Pop & Rock Novedades

Kris Baha turns to Pinkman with a standout 5 tracker blending influences and ranging from EBM, darkwave and experimental electronics. What makes them work together is a shared industrial edge, spine-chilling atmospheres and minimalistic vocals. By finding excellence in diversity this record is equally suited for boiling dance floors and home listening purposes.

A lot of bands are trying what The Exorcist are doing, to make timeless, mind bending, dance music but they often fail in reaching all the way. The Exorcist is the band that seem to exist in a dimension, much like ours but that lacks time as we know it; time is stretchable backwards and forward, and being in this dimension allows you to travel while, still staying in one place. Call it time travel if you will or moving outside of time rather. The Exorcist does this. Also they reach our dimension.

The members who also can be found in Uran, Tentakel, and Sork among others, formed The Exorcist in 2012 and started by playing illegal techno clubs for the true undercurrent citizens of Gothenburg, Sweden. The reputation of this dangerous psychedelic band, who plays funk the way funk should be played soon reached Stockholm where they got a cult following just by word of mouth. Over the past four years their following has grown exponentially!

The recording of 'II' was a trip into the abyss and back, with a lot of time and money spent, outrage from the members and record label executives biting their nails down to the bone. But that is how The Exorcist works - tension is a vital part of this bands nature, hence it's sound. The tracks' aggressive approach and the feeling of being possessed by something evil lurking inside of you mirrors the process of making this album. But listening to the album back to back and hearing how the songs intertwine, lets the true face of The Exorcist shine brightly over you.

'II', released on Hoga Nord Rekords is dimension expanding and time dissolving music.

Pinkman welcomes Maenad Veyl to its roster of artists for his debut release in the form of the labels second tape. 'Make Them Remember' sets the gloomy mood with clattering percussion and ghostly synth lines. The messy drum patterns of Taiko Death Rhythm' are breaking up the cold mist. The A-side of the cassette is completed by the melodic slow burning energy of 'D.M.M.R.M'. On the other side 'State ov Apprehension' and 'Sotto Gli Occhi Tutti' further darken the character, to then pave way for 'In Ruins' to finish the damage with it's ethereal, yet soul ripping guitar riffs. *** Digital download code included ***

Sam de la Rosa, best known under the alias Samuel Kklovenhoof of the band Led Er Est and with Karen Sharkey of The Coombe, is back on Mannequin Records for a stunning 4-tracks electro-wave-experimental release.Texas born but strongly connected with the New York cold wave and disco scene from mid 2000, and the Wierd Records family, Sam's music is a clever mix of post punk, electronic hybrids, experimental pop and catchy melodies.Additional mix by Michael Stein from S U R V I V E, already debuting on Mannequin Records back in 2011, before to get worldwide known for the Netflix's 'Stranger Things' soundtrack.

After issuing some 200 or so tapes in the last five years, artist collective Ascetic House have finally deployed their first salvo of vinyl editions, now available in Europe for the first time.

Din: Featuring members of DVA Damas and the Jealous God crew with an honest nod to the minimal/dark-wave originators...

Mastered by Joshua Eustis and Giuseppe Ielasi, with artwork design by JS Aurelius, these LP's are housed in reverse board full color jackets lined with high gloss black flood printing.

French artist Ta-Ra (previously known as Ta-Ha) has built up quite a following since arriving on the scene with her hit track Lil Bit. Now clocking up over 1 million views on YouTube the track set her apart from the crowd and laid the foundation for her self-released TuaregShawty EP in 2014. After a string of shows across Europe and the Far East Ta-Ra (real name Tania) is ready to drop her first vinyl, in the form of mini LP 'SunrayZ'. Collaborating with fellow French producers like NxxxxxS & Myth Syzer (among others) she's delivered 8 tracks of dreamscape R&B for the heads. Whether it's the Blade Runner esque 'Kawaskai Ninja' evoking luminous, noir like imagery or the hazy, chill-wave transitions of 'Death Ray' - Ta-Ra constantly reminds us why so many are hooked on her ethereal sound.

Artificial Dance is a new record label from Amsterdam. This is the imprint's debut release. It is the first ever release from young Dutch DJ/producer Job Sifre, previously best known for his fortnightly Antikunst show on esteemed Amsterdam institution Red Light Radio.
Worries offers an extended glimpse at Sifre's unique musical vision. It is one that draws heavily on vintage electronic music for inspiration, but also feels fresh and futurist in tone. In turns dark, industrial, hypnotic and mind-altering, the six-track EP bristles with impactful moments of magic.

