ever,” stating that “40 years in the making, it's not just a remix, but the REAL MIX supervised and approved by Hanoi Rocks”. Recorded in London, UK in 1981, for 200 pounds a day, Oriental Beat was made during the height of the British punk + New Wave movement, when the band was hanging out with everyone from Phil Lynott to the Damned. Hanoi Rocks’ original drummer Gyp Casino says of Oriental Beat that: “Back in the days we gave heart, soul and a bit of pain to make this record something else” but the sound of the album, originally released in 1982, did not match their efforts at the time. Bassist Sami Yaffa called it “the worst sounding album of our career” and Michael Monroe said that “the producer of the album didn’t have a clue what the band was about and his mix of the album was horribly wrong”. Oriental Beat’s original engineer Peter Wooliscroft, was not a rock producer, and according to Hanoi Rocks’ manager Richard Bishop he “tried to mix the album to sound like Spandau Ballet”. Released before the band could remix or rerecord it, as the label had run out of money, and the master tapes had gone missing, the band has always considered the original mix of Oriental Beat to be a “disaster”. With the tapes mysteriously showing up in the Universal vault recently, the band was finally able to mix and resequence the album the way they wanted it to sound. Oriental Beat is a defining masterpiece made when Hanoi Rocks was about to explode onto the world scene and written at the absolute peak of lead guitarist Andy McCoy’s creativity as a songwriter. Rhythm guitarist Nasty Suicide says “only now, with stripping it down to the bare essentials and tweaking it to bring out what was really laid down it became our dream come true! THIS is what it's all about” as this definitive edition of Oriental Beat now fully displays the ultimate arrogance and attitude which defined the band.

Oriental Beat by Hanoi Rocks gets the redux treatment, officially mixed and revived from the original sessions, and released on March 17th on deluxe vinyl, CD and digital formats. The CD and vinyl come with the song lyrics, checked and approved by Michael Monroe. Dubbed the “re(al) mix”, this 40th anniversary edition was mixed by Petri Majuri at E-Studios in Finland in collaboration with the band. Vocalist Michael Monroe calls this release “the longest and slowest album project ever,” stating that “40 years in the making, it's not just a remix, but the REAL MIX supervised and approved by Hanoi Rocks”. Recorded in London, UK in 1981, for 200 pounds a day, Oriental Beat was made during the height of the British punk + New Wave movement, when the band was hanging out with everyone from Phil Lynott to the Damned. Hanoi Rocks’ original drummer Gyp Casino says of Oriental Beat that: “Back in the days we gave heart, soul and a bit of pain to make this record something else” but the sound of the album, originally released in 1982, did not match their efforts at the time. Bassist Sami Yaffa called it “the worst sounding album of our career” and Michael Monroe said that “the producer of the album didn’t have a clue what the band was about and his mix of the album was horribly wrong”. Oriental Beat’s original engineer Peter Wooliscroft, was not a rock producer, and according to Hanoi Rocks’ manager Richard Bishop he “tried to mix the album to sound like Spandau Ballet”. Released before the band could remix or rerecord it, as the label had run out of money, and the master tapes had gone missing, the band has always considered the original mix of Oriental Beat to be a “disaster”. With the tapes mysteriously showing up in the Universal vault recently, the band was finally able to mix and resequence the album the way they wanted it to sound. Oriental Beat is a defining masterpiece made when Hanoi Rocks was about to explode onto the world scene and written at the absolute peak of lead guitarist Andy McCoy’s creativity as a songwriter. Rhythm guitarist Nasty Suicide says “only now, with stripping it down to the bare essentials and tweaking it to bring out what was really laid down it became our dream come true! THIS is what it's all about” as this definitive edition of Oriental Beat now fully displays the ultimate arrogance and attitude which defined the band.

Critically acclaimed rock group EELS announce
vinyl reissues of earlier records ‘Hombre Lobo’,
‘End Times’ and ‘Tomorrow Morning’, released via
E Works / PIAS. EELS will hit the road this Spring for the longawaited Lockdown Hurricane tour of Europe and
North America, starting in March in Nottingham. The reissues follow EELS’ critically acclaimed 2022 record, ‘Extreme Witchcraft’, which found praise at MOJO, NME, The New York Times,
Stereogum, SPIN and more. EELS have had one of the most consistently acclaimed careers in music. The ever-changing
project of principal singer / songwriter E (Mark Oliver Everett), EELS have released 14 studio albums since their 1996 debut, ‘Beautiful Freak’. In 2008, E published his highly acclaimed book,
‘Things the Grandchildren Should Know’, and starred in the award-winning ‘Parallel Worlds, Parallel Lives’ documentary about the search to understand his quantum physicist father, Hugh
Everett III. Single LP on standard weight black vinyl in a
gatefold sleeve with matt machine varnish.

