Cerca:feed me

On their new album Looming, The Spindle, The Pleasure Majenta shape a
terrifying and sublime mix of noise, broken electronics and guitar
feedback that begs to remain untamed
From New Zealand by way of Berlin, these dystopian goth punks take their cues
from the harsh and heavy energy of The Birthday Party, Swans and The Fall
€"casting bummer vibes into the void to create the pain- soaked statement so
many albums want to make but wind up missing the mark.The lead single € Full
of It € fills the screen with flashes of cinematic post-punk savagery up to its ears
in swampy distortion and sleazy funhouse skronk. Velvety € 70s exploitation flick
saxophones hustle with devilish no-wave spaghetti western guitars and a slippery
bassline like a coffin dragged through mud in a grungy post- punk dirge. It's a
waking tour through a dysfunctional late- capitalist bardo where disassociation
becomes an effective coping mechanism for the cyclical, paralyzing grind of
clock- in, clock- out psychosis. € I felt okay when I wasn't myself "when I was
making music or playing onstage, so I decided I would contact myself in this way,
says The Pleasure Majenta's Lawrence Loz Fergus Goodwin. It's a dangerous
game to play.
Tracks: Satellite / Fabric / Sad2say / Smiles Through A Sneer / Anxious Patient /
Osc / Full Of It / It's Ten / Erik Satie / Gardens

Belgian label founded by Viernulvier Arts Centre (formerly Vooruit) to release music composed for theatre, dance and performances.

Viernulvier Records‘ first release will be The Shedding of Skin, the debut album from the Belgian-Iraqi Use Knife, set to be released on September 30, 2022.

Use Knife is the music project of Stef Heeren, Kwinten Mordijck and Saif Al-Qaissy, in collaboration with multidisciplinary artist Youniss Ahamad. The project first emerged when Stef and Kwinten, both also active members of Kiss The Anus Of A Black Cat, met Saif during auditions for a dance performance. The musical possibilities that presented themselves gave the gentlemen the drive to start the journey of uniting their Belgian and Iraqi musical backgrounds.

The album’s title, The Shedding of Skin, refers to the human survival instinct, the desire to leave war and disaster behind and build a new life in a completely different environment.

In addition to making music and composing together, Saif, Kwinten and Stef had countless conversations in order to gain insight into each other’s lives. These conversations are reflected in the song lyrics: for one of them, the worst is all behind them and they are focused on a brighter future, while the other is aware of all the privileges he has been given. The need to address this inequality is reflected in the combination of dreamy Arab songs with punky Dadaist touches.

For the recordings of the Arabic percussion, vocals and wind instruments, the band worked together with Joris Caluwaerts (Stuff., Lady Linn, Hydrogen Sea,…) in his Finster Studio. The mastering was done by Frederik Dejongh aka Jerboa Mastering. Youniss Ahamad provided the artwork, Farah Fayyad converted the English album title into Arabic script and Jef Cuypers and Chloé D’hauwe realised the graphic design of the cover.

Albert van Abbe & Jochem Paap join forces for General Audio.

Recorded at Willem Twee studios in Den Bosch, General Audio explores a unique and esoteric approach to sound creation. Using test and measure equipment from the 1950’s, originally designed for the maintenance of various audio and radio transmitters, van Abbe and Paap create otherworldly walls of sound and dense rhythmic abstractions with an early form of synthesis. Rudimentary signals are combined and processed before being committed to tape via mic’s set up to capture the Willem Twee studio’s unique acoustics. The equipment itself predates the invention of the analog, modular synthesizers developed in the 70’s that are now commonplace in many studios.

The record opens with 220Lock-in, a gently undulating drone composition. Effervescent at the top end and fathoms deep at the bottom, it shifts ominously with ring modulated tones that build and then give way to thick washes of white noise. A single synth flourish provides a surprising final moment. The record continues with WZ-1Wobbel Zusatz, a low-sunk percussive piece with an off-kilter rhythm and wet spring reverb doing the bulk of the sonic heavy lifting. Deep in the mix, delicate shifts in pitch and tone deliver a kind of arcane musicality, and as the recording approaches its final moments the piece descends into an exhilarating chaos, with sonic components falling slowly by the wayside. Pegelmesser riffs on a similar reverb characteristic, but this time a driven, arp-like lead propels the work forward. Crisp shifts in colour and distortion arrive unexpectedly, providing a curious musical sensation once more – and harsher moments of feedback break up the recording in its later stages. On Rel 3L 212c LC-pi the pair strip things back, with more present percussive components and subtle distortion lines, before Wandel ups the ante with a corrosive dirge broken up by sporadic submerged synth hits. The penultimate recording SR 250 Boxcar Averager shows off impressive pitch modulation, resulting in a variety of intriguing sensations. Cinematic and remarkably visual, it charts a strange and affecting course, the synth lead underpinned by a repetitive percussive motif and all manner of sends delivering fascinating details. Nim Bin closes the record and once more van Abbe and Paap invite that subtle musicality into the recording. A tight VCO modulation drives the piece while various percussive synth strikes provide a kind of rhythmic component, though they remain untethered to any time signature – a neat conclusion to an intriguing and exploratory record.

Written and Produced by Albert Van Abbe & Jochem Paap

Gazelle Twin, Lali Puna, This Mortal Coil, Slow Walkers, Atlas Sound, Bowery Electric, Broadcast Press Release: Snakeskin is an album of visionary electronic dream pop, shapeshifting above ambient and industrial undercurrents. It is moody, unsettling, luminous – the culmination of a decade of collaboration and friendship between Lebanese producer/musician/ engineer Fadi Tabbal and singer-songwriter Julia Sabra from Beirut-based indie trio Postcards. The duo began working on Snakeskin in the aftermath of the August 2020 Beirut port explosion, which killed at least 218 people, injured 7,000, and left over 300,000 people homeless. Indeed, Julia's home was destroyed by the explosion and her partner and bandmate Pascal badly injured. The first song that they wrote together afterwards was 'Roots', which closes out the album and was composed for the Ruptured-curated series The Drone Sessions in the fall of 2020. Snakeskin utilizes tape loops, synthesizers, vocals, and drum machines, combining Julia’s pop-inspired melodies and choral roots (an echo from her religious upbringing) with Fadi’s affinity for minimalism and musique concrète. The album seamlessly incorporates the melancholy electro-pop of 'All The Birds', the quiet menace of 'In Our Garden' (long-lost treasures, ancient lies / another buried paradise), and the beat-driven 'Signs'. The title track sums up their frame of mind, beginning as a lullaby and evolving into a glittering tapestry of distortion and feedback. As the artists write, Snakeskin is a product of "the disappearance of life as we know it, and with it the decay of nature and living creatures. There is no rebirth, no renewal. It’s about what it means to feel at home in such a place." Some tracks were also inspired by events happening in the surrounding region, such as the invasion of Armenia by Azerbaijan and the Palestinian uprising of May 2021 in Sheikh Jarrah - both events shedding light on relationships to home and land across the wider region. That such compelling art can emerge from unceasing tragedy may be the ultimate testament to human resilience and the pursuit of freedom and justice. "The moon speaks in tongues we can't discern / A plastic dove hangs from a cypress branch / Haven't you heard? / Nothing grows here anymore / The air is burnt / Nothing grows..." Highlights: – This is the second volume in the Corrosion Series, a collaborative effort by Beacon Sound and Ruptured, and the sixth collaboration between the two labels. – Fadi used samples of Julia's voice on his fifth solo album Subject to Potential Errors and Distortions (2020, Beacon Sound/Ruptured) – The Tunefork Studios team, led by Fadi, administered the Beirut Musician's Fund after the port explosion, as covered by Pitchfork, NME, and the Financial Times. – Julia's band Postcards released their third full-length album After The Fire, Before The End on Berlin label T3 Records in 2021 and are currently touring Europe. Credits: All music composed, performed and produced by Julia Sabra and Fadi Tabbal between November 2020 and December 2022. Lyrics by Julia Sabra. Drum samples by Pascal Semerdjian. Recorded by Fadi Tabbal, mixed by Sary Moussa and Fadi Tabbal at Tunefork Studios, Beirut. Cover photo by Lujain Jo. Design by Josette 'ZOoz' Khalil. Mastered by Rashad Becker. Bios: Julia Sabra is a Lebanese musician, songwriter and composer. She co-founded acclaimed Lebanese dream-pop outfit Postcards in 2013 and is the band’s multi-instrumentalist, lead singer and lyricist. Postcards have released two EPs (2013, 2015) and three albums (2018, 2020, 2021) and have been regularly touring Europe and the Middle East since 2015. She has been the manager of Tunefork Studios since 2017. Lebanese musician, producer, and sound engineer Fadi Tabbal’s work consist of minimalist pieces ranging from ambient and electronic to drone and contemporary classical. He has released six solo albums and has collaborated with various musicians, artists and filmmakers through the years. Often referred to as “the hardest-working person in Lebanon’s alternative music scene”, Tabbal established Tunefork Studios, a collective of producers, engineers and musicians, which has helped shape Beirut's contemporary music scene since 2006.