Check, for example, the gnarled, Mascara-clad intoxication of Element', where fuzz-laden, end-of-days guitars, snaking Middle Eastern style melodies and gruff vocals wrap themselves around cranky drum machine beats. It's like classic European industrial music re-imagined for the 21st century. Then there's Flotter', whose throbbing arpeggio bassline, lo-fi machine drums and foreboding synthesizer melodies combine to create a chilling but muscular mood.

Sifre's love of electronic body music can be heard within the bustling, all-action bassline, fizzing electronics, razor-sharp guitar riffs and matter-or-fact vocals of Worries'. Our young hero continues in a similar vein on pulsating dancefloor bubbler Intex Excursions', which sounds a little like forgotten heroes of 1980s industrial funk dancing all night with modern Dutch electro maestros.

The twisted, distorted nature of Sifre's far-sighted approach is given further weight via A Dime 4ur Decline', an apocalyptic stroll through skittish machine drums, panicked electronics, modular style bleeps and haunting strings.

A sterling debut outing is completed by the EP's mind-altering moment: Planet Stoner'. As clattering percussion hits and clandestine bass whisk us towards an unknown destination, undulating electronic motifs, spiraling synthesizer lines and drifting Arabic flute samples join forces to ratchet up the intensity. By the time the track reaches its breathless conclusion, you'll be in no doubt about Sifre's production credentials.

This LP + bonus CD features the entire track listing, plus 5 bonus tracks from the Italia New Wave LP. This album represents the musical mutation that occurred after the post-punk hangover gave way to more frigid emotional shores, in-line with the synth-wave moment that was sweeping Europe and the white cliffs of Albion. This scene flourished in Italy between 1981-1985, and the musicians that came out of it are still revered today (particularly in the US). Robotic rhythms and intuitions that, besides sharing common ground with the electronic movements that had come before, also knew how to fill up the dancefloor! Featuring four previously unreleased tracks by Der Blaue Reiter, along with tracks by Modo, Actor's Studio and La Maison, as well as the still fresh sounding contributions by true pioneers of the genre Neon and Naif Orchestra.

hysterical little punk electro souind ! Extreme and powerfull ! Undeground NYC band !

Limited to 222, handnumbered, insert, artowrk in 5 different colors

The Green Child is the long distance musical collaboration of Mikey Young and Raven Mahon, who met in 2013 in when their bands, Total Control and Grass Widow played a show in Oakland, California. They started writing songs together in Australia in 2014 and the project has been on a slow burn since. Their self-titled debut album is the culmination of few years of putting ideas together internationally and periodically recording in Mikey's home studio. Some of the lyrical content and the band's name was inspired by Herbert Read's 1935 utopian, communist, sci-fi novel called The Green Child. 
 
With such a choice name, it's no surprise that The Green Child draw their sound from an illusory past as much as they stalk into pastures new. Broadly retro-futuristic in scope, verdant acres of lushly evocative synthesizers and blippy drum machines underpin most of their upbeat yet decidedly uncanny songs. Raven's calmly scenic and measured vocal flits like a will-o'-the-wisp throughout the tracks, proffering a guiding hand as she walks us through the often eerie, electronic concoctions.
 
'Traveler' opens the album all redolent, beat-minded and labyrinthine. Twisting melody lines swirl and envelop like a sandstorm, whilst Raven coolly projects on a solitary man' lost to green oblivion'. Similarly, 'Her Majesty II' glistens with its playful yet plaintive vocal and iridescent arpeggios, whilst 'Bertha' slows things down with tumbling chimes and stately use of space.
 
The Green Child are adept at atmosphere, their songs are refined from gently unfolding ideas that never fail to realise and build to their potential. Tracks like 'Walking Distance' (featuring Al Montfort on saxophone) and 'New Years Eve' are exercises in evolved composition with ideas budding off and blossoming into truly resonant dimensions. The band's cover of 'Marie Elene' (by Keith Pearson) and closing track 'Destroyer' are further crowning achievements, both pieces subtly handled with poise and ample melancholic grandeur. The Green Child fix their sights on the heights they want to reach within their songs and much like the project itself don't want to rush to the finish line. When it becomes more about the unfurling journey, why not take the time to enjoy the trip and burn slower

Essential recordings by this minimal synth master of our age. Deluxe re-issue edition of Martial Canterel's third album from 2006. Originally released on cassette only, now on vinyl for the first time.

