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Matador makes his debut appearance on Crosstown Rebels with his absorbing new EP ‘My Yellow Coat’, accompanied a remix from NYC house and techno favourite Levon Vincent.

An outstandingly technical live artist, DJ and producer, Matador, real name Gavin Lynch, has a prolific discography with releases on renowned labels such as Minus, Hot Creations, and Cocoon. A resident at Richie Hawtin’s iconic ENTER series in Ibiza, the past decade has seen the Irish talent tour the globe consistently with performances at some of the world’s most prestigious festivals and clubs, including Awakenings, TimeWarp, and Neopop, while featuring in Resident Advisor’s ‘Tip 20 Live Acts’ on three separate occasions. ‘My Yellow Coat’ marks his first appearance on Damian Lazarus’ Crosstown Rebels, describing the debut as “a result all round” with the imprint featuring as a personal favourite of his over the years.

The EP features two original tracks, ‘My Yellow Coat’ and ‘What You Say Is So’, showcasing a dynamic approach to electronic music with a deep dive into rich beds of emotive and spellbinding tones. Title track ‘My Yellow Coat’ is a slow-blooming and delightfully suspenseful production guided by the track’s charming vocals as soft synth melodies and refined percussion build gracefully across its eight-minute duration. . Novel Sound boss Levon Vincent’s dynamic interpretation of the title cut welcomes a new side to his expansive sound, building on his distinctive sound palette and welcoming a shift towards faster realms.

Extra Muros is an annual itinerant artistic residency initiated in 2017. The third edition was co-organised during the winter 2021-2022 by the FLEE art collective in collaboration with the Music Department of the Museum of Ethnography, Geneva (MEG). Five artists participated in this residency including: Prins Emanuel, Nabihah Iqbal, Jaakko Eino Kalevi, Cosmic Neman, and Maria Spivak.The residency was held at the MEG in two phases. The first part of the residency and encounter represented an opportunity for the artists to explore the museum’s archives, collections, and exhibition spaces. The second phase was dedicated to the composition and production of original musical content in an ephemeral studio set up in the auditorium of the Genevan institution.

In this context, the pieces presented in this album were all conceived during this residency. Having never worked together, the five artists and musicians, each with their own distinct musical path, discovered a variety of sound resources at the Museum. These included eleven traditional instruments from the African continent, Asia and Oceania from the MEG collections, as well as synthetisers, audio effects units, amplifiers and several other vintage emblematic analog electronic devices from the collection of the Swiss Museum and Center for Electronic Music Instruments (SMEM) in Fribourg. In addition, recordings of traditional music from the five continents belonging to the museum’s International Archive of Folk Music (IAFM) were also made available to the artists.

In pairs, the residency’s participants were able to combine their respective creative worlds with the museum’s historical instruments as well as sound archives. This compilation is the result of this rich dialogue.

Introducing a brand new artist on Skep Wax Records, MARLODY releases debut album I’m Not Sure At All. Limited edition white vinyl LP plus digital DL and signed postcard. Marlody’s first album I’m Not Sure At All takes anxiety, weakness, fear - and turns them into strength: powerful melodies, the sweetest harmonies you ever heard, and lyrics that insist on the possibility of hope, without losing sight of the possibility of despair.

Dominated by her extraordinary keyboard playing, Marlody’s songs are illuminated - and sometimes made sinister by occasional bursts of programmed percussion, submarine bass and distant, chiming digital bells. These are deep, darkly beautiful pop songs. When she was a girl, Marlody was one of the higher-achieving classical pianists of her generation, winning competitions and destined for greatness.

She hated it, and threw it all away. In the intervening years, putting more and more distance between herself and her classical origins, she listened to Yo La Tengo and Shellac and a hundred other things that took music to new, untutored extremes. I’m Not Sure At All is the outcome. Marlody’s painful personal journey is not glossed over in the lyrics: Words is about the debilitating effect of psychiatric medication; Malevolence is about the horrible urge to commit inexcusable violence;

Friends in Low Places is a remarkable hymn of solidarity with all those people who’ve contemplated taking their own lives. But the songs are strangely uplifting: they offer up their truths so calmly and are so generously wrapped in harmonies that they feel like gifts. There are great stories here too: Summer takes a child’s point of view, describing the beginnings of new life after the loss of a parent.

Wrong relates the history of an adulterous affair, with a piercing sympathy for the emotional state of the adulterer. There are musical echoes: the infectiousness and daring of some of the vocal melodies might remind you of Kate Bush, the intimacy might remind you of Cate Le Bon, the stabs of anger and pain might remind you of Liz Phair. The keyboard is sometimes as smooth as Fleetwood Mac; other times it’s as raucous and distorted as Quasi. The harmonies are from another place again – you could imagine hearing them in an Unthanks recording. I’m Not Sure At All will be released by Skep Wax on limited edition white vinyl and all digital services.