The stunning third album from Wyldest - aka London singer, songwriter and multi-instrumentalist Zoe Mead. Taking cues from the vulnerable and honest songwriting of Elliott Smith to the melodic indie-pop of Soccer Mommy and Hovvdy, Feed The Flowers Nightmares is something of a coming of age moment and with co-production from Luciano Rossi (Idlewild, Dama Scout) the LP is set to further establish Wyldest as a quietly prolific, multi-faceted and increasingly assured talent.

After the Pacific Northwest grunge raids of the early '90s that saw Nirvana, Mudhoney, and even the Melvins hoisted up the major label flagpole, Unwound's 1993 debut came as a welcomed reprieve for underground noise-niks everywhere. A pulsing cluster of wiry feedback, lurching bass, and single stroke rolls, Fake Train entangles the energies of frustrated backpack emo, faded Riot Grrrl back issues, and their own dash of teen spirit and unleashes it all in an earsplitting 10-song assault.

Comes on like an homage to Wire's 1 2 X U' as filtered through Minor Threat and a broken bottle of Robitussin.' —Pitchfork

It's no contest: Unwound is the best band of the '90s.' — A.V. Club

Much of a million magnets sounds as if Möbius has left the music to its own devices. As if he has given it space instead of closing it in and channelising. Little seems to be organised, reflected or calculated. Rather it booms and pulses and chugs and swells.

In 2015 Möbius invited the drummer Andrea Belfi to record with him for his album Batagur Baska (Shitkatapult 2016). They spent a whole day in the studio at Funkhaus Nalepastraße, Berlin. Belfi implemented ideas from Möbius for various pieces and contributed his own ideas. Everything was recorded although in the end only one hi-hat track was used. All the other recordings were left to snooze and be forgotten in a folder on the computer. Years later Möbius discovered them again by chance during a train journey. He decided to answer Belfi’s powerful and concentrated drumming.

If sound recordings are used on specific tracks they start to lead a life of their own. Möbius mostly left Belfi’s recordings unedited. He took them as a trigger for the structure and character of new tracks. So we get the opening track Abayanga with its stoic pulse and airy cymbals. Or Schlucht with such restless drums, fluttering feedback and the mantra-like spoken-song of Yuko Matsuyama. The magical How To Never Make Up is almost a song: feverish percussion (Andrea Belfi on rimshots, Ansgar Wilken on the table top), a rich bass and the other worldly singing by Jana Plewa.

The accordion on Windjammer seems to blow in all directions at the same time, propelled by Belfi’s hounding cymbal playing. Side B starts with a reflection of Windjammer: Discrete Wiring. Guitar riffs in endlessly circling movement and Yuko Matsuyama’s voice and all that it conjures up. Feed Me Fog freely improvised with on drums and feedback is simply complete as a self-contained piece. The singing on Chayyam comes from the Cambodian Prak Chum, who’s voice can also be heard on the title track of Batagur Baska.

The legendary BORIS celebrate a 30 year career as one of experimental music's most forward-thinking, heavy, and innovative bands with the new album Heavy Rocks (2022). Continuing their series of Heavy Rocks records, BORIS once again channels the classic proto-metal sounds of the 70s into something all new. The album, 10 pulse-pounding tracks, highlight the very trajectory of BORIS and their storied career - from the driving, fuzzed out Rock N' Roll opener "She is Burning", to the punk, raucous "My Name is Blank", BORIS are heavier than ever before. "Question 1" is just kickass - D-beats give way to a doomed, spaced out and heavier-than-anything guitar wailing and feedback, before diving back into their Metal, sending the listener into a complete frenzy. This is unmistakably BORIS, and this is the band at the height of their powers. Elsewhere on the record, a more daring, "out there" side of the band begins to shine on tracks such as the aptly titled "Blah Blah Blah", the industrial "Ghostly Imagination" and the truly wild "Nosferatou". Noisy passages (not unlike prior collaborations with legendary artists like Merzbow,) collide with visceral vocal howls while a relentless, almost Zornian-saxophone shreds harder than any guitar solo ever could. In 2022, BORIS cement what Heavy Rock means to them, and release one of their most captivating records to date.

The Body has been an iconic force in heavy music for over 2 de- cades with a long history of collaborations. Recent collaborators include BUMMER, Full of Hell, Thou, Uniform. Lee Buford from The Body is also in Manslaughter 777 and Sightless Pit. BIG| BRAVE have a singular voice in heavy music, honed over 5 albums The Body and BIG|BRAVE are both bands possessed with an unequaled ability to convey overwhelming weight with simplicity, repetition, and detailed sonic atmospheres; artists who continue to alter the definition of what it means to be a heavy band. The Body are consistently prolific while increasingly ambitious as untethered producers and collaborators. BIG|BRAVE shape sound with dense waves of guitar and feedback, minimalist and hypnotic crashes, and emotionally exacting vocal melodies. In collaboration, The Body and BIG|BRAVE shift the gravity of their compositions to woven layers of percussion and unspooling guitars that sprawl through stark frameworks of earthy folk. Their debut collaborative album Leaving None But Small Birds distills the two ensembles" pioneering approach to heavy music into psalms for the forgotten, threnodies of lost love, and odes to vengeance. Typical to The Body"s creative process, Leaving None But Small Birds was composed almost entirely in the studio at Machine With Magnets with engineer/producer Seth Manchester. The Body and BIG|BRAVE aimed to challenge themselves to craft a fully realized and cohesive work that strayed outside the boundaries of the music they make individually. The Body"s Lee Buford set up the initial challenge: collaborating to make an album that evoked the country and folk roots of The Band. BIG|BRAVE"s Robin Wattie compiled lyrics and melodic lines from across Appalachian, Canadian, and English hymns and folk songs. Select phrases were then reworked and precisely arranged to center the experiences of marginalized characters, victims of hardship, and those yearning for love within each story. The despair and empowerment of these traditional tunes draw remarkable parallels with each group"s focus on championing people often cast aside in history. The Body and BIG|BRAVE, following a folk tradition, make each song their own through shifts in perspective and a synthesis of passages from kindred tales. BIG|BRAVE"s roots as a minimalist folk band and The Body"s love of old-time, country blues, and folk music enable the quintet to strike a formidable balance between sorrowful lamentation and uplifting resolve to weighty effect. Leaving None But Small Birds thatches together two monumental innovative forces that render the emotionally profound with lucid, devastating vitality

Like meeting an old friend again, Dalmata Daniel welcomes DJ Overdose back to their catalog. Six years ago the infamous Dutchman's '05 Poly 800 Loop' EP was released, which served as a powerful launch to Dalmata Daniel, opening the first chapter in their story. Later in 2019, a split release with Sematic4 was also a highlight in the life of the label; and now, 3 years later, DJ Overdose checks in with the 'Powers of Ten EP' with a J. Mono remix, available both in digital and vinyl format, the latter having 2 bonus tracks.

The distinct, crunchy sound of DJ Overdose, bearing aspects of old school hip-hop-infused sampling and contemporary analog vibes creates the perfect blend of both worlds. 'Garden of Lust' opens up the adventure with a combo of warm basslines and solid drum-programming. This initial track feeds us these cardinal elements as the bread and butter they are: subtle variations and fine spices do appear here and there as the track goes along, but the key, beating pulse in 'Garden of Lust' brings massive hits stable as a sledgehammer in the hands of a blacksmith.

'Feed The Beats' elevates the game to cinematic territories: its majestic string-like central melody makes me alert and ablaze, making me feel like I'm in a late 80s L.A. setting facing malevolent zombie-aliens in my Wayfarer shades. Blasting beats and Carpenterian coolness all over the place, while the spooky bassline just keeps sneaking up on me endlessly.

If you are wondering when's the best time of the year to bring out your boombox at last, then this is your lucky day: with 'BOB', the first bonus track on the vinyl, we can experience some roarin' bassdrums, snappy snares, MCs with the speed of light and all that jazz. The low-bit sampling and vinyl scratching come and kick you right in the face so hard that it becomes pretty obvious you'll can't help but start some serious beatbox battles in your bathtub with your rubber duck.

