quête:mac

Pittsburgh, PA-native Buscrates returns to Bastard Jazz with a synth-heavy 7" single, "Internal Dialogue." The two-tracker sees the artist take an easy-going approach to his signature funk-filled sound, with a slowed-down tempo and melodic key riffs. "Internal Dialogue" is a mellow boogie joint that combines plenty of Moog, rich ARP strings, and syncopated clavinet chord stabs; "Early Morning" is reminiscent of a late-90s neo-soul beat, with rich Rhodes chords, while a squelching bass line evokes 70s electro-funk. Both tracks are undeniably Buscrates and are sure to have your head bobbing.

Buscrates - aka Orlando Marshall - is a DJ, producer, and multi-instrumentalist based in Pittsburgh. He draws influences largely from 90s hip hop and early-mid 80s electronic funk, which is evident in the boomy, swinging drums and bubbly Minimoog bass lines heard throughout some of his productions. He works locally and sometimes internationally either behind a pair of turntables spinning 45s or working his trusty Roland SP-404SX sampler and various other little portable gadgets at one of his beat sets. Some of his production credits include Phonte & Eric Roberson, Wiz Khalifa, and the late great Mac Miller.

Hus continues his streak of conceptual albums, "The Firm" comes in fresh off of his last LP, the Portishead inspired album titled "Portishus", which is currently sold out. Inspired by the 1997 group The Firm (Nas, AZ, Foxy Brown, Cormega, Nature) and the 1993 film "The Firm" starring Tom Cruise. The album features Canibus, Max B, SmooVth, SageInfinite, Khrysis (Jamla) + more.
TRACKLIST: 1. Ray Mcdeere (Prod. By Macapella) 2. Devasher (Prod. By Scary Hour) 3. Affirmative Action (Feat. SmooVth & SageInfinite) (Prod. By Prynce P) 4. The Moroltos (Feat. BeenOfficialLord & Apollo Ali) (Prod. By Kencussion) 5. Lambert & Locke (Feat. Ali Vegas) (Prod. By Stu Bangas) 6. Glass Castle (Prod. By Khrysis) 7. Cayman Islands (Feat. Rozewood) (Prod. By Macapella) 8. Harmony (Prod. By Sean Zeon) 9. Desperados (Feat. Canibus) (Prod. By Macapella) 10. Firm Biz (Feat. Pure) (Prod. By Stu Bangas) 11. The Wave Angels (Feat. Max B) (Prod. By Prynce P) 12. Firm Fiasco (Prod. By Blaqknight) 13. Executive Decision (Prod. By DJ Tako)

Mit donnernden Drums, intensiven Riffs und animalischen Vocals liefern AMPUTATE brutalen Death Metal vom Feinsten ab! Auf ihrem zweiten Album "Dawn Of Annihilation" lassen sie den blutigen und düsteren Humor des Vorgängers "Tortura Macabra" hinter sich und malen ein Bild von einer hoffnungslosen und düsteren Zukunft.

Auf "Dawn Of Annihilation" geht es um die zukünftige Auslöschung der menschlichen Rasse durch eine übermächtige und bösartige künstliche Intelligenz. "Dawn Of Annihilation" lässt den blutigen und düsteren Humor des Vorgängeralbums "Tortura Macabra" hinter sich und malt ein Bild von unserem grotesken Untergang, der von empfindungsfähigen Maschinen verübt wird. Die neue Besetzung ermöglicht es der Band, tiefgründigere Texte zu schreiben und das Songwriting deutlicher zu definieren.
Dank des animalischen Leadgesangs von Tom und der neuen Herangehensweise an die Backing Vocals von Nuno und Roger, entführt das neue Album den Hörer in eine zukünftige, hoffnungslose Welt, in der die Sonne verschwunden ist und die Menschen nur noch zum Ausschlachten da sind.

- Das zweite Album des Death Metal Quartetts AMPUTATE - erhältlich als CD Digipak, limitierte Vinyl LP sowie in digitalen Formaten.
- Aufgenommen, produziert, gemischt und gemastert von Ralph Beier / Ashburn Studios.
- Coverartwork von Tata Kumislizer.

Mit donnernden Drums, intensiven Riffs und animalischen Vocals liefern AMPUTATE brutalen Death Metal vom Feinsten ab! Auf ihrem zweiten Album "Dawn Of Annihilation" lassen sie den blutigen und düsteren Humor des Vorgängers "Tortura Macabra" hinter sich und malen ein Bild von einer hoffnungslosen und düsteren Zukunft.

Auf "Dawn Of Annihilation" geht es um die zukünftige Auslöschung der menschlichen Rasse durch eine übermächtige und bösartige künstliche Intelligenz. "Dawn Of Annihilation" lässt den blutigen und düsteren Humor des Vorgängeralbums "Tortura Macabra" hinter sich und malt ein Bild von unserem grotesken Untergang, der von empfindungsfähigen Maschinen verübt wird. Die neue Besetzung ermöglicht es der Band, tiefgründigere Texte zu schreiben und das Songwriting deutlicher zu definieren.
Dank des animalischen Leadgesangs von Tom und der neuen Herangehensweise an die Backing Vocals von Nuno und Roger, entführt das neue Album den Hörer in eine zukünftige, hoffnungslose Welt, in der die Sonne verschwunden ist und die Menschen nur noch zum Ausschlachten da sind.

- Das zweite Album des Death Metal Quartetts AMPUTATE - erhältlich als CD Digipak, limitierte Vinyl LP sowie in digitalen Formaten.
- Aufgenommen, produziert, gemischt und gemastert von Ralph Beier / Ashburn Studios.
- Coverartwork von Tata Kumislizer.

Italian duo Agents Of Time have been incredibly busy over the past few years, from releasing a string of classic singles – including their recent single for Afterlife, “The Mirage”, which earned more than five million views on Instagram – to remixing The Weeknd’s “Take My Breath”, which appeared on his recent Dawn FM (Alternative World). But the biggest news is here now – their second album, Universo, is ready. Elevating their trademark melodic techno with an exquisite pop-ness, Universo has found its ideal home with Kompakt, following their Music Made Paradise 2020 debut EP for the label. It’s a meeting of minds that makes perfect sense.

Andrea Di Ceglie and Luigi Tutolo, the two members of Agents Of Time, used their time during the pandemic to work on Universo, an album loosely conceptualised around their ‘personal universo’, a manifestation of the world Di Ceglie and Tutolo built both within and around their studio. This accounts for the sparkle and brightness of Universo – it’s full of personality, vim and vigour, the duo experimenting with their music, exploring its furthest corners. If you come to Universo expecting just another album of melodic techno, get ready to be pleasantly surprised – there’s a whole lot more going on here, and it’s all equally compelling.

After a typically poetic opening gesture – the swirling, synaesthetic, self-titled intro track – expectations are immediately blindsided with the two-step pop of “Fallin’”, sung with gentle clarity by guest Audrey Janssens, a dream of a song that harks back to the glory days of early ‘00s UK garage. “Interstellar Cowboy” is a confident, lithe, disco-fied strut; the gentle minor-key piano of “Liquid Fantasy” spirals into a gorgeously melancholy techno-pop epic, Vicky Who?’s voice rich with yearning. Janssens also reappears on the electro-swirl of “Poison”; “Dream Vision” revisits their single “The Mirage”, soft with sweeping strings, loaded with drama; “Part Of Life” sashays into view with a schaffel-stomp.

This rich variety throws the more dancefloor-focused tracks, like “Ciao”, into even starker relief – they’re more decisive, streamlined, yet rich with detail, chugging, Moroder-esque bass meeting strobe-lit synths that fire melodies out into the firmament. Universo feels texturally dense, but it still breathes, its sounds so tactile you want to reach out and grab them, its tunes so seductive you can’t get them out of your head. Universo is a fiercely beautiful album, brave in its spirit, a perfectly poised meeting-point of pop melody and stylish, lush techno: Agents Of Time in excelsis.