With the staccato surge and somber vocalizing of DAF, the distorted synthetic soundscapes of Dirk Ivens' eeriest work, and the industrial strength of The Young Gods, Martial Canterel's earliest outings are a bleak intellectual exercise in the dark and danceable. His music creates a cold atmosphere, and has an ominous melancholy feel to it. The emotional, and sometimes dark feel of the album is everything electronic new wave music should be. it's futuristic, robotic, and at the same time, nostalgic.

In 2002 Sean McBride began performing at bars, clubs and private parties in Brooklyn, NY, functioning singlehandedly as the pioneer and instigator of what would become a new movement of minimal electronic bands in the United States. Inspired both by the first wave of relatively unknown minimal electronic bands in Northern Europe (a musical genre also often referred to as 'minimal synth') and the seminal industrial noise bands such as Throbbing Gristle, SPK, and Cabaret Voltaire.

Since then, McBride's bleak intellectual exercises in the dark and danceable have flooded North America and Europe through the frosty fairwaves paved by Pieter Schoolwerth's Wierd Records. With an inimitable minimal style merging bright, urgent melodies ornamented and punctuated by the noises of industry and McBride's sonorous, stern vocals, Martial Canterel's earlier releases (You Today, Austerton) have garnered both critical acclaim and a rapidly growing rabid fan base. Sean is also one half of the duo Xeno & Oaklander together with Miss Liz Wendelbo.

Essential recordings by this minimal synth master of our age. Deluxe re-issue edition of Martial Canterel's debut album from 2004. Originally released on cassette only, now on vinyl for the first time.

With the staccato surge and somber vocalizing of DAF, the distorted synthetic soundscapes of Dirk Ivens' eeriest work, and the industrial strength of The Young Gods, Martial Canterel's earliest outings are a bleak intellectual exercise in the dark and danceable. His music creates a cold atmosphere, and has an ominous melancholy feel to it. The emotional, and sometimes dark feel of the album is everything electronic new wave music should be. it's futuristic, robotic, and at the same time, nostalgic.

In 2002 Sean McBride began performing at bars, clubs and private parties in Brooklyn, NY, functioning singlehandedly as the pioneer and instigator of what would become a new movement of minimal electronic bands in the United States. Inspired both by the first wave of relatively unknown minimal electronic bands in Northern Europe (a musical genre also often referred to as 'minimal synth') and the seminal industrial noise bands such as Throbbing Gristle, SPK, and Cabaret Voltaire.

Since then, McBride's bleak intellectual exercises in the dark and danceable have flooded North America and Europe through the frosty fairwaves paved by Pieter Schoolwerth's Wierd Records. With an inimitable minimal style merging bright, urgent melodies ornamented and punctuated by the noises of industry and McBride's sonorous, stern vocals, Martial Canterel's earlier releases (You Today, Austerton) have garnered both critical acclaim and a rapidly growing rabid fan base. Sean is also one half of the duo Xeno & Oaklander together with Miss Liz Wendelbo.

Electronic Emergencies is thrilled to work together with brand new New York label Sangron Records on the 10-track compilation album 'Sangron Volume 1'. Compiled by Skeleton Head's Leo Torres, the compilation draws from the U.S. underground with songs from minimal synth pioneers Crash Course in Science and Mark Lane, alongside contributions from Skeleton Head, Revival Times, M/A/N/O/S, Ortrotasce, Minima Moralia, Silent Em, Horoscope and Paper Music. Moody, dancefloor-friendly and rebellious, this is "music for dissidents".

Debut release from Dust Witch. A 5-piece synth outfit that recall the heyday of 70's prog rock. Their sound is tight, complex and densely layered - recalling Goblin at their most fluid, and Yes during their most wigged out moments. What sets them apart from their current synth wave contemporaries is not only their exceptional song writing skills but the addition of live drums & guitar which gives their dense sound an extra kick, and a very human element missing from most current synth acts operating today. This 7-Inch single, pressed on 140g vinyl features artwork by Daniel Danger.