A feverish groove in the prime time of a funky bash, in the haze of a sensual rave-up: that's all one really wants when going for a Saturday night out. We definitely get this and much more from 'Room 714', another vinyl-only bonus track. A berserk voice and ethereal chords guide us through this mysterious track, but while we are busy trying to impress our crushes on the dance floor, things around us are slowly getting very, very freaky, maybe a bit way too freaky.

As wobbly and jolly as it gets, our Dutch friend ends his session with 'Ðr ¡v€ M€ ¢r@z¥', a vocoder-heavy disco banger, full of merry vocal FX and smart rhythmic glitches as he completes his flight. To close the EP, our local hero, J. Mono delivers an insane remix of 'Ðr ¡v€ M€ ¢r@z¥': one can clearly imagine how he grabs and turns the BPM knob all the way up, fires up some arpeggios on his mighty synths and casts a complete reimagination of the original track.

Bogotá’s UNIDAD IDEOLÓGICA sound is pure high intensity hardcore. The eight songs on their debut 12” clock in below 15 minutes and not a single second is wasted. Their sound is very bass and drum driven, full of breakneck, pummelling relentless beats which do not rest for a second, setting a claustrophobic atmosphere for the noise to grow. Feedback ladden guitars at times verge on BM, which brings RAW POWER, EXECUTE, GISM and DISARM to mind, creating the perfect background for a raging vocalist full of venom to sing about fear, control, technology, and the rampant neoliberalism destroying their land and literally killing as we speak. UNIDAD IDEOLÓGICA was conceived at Bogotá’s Rat Trap, then recorded at Epia Estudios by Santiago Gonzalez during Colombia’s strict lockdown and curfews earlier this year. Finally it was mastered by Will Killingsworth at Dead Air Studios.The design was undertaken by Darcy Cabrera with the photographic help of Isabel O’Toole.

2LP Gatefold (featuring liner notes). Limited Edition. Artwork by Meeuw.

A collection of personal recordings made on various synthesisers between 1989 and 2017, by Telesoniek Atelier. Huge Tip on this one!

Early feedback:

"Fascinating improvs. I loved 'Gruesse'. " Suzanne Ciani (Atmospheric)

"Beautiful music with real subtlety and depth” Anthony Child (Surgeon, Transcendence Orchestra)

"Lovely, pure synth music." Mark Pritchard (Warp Records)

"Chateuroux is mighty... A proper zoner. Flung on earth." John T. Gast

"This is a great release by Telesoniek Atelier - a musician unknown to me before now. I've been thoroughly enjoying playing this double vinyl release since i got it. Both discs are filled with amazing music that moves between abstract electronic experiments to melodic, DMT bent sounding, classical contemporary music and futuristic soundtracks from non-existing Sci Fi movies you'll wish you could see. It time-warps you from here to there then freezes the moment. It all sounds like its been taken straight from the ancient room .. you know, that one where the spirits of the great teachers live. This is very focused, unpretentious and highly emotive music . A wonderful and dreamy sound garden coming from what I imagine to be a beautiful mind . These discs will be camping out on my turntables for a while."
Tako Reyenga (Music From Memory)

"A deep sense of the symphonic permeates this record. While synthesizers form the basis of its sound, Hans Kulk shapes their timbre into uncanny acoustics and weaves them together like an orchestra. Just when you think you have understood what is happening, another layer reveals itself. Yet it keeps a floating sense of lightness throughout. A truly rewarding listening experience."
Hainbach

Dieses Album ist die bisher stärkste Album von TOXIK!
Während die Band auf eine lange Tradition im traditionellen Thrash zurückblicken kann, erweitert dieses Album die bisherige Tradition und zeigt, wohin die Reise gehen kann, sowohl musikalisch als auch subjektiv.
10 treibende Tracks, die von atemberaubend-halsbrecherischen BPMs bis hin zu ungeraden Taktarten und schroffen Dissonanzen reichen, spiegeln den Charakter des Albums, sowie die Botschaft und Denkweise der Band perfekt wider.
Es ist ein konzeptionelles Werk, da die Kunst auf dem Cover Parallelen zu den Themen in den Songs aufweist, aber es ist nicht mit einer schwerfälligen, traditionellen Konzeptalbum-Plakette versehen.
Es ist sauber, fokussiert und zugänglich, ohne das Konzept zu kennen, was eine viel coolere Umsetzung ist.
TOXIK sind der Meinung, dass dieses Album sowohl ihre Intensität als Live-Act einfängt als auch ihre Fähigkeit, Dynamik und Nuancen einzusetzen, die man in diesem Genre nicht immer erwartet.

Es ist ein ehrgeiziges Album mit sehr wenig Rücksicht auf Traditionen oder gar Erwartungen... es ist ehrlich und echt!

Dieses Album ist die bisher stärkste Album von TOXIK!
Während die Band auf eine lange Tradition im traditionellen Thrash zurückblicken kann, erweitert dieses Album die bisherige Tradition und zeigt, wohin die Reise gehen kann, sowohl musikalisch als auch subjektiv.
10 treibende Tracks, die von atemberaubend-halsbrecherischen BPMs bis hin zu ungeraden Taktarten und schroffen Dissonanzen reichen, spiegeln den Charakter des Albums, sowie die Botschaft und Denkweise der Band perfekt wider.
Es ist ein konzeptionelles Werk, da die Kunst auf dem Cover Parallelen zu den Themen in den Songs aufweist, aber es ist nicht mit einer schwerfälligen, traditionellen Konzeptalbum-Plakette versehen.
Es ist sauber, fokussiert und zugänglich, ohne das Konzept zu kennen, was eine viel coolere Umsetzung ist.
TOXIK sind der Meinung, dass dieses Album sowohl ihre Intensität als Live-Act einfängt als auch ihre Fähigkeit, Dynamik und Nuancen einzusetzen, die man in diesem Genre nicht immer erwartet.

Es ist ein ehrgeiziges Album mit sehr wenig Rücksicht auf Traditionen oder gar Erwartungen... es ist ehrlich und echt!

Dieses Album ist die bisher stärkste Album von TOXIK!
Während die Band auf eine lange Tradition im traditionellen Thrash zurückblicken kann, erweitert dieses Album die bisherige Tradition und zeigt, wohin die Reise gehen kann, sowohl musikalisch als auch subjektiv.
10 treibende Tracks, die von atemberaubend-halsbrecherischen BPMs bis hin zu ungeraden Taktarten und schroffen Dissonanzen reichen, spiegeln den Charakter des Albums, sowie die Botschaft und Denkweise der Band perfekt wider.
Es ist ein konzeptionelles Werk, da die Kunst auf dem Cover Parallelen zu den Themen in den Songs aufweist, aber es ist nicht mit einer schwerfälligen, traditionellen Konzeptalbum-Plakette versehen.
Es ist sauber, fokussiert und zugänglich, ohne das Konzept zu kennen, was eine viel coolere Umsetzung ist.
TOXIK sind der Meinung, dass dieses Album sowohl ihre Intensität als Live-Act einfängt als auch ihre Fähigkeit, Dynamik und Nuancen einzusetzen, die man in diesem Genre nicht immer erwartet.

Es ist ein ehrgeiziges Album mit sehr wenig Rücksicht auf Traditionen oder gar Erwartungen... es ist ehrlich und echt!

Dieses Album ist die bisher stärkste Album von TOXIK!
Während die Band auf eine lange Tradition im traditionellen Thrash zurückblicken kann, erweitert dieses Album die bisherige Tradition und zeigt, wohin die Reise gehen kann, sowohl musikalisch als auch subjektiv.
10 treibende Tracks, die von atemberaubend-halsbrecherischen BPMs bis hin zu ungeraden Taktarten und schroffen Dissonanzen reichen, spiegeln den Charakter des Albums, sowie die Botschaft und Denkweise der Band perfekt wider.
Es ist ein konzeptionelles Werk, da die Kunst auf dem Cover Parallelen zu den Themen in den Songs aufweist, aber es ist nicht mit einer schwerfälligen, traditionellen Konzeptalbum-Plakette versehen.
Es ist sauber, fokussiert und zugänglich, ohne das Konzept zu kennen, was eine viel coolere Umsetzung ist.
TOXIK sind der Meinung, dass dieses Album sowohl ihre Intensität als Live-Act einfängt als auch ihre Fähigkeit, Dynamik und Nuancen einzusetzen, die man in diesem Genre nicht immer erwartet.