Das italienische Duo Agents Of Time war in den letzten Jahren unglaublich fleißig, von der Veröffentlichung einer Reihe klassischer Singles - darunter ihre jüngster Beitrag für Afterlife, "The Mirage", der mehr als fünf Millionen Aufrufe auf Instagram erhielt - bis hin zum Remix von The Weeknds "Take My Breath", der auf dessen aktuellen Album “Dawn FM (Alternative World)” erschien. Aber die bahnbrechendeste Neuigkeit ist erst jetzt endlich da - ihr zweites Album "Universo" ist fertig! “Universo" verbindet ihr Markenzeichen, melodischen Techno, mit einer besonderen Pop-Haltung und findet nach der EP "Music Made Paradise 2020" sein ideales Zuhause bei Kompakt. Eine Seelenverwandtschaft, die absolut Sinn macht.

Andrea Di Ceglie und Luigi Tutolo, die beiden Mitglieder von Agents Of Time, nutzten die Zeit während der Pandemie, um an "Universo" zu arbeiten, einem Album, das lose um ihr "persönliches Universum" herum konzipiert ist, eine Manifestation der Welt, die Di Ceglie und Tutolo in und um ihr Studio herum aufgebaut haben. Das macht den besonderen Glanz und die strahlende Helligkeit von "Universo" aus - es strotzt nur so von Persönlichkeit, Elan und Kraft, das Duo experimentiert mit Musik und erkundet auch noch deren entfernteste Ecken. Wer bei "Universo" nur ein weiteres Album mit melodischem Techno erwartet, wird angenehm überrascht sein - hier ist viel mehr los, und alles ist gleichermaßen spannend.

Nach einer poetischen Eröffnungsgeste - dem wirbelnden, synästhetischen, selbstbetitelten Intro-Track - werden mit dem 2-Step-Pop von “Fallin” alle Erwartungen sofort über den Haufen geworfen. Mit sanfter Klarheit von Gastsängerin Audrey Janssens gesungen, ist “Fallin” ein Traum von einem Song, der an die großen Zeiten von UK-Garage in den frühen 00er Jahre erinnert. "Interstellar Cowboy" ist ein selbstbewusstes, geschmeidig über den Laufsteg stolzierender Disco-Track; das sanfte Moll-Klavier von "Liquid Fantasy" entwickelt sich zu einem wunderbar melancholischen Techno-Pop-Epos, mit Vicky Who?’s Stimme voller Sehnsucht . Danach taucht auch Janssens Gesang auf dem Elektro-Wirbel von "Poison" wieder auf; "Dream Vision" greift die Single "The Mirage" auf, sanft und mit schwungvollen Streichern, voller Dramatik; "Part Of Life" dagegen ist ein echter Schaffel-Stomp.

All der Abwechslungsreichtum lässt eher tanzflächenorientierte Tracks wie "Ciao" noch deutlicher hervortreten - sie wirken noch entschlossener, stromlinienförmiger und dennoch reich an Details, pluckernde, Moroder-eske Bässe treffen auf stroboskopisch blitzende Synths, von denen aus die Melodien ins Firmament schießen. “Universo” fühlt sich textlich dicht an, aber es atmet trotzdem, seine Klänge sind so greifbar, dass man sie anfassen möchte, seine Melodien so verführerisch, dass man sie nicht mehr aus dem Kopf bekommt. “Universo” ist ein wunderschönes, mutiges Album, ein perfekter Treffpunkt von Pop-Melodien und stilvollem Techno: Agents Of Time in excelsis.

Longform: EXHUMED return from the depths with their macabre new album, To the Dead! The band' storied career needs no introduction; EXHUMED are the pioneers of blood-soaked "Gore" Metal. To the Dead is the culmination of decades upon decades of nightmarish riffs, obliterating blast beats, and hellish screams from the very depths the band crawled out from! "To The Dead is a destination," EXHUMED mastermind Matt Harvey says. "A rotting world populated by the grotesquely twisted truths of our waking world and the decaying fallout of our most deranged ambitions. But it's also a title that evokes a celebration of, and an invitation into the gore-soaked world of EXHUMED." The very celebration of EXHUMED's history is ever-present on this album. "We've expanded the writing team on the record to include former members Mike Beams, Leon del Muerte, Matt Widener and Bud Burke in an effort to celebrate the band's history - at this point decades of it - and I think the resulting record is an excellent testament to the surprising longevity of Gore Fucking Metal!" Harvey says. So please, accept the band's humble invitation and sink six feet down to their level. EXHUMED can't wait for you to get a whiff of what they've cooked up - this will be the most fun you've ever had being disgusted! Short: EXHUMED return from the depths with their macabre new album, To the Dead! The new album is the culmination of decades upon decades of nightmarish riffs, obliterating blast beats, and hellish screams from the very depths the band crawled out from! FFO: Carcass, Repulsion, Aborted, Autopsy, Dying Fetus, Impaled, Cannibal Corpse, Napalm Death

When James Pepper met Riccardo Paffetti (Black Loops) a bromance was quick to bloom. After touring the Berlin-based Italian across Australia, the two soon realised they not only loved each others company but records too.

Following Black Loops maiden trip down under, the dudes stayed in touch and led to Pep crashing on Riccardo’s sofa bed for a week in Berlin. The duo went to work in the studio, brewing up some gems that were released on classy imprints Neovinyl Recordings and Haŵs.

It was on Paffetti’s most recent trip to Oz (well before the world shutdown) that brought about their most anticipated tracks to date. Bunkering down in a Marrickville studio, the cross-continent pairing got up close and personal with some neat hardware. Experimenting with an array of compressors, a TR8 and the Elektron Analog Four MKII ‘Three Drops’ EP was born.

The EP is a lively affair. A rampant message to club folk far and wide. Founded on lo-fi percussion, a crunchy kick and echoed key sections ‘Three Drops’ throws a flurry of punches. Varied combinations of electro, acid and techno rolling together just right. Here we have a welcome jab of adrenaline. You can almost visualise the duo grinning from ear-to-ear, as they bring in each piece of machinery.

'Three Drops’ made its live debut at Pepper’s recent Boiler Room in Sydney and has since taken the interwebs by storm. Hundred’s of ID requests later and the time is right to share this gem as the clubs open back up across the globe.

The B side and new single has arrived in ‘Arp Love’. A frantically beautiful dose of techno. Soaring risers make way for pulsating chords and shimmering TR8 patterns, as we’re led deep into a clubby rabbit hole. In signature Black Loops style, a spoken word sample on the disappointment of love breaks the piece in two.

For a burgeoning Sydney producer like Pep it must be truly amazing to co-write alongside Riccardo - an artist who’s clocked tens of millions of streams worldwide, claimed Deep House Artist of The Year (2017) via Traxsouce plus released weaponry on revered labels such as Shall Not Fade, Toy Tonics, Gruuv and Good Ratio.

We’re grateful James Pepper and Black Loops got together. These two on tracks makes sense.

Over the course of his six-decade-long career, Dr. John embodied a near-mythic multitude of musical identities: global ambassador of New Orleans funk and jazz and R&B, visionary bluesman, rock and roll innovator, one-time top 10 hitmaker, self-anointed and massively revered high priest of psychedelic voodoo. On Things Happen That Way, the six-time Grammy-winning Rock & Roll Hall of Famer otherwise known as Malcolm John “Mac” Rebennack Jr. reveals yet another dimension of his cosmically vast musicality: a lifelong affinity for classic country & western, whose songs he first encountered via the 78 rpm records frequently spun at his father’s electronics shop. Things Happen That Way arrives as the latest and final studio album from an artist who remained wholly unpredictable, alchemizing the charmed simplicity of traditional country into a wildly enchanting body of work.