Konstruktivists is nevertheless than Codex Empire ... this Industrial band is his originas...and the one from a bunch of other surprising things... like mebers of Whitehouse, Founders of Third Eye Foundation or publishers of Impulse... 80's Indsutrial mafia baby ! But still active. Record comes in a printed sleeve and poster and inserts etc... BIG UP !

mitra mitra was formed in Vienna in late 2014 by Violet Candide and Mahk Rumbae.

Originally from New Zealand, Violet Candide is a founding member of the Crazy Hospital DJ collective, and one of the organisers of the legendary Future Echo club night in Vienna, and is one half of Anesthetic Hairpins.

British musician Mahk Rumbae is known for his work as a member of the industrial/experimental project Konstruktivists, Oppenheimer MkII (with Andy Oppenheimer of Oppenheimer Analysis) and his solo techno project Codex Empire.

After working together on one of Violet's solo songs, Heat, the pair decided to continue working together as mitra mitra, with the aim of writing electronic songs not tied to any particular influence or style.

mitra mitra have so far released a limited 7" single on Polytechnic Youth and a self-titled debut album on their own label Micromort Music - both of which sold out almost immediately.

For their new EP, released in conjunction with Peripheral Minimal, they present four new songs, including live favourites The Flood and One Universe, as well as Snakes and Phantom Flats. Rounding off the 6 track EP are two special remixes from LowSea, who remix Snakes, and IV/AN who remixes Blender (from the debut LP).

Espectrostatic's 3rd LP, Silhouette, comes to vinyl for the first time as a hand-numbered limited edition of 500 on transparent Spectre Blue wax with download card. Including re-imagined artwork and insert by Hauntlove.Silhouette, the follow-up LP to 2014's Escape from Witchtropolis, is a seductive and enthralling mix of creepy horror and melodic beauty.Alex Cuervo's Espectrostatic moniker once again manages to create its own world and effortlessly draws you into his dark creation. As soon as the opening track 'The Corridor' begins you know immediately whose dystopian world you have entered.The melancholic beauty of 'The Day We Were Captured' will melt you without remorse, building synth upon synth atmosphere. There is also a fun and teasing side as highlighted on 'Dead End City' with its post punk drums and guitar flare.

Recorded in 1981, this classic album took the band further down the road of despair, initiated with Seventeen Seconds, with an album full of mournful atmospheric tracks, including their hit single, 'Primary.' Includes 6 bonus tracks in a deluxe gatefold 180 gram 2LP version.

Mannequin Records is proud to celebrate their 9 year anniversary with the release of this masterpiece of 80s Italian new wave, and a cornerstone of Italian rock.
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It was the end of the 70s, when Federico Fiumani, together with two classmates, gave life to the embryonic line up known as CFS. The acronym is formed by the initials of the members. Cicchi (Gianni, drummer), Fiumani (guitar and voice) and
Susini (Salvatore, bass). Later, Susini was replaced by the brother of Cicchi, Leandro. The new incarnation of 'Diaframma' was born, with the singer now replaced with Nicola Vannini. From their earliest momenets they were sharing the same stages cathching the a simialr fanbase as their friends Neon, Pankow and Litfiba - whom all contributed transforming the Tuscan capital into the epicenter of Post-punk in Italy.

Redeemer is the brutally seductive debut album by Phase Fatale, a key player in the recent charge of EBM and post punk-informed industrial techno infecting 'floors from his home city, NYC to his DJ residency at Berghain, Berlin. In Dominick Fernow's Hospital Productions, Phase Fatale finds a fitting home for his personalised brand of clinical, rictus rhythm programming and searing synth and guitar lines, adding a vital streak of black and blue electric energy to the legendary label in its 20th year of cultish operation.
In seven parts (and a trio of extended Silent Servant mixes due to come), Redeemer follows the direct, jagged lines of his 12's for Jealous God and Unterton to a deeply personal realisation of weaponised sonics, upholding a strong tradition of techno as a prophetic exercise or ritual to gird dancers and listeners for the onset of future war. It presents Phase Fatale as an ultimate emissary of electronic violence and domination in the process, steeling the limbic system and muscle memory thru a fine-tuned disciplinarian approach to pharmacokinetics and biomechanics.
Picking from the leather-bound cadaver of industrial dance music past, Phase Fatale reanimates his influences with pointillist precision and unapologetic force. Alloying muscular bass and metallic percussion with wire-combed 16th note synthlines and a barbed perimeter of guitar distortion, his sound can be heard as a metaphorical representation of holding your line against the attrition of a degenerated present.
Each track dances concisely around the 5 minute mark, unfolding a series of densely packed and subtly rendered minimalist/maximalist structures. The shuddering tension of Spoken Ashes opens with banks of rotted chorales against a coalface of hacking stabs, establishing a pent vibe that vacillates precariously thru the adrenalised battery of Operate Within, to the clenched funk of Human Shield and the bombed-out,
Alberich-alike Interference, seeming to resolve slightly with the supple roll of Order of Severity, before Beast bottoms out into immolating synth distortion, and Redeemer brings up the rear with a coolly-tempered, stoic form of industrial ecstasy.