London Brew is a reimagining of Miles Davis’ legendary album Bitches Brew. Produced by Martin Terefe and Downtown Music UK Limited, the record reflects an emotional journey of the times, having been recorded during the pandemic after many months of isolation and the inability to collaborate in person. Recorded in December 2020 at Church Studios in London, the recording session brings together UK jazz artists, Nubya Garcia, Shabaka Hutchings, Theon Cross, Dave Okumu, Benji B, Tom Skinner and more. Producer Martin Terefe describes, “Sometimes the music is uncomfortable, other times it's familiar and joyous and other times it's like deep meditation.” This album will be a 2-LP set.

Dave Okumu: Guitar

Martin Terefe: Guitar, Electronics

Nubya Garcia: Tenor Sax, Flute

Benji B: Decks, sonic feed and re-cycling

Dan See: Drums, Percussion

Nick Ramm: Piano, Synthesizers

Nikolaj Torp Larsen: Synthesizers, Melodica

Raven Bush: Violin, Electronics

Shabaka Hutchings: Tenor Sax, Clarinet, Flute, Kalimba

Theon Cross: Tuba

Tom Herbert: Electric bass, Double Bass

Tom Skinner: Drums, Percussion

London Brew is a reimagining of Miles Davis’ legendary album Bitches Brew. Produced by Martin Terefe and Downtown Music UK Limited, the record reflects an emotional journey of the times, having been recorded during the pandemic after many months of isolation and the inability to collaborate in person. Recorded in December 2020 at Church Studios in London, the recording session brings together UK jazz artists, Nubya Garcia, Shabaka Hutchings, Theon Cross, Dave Okumu, Benji B, Tom Skinner and more. Producer Martin Terefe describes, “Sometimes the music is uncomfortable, other times it's familiar and joyous and other times it's like deep meditation.” This album will be a 2-LP set.

Dave Okumu: Guitar

Martin Terefe: Guitar, Electronics

Nubya Garcia: Tenor Sax, Flute

Benji B: Decks, sonic feed and re-cycling

Dan See: Drums, Percussion

Nick Ramm: Piano, Synthesizers

Nikolaj Torp Larsen: Synthesizers, Melodica

Raven Bush: Violin, Electronics

Shabaka Hutchings: Tenor Sax, Clarinet, Flute, Kalimba

Theon Cross: Tuba

Tom Herbert: Electric bass, Double Bass

Tom Skinner: Drums, Percussion

Doppelalbum mit den ersten 4 Singles samt B-Seiten sowie der selbstbetitelten, nordamerikanischen Debüt-EP (1983) der legendären, britischen Alternative-Rock-Band The Alarm. Remastered von den Original Tapes unter Aufsicht des Sängers Mike Peters. Ausführliche Sleevenotes mit Beiträgen sämtlicher Bandmitglieder, Original-Artwork und bislang unveröffentlichtem Fotomaterial. Beide Formate wurden jeweils mit unterschiedlichen, exklusiven Bonus-Live- oder Live-Versions ihrer Klassiker erweitert.

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

Tracklist:

Naomi Akimoto - Bewitched (Are You Leaving Soon), Atsuko Nina - Tonkachi, Miho Fujiwara - Heartbeat, Miharu Koshi - Scandal Night, Chu Kosaka - Shirakechimauze, Teresa Noda - Tropical Love, Makoto Matsushita - Business Man Pt. 1, Susan - Ah! Soka, Yukako Hayase - Suiyoubi Madeni Shinitaino, Parachute - Kowloon Daily, Hiroyuki Namba - Tropical Exposition (Who Done It? Version), Pizzicato Five - Boy Meets Girl, Mari Iijima - Love Sick, 1986 Omega Tribe - Cosmic Love, Osamu Shoji - Pub Casablanca, Chiemi Manabe - Untotooku

• Bob Thiele is one of the great producers. For his work with John Coltrane alone, where he gave free reign to the saxophone great's wildest musical visions including “A Love Supreme”, ignoring the usual cost consciousness of a major label, he deserves to be lauded. In addition to this, his eight years at Impulse! saw him recording seminal works by scores of musicians including late-blooming masterpieces by Duke Ellington and Johnny Hodges, and a whole wave of 'new thing' jazzers such as Archie Shepp and Pharoah Sanders. He didn't stop there and when he launched his own label, Flying Dutchman in 1969, he continued to innovate and record music that reflected its times, but that also resonates down through the ages. It is to Flying Dutchman that we are paying tribute on this compilation.