Things Happen That Way marks the fulfillment of a longtime goal of the legendary singer/songwriter/pianist, who first began plotting a country inspired album decades ago. In bringing his album’s songs to life, Dr. John drew on a lineup of musicians befitting of a universally beloved luminary who worked with the likes of Van Morrison, the Rolling Stones, B.B. King, Etta James, and artists as diverse as Aretha Franklin, Ringo Starr, and Eric Clapton. Along with an elite cadre of New Orleans session players, the album’s personnel include icons Willie Nelson and Aaron Neville, as well as label mate singer/songwriter Katie Pruitt and country-rock powerhouse Lukas Nelson & Promise Of The Real. True to an artist whose music “transcended race and cultural divides”—as Black Keys frontman Dan Auerbach proclaimed in presenting Dr. John his lifetime achievement award at the Americana Music Association Honors and Awards in 2013—Things Happen That Way reflects both a rich sense of history and a boundless passion for defying expectation.

Hand Stamped, Hand numbered, Limited press, with insert.

An oddly familiar/familiarly odd entity floating about the relatively cohesive surface of contemporary electronic music, Belgium-via-Italy based duo Front De Cadeau has been knocking genres askew and blowing overused terminologies out of the water with unrelenting panache over the past decade. Championing a sound unmoored by vanishing trends and cross-pollinating approaches, F2C punch back in on Antinote with their anticipated debut album, “We Slowly Riot”, an 8-track mishmash of tunes previously released and not.

Bastardizing tried-and-tested rave tropes by slowing the tempo down to barely recognizable shapes and contours, Hugo Sanchez and Maurizio Ferrara dish out a new high in their ever expanding discography. Free-falling down the K-hole with no parachute on, “La Ketamine” burns slow but steady. A practically immersive dub filled with processed minutiae and vibrational drums out a mystic forest, it’s a helluva trippy post-industrial joint that unfolds, heady and empyreumatic to the bone. “We Slowly Rot” puts on offer a buggy script-like swing, adorned with F2C’s trademark blend of spoken word and jacuzzi-warm vibes, whereas “There is Something Wrong” steers us into further sizzling, syncopated groove territories through a fevered meshwork of sliced-and-diced vox samples, overheated machine talk and primitive percussions on a African Headcharge tip.

Draped in eerie, 8-bit-infused layers and Arabian Nights ambiences, “Slam is Slam” treats us to a spookily fun Oriental mix of hot-tempered darbukkahs and FX-soaked riffs. The outrageously sensual “Ouvre Ta Bouche” is a tactile invitation to get down in some dark alcove of sorts and more if you hit it off. A steely dub primed for post-party divagations, “Climate Change” slowly veers off into verbed-out industrial jazz as bars run by, while “Legal Illegal” cuts a path of acid-dipped dancehall from outer-space across the club. Last but not least, Jewish clarinets quietly move along waves of sedated bass on “Casa Gaza”, rounding it all off on a dreamy, cinematic note that serenely phases into a liquid-like roller over one solidly deeper-than-deep home stretch.

"They push everything right to the brink and then pull back at precisely the right moment" - Pitchfork

"'Growing Up Pains (Unni's Song) gives a tantalising glimpse of where their future could lie. Matching lucid pop elements to daring innovation, ALASKALASKA allow the song to become a portal to their own potential." - Clash

"It’s impossible to walk away without the repeated promise 'I won’t let you down' in 'Growing Up Pains' stuck in your head – and it’s a mantra we should all be following as we as a species continue to fight for our future." - Beats Per Minute

ALASKALASKA announce their superb new album, Still Life, arriving October 14th on Marathon Artists (Lava La Rue, Courtney Barnett, Pond).

'Still Life' finds writers and producers Lucinda Duarte-Holman and Fraser Rieley embrace a more free-form electronica, giving a taste of what's to come with this fantastic new record produced by Jas Shaw (of Simian Mobile Disco)–full of digital sounds, drum machine and synth melodies cunningly sat beside rich, organic, acoustic instrumentation, it's a looping tug of war between existential dread and everyday simple pleasures.

Listen to / watch the video for 'Still Life' (shot by Jacek Zmarz) here: https://youtu.be/TL7s6QJ3ANc

Four seasons of dawn chorus, panoramically framed by fruit trees and more analog synths than can comfortably fit in a cow shed-come-recording studio...the scene is set for the recording of ALASKALASKA’s second album Still Life. Ordinarily located in South East London, writers and producers Fraser Rieley and Lucinda Duarte-Holman were eager to get out of the city. Taking advantage of this rustic countryside scene, they were able to capture something uniquely their own.

Following their debut album in 2019, they resurface into a new era embracing all the things that first put the band on the map, attracting the likes of Tame Impala, Hot Chip, Porches and Nilüfer Yanya for tour support slots. For Rieley and Duarte-Holman, writing began in 2019, pre-lockdown-era, although the subsequent alone together/together alone time added a new spin on ALASKALASKA's process of experimentation and fine-tuning. The band now push their foundational ideas further and explore the freedom of playing with new sounds. Duarte-Holman explains, “...with everything going on at the time, the restrictions led us to try working in a new way. The limitations were different, but meant we were able to adventure into a more electronic soundscape that we're really looking forward to expressing live."

The ‘Still Life’ LP has been pressed on recycled black vinyl to reduce the carbon intensity of the finished product.

CAVERNOUS GATE veröffentlichen mit "Voices from a Fathomless Realm" ihr Debütalbum. Musik und Texte des deutschen Death Doom Soloprojekts wurden von Multiinstrumentalist Sebastian "S.K." Körkemeier konzipiert, komponiert und verfasst. Sebastian hat sich in der Metal-Szene als Mitbegründer von HELRUNAR unter dem nom de guerre Alsvartr und als Live-Musiker bei Markus "Schwadorf" Stocks Black Metal Projekt SUN OF THE SLEEPLESS sowie EMPYRIUM längst einen exzellenten Ruf erworben. Sein Projekt CAVERNOUS GATE und das Album "Voices from a Fathomless Realm" sind hörbare Liebesbekundungen des vielseitigen Instrumentalisten an den Sound britischer Doom und Death Pioniere wie die ganz frühen PARADISE LOST und CATHEDRAL sowie den schwedischen Death Metal im Stile der frühen ENTOMBED und DISMEMBER. Aus der Herzensangelegenheit ist ein ebenso finsterer und melancholischer wie massiver Heavy-Monolith entstanden. Und während auf "Voices from a Fathomless Realm" Sebastians Granit gurgelnde und abgrundtiefe Growls eindeutig dominieren, bietet Jenny Kalbitz' wunderbare Frauenstimme an handverlesenen Stellen einen subtilen Kontrast. Textlich erkundet Sebastian mit "Voices from a Fathomless Realm" eine düstere Fantasiewelt des Zwielichts und ihre geisterhaften Bewohner. In seiner Lyrik "malt" der Autor gleichsam wie bei der Beschreibung von Gemälden metaphorische Traumbilder. In "Voices from a Fathomless Realm" steckt zwar auch die langjährige Erfahrung des gestandenen Metal-Musikers, doch es ist seine hörbare Liebe zu dem dunklen Heavy-Stil, die den Unterschied macht und dieses Album von der Masse ähnlicher Veröffentlichungen deutlich abhebt. CAVERNOUS GATE nehmen uns mit auf eine albtraumhafte Reise in die Abgründe des klassischen Doom Death, der jedoch auf eine zeitgemäße Weise neu interpretiert wird und nicht in schaler Nostalgie versackt. Es lohnt sich, beim "Betrachten" dieser musikalischen Bilder von unerwarteter Schönheit länger zu verweilen und die unerforschten Tiefen von Schmerz und seelenreißender Traurigkeit auf sich wirken zu lassen.