Es ist ein ehrgeiziges Album mit sehr wenig Rücksicht auf Traditionen oder gar Erwartungen... es ist ehrlich und echt!

Dieses Album ist die bisher stärkste Album von TOXIK!
Während die Band auf eine lange Tradition im traditionellen Thrash zurückblicken kann, erweitert dieses Album die bisherige Tradition und zeigt, wohin die Reise gehen kann, sowohl musikalisch als auch subjektiv.
10 treibende Tracks, die von atemberaubend-halsbrecherischen BPMs bis hin zu ungeraden Taktarten und schroffen Dissonanzen reichen, spiegeln den Charakter des Albums, sowie die Botschaft und Denkweise der Band perfekt wider.
Es ist ein konzeptionelles Werk, da die Kunst auf dem Cover Parallelen zu den Themen in den Songs aufweist, aber es ist nicht mit einer schwerfälligen, traditionellen Konzeptalbum-Plakette versehen.
Es ist sauber, fokussiert und zugänglich, ohne das Konzept zu kennen, was eine viel coolere Umsetzung ist.
TOXIK sind der Meinung, dass dieses Album sowohl ihre Intensität als Live-Act einfängt als auch ihre Fähigkeit, Dynamik und Nuancen einzusetzen, die man in diesem Genre nicht immer erwartet.

Es ist ein ehrgeiziges Album mit sehr wenig Rücksicht auf Traditionen oder gar Erwartungen... es ist ehrlich und echt!

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing black and white smoke effect vinyl. Two albums in and London’s Grave Lines, purveyors of ‘heavy gloom’ have already carved a unique niche in the myriad spheres of heavy music. Their first album ‘Welcome To Nothing’ set the tone for their distinct take on doom metal, which was broadened even further with album two ‘Fed Into The Nihilist Engine’. An epic feast of hard ‘n’ heavy riffs coupled with brooding sadness interspersed with thoughtful transcendent moments of introspection. Never a band to rely solely on trotting out those ‘doom metal’ tropes, the band began to weave in gothic and experimental elements into their music, to delve deeper into the dark shadows of the psyche. Now with their third album ‘Communion’ Grave Lines continue their exploration into the ugliness of the human condition, at the same time becoming a band that truly defies any pigeonhole. Continuing to hone and evolve their collective vision and aided by the masterful production of Andy Hawkins at The Nave Studios, 'Communion' sees Grave Lines creep further into the various corners of their sound. In a nutshell ‘Communion’ is a violent descent of bile-soaked intensity spiralling between filth laden swagger, and fragile mournful lament. The album delves into the internal aloneness of existence and the failings of the human connection. Owing as much to Bauhaus and Killing Joke as it does to Black Sabbath or Neurosis, there are moments of gut wrenching doomed up heaviness and bellowing noise rock, contrasting with ambient gothic passages and a thoughtful melancholy, to a create a powerful new chapter in their ceaseless journey through the gloom. The seven tracks act as distinctly separate representations of the album, each individually mirroring the remoteness of human consciousness. Opening track 'Gordian' doesn't waste any time, a burst of feedback kicks you straight into a filthy low slung punked up stomp before the band switch mood to drop off into a doom abyss, singer Jake raging at the void. 'Argyraphaga' continues the pummelling groove, gradually descending into nihilistic sludge. In direct contrast the sprawling atmosphere of 'Lyceanid' travels through the darkness. Jake’s vocals harnessing the spirits of Scott Walker and Mark Lanegan in equal measure. The rest of the band (on top form throughout) focus the dynamics over eleven enthralling minutes, as the song builds and builds to a towering crescendo before finishing with a plaintive acoustic coda. This is pure Grave Lines’. An immersive blend of darkness and light. 'Tachinid' is a violent palette cleanser, harsh industrial synths astride a hateful droning spoken word sermon. 'Carcini' is soaring melancholic doom, with the band at their most melodic whilst still able to crush the listener. Broodsac, with its circular riffs, is all gothic post punk noise rock meets fuzz fat riffs, and album closer ‘Sinensis’ offers a final delicate, melancholy moment of calm before launching into an industrial charged grind into oblivion. Grave Lines’ fusion of elements makes them one of the most powerful and mesmerising bands inhabiting the heavy music world at the moment, and with ‘Communion’ they have crafted an album that encapsulates their distinctive dynamic perfectly. ‘COMMUNION’ will be released in deluxe black and white smoke effect vinyl, housed in a full colour single sleeve with download included, CD and all digital platforms

»Kyo Mu« and »Hochtöner« both reveal a mesmerizing symbiosis of innovative sound exploration and visionary interior music, a sublime compound of fine-drawn intricate arrangements skillfully projected in space and time, or perhaps beyond space and time.

Johannes Fritsch (1941–2010) was an award-winning composer, musician, publisher, studio owner, author and music teacher. He studied viola and composition with Bernd Alois Zimmermann and was member of the Stockhausen Ensemble from 1964 to 1970. Together with Rolf Gehlhaar and David Johnson (also from the Stockhausen Ensemble) he established the Feedback Studio Köln and the Feedback Studio Verlag, the first publishing house owned by composers in Germany.

Fritsch’s complex musical estate consists of approximately 130 works: it covers electronic music, chamber music, ballet, theatre and film music, organ compositions, an opera and pieces for large orchestras. Although Fritsch’s compositions are varied, all of them convey a strong interest in new sound combinations and sound colours.

Concept Of Man is Martin Knorz - Berlin based keyboarder, producer and DJ.

A studied jazz pianist, Knorz is known for playing keys in the highly acclaimed, german experimental pop band Hope, with whom he’s been touring around Europe and UK over the past couple of years, as well as forming the sound of Austrian pop icon Teresa Rotschopf‘s solo debut „Messiah“.

In 2019 he started devoting himself to modular sound-synthesis, playing live shows and remixing acts as Hellotrip (Mutant Rebuilds) and Hara Crash (Bali).

His debut “Regularities” will be released on Patrick Pulsinger’s Big Beak Recordings in 2022. It’s a modular infused tape majestically crafted by a sound surgeon. Drawing inspiration from Robag Wruhme, James Holden and Patrick Pulsinger (with whom he has collaborated on his album Impassive Skies and the EP Nocturnal Cat), „Regularities“ consists of four minimal tracks and a durational modularsynth-only-performance, both of which feed the realm of sound caviar. Tribal rhythms join the darkness of modular sounds, regular beats oscillate on irregular impulses, while intriguing basslines and uplifting chords remind us that Knorz is first and foremost a pianist, a master of melody.

Wooden but soft percussive chords create a tribal rhythm that carries through the song, interrupted by a contrapuntal rhythm. Another drum group provocatively steps in the arena, together they build a rolling total. Then a „squelching“, juicy, nearly acid melody grounds the track, to be drummed out by the two groups when approaching the end.

On July 22nd Mutant Joe unveils his debut release for Evar, 'Wrong Way Out', an EP that twists rap, electro and breaks out of shape with cool malice.

Since his arrival on the scene with a pair of 2019 releases for UK-based label Natural Sciences, the Brisbane-based producer's output has spanned underground trap,gabber, electro, jungle,breaks and various global club mutations, repackaged and delivered with a unique sense of impending threat and unhinged delight.

Mutant Joe repurposes mechanical SFX, stock horror movie samples, feedbacking hardware and crunching percussion to create a dark and theatrical soundworld. Building on his earlier work with underground trap artists like Freddie Dredd and TRiPPJONES, opener 'Bangin On' sees Joe revisit his love for dirty-south-indebted electro hybrids, combining fizzing bass and steely beats, plus rhymes courtesy of a close friend, Atlanta rapper Apoc Krysis. 'Static Effect' deploys similar Drexciyan influences, its overheating 808s colliding with aquatic machinery and disembodied vocal chops.

'Eyes Without a Face' presents a unique take on some classical rave combinations, with rolling, metallic jungle breaks, footwork-esque kicks and tightly layered, redlining hardware. The pace eases off on the ominous and aptly-named 'The Living Dead', a low slung, off-kilter breakbeat weapon. The EP closes with a pair of remixes: a twisted dungeon-rave tool by Ukrainian D&B specialist Limewax, and a tightly wound, detailed broken techno workout by EVAR regular Wheez-ie.

'Wrong Way Out' offers six wildly different approaches, united by Joe's mastery of gothic-horror sound design and unique ear for soundtracking end-of-night deviance. It's a cross-section of the sound Mutant Joe has so quickly made his own: unclassifiable, unrelenting and darkly euphoric.