Abstract Reality presents you an album by French artist Leonard Lampion. It gathers a one hour selection of cuts that explores several different musical landscapes. Harsh industrial tracks share the tape alongside dark drone ambient, tribal sounds and downtempo emo feelings. Side A is the more dancefloor oriented side, while side B explores more experimental paths.

35 years later, the band formed from the ashes of the Sex Pistols by Paul Cook and Steve Jones is back. Revitalised, re-energised and reinvigorated. What In The World bristles with conviction and finds The Professionals on electrifying form, delivering some of the most ballsy, honest and downright brilliant songs of their career. We're not breaking any musical boundaries - we're doing what we do best. From the heart with energy and integrity.' Paul Cook and Paul Myers were reunited on stage touring with Vic Goddard's Subway Sect. There the idea sprang to revisit The Professionals. New frontman and guitar player Tom Spencer was invited to come to rehearsals, to sing and play guitar while Steve Jones was being lured back to the UK to join. As it became obvious Steve wouldn't be heading over, and with rehearsals feeling better and better - the new line up was born. The Professionals are also joined by a stellar cast of guest guitar players including original member Steve Jones (who plays on three tracks). Duff McKagen, Mick Jones , Phil Collen , Marco Pirroni , Chris McCormack (3 Colours Red) and Billy Duffy also join the party. In the studio we put the songs down as a three piece but what was needed was a second guitarist's mind, to come from another angle. Cookie dusted off his punk rock address book and made a few calls. All the guests added their own unique magic.' This energetic album features 10 finely crafted songs, full of rock'n'roll attitude - including a tribute to Lemmy and Bowie, 'Going, Going, Gone'. Before closing with the Darwinian pop at world leaders 'Monkeys'. All the basic tracks were put down at Zak Starkeys studio, just outside London and were finished at Tower Studios in Pershore. While the guests recorded in various studios, both here and in the US. What In The World was produced by Dave Draper with Paul Cook and Tom Spencer there to co-produce. The album is an aural treat, with no calculated image or reliance on nostalgia. To celebrate the release of What In The World The Professionals play a special headline show at London's Garage on October 28th. The Professionals have created a truly honest album and it is the sound of a band at the top of their game, which is an all too rare commodity in today's world, so put it on loud!

This long awaited deluxe special edition, originally recorded and released on cassette in 1982, sees a timely release after the success of Cosey's recent autobiography 'Art Sex Music' (pub. by Faber & Faber). Available now for the first time on vinyl this deluxe special edition has been remastered and edited from the original audio tapes for this exclusive vinyl release. It is presented on super clear vinyl, in a gatefold sleeve incorporating a foil block title and is accompanied by a 16 page full colour 12' booklet containing the original cassette transcripts and photos plus many new and updated statements and colour photos.

'Verloren' is like a late night pink Dutch sky after a long day of heavy rain, a sign that a warm summer's day is just ahead. It will make you sweat tonight. This long awaited follow up 7", will be released in the same form as the first: a beautifully designed disco sleeve with cardboard artwork. The vinyl will feature perfect-not-perfect, melancholic yet very danceable tracks. The machines in here take you back to the 80's, but sound very contemporary nevertheless.