CAVERNOUS GATE veröffentlichen mit "Voices from a Fathomless Realm" ihr Debütalbum. Musik und Texte des deutschen Death Doom Soloprojekts wurden von Multiinstrumentalist Sebastian "S.K." Körkemeier konzipiert, komponiert und verfasst. Sebastian hat sich in der Metal-Szene als Mitbegründer von HELRUNAR unter dem nom de guerre Alsvartr und als Live-Musiker bei Markus "Schwadorf" Stocks Black Metal Projekt SUN OF THE SLEEPLESS sowie EMPYRIUM längst einen exzellenten Ruf erworben. Sein Projekt CAVERNOUS GATE und das Album "Voices from a Fathomless Realm" sind hörbare Liebesbekundungen des vielseitigen Instrumentalisten an den Sound britischer Doom und Death Pioniere wie die ganz frühen PARADISE LOST und CATHEDRAL sowie den schwedischen Death Metal im Stile der frühen ENTOMBED und DISMEMBER. Aus der Herzensangelegenheit ist ein ebenso finsterer und melancholischer wie massiver Heavy-Monolith entstanden. Und während auf "Voices from a Fathomless Realm" Sebastians Granit gurgelnde und abgrundtiefe Growls eindeutig dominieren, bietet Jenny Kalbitz' wunderbare Frauenstimme an handverlesenen Stellen einen subtilen Kontrast. Textlich erkundet Sebastian mit "Voices from a Fathomless Realm" eine düstere Fantasiewelt des Zwielichts und ihre geisterhaften Bewohner. In seiner Lyrik "malt" der Autor gleichsam wie bei der Beschreibung von Gemälden metaphorische Traumbilder. In "Voices from a Fathomless Realm" steckt zwar auch die langjährige Erfahrung des gestandenen Metal-Musikers, doch es ist seine hörbare Liebe zu dem dunklen Heavy-Stil, die den Unterschied macht und dieses Album von der Masse ähnlicher Veröffentlichungen deutlich abhebt. CAVERNOUS GATE nehmen uns mit auf eine albtraumhafte Reise in die Abgründe des klassischen Doom Death, der jedoch auf eine zeitgemäße Weise neu interpretiert wird und nicht in schaler Nostalgie versackt. Es lohnt sich, beim "Betrachten" dieser musikalischen Bilder von unerwarteter Schönheit länger zu verweilen und die unerforschten Tiefen von Schmerz und seelenreißender Traurigkeit auf sich wirken zu lassen.

Statement von DARK MILLENNIUM:
"6 Jahre nach der ursprünglichen Veröffentlichung unseres Comeback-Albums "Midnight In The Void" wollten wir unseren Katalog vervollständigen, indem wir dieses wichtige Album bei Massacre Records wiederveröffentlichten.

Zum ersten Mal wird es auch auf limitiertem Vinyl erhältlich sein - was von unseren Fans schon lang ersehnt wurde.
Endlich sind wir zu Hause."

Statement von DARK MILLENNIUM:
"6 Jahre nach der ursprünglichen Veröffentlichung unseres Comeback-Albums "Midnight In The Void" wollten wir unseren Katalog vervollständigen, indem wir dieses wichtige Album bei Massacre Records wiederveröffentlichten.

Zum ersten Mal wird es auch auf limitiertem Vinyl erhältlich sein - was von unseren Fans schon lang ersehnt wurde.
Endlich sind wir zu Hause."

First album from Cologne based Jazz / Hip-Hop band for Melting Pot
Music home to artists such as FloFilz, Twit One, Summers Sons,
Pachakuti & young.vishnu, etc.

Bokoya is a four-piece jazz/hip-hop band from Cologne who plays
improvised beat music. Like a four-headed human drum machine, Bokoya improvise, shape, and develop beats in the electric field of repetition and variation. It's impossible to put a tag on Bokoya's music.

BADBADNOTGOOD, Dilla, Krautrock, Ambient and dub might work as
rough reference points for the music but don't do it justice. After a sling of releases on Wadada Records, Bokoya are now signed to Melting Pot Music where they will release their forthcoming projects.

Following on from last year’s acclaimed Sylva Sylvarum, the epic double LP from Ora Clementi (her collaborative project with James Rushford), crys cole returns to Black Truffle with Other Meetings. Originally commissioned and released on cassette by Boomkat Editions in 2021, Other Meetings is a major addition to the body of carefully hewn solo work cole has released over the last decade, offering up two side-long suites of her radically intimate approach to sound. After many years dominated by touring and travel, cole found herself in lockdown in her Berlin apartment, working in a limited space with minimal equipment. Digging through archives of recordings taken overseas and exploring the sonic potential hidden in the objects surrounding her (including a coffee pot and a vase of dying flowers), she crafted what in her liner notes she calls ‘an internal dérive, a journey that drifted through many places without a defining compass’. Totalling over 50 minutes, the two pieces unfold at an unhurried pace, each containing four individually titled subsections. Beginning with a sequence of the highly amplified small sounds characteristic of much of cole’s work, the opening moments of ‘The time between two durations of sleep’ are underpinned by a gentle rocking motion, weaving together contact mic crunch, metallic resonance, glimpses of bird song, and isolated drum machine hits, the sonic space expanding and contracting as focus moves between elements. Briefly side-lined by a tactile but unplaceable sizzling, this complex weave of voices then returns in a kind of dubbed-out ‘version’, the percussive accents echoing around the stereo space. In one of the record’s most beautiful and unexpected moments, these sounds are joined by a sparse melodic line performed on a broken 1980s digital synth, the vaguely New Age timbres being taken on a long, tonally ambiguous wander. Cole’s immersion in memories of travel comes to the fore in the final section of the first side, titled ‘Wat Paknam’ after a royal temple in Bangkok, where snatches of voices, ringing bells and distant waves of chanting blur together with synth tones into an increasingly abstracted wave of sound. The second side, ‘Slices of cake’, opens in a similarly hallucinatory outdoor space of echoing bird song and liquified traffic before abruptly zooming in on a microscopic world of subtly processed and highly amplified objects, explored with a starkness and quiet insistence that calls to mind the fringe not-quite-concrète of outsiders like Paul A.R. Timmermans or Knud Viktor, whose obsessive interrogation of dripping water might also serve as a point of reference for the following sub-section, the aptly titled ‘magischer Abfluss’ (magic drain).

While Other Meetings develops many aspects of cole’s previous work – the hyper-magnification of small gestures, the unsettling edits and fades partly inspired by hypnagogic states, the location recordings smeared into oneiric haze – it is almost as if these pieces are somehow songs, the remnants of an evaporated music of which nothing remains except isolated hits from a synthetic drum, a handful of notes, or simply a duration of emptied atmosphere. Radically reductive yet deeply musical, Other Meetings is a major work from an artist driven by an uncompromising and idiosyncratic vision.

Presented with an inner sleeve with photos and liner notes from the composer and remastered audio.

Der Horror-Meister JOHN CARPENTER ist zurück und hat wieder seine Mitarbeiter DANIEL DAVIES und CODY CARPENTER für den fesselnden neuen Soundtrack zu der 2022er Verfilmung von Stephen Kings Romanklassiker "Firestarter" an Bord. Der Score ist der erste offizielle Soundtrack, den das Trio außerhalb der "Halloween"-Reihe gemeinsam komponiert hat, und ihre Inspiration und Entwicklung als kreatives Team ist deutlich zu hören. Der Film ist eine Neuauflage des Thrillers, in dem es um ein Mädchen mit außergewöhnlichen pyrokinetischen Kräften und ihren Kampf geht, ihre Familie und sich selbst vor finsteren Mächten zu schützen, die sie gefangen nehmen und kontrollieren wollen. Der Film kommt am 13. Mai 2022 in die Kinos. In den Hauptrollen spielen Zac Efron, Sydney Lemmon und Ryan Kiera, Regie führt Keith Thomas (The Vigil). Der "Firestarter"-Soundtrack bedient sich einiger der besten Elemente aus CARPENTERs berühmtem musikalischen Repertoire und betritt dabei aufregendes Neuland. Die Tracks reichen von pumpenden Sci-Fi-Hymnen bis hin zu langsamen, von Hall durchtränkten Piano-Balladen und nutzen jeweils eine Vielzahl von Klanganwendungen. Schleichende Beats, flirrende Synthesizer, krachende Gitarren und ein ständig lauerndes Echo kommen zusammen, um ein Album zu schaffen, das sowohl atmosphärisch als auch zutiefst melodisch, kohärent und vielseitig ist. Diese drei Musiker arbeiten alle auf dem Höhepunkt ihrer individuellen und kollaborativen Kreativität und dieser Soundtrack festigt sie als Meister ihres Fachs.