Repressed

It's been four-years since La Coka Nostra released their sophomore album, Masters Of The Dark Arts, (the groups first project without Everlast was also their most critically acclaimed project - featured collaborations with Vinnie Paz, Sean Price & production from DJ Premier and Statik Selektah) and the music industry has changed considerably in that time. However, a few things still remain constant; La Coka Nostra will always be as their aptly-titled 2009 debut verified, A Brand You Can Trust, and the group will continue to dazzle their rapid fan-base with sold out shows around the globe with their rau-cous live performances. Always known for tackling controversial topic matter, the group’s new album, To Thine Own Self Be True, finds them once again in torchbearing mode, addressing subjects that most artists shy away from.“This album was created during a time of unique and individual transformation for each member of the group” ILL Bill stated. “Speaking for myself, it’s been a heavy last couple of years.It’s definitely the most personal record we’ve made under the La Coka banner and while we’re still making music that’s hard as fuck, there’s a maturity to this latest batch of songs that makes it different from a lot of the older stuff. I notice the biggest reactions come from the songs our listeners can personally relate to and we needed to make a record like this right now, not only for the fans, but for ourselves. I got alot off my chest on this one. Making music can be extremely therapeutic and making To Thine Own Self Be True was a rebirth and a re-ignition for me.” Slaine had a similar take on the projects thera-peutic manifestation “You don’t put as many years in the game as we have without having ups and downs. We all have gone through struggle and adversity—personally and professionally”Slaine la-mented. “This album was recorded as I walked out of a very dark time toward a place of truth and understanding. Music has been how I feed my family, my plane ticket around the world and a place I’ve built real friendships; but at the very core it’s a tool I use to get through life.This album is a moment in time. It is visceral and real.” While DJ Lethal continues to oversee the production end ofToThine Own Self Be True, the group also enlisted Statik Selektah, Marco Polo, Salam Wreck (D-12, Obie Trice, Proof, B-Real, Tha Dogg Pound) & ChumZilla (from the Demigodz) and get vocal contributions from extended family members such as Vinnie Paz, Apathy, Q-Unique, Sick Jacken, SKAM2? & Rite Hook.

Following up their 2020 EP Barcelona IRREAL delivers eight troglodyte anthems of radikal hardcore punk. Borrowing heavily from the Hear Nothing era DISCHARGE and echoing equally Suomi classics DESTRUKTIONS/ MELLAKKA and AOQ demo era CRO-MAGS, IRREAL creates a maelstrom of hypnotic feedback. Era Electrónica Catalan and Spanish anarchist lyrics bind the bands primitive sonic assault, delivering a modern hardcore punk record without an ounce of modern attitude. Punk as it is meant to be; nasty, aggressive, political and uncompromising. Recorded, mixed and mastered by Markus at No Master's Voice in Copenhagen. Cover art by Arturo PS. IRREAL will be touring the Iberian Peninsula early June with TENSÖ.

Surfacing from ethereal and dreamier planes, UK shoegaze and
dreampop act GRAYWAVE are one of the latest additions to the Church
Road Records roster
Following on from their 2021 debut EP proper, Planetary Shift, GRAYWAVE is set
to release their second extended play, Rebirth, on June 24.Formed in Birmingham,
UK in 2019 as a solo venture and creative outlet for Jess Webberley, GRAYWAVE
has already amassed a steady stream of singles and qualitative short form
releases - drip feeding fans a highly ambitious and modern take on dreampop and
shoegaze’s storied sonic spectrum. Returning in 2022, Rebirth is the most
revealing and entrancing look into GRAYWAVE’s evolution as an artist. Trading in
some of the lo- fi tendencies of her earlier output, Rebirth sees Webberley
embrace darker soundscapes and sonic weight across the release’s five
tracks.GRAYWAVE’s latest effort is a confident seizing of identity and assured
meeting point for the project’s initial potential and newfound blossoming. Opener,
Build, and Rebirth’s title track rattle with rhythmic unease and confrontation, as
Webberley’s voice drifts between somnolent hypnosis and arresting command.
Elsewhere, Closer and Exoplanet effortlessly tie together 90s influence in the vein
of Cocteau Twins and Drop Nineteens with a modern touch similar to US
contemporaries Citizen.Following their recent union with Church Road Records,
2022 will see GRAYWAVE continue to shine across the UK live circuit. Having
already sold out hometown shows, as well as getting through to the latter stages
of the Isle of Wight Festival’s ongoing musical showcase that offers a spot on the
festival’s New Blood stage, and performing with UK hardcore upstarts Cruelty.
Living up to its name, Rebirth is already proving to be a fruitful time of growth for
Webberley and GRAYWAVE’s creative self- actualisation - offering fans new and
old the most conceptually realised iteration of the project’s limitless avenues of
artistic promise yet.

Back In Stock!

‘Cranes In The Sky,’ was originally written by Beyonce’s baby sister Solange alongside Raphael Saadiq, for her album back in 2016 that was cited by Rolling Stone as one of the most important 500 records of all time. The words exploring a fearless journey inward, pulling up the root of a problem, and the first glimpse of blue sky after the storm has passed.

Fast forward to 2022 - Ross Allen and Andy Thompson’s Foundation Music Productions enlist the expertise of Baltimore club legend, Dj Oji, together with Tracy Hamlin (Pieces Of A Dream), to take Solange’s breakout delivery to the dancefloor. Soulful vocals will heal you, while the mid-tempo moments will mellow the masses, and UK Funky grooves will keep the shuffle moving along way into the early hours. Three remixes come in the form of the ethereal DJ Pope Funkhut Reprise, a signature Joe Goddard groover and the Star One. KDA. Meltdown Dub.

DJ Feedback:

FRANCOIS K
Yes! I played the vocal version the other day again.

KAI ALCE
Dope re-interpretation from Baltimore stalwarts OJI, POPE & Tracy!

GREG WILSON
What's not to like? Love the orig Solange jam!

DANNY KRIVIT
Nice, I like a lot of DJ Oji.

SOUL CLAP/ ELI GOLDSTEIN
Fire right here

DAZ I KUE/ BUGZ IN THE ATTIC
Yea I love this one…cool vibes.

THATMANMONKZ
Oh yeah, love the Solange original, and I’m a big Oji fan! That reprise version might come in very useful for the right set!

TERRY FARLEY/ FAITH
Got to be contender for single of the month with that story x

HOT TODDY
Simply beautiful.

CRAIG SMITH/ 6TH BOROUGH PROJECT
Loved the original of this from Solange a few years back, this is a real nice interpretation of it. Liking the reprise and Dub, handy tools

CHARLES WEBSTER
Nice soulful groover. Like this.

FISH GOO DEEP/ GREG DOWLING
Lovely re imagining of one of my favourite tracks of all time

FRANK BOOKER
Love this package. Reprise mix is the one for me. Very cool!

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

JIMPSTER/ FREERANGE
Killer groove on this and really nice to hear a housed up version of Cranes which is such a stunning song in it’s OG form. Def something I’d like to play out.

FELIX JOY/ SWU.FM
Yes ! I flippin love a good reprise mix and this one is doing it for me. Love the original version by Solange and this is a really great rework!

STEVE PARRY / FOR SASHA
Really Smoove love it.

GROOVE ARMADA/ TOM FINDLAY
THIS IS LOVELY!!

RALPH SESSION/ HALF ASSED RECORDS
Wow the dubstrumental really gives it new life.

QUENTIN HARRIS
I love this package.

GRAME PARK/ THE HACIENDA
This is tremendous

HECTOR ROMERO/ DEF MIX
Good to see this one got picked up. I’ve played this a few times since 2018 but will get it back in rotation. Glad to see this song is getting some traction. I look forward to the unreleased versions.

ANDY BUCHAN
What a sun-dappled slice of beauty! Full support on this, what a gorgeous EP. And those drums are ace, really propulsive.

DANIELLE MOORE/ CRAZY P
Yeah I really like this. I mean I love the original but theres something quite interesting about this. Nice yeah x

MARC MEISNERE/ SOL POWER SOUND
Yes please! Can’t wait to play this one!

STEFANO TUCCI/ HELL YEAH
This is one of the best best vocal of recent times, I love It, the crescendo towards half of the track is nothing but gorgeous!

TREVOR FING/ GRAFITTI KINGS
Love these remixes.

MAX P/ HELL YEAH
Yeah, full pack is what I needed !

HORSE MEAT DISCO/ SEVERINO
Really into this!