Niemoc is an instrumental trio from Zielona Gora in South-West Poland, they label themselves as a "post-wave" band, and indeed one can find traces of all sorts of influences - from New Order's bass hooks and Durutti Column's shimmering guitars to analogue roughness of Chicago house. Their vinyl debut comes with a strong remix package - dj sajko & rwetes (of kiRk) deliver a downtempo industrial dub, On-U Sound-style, while Naphta (fresh after releasing his debut album) goes all dirty and bass-heavy with some Eastern flavour to boot. Perfectionist duo Jazxing make its FASRAT debut with a dramatic build-up of Planet E proportions, while Ptaki's rework is a sure-shot Summer night anthem, complete with ethereal vocal sample and epic breakdown.

’Still’ is a compilation album first released in 1981 after the death of Joy Division singer Ian Curtis. Their two previous albums had already cemented the Manchester’s band’s iconic status in music history and ‘Still’ filled in gaps.

It featured previously unreleased studio material, two non-album tracks ‘Dead Souls’ and ‘Glass’ and a live recording of Joy Division’s last ever concert, at Birmingham University. The show included the only live performance of ‘Ceremony’ by the band, who later morphed into New Order and released it as a single.

A very necessary stand-alone release for Six Six Seconds' 'Tearing Down Heaven', which originally appeared on the 2012 Downwards compilation So Click Heels. Written and performed in Berlin by the elusive Eden, and deftly recorded and mixed by Karl O'Connor, 'Tearing' was the comp's stand-out: a piece of drugged, darkly rapturous dream-pop in which the abyssal swoon of shoegaze meets a harsher, more pernicious order of psychedelic rock minimalism. This 10'/digital edition on Blackest Ever Black features a slightly extended version of 'Tearing Down Heaven', and a stunning new reprise', which homes in on the original's roaring, phantasmic electronics, unravelling its complex webs of feedback and high-end scorch into a masochistic drone-raga for eternally thwarted lovers. Freshly remastered by Matt Colton, released in a one-off vinyl edition of 500 copies.

Jack Vegas is the sixth album by Swedish electro/post punk outfit Agent Side Grinder. It marks the band’s first exploration of American culture, drawing heavily on the beatnik-era works of Jack Kerouac and William S. Burroughs, as well as the proto-punk and avantgarde movements — while maintaining a contemporary storytelling perspective.

The American dream becomes a symbol for escape from a Europe ravaged by pandemics, war and financial instability. Lyrical themes revolve around boredom, resilience, government and corporate intrusion, and mental health — with the occasional glimmer of light. It’s a drum machine-driven road movie, plotting its course through the desperate heart of rural Sweden.

The name Jack Vegas’ is derived from a Swedish chain of low-stakes slot machines.

The album has been produced by former ASG member Henrik Sunbring, and recorded in Stockholm during 2022.

Genre-wise Agent Side Grinder has always existed in some kind of twilight zone. Deeply rooted in early electronic and industrial music as well as proto- and post punk, their sound is driven by iterative, suggestive beats and sudden bursts of untamed ferocity, built on equal parts dissonant samples and elegant melodies.

Formed in Hakata, before moving to Tokyo in 1984 AKEBONOJIRUSHI were a six piece band who played a wild mix of New-Wave and Funk-Jazz elements condensed into unconventional Pop songs. Originally released on DIW in 1987 “Paradise Mambo” stands as a great example of pure 80’s Japanese post-modern sound.