Der Horror-Meister JOHN CARPENTER ist zurück und hat wieder seine Mitarbeiter DANIEL DAVIES und CODY CARPENTER für den fesselnden neuen Soundtrack zu der 2022er Verfilmung von Stephen Kings Romanklassiker "Firestarter" an Bord. Der Score ist der erste offizielle Soundtrack, den das Trio außerhalb der "Halloween"-Reihe gemeinsam komponiert hat, und ihre Inspiration und Entwicklung als kreatives Team ist deutlich zu hören. Der Film ist eine Neuauflage des Thrillers, in dem es um ein Mädchen mit außergewöhnlichen pyrokinetischen Kräften und ihren Kampf geht, ihre Familie und sich selbst vor finsteren Mächten zu schützen, die sie gefangen nehmen und kontrollieren wollen. Der Film kommt am 13. Mai 2022 in die Kinos. In den Hauptrollen spielen Zac Efron, Sydney Lemmon und Ryan Kiera, Regie führt Keith Thomas (The Vigil). Der "Firestarter"-Soundtrack bedient sich einiger der besten Elemente aus CARPENTERs berühmtem musikalischen Repertoire und betritt dabei aufregendes Neuland. Die Tracks reichen von pumpenden Sci-Fi-Hymnen bis hin zu langsamen, von Hall durchtränkten Piano-Balladen und nutzen jeweils eine Vielzahl von Klanganwendungen. Schleichende Beats, flirrende Synthesizer, krachende Gitarren und ein ständig lauerndes Echo kommen zusammen, um ein Album zu schaffen, das sowohl atmosphärisch als auch zutiefst melodisch, kohärent und vielseitig ist. Diese drei Musiker arbeiten alle auf dem Höhepunkt ihrer individuellen und kollaborativen Kreativität und dieser Soundtrack festigt sie als Meister ihres Fachs.

Der Horror-Meister JOHN CARPENTER ist zurück und hat wieder seine Mitarbeiter DANIEL DAVIES und CODY CARPENTER für den fesselnden neuen Soundtrack zu der 2022er Verfilmung von Stephen Kings Romanklassiker "Firestarter" an Bord. Der Score ist der erste offizielle Soundtrack, den das Trio außerhalb der "Halloween"-Reihe gemeinsam komponiert hat, und ihre Inspiration und Entwicklung als kreatives Team ist deutlich zu hören. Der Film ist eine Neuauflage des Thrillers, in dem es um ein Mädchen mit außergewöhnlichen pyrokinetischen Kräften und ihren Kampf geht, ihre Familie und sich selbst vor finsteren Mächten zu schützen, die sie gefangen nehmen und kontrollieren wollen. Der Film kommt am 13. Mai 2022 in die Kinos. In den Hauptrollen spielen Zac Efron, Sydney Lemmon und Ryan Kiera, Regie führt Keith Thomas (The Vigil). Der "Firestarter"-Soundtrack bedient sich einiger der besten Elemente aus CARPENTERs berühmtem musikalischen Repertoire und betritt dabei aufregendes Neuland. Die Tracks reichen von pumpenden Sci-Fi-Hymnen bis hin zu langsamen, von Hall durchtränkten Piano-Balladen und nutzen jeweils eine Vielzahl von Klanganwendungen. Schleichende Beats, flirrende Synthesizer, krachende Gitarren und ein ständig lauerndes Echo kommen zusammen, um ein Album zu schaffen, das sowohl atmosphärisch als auch zutiefst melodisch, kohärent und vielseitig ist. Diese drei Musiker arbeiten alle auf dem Höhepunkt ihrer individuellen und kollaborativen Kreativität und dieser Soundtrack festigt sie als Meister ihres Fachs.

Der Horror-Meister JOHN CARPENTER ist zurück und hat wieder seine Mitarbeiter DANIEL DAVIES und CODY CARPENTER für den fesselnden neuen Soundtrack zu der 2022er Verfilmung von Stephen Kings Romanklassiker "Firestarter" an Bord. Der Score ist der erste offizielle Soundtrack, den das Trio außerhalb der "Halloween"-Reihe gemeinsam komponiert hat, und ihre Inspiration und Entwicklung als kreatives Team ist deutlich zu hören. Der Film ist eine Neuauflage des Thrillers, in dem es um ein Mädchen mit außergewöhnlichen pyrokinetischen Kräften und ihren Kampf geht, ihre Familie und sich selbst vor finsteren Mächten zu schützen, die sie gefangen nehmen und kontrollieren wollen. Der Film kommt am 13. Mai 2022 in die Kinos. In den Hauptrollen spielen Zac Efron, Sydney Lemmon und Ryan Kiera, Regie führt Keith Thomas (The Vigil). Der "Firestarter"-Soundtrack bedient sich einiger der besten Elemente aus CARPENTERs berühmtem musikalischen Repertoire und betritt dabei aufregendes Neuland. Die Tracks reichen von pumpenden Sci-Fi-Hymnen bis hin zu langsamen, von Hall durchtränkten Piano-Balladen und nutzen jeweils eine Vielzahl von Klanganwendungen. Schleichende Beats, flirrende Synthesizer, krachende Gitarren und ein ständig lauerndes Echo kommen zusammen, um ein Album zu schaffen, das sowohl atmosphärisch als auch zutiefst melodisch, kohärent und vielseitig ist. Diese drei Musiker arbeiten alle auf dem Höhepunkt ihrer individuellen und kollaborativen Kreativität und dieser Soundtrack festigt sie als Meister ihres Fachs.

"A melodic, harmony-driven slice of laid back, surfer indie-guitar." Louder Than War - "Teenage angst has paid off well, DIVES are now ready to have it all." Guitar Girl Mag - "Catchy, vigorous surf-pop." - Nothing But Hope & Passion - DIVES sind zurück! Die drei Wienerinnen präsentieren nach ihrem gefeierten Debut-Album "Teenage Years Are Over" mit dem sie in die letzten drei Jahren über 150 Shows in 13 Ländern gespielt haben ihren neuen Longplayer. Zum Herbst veröffentlichen Dora de Goederen, Viktoria Kirner und Tamara Leichtfried ihre neues Album und verlängern so ein wenig den Sommer mit einem den Soundtrack zum Draußensein, Rollschuhfahren oder Herumcruisen mit offenem Verdeck. Inklusive klugen Lyrics und Statements gegen gesellschaftlichen Bullshit, Selbstsucht und Narzissmus. DIVES sind Rock'n'Roll-Zeitreisende - spielen mal gechillten Surfpop, mal energievollen Garagerock wie aus dem 70er-Roadmovie oder der Venice Beach-Nostalgie, packen dazu aber wichtigste Messages aus dem Jetzt: gegen jegliche Diskriminierung und für Gleichberechtigung und Menschlichkeit. Klug und zugänglich, tanzbar und zeitlos. Dass man zwischenmenschliche Konflikte, Statements gegen das Patriarchat und gegen Machoattitüden in eingängige Rock'n'Roll-Songs mit Hooks und Finesse verpacken kann, haben DIVES schon in der Vergangenheit bewiesen, machen das auch nochmal eindringlich im zweiten Album "WANNA TAKE YOU THERE".