SEAN JOHNSTON/ ALFOS
I wouldn't play it, but it's a beautiful piece of work

GRAEME PARK/ THE HACIENDA
I’m gonna enjoy playing this its lovely.

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

TREVOR FUNG/ GRAFITTI KINGS
Love this !!

QUENTIN HARRIS
Being a fan of the Original I love everything about this.

ALAN DIXON/ MIDNIGHT MAGIC
Killer!!!!

DAVE JARVIS/ FAITH
This is amazing! Absolutely love xx

NICK V/ LA MONA
This is a fantastic track!

MAX P/ HELL YEAH
Oh yeaahhhh

RICK GILL/ OUTLAWS YACHT CLUB
Beautiful soulful house. Quality production and top draw vocals.

MICKEY JUKES/ 1BTN
Ooof! Such a strong record to step to but i love this. Classy production, vocals are killer. All round winner!

TOMMY TURBO JAZZ/ JAXX MEDICINE
I was a fan of the OG but I really needed this cut!!

RUSSELL FORMAN/ PIKES/ HARRYS KEBABS
This is great .... I'm writing an article on the Coney Island Boardwalk house parties atm.

JIM LISTER/ 1BTN
Loving the reprise and the dub!I'm a big fan of the Solange original, so it's nice to hear a new angle on it

CHRIS DE BEURRE/ THE EAGLE
Gorgeous vocal! And such a deep production - really like this! Infectious x

DAIRMONT/ ROOM WITH A VIEW
Amazing track. Loving it!

STEVE PARRY/ FOR SASHA
Beautiful super smooth.

LES CROASDAILE/ FREIGHT ISLAND
Tune this, reminds of Southport weekender!

Sick Joy sind eine der vielversprechendsten jungen britischen Rockbands mit fuzzy Riffs, melodischer Härte, hoher Energie und scharfen Texten, irgendwo zwischen der melodischen Genialität der Pixies und der rohen Energie von Slipknot. Bei Live-Auftritten mit Feeder und Demob Happy stellten sie ihre ansteckende Vitalität und Kraft unter Beweis und präsentieren nun mit ihrem Debütalbum WE'RE ALL GONNA F***ING DIE eine brüllende, fuzzy Alt-Rock-Explosion, die sie zu Headline-Gigs, Terminen mit Dinosaur Pile Up, The Pixies und Pearl Jam und einem Auftritt bei 2000 Trees mitnehmen.

Eighteen sacred psychedelic suppositories from the laboratory of mad scientist and scalpel-happy pop mutilator Jean-Pierre Massiera. Includes
the rarest and most sought after fuzz funk, spooked surf and
interplanetary prog from ‘The French Joe Meek’ and all his schizoid splitpersonalities and freakish friends - The Maledictus Sound, Chico
Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus
himself.

 Let Finders Keepers introduce you to some old friends of theirs - Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like they’re flicking through the imaginary LP racks in the record shop from ‘A Clockwork Orange’ or perhaps congratulating the runners up in a
Halloween fancy dress competition but for the previously uninitiated you
have just been ordained into the congregation of the many split
personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the
nine-headed monster as he mutates and shape-shifts back through time
to his humble beginnings in a Buenos Aires province ravaging and
pillaging the music of the European people for his own twisted
benediction along the way.

 This might, as intended, sound a little bit dramatic but if there is one
single ingredient that gives the eccentric Jean-Pierre Massiera his
distinct flavour it’s a large dollop of drama. Add sprinklings of
schizophrenia, shock, myth and macabre and you are on the way to a Bmovie broth with an acquired taste that has, like all the best cheese,
taken over thirty years to mature to perfection. Like all the best monsters,
his split personality is the key to his infamy and the secret of his blood
sucking success.

 This is why Jean-Pierre Massiera is (un)commonly known for two key
periods in his career which, like a worm, can be split down the middle to
thrive and flourish independently. To cut a long story short, Massiera is,
above all, a lover and purveyor of musique fantastique, and is willing and
able to hijack whichever stylistic vehicle that passes him buy in order to
do feed his lust. In the earlier part of his career he honed his sordid craft
amongst psychedelic circles in Nice and Quebec. From late 1972
onwards he moved to Antibes and started a disco revolution and
became an in demand cosmic record producer. For years, prog rock
obsessives and disco aficionados have wondered if there was two
unrelated freak merchants called Jean-Pierre Massiera but, in this rare
instance, exploito-maniacs from both sides of the cosmic coin are united
by the work of this singular, single-handed monstrous music
manufactory.

 Remastered and available once again on deluxe black vinyl since the
initial Finders Keepers limited edition 2009 pressing

Experimental and improvisational psychedelic rock, for fans of White Heaven, Les Rallizes Denudes, Headroom, Düngen, Heron Oblivion, Comets On Fire, The Renderers, Bardo Pond. Mountain Movers arguably are the perfect band for all the true "heads" out there. The New Haven quartet have been at it for 15 years, and the "newest" lineup (now at it for well over a decade; vocalist/guitarist Dan Greene, bassist Rick Omonte, guitarist Kryssi Battalene and drummer Ross Menze) have firmly grasped what it takes to fry brains; achingly beautiful melodies buoyed by a life raft of white-hot guitar scree and mind-melting feedback. "World What World" is the band's eighth album and third for Trouble In Mind Records. "World What World" is the newest chapter of the group's continued explorations and efforts to refine their sound. The lyrics of "World What World"s songs all imply a protagonist on a quest; the title itself is an implied query with no question mark; is it a question, or a statement?. The one-two punch of opener "I Wanna See The Sun" and "Final Sunset" lay out what's in store; Crazy Horse-inspired sandpaper melodies sit comfortably next to improvised, PSF-influenced six-string ragers. The group performs together effortlessly and telepathically, subverting the loud/quiet/loud dynamic that has saturated independent music since the late-Eighties. The loud parts and quiet parts are like waves; indistinguishable from each other, creating a fluid dynamism and intensity that swallows the listener up in its current, sweeping it toward oblivion. Hyperbole, you say? Watch out for midway through "Then The Moon" when the tune's lilting waltz pivots into a casually blistering solo by Battalene before fading into the melancholic "Haunted Eyes" - beckoning you with a mournful sidelong glance. Side Two opens with "Staggering With A Lantern", an elegant, lumbering instrumental improvisation again showcasing the synergistic shredding of the group's guitarists. The sticky lyrical hooks and sideways jangle of "Way Back To The World" and "The Last City"s midnight-hour, mellow singe come next, before concluding "World What World"s journey with "Flock of Swans". The song is the perfect closer and culmination of the album's mission statement. The subjects that populate Greene's songs and visual imagery augment his elegiac lyrics, awash in magical realism and fantastic symbolism; knights, fighters, dragons, masks. Poetic missives are launched from the heart straight into the neural pathways, guided by the rhythm section's otherworldly chemistry and Battalene's masterful control over her instrument. Mountain Movers have been at it too long to care about acclaim. They do it because the music calls out to them, and they let it carry them away.

“Still Lives” is the third solo full length by the Finnish composer Marja Ahti, following a pair of releases on the Hallow Ground imprint. As a collection, it may be seen as a series of studies on the liminality of the listening act and an investigation into the physicality of sound. Ahti forges vivid electroacoustic environments from field recordings, analog synthesizers, acoustic feedback, magnetic tape and digital processing, resulting in a set of articulate, prickly, and surprising compositions. In the artist’s words, “These pieces could be conceived of as vanitas paintings of a kind – selections of mundane or archetypal objects, sounds that have their own distinct qualities, but exist only by virtue of being temporary events. From another angle, one could think of them as shrines – objects assembled and set in a particular relationship to each other, charging each other in their given constellations.” Marja Ahti (b. 1981) is a musician and composer based in Turku, Finland. Originally from Sweden, Ahti has been a part of the Finnish experimental music scene for more than ten years in different constellations. She is currently active in the duo Ahti & Ahti with her partner and as a member of the Himera artist/organizer collective.