Portland is a project born of instant connection, yet it’s also one
that has survived some of the darkest life can throw at them.
Dreamy songwriting bathed in beauty, the Belgian two-piece
thrive on pure expression, infusing their beatific, ethereal work
with incredible honesty. New album, ‘Departures’, pushes them
to the brink, forcing them to open up as never before, and in the
process discover themselves all over again.
 The story starts almost a decade ago. Sarah Pepels was new in
town, a music student attempting to make some roots. Hearing
music coming from down the corridor in her student home, she
knocked, and met Jente Pironet for the first time. One
conversation led to the next, and within hours they were writing
together, playing each other their ideas and sharing some
profound secrets. “We shared the same passions,” she reflects.
“We became best friends, soul mates… and the band emerged
from that.”
 The two won the prestigious De Nieuwe Lichting prize - one of
Belgium’s top honours for young songwriters - before releasing
their precocious debut album ‘Your Colours Will Stain’ in 2019.
Word quickly spread on their hazy dream pop - reminiscent of
Beach House or School Of Seven Bells - but the pandemic
pulled the shutters down on their burgeoning careers. As Jente
puts it: “We went through some difficult times, I guess. The
pandemic was very isolating for us both, and as a result the
music took on board those emotions.”
 ‘Departures’ was born of this. Put simply, it’s magnificent - all
the promise of their earlier work realized, it drifts between the
grace of Slowdive and a sense of classic songwriting that
recalls everyone from Fleetwood Mac, say, to Angus and Julia
Stone. Sonically beautifully and emotionally gripping, it’s a
profound song cycle, the work of musicians digging deeper than
ever before.
 For fans of Beach House, Angus & Julia Stone, Mazzy Star,
Ben Howard.

Portland is a project born of instant connection, yet it’s also one
that has survived some of the darkest life can throw at them.
Dreamy songwriting bathed in beauty, the Belgian two-piece
thrive on pure expression, infusing their beatific, ethereal work
with incredible honesty. New album, ‘Departures’, pushes them
to the brink, forcing them to open up as never before, and in the
process discover themselves all over again.
 The story starts almost a decade ago. Sarah Pepels was new in
town, a music student attempting to make some roots. Hearing
music coming from down the corridor in her student home, she
knocked, and met Jente Pironet for the first time. One
conversation led to the next, and within hours they were writing
together, playing each other their ideas and sharing some
profound secrets. “We shared the same passions,” she reflects.
“We became best friends, soul mates… and the band emerged
from that.”
The two won the prestigious De Nieuwe Lichting prize - one of
Belgium’s top honours for young songwriters - before releasing
their precocious debut album ‘Your Colours Will Stain’ in 2019.
Word quickly spread on their hazy dream pop - reminiscent of
Beach House or School Of Seven Bells - but the pandemic
pulled the shutters down on their burgeoning careers. As Jente
puts it: “We went through some difficult times, I guess. The
pandemic was very isolating for us both, and as a result the
music took on board those emotions.”
 ‘Departures’ was born of this. Put simply, it’s magnificent - all
the promise of their earlier work realized, it drifts between the
grace of Slowdive and a sense of classic songwriting that
recalls everyone from Fleetwood Mac, say, to Angus and Julia
Stone. Sonically beautifully and emotionally gripping, it’s a
profound song cycle, the work of musicians digging deeper than
ever before.
 For fans of Beach House, Angus & Julia Stone, Mazzy Star,
Ben Howard.

Als Secret Discovery 2006 in die Zeitmaschine stiegen, ahnten sie noch nicht, dass sie 17 Jahre später, im Jahr 2023, mit einem neuen Album aussteigen würden. Dabei herausgekommen sind 9 brandneue Songs – über Liebe, Hass und menschliche Abgründe sowie über soziale und gesellschaftliche Missstände.

Von atmosphärisch, melodiös und indielastig bis hin zu brachial, metallisch und hart präsentieren sich die Songs in alter Secret-Discovery Manier mit einem guten Schuss musikalischer Reife. Eingängige Hooks, hypnotische Melodien zwischen Nostalgie und Aggressivität, eingebettet in runde Arrangements und expressive
Harmonien - auf den Punkt gebracht durch Kai Hoffmanns charismatische Stimme.
Charakteristisch ist die für die Secrets typische perfekte Symbiose aus Rock und Elektronik.

Auch als Special Edition im Digipack erhältlich! Aufgepeppt mit 3 nagelneuen Bonustracks als Ergänzung zum Standard Album sowie 2 Remixen und eine bearbeitete Version des Songs „In My Life“ der Band „Alice2“. ’In my Life’ ist eine extended Version mit einem Gitarrensolo von keinem geringeren als Gitarrenlegende Axel Rudi Pell!
Die 2 Remixe von ’Dein Reich’ könnten unterschiedlicher nicht sein: Eine Electronic Dark-Dance Version sowie eine Extended-Guitar Version von Dirk Riegner , der unter Anderem bei Peter Heppner für die Keyboards verantwortlich ist.