"A melodic, harmony-driven slice of laid back, surfer indie-guitar." Louder Than War - "Teenage angst has paid off well, DIVES are now ready to have it all." Guitar Girl Mag - "Catchy, vigorous surf-pop." - Nothing But Hope & Passion - DIVES sind zurück! Die drei Wienerinnen präsentieren nach ihrem gefeierten Debut-Album "Teenage Years Are Over" mit dem sie in die letzten drei Jahren über 150 Shows in 13 Ländern gespielt haben ihren neuen Longplayer. Zum Herbst veröffentlichen Dora de Goederen, Viktoria Kirner und Tamara Leichtfried ihre neues Album und verlängern so ein wenig den Sommer mit einem den Soundtrack zum Draußensein, Rollschuhfahren oder Herumcruisen mit offenem Verdeck. Inklusive klugen Lyrics und Statements gegen gesellschaftlichen Bullshit, Selbstsucht und Narzissmus. DIVES sind Rock'n'Roll-Zeitreisende - spielen mal gechillten Surfpop, mal energievollen Garagerock wie aus dem 70er-Roadmovie oder der Venice Beach-Nostalgie, packen dazu aber wichtigste Messages aus dem Jetzt: gegen jegliche Diskriminierung und für Gleichberechtigung und Menschlichkeit. Klug und zugänglich, tanzbar und zeitlos. Dass man zwischenmenschliche Konflikte, Statements gegen das Patriarchat und gegen Machoattitüden in eingängige Rock'n'Roll-Songs mit Hooks und Finesse verpacken kann, haben DIVES schon in der Vergangenheit bewiesen, machen das auch nochmal eindringlich im zweiten Album "WANNA TAKE YOU THERE".

- The Complete 1988 Film Score by John Massari - Available For The First Time On Vinyl 180 Gram Violet and Blue Vinyl (Light In The Attic Exclusive Variant) - Exclusive Liner Notes by Composer John Massari - Exclusive Liner Notes by Killer Klowns Co-Creator Stephen Chiodo - Heavyweight 12" x 12" Art Print - Old-Style Tip-On Jackets with Matte Satin Coating // KILLER KLOWNS FROM OUTER SPACE have finally landed at Waxwork Records! After much anticipation, we are thrilled to present the official 1988 Original Motion Picture Soundtrack by John Massari for the very first time on vinyl! Would you believe someone if they told you a circus tent-shaped spaceship landed in your small town and was abducting your neighbors to store them in cotton candy cocoons? In this '80's cult classic, teens Mike Tobacco (Grant Cramer) and Debbie Stone (Suzanne Snyder) have to fight both the diabolical bozos and the local law enforcement's disbelief to save themselves and their community! The original score to Killer Klowns From Outer Space is kicked off by the classic 80's horror movie theme track, Killer Klowns (From Outer Space) by California punk band, The Dickies. The 'nightmare merry-go-round' continues with a smattering of menacing electronic brass sections, electric guitar, bombastic drum machine beats, & harpsichord combined with sci-fi synth elements to capture the ultra-specific origins of the antagonists. Massari's score to Klowns is a retro-synth joyride from start to finish featuring immediately recognizable cues from the beloved 80's cult-classic! Waxwork Records is thrilled to present the official Killer Klowns From Outer Space double LP, released for the first time on vinyl. Complete with 180 gram "Cotton Candy" and "Popcorn" vinyl, deluxe packaging, new artwork by Ruiz Burgos, old-style tip-on jackets with matte coating, a heavyweight 12"x12" art print, and liner notes by composer Massari and Klowns co-creator Stephen Chiodo!

On this 7”, we present two lost jazz tracks by the trombonist and Horace Tapscott-collaborator, Lester Robertson. Lester has worked with some of the greats of jazz including Gerald Wilson, Anita O'Day, Lionel Hampton and Roy Porter Sound Machine on the classic 'Jessica' album.

Lester was a member of Horace Tapscott's The Pan-Afrikan Peoples Arkestra and features on the iconic underground jazz albums 'The Call' and 'Live At I.U.C.C.'. The Arkestra was set up in 1961 in Los Angeles and over the years has included wonderful, inspirational musicians such as Adele Sebastian, Kamasi Washington, Dwight Trible, Phil Ranelin, Arthur Blythe, Jesse Sharps and Nate Morgan.

These two recordings have recently been discovered on an archived master tape that little information on it other than Lester's name and the track titles. Sadly, the other players on the tracks aren’t credited on the tape, so a line-up can’t be 100% confirmed. Still, the magic of what they laid down in the session pays testament to their artistry. First up is the lively popping track 'Akirfa' in which Lester gets space to let rip and exercise his talents. On the flip is the euphonious 'Untitled Ballad', a mellifluent lullaby for an end-of-the-day wind-down.

Lost for a while, but thankfully not forgotten, these beautiful recordings finally get their chance to shine.

South-east Turkey born DJ, sound artist and producer Banu uses music as a political tool. For her, the strong message carried through sound is a vehicle to express emotions as well as a means of fighting against oppression. Using participation, social design, ecology, feminist and queer theory to create multimedia installations with sound as a main element, Banu‘s practice is closer to contemporary art and activist spaces than the club realm.

Banu‘s debut album TransSoundScapes is an exercise in female solidarity between her as a migrant woman and her sisters from the trans community, where an artist from one marginalised group is showing support towards her trans sisters, using her platform to help them amplify their voices and building a bridge towards a mutual understanding of femininity.

Conceptually, TransSoundScapes comes in continuation of Banu‘s previous research-based work, using music as a positive tool for change while working with various marginalised communities. The album originated from the very real experience of being confronted with verbal harassment in Berlin on a daily basis, particularly aimed at her transfeminine friends and companions. As a queer woman of Turkish and Kurdish origin, Banu did not only observe the verbal aggression directed at her friends, but also understood most of the insults shouted in languages such as Arabic. Seeing how she got signifi cantly more verbal violence directed at them when in company of trans people made a lasting impression on her, so she wanted to try and use her relative privilege to amplify transfeminine voices through her music.

Coming from a very conservative family, making music has been her lifelong dream. It was the moment she had the opportunity to work with the iconic Arp 2600 synthesiser (a younger sibling to Eliane Radigue‘s infamous 2500 machine) that all her disparate interests came into place to create an empowering soundscape with the aid of analogue drum machines. TransSoundScapes has a very full, porous sound, where every element that comes into play sounds soft yet clear. Across the 7 tracks, Banu conjures pounding subterraneous bassy techno („Surgery“), slithering tentacular EBM („First Time“) and pulsating cavernous soundscapes („Harem“), where oversized dancefl oor elements are woven with poetic spoken word passages, resulting in sensusous yet political anthems. Banu artfully merges loosely related genres such as techno, electro, dub and sound poems into a sound that is at once deeply personal and extremely compelling.

All of the tracks are collaborative efforts, Banu seeing the process as an exchange of care and shared experiences, while integrating research into her writing process. The lyrics in „Transition (part 1+2)‘‘ are an adaptation of Sara Ahmed’s “Living a Feminist Life”, while „Surgery“ was born out of series of interviews with trans people, channeling the metallic sounds of a surgery room to refer to society‘s perception of transness as a medical condition. Tracks like „First Time feat. Patricia“, „Harem feat. Prince Emrah“ or „We feat. Aérea Negrot“ document her encounters with various trans women, centering their life experiences while also developing a deep dialogue through the process of making music together.

The darkest and perhaps the most emblematic track is ‚‘Bianka (In Memory Of)‘‘, dedicated to the late Bianka Shigurova, a 22-year old Georgian actress found dead in her apartment. It was her Tbilisi photographer friend George Nebriedze who told her Bianka‘s tragic story, whose death is suspected to be an assasination due to transphobia. Banu chose one of Nebriedze‘s analogue photos of Bianka as the album‘s cover art.