AMBER ARCADES ist das Pseudonym von Annelotte de Graaf, der niederländischen Singer/Songwriterin, die zwei EPs und einige von der Kritik gefeierte Alben aufgenommen hat, von denen das zweite, "European Heartbreak", durch "hints of Lindi Ortega and early Saint Etienne, breezy, dreamy pop more personal than political" (The Guardian) glänzt. AMBER ARCADES verlor kürzlich für einen Moment den Glauben an die Musik, gewann ihn dann aber wieder zurück und liefert nun ihr bisher atemberaubendstes Album ab: "Barefoot On Diamond Road", das am 10. Februar 2023 erscheinen wird - ihre erste Veröffentlichung auf Fire Records. Die erste Single "Just Like Me" ist ein offenkundig tanzbarer und triumphaler Song, der durch seine Stop/Start-Struktur eine beunruhigende und unvorhersehbare Schärfe in das Geschehen bringt. "There's a clear distinction from my last record ,European Heartbreak', which had a complete narrative. This record is completely the opposite" erklärt die Niederländerin in einem Statement zum neuen Album. Eingetaucht in eine alles verzehrende Wall of Sound ist "Barefoot On Diamond Road" wie MY BLOODY VALENTINE in akustischer Form; es sollte eigentlich nicht funktionieren, aber tut es trotzdem. Es ist eine Gegenüberstellung von Texturen, von sprunghaften, unruhigen Dancefloor-Beats bis hin zu symphonischer Kosmik, ein barocker Pop-Teppich, der mit Celli und Harfen bestückt ist, mit einer klagenden Steelguitar, die in der Ferne widerhallt. Die Schlagzeug- und Perkussions-Arrangements von Matt Chamberlain (PEARL JAM, BOWIE, DYLAN, ADELE, LORDE, SPRINGSTEEN, COHEN...) verleihen dem Ganzen zusätzliche Textur. Es ist ein Album von einnehmender Reife, gefüllt mit Zeitlupen und epischen Steigerungen, die es mit all der Dramatik in schwindelerregende Höhen heben - man denke an THE GUN CLUB, die sich mit PORTISHEAD zurücklehnen, alles könnte passieren, es ist ein imaginärer Film... und PJ HARVEY lauert im Schatten. AMBER ARCADES neues Album "Barefoot On Diamond Road" markiert eindeutig eine neue Phase im Schaffen der hochangesehenen Musikerin. "Wistful, glowing dream pop" The Guardian

Croak In The Weeds, the second instalment in a planned trilogy from ex-Deadly Snakes frontman André Ethier, will be released in fall 2019 on Telephone Explosion Records. The nine-song album was created in collaboration with Sandro Perri (producer) at his Toronto studio in late 2018 / early 2019.Croak In The Weeds continues Ethier and Perri’s musical relationship which was originally established on 2017’s Under Grape Leaves. Croak expands upon that album, deconstructing synthetic elements to a point of raw organic beauty. Lyrically, André’s approach has shifted to the natural world, focusing heavily on flora and fauna. Almost every track on the 34-minute album references animals, with central characters ranging from pigs to dragons. This is André’s third attempt at a trilogy of records. Previous attempts have stalled for various reasons; disillusionment with genre, unrealistic sense of self, arachnophobia... Though it would not be inaccurate to suggest that he now has completed a trilogy of unfinished trilogies (he would thank you for your optimistic reasoning,) and is still planning to finish this one. Regarding trilogies, André opines: “In the first you establish the tools and build yourself a room, in the sequel you live in the room and imagine what’s outside, finally in the third.... you escape?”He doesn’t know, he has never gone all the way..

Hailing from Raw Culture, Anna Funk Damage returns with his third release on the Roman label, delivering a record as fierce as it is intimate. Tarantola was born out of a winter suspended between contrasting emotions – melancholy, anger, love, confusion – distilled into a sound that transforms personal fragility into collective energy. There’s no pursuit of perfection here, but rather an urgency running through the veins, taking shape across supersonic punk, wave, ambient and industrial.

Each track is an emotional fragment, a bite that leaves its mark: from the electric tension of Vivere Distaccati to the feverish rush of Trasmissione, from the rawness of Decadente to the hypnotic title track Tarantola, which embodies the beating heart of the album. Side B unfolds into more nocturnal and intimate landscapes, from Chiang Mai to the disenchanted sincerity of Lavoro Troppo, closing with a party that carries the bittersweet taste of reality.

Tarantola is a journey into the chaos of human emotions, an album that doesn’t just narrate but pulls you deep into its sonic labyrinth, giving noise back its vulnerable yet powerful soul.

Since more than 40 years, Anne Gillis has discreetly unfolded her proper singular universe without any compromise. She playfully moves with determined restrictions, excavating contrasting forces; sensual and visceral, mechanical and organical, black and white, … She extends this personal expression in her visuals using self-portrait photos, handwritten text and her theatrical performances are equally aligned. Her music can be considered as musique concrète using the tape machine as compositional tool, manipulating her recorded sources, mainly consisting of extended voice and different (instrumental) sounds with addition of electronics and treatments. In both her photography and her music, Anne Gillis works fully analog.

Punk pioneers Crass continue their vinyl reissue series, re-pressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. The series, including over twenty bands and solo artists recorded at the legendary Southern Studios and produced by Penny Rimbaud, continues with two more historic pieces from the Crass Records catalogue; ‘Barbed Wire Halo’ by Annie Anxiety and ‘Neu Smell’ by Flux of Pink Indians.