Combining power pop and street rock with a sour but raw power, Kiss Disease sign with Svart Records! Kiss Disease’s praised self-titled EP from 2020, together with their fierce performances, sparked a wide interest in the underground circles. Encouraged by the fantastic feedback, the band took a conscious risk and began recording their debut album with no record deal in sight. Soon after hearing about this, Svart Records struck a deal with the band, whose brave blend of power pop, street rock and catchy choruses is only becoming more multifaceted and personal. Kiss Disease’s debut album, titled You Met Me at a Strange Time, is based on the raw and sour force displayed on the garage punk EP from last year. On the other hand, the band wanted to expand their sound to a grander and more versatile direction. The guidelines were sought from the worlds of power pop and protopunk. “The core of our album is formed by a strong group effort. The songs were written both together and by everyone on their own, with the whole band having a say on their final form. This time we took influences from a wider spectrum, and it’s precisely this lack of a clear guideline that made us pursue a more emancipated and personal version of our sound”, says the band’s lead guitarist Alex Stöd. The band’s sound has evolved greatly in the last year. You Met Me at a Strange Time is diverse, fierce, sensitive, and surprising, all at the same time. According to singer/guitarist Ella Laine, an existential transformation of some sort took place amid album’s creation: “For me personally, this album embodies some sort of turning point between adulthood and the craziness of adolescence, a place where you sit up and take notice of first yourself and then the people around you. Difficult and untold situations are squeezed from between the lines in the lyrics, revealing both everything and absolutely nothing.” The first single Season Creep took a while for the song to be born since the band’s style was expanding from straightforward punk songs towards a more melodic expression.

Mekons + Freakwater = FREAKONS.Freakwater and the Mekons have
joined forces to sing songs about coal mining
FREAKONS, the eponymously-titled album on Fluff & Gravy Records , is the first
fruit of this visionary musical union.The Mekons and Freakwater have been
friends for decades, forged in the punk rock/ art school crucibles of late '70s
Leeds and mid '80s Louisville respectively. Both bands mined British folk and
American classic country music for three- chord songs whose lyrics fit the
nihilism or political rage or outlandish joy of the moment. Many of these songs
were about coal mining. Traditional songs about heroic union organizers, deadly
mine disasters, wailing orphans, or mining's grim history of economic and
ecological devastation fit seamlessly alongside each band's original material.
And so it is with FREAKONS.
Deep pit mines, strip mines, mountaintop removal, collapsing slag heaps. Deadly
work, poisoned water, and fantastic songs. Always fantastic songs. This is where
the FREAKONS were born, from the very bowels of the earth.
The Mekons' Jon Langford & Sally Timms and Freakwater's Janet Bean &
Catherine Irwin are joined here by the stellar string and vocal harmonies of Jean
Cook (Ida, Tara Jane O'Neil, Skull Orchard) and Anna Krippenstapel (The Other
Years, Joan Shelley, Freakwater), along with special guest, the beloved guitar
genius Jim Elkington (Jeff Tweedy, Richard Thompson, Eleventh Dream Day,
Horse's Ha, Skull Orchard, Freakwater, The Zincs).
Belgian painter Jo Clauwaert created the album's intricate gatefold cover. Images
from song lyrics and related history emerge and recede again in this gorgeously
illustrated artistic fever dream.The story of coal mining is one of ongoing pillage
and ecological devastation. It is also a story of heroic workers, struggling in
blighted circumstances to feed their families. The songs and the culture that have
risen from the mines deserve our attention. A portion of the profits from the
FREAKONS record will go to Kentuckians For The Commonwealth, a grassroots
organization dedicated to creating a better future for the Appalachian region.
Kentuckians For The Commonwealth (KFTC.ORG) works to end mountaintopremoval coal mining, and to promote political candidates who care about social,
environmental and economic justice and the transition to clean, renewable
resources

Numbers will release ‘Clear’, the debut album by FFT, on 24th June 2022.The result of three years of focused writing and programming by the London-based producer, ‘Clear’ is deeply psychedelic, defined by a mature sense of melody and structures crafted at a monumental scale.

Though FFT has previously released a handful of tracks under various names, it wasn’t until 2017’s ‘FFT1’ EP on theUncertainty Principle label that his production talents began to fuse into a distinct and personal style, especially evident in FFT’s‘Regional/Loss’ EP on The Trilogy Tapes in 2019, multiple releases on Bruk Records and2021’s ‘Disturb Roqe,’also released on Numbers.Through it all, FFT has mastered a complex sense of mood catalyzed by sound itself: He builds patches and presets from scratch, and feels these synths and software have their own objectives and reactions, creating a kind of compositional feedback loop.The result is an album that brings to mind a collision of electronic pioneers like Delia Derbyshire and Bernard Parmegiani, 2000’s braindance, the Max-imized wares of an OPN or Objekt and the rough rhythmatics of SND or Mika Vainio

The layering of sonic elements and intentions is starkly audible across these nine tracks.They can be seismically concussive and grandiose, but granular and fluid - echoing the Icelandic volcanic eruption that features in the artwork photography byGeorge Cowan. ‘Clear (Eight-Circuit Mix)’sets a euphoric tone immediately accelerated by the jagged sounds and vocal textures of ‘Redeemer’. ‘3 Sided’ channels hyper-urbanity from its almost entirely analogue palette, and by contrast ‘Disturb Roqe 2’is bracingly digital, gyrating in random cycles between clustered percussion, metallic splinters of audio and artificial vocal tics.

Opening side two, ‘You’ve Changed’ adheres to a more abrasive core, while ‘Heal’ and ‘Heal (Alt Mix)’evolved out of linked pieces in FFT’s live sets that grew into complete tracks in the months before Covid-19.The significant intensity of ‘Heal’ in particular was refined during strobe-heavy live performances and is the album at its most turbulent, the claustrophobia interrupted by dazzling arpeggios.The overall impact of 'Clear' is cinematic and precise, marking the arrival of an impressive electronic musician who is not new but has come into his own as a fully developed artist

Twice Mercury Prize nominated, 5 time Ivor Novello nominated and
critically acclaimed, Everything Everything launch their new forthcoming
studio album 'Raw Data Feel'
On Raw Data Feel, Everything Everything set about revolutionising modern pop
music, with Higgs abandoning his own brain and letting technology do at least
some of the thinking: feeding LinkedIn T&Cs, Beowulf, 4Chan forum text and the
teachings of Confucius into A.I. automation processes and using its responses
as a basis for the record's lyrics, song titles and artworking.
Produced by Everything Everything guitarist Alex Robertshaw and production
partner Tom Fuller (aka Kaines and Tom A.D), Raw Data Feel follows 2020's REANIMATOR which charted at #5 in the Official Albums Chart.
This new phase is a rapturous return and - staying true to form - sees the band
continue to push the ribbon on melody & rhythm with a heavy helping of
electronic exploration.

Oh wow! Die Zeit ist wieder gekommen, den Piratenhut aufzusetzen und die Gummienten aufzublasen,
denn die weltberühmte Pirate Metal Drinking Crew ALESTORM setzt mit ihrem siebten Studioalbum
Seventh Rum of a Seventh Rum die Segel und begibt sich erneut auf hohe See! Produziert von ihrem
langjährigen Mitstreiter Lasse Lammert, wird dieses epische Abenteuer am 24. Juni 2022 über Napalm
Records veröffentlicht.
Wieder einmal wird die Band von einer ganzen Reihe von Gastmusikern unterstützt, darunter die Drehleier
von Patty Gurdy, der Gesang von Captain Yarrface von Rumahoy, das Geigenspiel von Ally Storch von
Subway To Sally, majestätische Chöre von Hellscore, sowie einige bekannte spanische und japanische Sängerinnen und Sänger im letzten Teil der „Wooden Leg“ Saga. Am wichtigsten ist aber eine absolute
Weltpremiere: Auf dem Album wird zum ersten Mal ein Spiegelei als Instrument in einem Metal-Song verwendet – gekonnt gespielt von Matt Cockram. Aber damit nicht genug! Als besonderen Leckerbissen für
eingefleischte Sammler enthalten einige Sondereditionen eine vollständige akustische Version des gesamten
Albums, und es gibt sogar noch einmal eine legendäre Version des Albums FÜR HUNDE!
Worauf also noch warten? Mach sieben Flaschen mit altem Rum auf und mach dich bereit für die musikalische Reise deines Lebens!