The Perth-based psychedelic rock n roll machine rip through a full platter of their high-speed tunes, shot in two locations and heralding their new LP, Night Gnomes. Crunchy riffage, addictive melodies and no-holds barred psychedelia is on tap. Get it at the link below! "Thank you Levitation for getting us out the house! Absolute pleasure to be asked to collaborate on something together. There’s a brilliant story involving an angry local and a bulldozer if you’re won-dering why the location changes, but for the minutes we were filming it was magical. Gnomes till we die! Thanks to Jelly, Tay, Jared, Dima, & the McEwan crew for helping us put this together, love you all." – PPC

Greg Puciato, the enigmatic singer known for his diverse list of projects, from the incendiary The Dillinger Escape Plan to the brutalist electro-pop outfit The Black Queen and the unabashedly thrashy Killer Be Killed, releases his debut solo album, Child Soldier: Creator of God this Autumn via Federal Prisoner. The Los Angeles-based singer premiered the single “Fire For Water” on BBC Radio 1’s Rock Show with Daniel P. Carter and followed with the debut of a video for the three-minute track via Revolver. The video was edited and directed by Puciato and fine artist Jesse Draxler, Puciato’s Federal Prisoner co-founder. Puciato played all of the instruments on the song with the exception of drums, which were done by Chris Pennie (the last original material the pair worked on together was The Dillinger Escape Plan’s 2004 Miss Machine), who also contributed additional programming. “I started writing in May or so of 2019, for what I thought would be the next Black Queen album, except that’s not at all what came out. So, just like with everything else that’s been born from necessity, it felt like the right time to create a home for anything that I do that didn’t fit neatly under any other existing roof. The misfits needed a place to go,” explains Puciato about releasing his first solo album.

Finnish Disco and Electronic Music from Private Pressings and Unreleased Tapes 1980–1991

Hot on the sold-out heels of the three previous Svart-issued early 80’s synth pop and underground electronic music compilations (Satan in Love, Dance For Your Life, Cold War On The Rocks comes the last part of the quadrilogy: Black Hole, that reaches the final frontier of collectable cult synth disco music: privately released and completely unreleased music from 40 years ago. Black Hole has been again compiled by Mikko Mattlar, whose encyclopedic knowledge in the field of Finnish electronic music produces 20 cuts of electro-cult has helped him dig up 20 cuts of rare groove from obscure regional compilation records, seven inches of which only a test pressing exists, demo tapes and privately financed singles. Stylistically the compilation moves from 1979 disco funk as performed by Peak Funktion on their unreleased record to homebrewed synth visions by late 80’s bedroom wizards. Interesting curiosities among the 20 tracks include the riveting dance number by Jarkko Väljä, who received some fame back in the day as a Michael Jackson impersonator, and released one 7” single, that has become an expensive rarity. Another thing you wouldn’t believe existed at all if it wasn’t included here is “Israel Is Real” by We, a short-lived gospel vocal quartet, accompanied here by a drum machine and a synthesizer, which makes for an unforgettable and surprisingly catchy four minute piece of underground gospel disco from 1983. The compilation Black Hole – Finnish Disco and Electronic Music From Private Pressings and Unreleased Tapes 1979-1991 will be released by Svart Records on double vinyl and CD on October 14th.

Welcome to Retropolis! Known for the inimitable Can’t Stop with Coloray, an unhealthy obsession with vintage music machines, a baroque style in the use of synthesizer melodies and a forewarn-looking approach to the past, Chris Barratt’s music as Eagles & Butterflies can be as fun-loving as melancholically beautiful. For his long overdue debut on Running Back, the english man dishes out a bit of both in a healthy bowl of broth.

Retropolis is not only the direction giving title, but bold and bonny at the same time. That its working title was Italo should tell you all you need to know. Suitable for big rooms, major moments, minor miracles and sophisticated car chase scenes alike. Faster takes off in another direction. Imagine two people falling in love during a bumper car ride – heartfelt vocals included.

On the flip side E&B follows a similar state of equilibrium. Like the highs and lows and ups and downs in a John Hughes movie, it also showcases the characteristics of two synthesizer classics: the exuberant piano version of Juno Ninja (please look at the digital release for a version devoid of it) offsets the poignant and plangent vibe of CS-80. In summary: made with lots of synthesizers and for fans of keyboard music. And always keep in mind: the future sounds and looks better than you think!

Als Kodaline Anfang März 2022 die Bühne des gemütlichen, ausverkauften Olympia Theaters in Dublin betraten, spürten Sänger/Multiinstrumentalist Steve Garrigan, Bassist/Sänger Jason Boland, Gitarrist/Sänger Mark Prendergast und Schlagzeuger/Sänger Vinny May ein tiefes Gefühl der Erneuerung, ihrer Freundschaft, ihrer Brüderlichkeit und ihrer musikalischen Gemeinschaft.

Das geliebte irische Quartett spürte auch ein Gefühl der Befreiung. Zwei Jahre der pandemiebedingten Trennung voneinander und von dem Publikum, das sie sich seit 2011 akribisch aufgebaut hatten, hatten deutlich gemacht, wie wichtig diese symbiotische Beziehung wirklich ist.

Dieses Gefühl der Befreiung durchdringt auch ”Our Roots Run Deep”, das brandneue Live-Album von Kodaline mit 17 Tracks, das am 14. Oktober 2022 bei Fantasy Records erscheint. Produziert von Phillip Magee, einem irischen Weggefährten, bietet ”Our Roots Run Deep” einen Querschnitt der beliebtesten Stücke der Gruppe und drei aufschlussreiche Coverversionen in über 80 Minuten Musik.

”Dieses Album ist etwas, das wir schon sehr lange machen wollten, aber es ist auch etwas völlig Neues für uns”, erklärt die Band. ”Es ist eine akustische Show ohne Klicks, was im Grunde bedeutet, dass es sehr roh und ungefiltert ist. Wir wollten versuchen, die Energie und Atmosphäre des Abends so gut wie möglich einzufangen. Es war eine intime Show, die wir in einem unserer Lieblingsorte auf der Welt aufgenommen haben, in Dublin City, zu Hause in Irland.”

Während 13 YEAR CICADA ihre ersten beiden Alben auf den Punkt geprobt und innerhalb einer Woche aufgenommen haben, erlaubte das dritte Album HAHA GRAVITY einen sanfteren kreativen Prozess, bei dem zwischen Aufnahme, Schreiben und Überdenken hin und her gewechselt wurde. Das Verfassen von Texten und Themen auf dem Album wurde zu einem kollektiven Prozess, der sich um die Umverteilung von Reichtum und den Widerstand gegen die Machtkonzentration dreht. GTA und Klassenkampf, an einem Ort leben und vertrieben werden, die Trickle-Down-Ideologie und die Arbeit in einem Restaurant sind alle miteinander verbunden. Zu Hause zu bleiben und während der Pandemie zu lesen, hat ihnen gut getan. 13YC wollen Teil des großen Kampfes sein. Es gibt kein "Ende der Geschichte" - die Zukunft wird anders aussehen. Das Bestreben, radikale Träume zu verwirklichen, braucht heute phantasievolle, mitreißende Musik. Alle drei Musiker/Innen von 13 YC haben einen Jazz-Hintergrund, dem sie schon früh in ihrer Karriere entkommen sind - nicht, weil sie das Genre nicht lieben, sondern weil es ihnen wichtig erschien, Teil einer weniger elitären und mehr DIY-Szene zu werden (ok, manchmal machen Moshpits auch einfach mehr Spaß als Stühle) . haha gravity" wird ihr drittes Studioalbum sein, das in einer Dreieckskooperation zwischen Gandula, tomatenplatten und Blaublau Records erscheint.

The early ’80s were a fertile time for electronic music, as the explosion of relatively affordable synthesizers and drum machines gave creative musicians a new way to express themselves. For Danny Krivit, DJing at the Roxy and soaking in the sonics of the Paradise Garage, it meant an exciting collision of the worlds of dance music and hip hop. For our latest release, Mr. K has pulled out two of his sureshots from that era and given them a tune-up for today’s sound systems.

“Pleasure Boys” by Visage was released in 1982 and epitomized the new wave crossover sound that would be co-opted and expanded on under the Freestyle banner. While the track was conceived with the vocal taking the lead, that vocal was never heard at the Roxy, Krivit’s focus being the thunderous synth bass break that he’d extend to epic proportions using twin copies of the single. It’s this routine that he’s recreated on our featured edit, a bare bones riff that still sounds enormous on a club system.

For the flip, Krivit goes a little deeper with his edit of “Emotional Disguise” by Peter Godwin. Another cut originally released in 1982, Krivit again ditches the overwrought new wave vocal in favor of the atmospheric synth stylings of the instrumental, which he accurately describes as a standout, “played at the Garage and at the Roxy for the hip hop crowd.”