They follow records from the likes of Captain Sensible, Omega Tribe, Honey Bane, Jane Gregory, Lack of Knowledge, Sleeping Dogs, Rudimentary Peni and Zounds. First released on 7” vinyl, limiting the sound, the new series has been remastered for 12” by Alex Gordon at Abbey Road Studios, allowing them to be heard as never before. This, plus enlarged replicas of the original covers, brings new gusto to their already radical sound.

New York City musical maverick and performance artist Annie Anxiety, aka Little Annie aka Annie Bandez, began her illustrious career (including work with Adrian Sherwood, Coil, Current 93, and Lee ‘Scratch’ Perry) with Crass. They released her first solo single, 1981’s ‘Barbed Wire Halo’ alongside ‘Cyanide Tears’, an extraordinarily prescient piece of jagged electronics, samples, and skeletal rhythms, led by Annie’s nightmarish vocals.

She tells us; “When creating this single with Penny I hadn’t heard the word ‘avant-guard’ nor could I spell it – I only got explained ‘concretism’ via an interview I did in Berlin regarding some of my work three years ago – My father was a printer so I grew up with sound of printing press and subway train beats and always heard melodies and cross rhythms within those beats – I was just making dance music / disco tunes to my mind and Pen heard those same tunes I was hearing – my first recording, in retrospect I guess, was pretty ‘out there’ at its release, but to us it was dance floor for a club yet to be invented- one day”.

Penny Rimbaud expands; “Annie Anxiety is a total enigma, a passionate voice in the wilderness of consensual reason. Dada in instinct, Monroe in affection, Rambo in inflection, Annie rams it home with divine thunder. An instigator and innovator, she’s the bonkers angel of Yonkers, NYC. With no time to spare, Annie takes to the road with complete conviction, overtaking Kerouac halfway down 5th Avenue. Catch her if you can”.

Autumn 1904 is a post-punk indie-rock band formed in 1982 in Edinburgh, Scotland by Allan Dumbreck (keyboards) and Ross Thom (guitar). The band originally became a five-piece (Billy Bowie – bass, Keith Falconer – drums, Billy Leslie – vocals) but grew to a seven piece in early 1983 (taking on two female backing vocalists, Indira Sharma and Lisa Cameron). Autumn 1904 were part of the DIY indie-rock movement in Edinburgh in the early to mid 1980’s kicked off by The Shop Assistants, they worked alongside The Wild Indians, Finitribe (originally Gallery Macabre) and Goodbye Mr MacKenzie, often performing together or attending each other’s shows.

In February 1984 the band performed at the John Peel Roadshow at Edinburgh University and afterwards were invited to record a BBC Radio 1 session which was broadcast three times on the Peel show. They were immediately courted by 11 major record and publishing companies. In March 1984 their song “I heard Catherine Sing” featured on the Deadbeat magazine compilation album “Deadbeat 1”. Internal tensions and health issues over the summer of 1984 held up development and caused Sharma and Cameron to leave the band.

The band first split in January 1985 with Thom, Bowie and Falconer going on to form The Crows with former members of First Priority, including future Glasgow Cathouse / Garage promoter Donald McLeod MBE. Dumbreck and Leslie reformed the band and performed throughout 1985 sometimes including Shirley Manson, then working with Goodbye Mr MacKenzie and later with Garbage. This line-up lasted until November 1985 when the band split again. Dumbreck went on to work with Scottish groups The Big Dish, Horse and Thrum. Later working extensively in music education setting up the music department at UWS where Jim Prime (Deacon Blue) and Paul McGeechan (Love and Money) became lecturing staff.

The line-up at the time of the Peel session was Dumbreck, Thom, Bowie, Falconer, Leslie and backing vocalists Indira Sharma and Lisa Cameron.

In May 2021, the original five members agreed to re-master / re-record the original material from their studio recordings for release. Work began with producer Liam McCluskey (Gun, King King, Twin Atlantic). Approaching Ian Smith in 2022 at independent record label Last Night from Glasgow for advice, he offered to release the album on the label. The final masters include Tippi from label-mates The Hedrons on vocals and a number of fresh recordings of material written in 1982-83 but never previously recorded.