FRENCH COMPOSER, PRODUCER AND MULTI INSTRUMENTALIST ADRIEN DURAND’S THIRD ALBUM

"Our last album, “La Course” was released in 2020 during the lockdown. Inspired by the feedback from listeners, who received the music with special attention, the idea and need for “(Loin des) Rivages” was born.” - Adrien Durand

Bon Voyage Organisation is the story of the construction of an ensemble, the quest for harmony, through music, between beings. This story has been the central leitmotif in Adrien Durand's composition and production work for almost ten years. Adrien Durand is a renowned Parisian bass keyboard player, composer, producer and mixing engineer having worked with noteworthy projects such as Amadou & Mariam and Papooz among others. Known for his knowledge of ensemble recording and arrangement techniques, BVO is his attempt at meticulously creating a musical dialogue around his compositions with a distinguished cast of musicians from di?erent backgrounds without the pressure associated with pop music recordings reminding us of the musical ensembles of the 70’s such as that of Carla Bley, Soft Machine or Irakere. (Loin des) Rivages was recorded over five days in June 2020 at Studio Atlas, the studio of Air’s Jean- Benoit Dunckel and mixed the following summer by Adrien Durand in his Parisian studio, Bureau 12. It was an orchestrated performance considering that all ten tracks of the album were played live, gathering up to thirteen musicians in the same room. The album follows what was initiated with BVO’s previous album La Course: an entirely instrumental sound free from any constraints. The close collaboration between Adrien Durand and the members of the ensemble allowed for an exquisite completion. Together, they deliver the incredible energy of "Le Sentier des Orpailleurs", the depth of melancholy of "Apacheta", and the originality of "Et s’éveillent"... Inspired by the great explorers of the soul: Sun Ra, Moondog and Coltrane - a cover of his Naïma actually opens the album - Adrien Durand mixes humanity’s first instruments (percussion and the wind) with its latest ones (mixing desks and synthesizers). Thus, he continues the most interesting yet rewarding artistic journey: The journey inward, far from the standards of civilization, in the heart of what some can take for madness, reaching into a jungle of the soul so marvelously represented in Clément Vuillet’s artwork. This is not an intellectual record but rather a spiritual e?ort, because, as Adrien Durand likes to repeat in his concerts: "Let us step into music as we step into a sanctuary."

Swedish duo Thunder Tillman come together again in healing harmony to produce a much needed LP for troubled times. Thunder and his life coach Pony bring their spirits in sync for 40 minutes of improvised soundtracks for mental and physical wellbeing.

Recorded on Stockholm’s Wind Island, the pair have carefully selected specimens from their collection of vintage musical paraphernalia to channel these specific vibrations for maximum healing power.

Side one is a gentle wake up call for the soul, with pipes and chimes that gently give way to mind-expanding synths and feedback echoes that sound like sun glistening off a mountain river. Those sounds lead into an electric piano and life affirming synth figure, before disintegrating into santoor strings and chants with a slight Indian flavor. It’s a cosmic combination that invites relaxation and meditation, and the kind of deep breathing exercises that could turn back the clock on a host of bodily ailments. An electric piano comes back to the foreground with a bass and synth combination that drives forward with healing hands, before parting the frequencies for ear-tickling pads and voices. Rounding out the side is a chiming synth and santoor figure that brings the wandering spirit home and to rest.

Side two starts up with Cosmic Osmosis - a motorik drum machine beat and bass line that briefly brings to mind some of their more krautrock inspired modes across their three previous Eps, but soon collapses back into visceral synth twinkles and relaxing washes of analogue tones. It’s a dynamic that drives the whole record, sounds that excite the soul perhaps even the body on an atomic level, before bringing that energy down to a calming, relaxing home. There’s a craftsmanship to their synthesized tones that goes beyond mere artistry, and the interplay between sounds and frequencies is especially inspired, to the point where the music practically sparkles out of the speakers. Side two closes out with harmonic chimes that could put you on a Himalayan mountain side, and succeeds in raising the spirit, mind and body to higher plains of cosmic consciousness.

The Aural Healing Program is accompanied by a 40 minutes Visual Healing Program that will be unveiled in conjunction with the vinyl release. The first visual healing session featuring side B opener Cosmic Osmosis, is already available for all to partake. So just relax, let go and let the frequencies guide you.

The (seventh) new Half-handed Cloud album, ‘Flutterama’, is
a record of 18 jubilant indie-pop songs by John Ringhofer
that investigate spiritual incompetence with lively
arrangements and radiant melodies that skilfully dissolve into
deterioration using herky-jerky tape manipulation, analogue
wow-and-flutter, and an animated orchestra of homerecorded sound effects.
 Ringhofer’s work on ‘Flutterama’ was inspired by Frances
Mary Hunter Gordon’s adolescent liturgies (recorded at
Abbey Road during The Beatles era), turbid sights and
sounds in Guy Maddin films, audaciously bold forms in Sister
Corita Kent’s devotional printmaking, the exquisite brittleness
of Elizabeth Cotten’s voice, Alberto Burri’s stitched wound
burlap assemblages, Alvar Aalto church design, Andrea
Büttner’s poverty-informed artwork, Lou Barlow/Dinosaur Jr’s
lo-fi ‘Poledo’ sound collage (which namechecks Jesus), Julie
Canlis book ‘A Theology of the Ordinary’, Wallace Berman’s
visual collage, and The Raincoats’ magnificently shaky DIY
aesthetic.
 The album’s tape-fiddled tunes - recorded on the very same
16-track recorder last serviced by a sound technician who
also worked with The Beach Boys in their home studio -
employ surprisingly little synthesizer (“it felt like cheating,”
says Ringhofer) - he preferred to craft most of the album’s
effects the long way, frequently going behind the back of rock
instrumentation by hand-feeding ½” magnetic reel recordings
of chord organs, deflating balloons, some guitars, piano
(occasionally tracked with a baby on his lap), brass,
tablecloth swipes, and a quickly-cranked half-speed music
box. He was assisted by long-time Half-handed Cloud
contributor Brandon Buckner on drums, and single song
backing vocals from Anacortes, WA songsmith John Van
Deusen.
 LP pressed on Opaque Brown vinyl

Landscape Tantrums Lost for two decades, the recent rediscovery of Landscape Tantrums the first attempt at recording the music that would become The Mars Volta’s De-Loused In The Comatorium revealed an important and hitherto missing chapter in the group’s evolution. Selfrecorded by Omar (assisted by Jon DeBaun) at Burbank’s Mad Dog Studios within a head spinning four days, Landscape Tantrums captures De-Loused in somewhat embryonic form, though much of what would make The Mars Volta’s debut album such an electrifying, sublime experience was already in place: the fearless invention, the fusion of futurist rock elements and traditions from outside of the rock orthodoxy, the sense of virtuosity working in service of emotional effect. From a distance, The Mars Volta must have seemed as if they were on a high when they walked into the studio to record what they expected to be their debut album (“I didn’t think of it as demos or a dry run,” Omar says). The group had recently played the Coachella festival to rave reviews, a vindication of the quixotic risk Omar and Cedric had taken, quitting At The Drive In to lead such an uncompromising musical proposition.






Their debut EP, Tremulant, had similarly signalled their singular vision, and been rewarded with similarly positive feedback. But the truth was that The Mars Volta entered Mad Dog in tatters, scarcely believing anything other than failure lay within their reach. They’d recently lost their bassist, Eva Gardner, and parted ways with keyboard play Ikey Owens. Tensions were brewing with drummer Jon Theodore, too himself a replacement for founding drummer Blake Fleming Omar questioning Theodore’s commitment to the group. And sound manipulator Jeremy Michael Ward’s drug problem had gotten so far out of hand that he’d been sent to rehab, and wouldn’t return until two days into the Landscape Tantrums. The pressure upon Omar was intense, and it began to manifest in the form of physical and emotional breakdowns. His art was his life, but now he began to wonder if it was actually going to kill him. Under such heavy manners, miracles occurred at Mad Dog. Surely that’s the only way to describe the music contained on Landscape Tantrums, as Omar fashioned early versions of Inertiatic ESP, Drunkship Of Lanterns and Eriatarka that rivalled the Rick Rubin produced versions that ended up on De- Loused for intensity, precision and immediacy, as Cedric delivered a powerfully intimate reading of Televators, and as a bare bones version of the group sketched out the peaks of what would become their debut masterpiece in barely half a week, on a shoestring, and believing they wouldn’t last long enough to see it hit the shelves. Listening to Landscape Tantrums now, with the benefit of hindsight and the knowledge of what these songs will become, one notices Cedric has yet to fully find the voice that will lend The Mars Volta their devastating authority, that Eriatarka will evolve even further under Rick Rubin’s watch, and that the lyrics to De-Loused’s climactic chapter, Take The Veil Cerpin Taxt, have yet to be penned. But one also notices how lithe the group sound here, how hungry, and one appreciates the raw edge that Rubin would later polish to a venomous sharpness. More than mere historical curiosity, Landscape Tantrums is an essential text for the dedicated Mars Volta aficionado, and a breathtaking album in its own right.


[a] a1. Roulette Dares (The Haunt Of) [Unfinished Original Recordings Of De-Loused In The Comatorium]