Energetic, atmospheric, and with huge sonic impact, these edits are appearing on 7-inch for the first time.

Ally is psyched to be releasing The Cakekitchen's dark and powerfully
catchy fourth LP, Stompin Thru The Boneyard, on vinyl for the first time in
the US!
Originally released on CD domestically by Merge Records in 1994, Graeme
Jefferies has remixed and remastered the original album creating a more even
and equally stirring effect. Mac McCaughan (Merge / Superchunk) cites this as
one of his favorite iterations of the band, and for good reason. "Tell Me Why You
Lie" ranks among the best of Jefferies' edgy pop songs, while the multi-part "Hole
in My Shoe" finishes with a sterling instrumental segment. "The Mad Clarinet" is a
highly textured acoustic piece featuring another NZ legend, Alastair Galbraith, on
violin. The album ends with the perfect closer, "Another Sad Story," which is not
just another song, but one of the finest melancholy earworms you'll ever
experience. NZ pop at its finest!

On her sophomore release, 'Something in the Water', dynamic singersongwriter Jennifer Hartswick writes and sings about life, love and music
that inspires the listener to feel deeply
Hartswick spent her formative years on 300 acres of family farmland in her
hometown of Sheffield, Vermont, where the landscape shaped her musical
sensibilities. Its influence can be felt on songs like "By the River," which melds a
sense of down-home perseverance with a nod to New Orleans via the festive horn
section, and "Innocence," which harkens back to her youth.
'Something in the Water' features 8x Grammy Award-winner Christian McBride on
bass, in addition to Hartswick's longtime collaborators Nicholas Cassarino
(producer, guitar, vocals) and Shira Elias (vocals); it will be released through Mack
Avenue Music Group via McBride's Brother Mister Productions label imprint.

In the kitchen of the Byron Bay home of Winston McCall stands a
refrigerator, adorned on one side by a quote from Tom Waits: "I want
beautiful melodies telling me terrible things."This, the PARKWAY DRIVE
vocalist says, is a pretty good summation of himself
It holds true, too, as one of the guiding principles behind Darker Still, the seventh
full- length album to be born of this picturesque and serene corner of northeastern NSW, Australia, and the defining musical statement to date from one of
modern metal's most revered bands.Darker Still, McCall says, is the vision he and
his bandmates – guitarists Jeff Ling and Luke Kilpatrick, bassist Jia O'Connor
and drummer Ben Gordon – have held in their mind's eye since a misfit group of
friends first convened in their parents' basements and backyards in 2003. The
journey to reach this moment has seen Parkway evolve from metal underdogs to
festival- headlining behemoth, off the back of close to 20 gruelling years, six
critically and commercially acclaimed studio albums (all of which achieving Gold
status in their home nation), three documentaries, one live album, and many,
many thousands of shows.
While Darker Still remains irrefutably PARKWAY DRIVE, it finds the band sonically
standing shoulder to shoulder with rock and metal's greats – Metallica, Pantera,
Machine Head, Guns N' Roses – as much as it does their metalcore
contemporaries. "I wanted a classic guitar tone for this record," explains Ling, who
credits much of his inspiration to the connection his riffs have with a crowd in a
live setting.
Emerging from the darkness of the past few years, this is the true face of
PARKWAY DRIVE: redefined and resolute, focused in mind and defiant in spirit.

The 'Privacy Angels' dwell in a liminal zone, a folk magical world sprawling within some remote nodes of the digital universe. An a-chronic plane of contradictions in which the spiritual and the machinic exist in a contrast that, instead of leading to mutual annihilation or subjugation, produces weird forms of life and uncanny forms of beauty. Like flowers sprouting from glitching fluxes of data transmissions, in the corrupted memory of a heavenly landscape. It is the vision of Italian (though London-based) musician and multidisciplinary artist Nicola Tirabasso, channeled through his usual musical avatar VISIO, a dimension he came in contact with while retreating in his native Sibillini Mountains in Marche, central Italy. A type of forced hermitage dictated by the global pandemic and whose idyllic premises were constantly unbalanced and contaminated by the constant presence of the digital world. But again, it is by means of this contrast that art is born. While channeling the magic, the fables and even the superstitions the locals have imbued the region with, Tirabasso developed them into audial spirits of electronic abstraction. A juxtaposition of mystic retreat and information-age alienation that, for some brief, ineffable and baffling moments, seemed to make him able to hear the angels. The album itself is a collection of digitally broken folk songs and logarithmic chants of praise. Acoustic instruments are broken down, replicated and re-materialization, while computer-generated ghosts and synthetic tones are allowed to exist and resonate in ancient spaces. Most of the actual recordings have been in fact made at desecrated XVI church in a town near Montappone, not far from the birth place of XX century painter Osvaldo Licini, whose influence echoes all throughout the region. Licini’s idiosyncratic mix of primitivism, futurism and orphic realism similarly echoes all throughout the record, with VISIO even paying tribute to his painting ‘Angelo Ribelle’ in titling one of the tracks. Collaborations made in person and through file-swaps have traversed the album’s conception and enrich its palette by presenting different versions of reality. Haunter co-founder Daniele Guerrini (Heith) co-produced every track with Tirabasso and gave a fundamental contribution to the album’s final form. Elsewhere, City and Kenichi Iwasa evoke their own privacy angels and let them dance with VISIO’s. Be it, in the depths of the earth or in the dissolution of a digital cloud, it is just as possible to (un)know the divine. Genre: Electronic / Experimental Listen: Track list: 1. Moonchild 2. Extasi Exile 3. Youth Grows Forever 4. Untitled X 5. Blessed Mystery 6. Years Of Silence 7. angelo ribelle

Hailing from Cincinnati, Ohio, Lincoln's music is equal parts pretentious and angsty. One day Sam Means (previously of The Format) tweeted a link to one of Lincoln’s Youtube covers, catching the attention of I Surrender Records. In a moment of sheer enthusiasm, the label couldn’t resist reaching out and signing him. Lincoln released his debut EP A Constant State of Ohio on I Surrender Records in early 2017. The single Saint Bernard is a TikTok smash having been used in over 100k user generated videos. The song went on to stream over 200,000,000 times between YouTube, Spotify, and Apple Music.

HOT REPRESS !!! "Who is t his!?" Whether it's a playlist in a cof fee shop in Brooklyn, a cafe in Par is, or a commercial break on NPR, the answer is likely Menahan Street Band. Their idiosyncratic brand of atmospheric instrumental music has lended its timeless cool to countless events, par ties, et al. Now they're back with yet another two sided head-turner. From the heavy drum fill at the top, to the swirling, psychedelic outro, “Midnight Morning” is a beat-forward track blending trippy synths with lush horns that sonically beckon you to get lost in its euphoric swing. “Steppin Through Shadow” paints a cinematic dreamscape that floats along a surreal plume of hypnotic drum machines, and soft, electric piano. The gentle melody and operatic vocal accompaniment disarm, leaving the listener awash in a sea of aural nirvana.

Limitierte weißfarbige Vinyl-LP-Pressung. Version 2022. Skid Row sind darauf aus, ihren Rasen als Könige des Hard Rock zurückzuerobern und zu verkünden: The Gang's All Here! The Gang's All Here ist ein triumphierender Freudenschwur, voller euphorischer Energie, die uns nach mehr hungern lässt. Es ist der logische Sprung der nächsten Generation des charakteristischen Sounds der Band, der mit Sänger Erik Grönwall (ehemals von H.E.A.T., einem der besten Frontmänner dieser oder einer anderen Hardrock-Ära) neue Wege beschreitet. Produziert von Nick Raskulinecz, langjähriger Fan und gefragter Produzent (Foo Fighters, Rush, Alice In Chains, Halestorm, Evanescence), stehen Skid Row in Flammen. Sie werden wieder mit Energie versorgt, machen genau dort weiter, wo sie uns dazu gebracht haben, mehr zu wollen, und kicken ihren Sound bis hin zu modernen Hardrock-Königen.