• Gil Scott-Heron's recordings for the label ran to three records, which sold well but not spectacularly at the time. They have since taken on a resonance that makes the album "Pieces Of A Man" in particular one of the most important recordings of the last century, and its opening track 'The Revolution Will Not Be Televised' an anthem. Pianist Lonnie Liston Smith had been on Thiele's final important Impulse! Recording, Pharoah Sanders’ "Karma", and continued to appear on Flying Dutchman, first as a sideman and then as a leader. His 1975 album "Expansions" was the perfect encapsulation of his 'cosmic jazz' and the title track is a moment of near perfection which has become one of the foundation pieces of modern dance music.

• Flying Dutchman's other great discoveries are here. Vocalist Leon Thomas found a new route for jazz vocals in the early 70s, which made him a star and earned him a place in Santana. Gato Barbieri became one of the major saxophone stars of the era, after Thiele enabled him to meld his free jazz leanings to the rhythms of South America. The label also made important recordings with Tom Scott (featured on Thiele's own 'Head Start'), Ornette Coleman and Oliver Nelson, whilst interesting records appeared by Esther Marrow, Harold Alexander and many more.

• This is Flying Dutchman is a considered tribute to the label, and features in depth and fully illustrated sleeve notes. In the year when Bob Thiele's son is gearing up to release the first new music on the label since 1976, it is an apt and timely reminder of the power of the music.

The new album! One of reggae's emerging masters of Reggae / Dancehall & Dubwise production, Alborosie has honed his craft through the creaton of six studio albums (five for Greensleeves). Along the way, he has become the biggest selling European roots reggae artist. His latest album, "Freedom & Fyah" demonstrates his production skill and depth of feel with strong contemporary and authentic reggae jams. All tracks are produced by Alborosie, with most of the songs mixed by the high renown James "Bonzai" Caruso. Featured guests include Ky-Mani Marley on the ballad and first single/video "Life To Me" and Protoje, who have been just voted as best international artist by the Riddim magazine readers, on the track "Strolling" and reggae legends, the Roots Radics band with Flabba Holt on the track "Everything" feat. Pupa Avril. Stand out tracks include "Poser" (which has chalked up already over 1 million YouTube views) and "Rocky Road" which is up to 500K views. "Freedom & Fyah" is availlable as CD-digipak with additional 12-page booklet with printed lyrics and also as LP-vinyl edition.

Melanie Martinez is set to release her new album ‘Portals on March 31st, with the first track off the album, ‘DEATH’ set to release alongside the official music video on March 17th.

Melanie Martinez's creative drive and talents have always distinguished her from other musicians. Her compelling music and visual art have created a rabid global fanbase with over 8.4 million followers on Instagram, 11.4 million subscribers on YouTube, 6.3 billion global streams, and 2.4 billion official YouTube views. After releasing her platinum-certified 2015 debut album, Cry Baby—which reached No. 1 on Billboard's alternative albums chart and has amassed over 3.5 billion streams worldwide —she conceived and directed a video for each song on the album. These mini-movies traced the traumas and insecurities experienced by the album's character, Cry Baby. As of 2020, every song on Cry Baby is RIAA certified Gold or higher, including the 2X Platinum “Dollhouse” and the Platinum “Pity Party,” “Carousel,” “Mad Hatter,” and “Soap.”

Melanie’s sophomore album and film, K-12, is another ambitious triumph with debuts at #3 on the Billboard 200 Chart, #1 on the Billboard Alternative Album Chart, #1 on the Billboard Soundtrack Chart, and a nomination for “Top Soundtrack” at the 2020 Billboard Music Awards. K-12's music is a vibrant and singular melting pot of low-key hip-hop, soulful pop and indie-leaning electro. K-12's universe is an expansion of the one introduced in Cry Baby. Using lyrics rich with metaphor, songs address the struggle to find a place to belong—including within friendships, the physical world and romantically—even when fitting into society feels like an uphill battle. Since releasing her K-12 album last September, Melanie has released 13 new music videos from the project which have now garnered over 100 million views collectively.

Requiem for Jazz is a 12-movement suite composed and arranged by Angel Bat Dawid, inspired in part by dialogue from Edward O. Bland’s 1959 film “The Cry of Jazz.”

The original form of the music was premiered at the 2019 edition of the Hyde Park Jazz Festival in Chicago, where Angel conducted a multigenerational fifteen-piece instrumental ensemble (all Black musicians from Chicago’s creative music community) alongside a four- person choir (featuring singers from Black Monument Ensemble), dancers, and visual artists in performance.

Angel mixed and post-produced recordings from the performance – adding interludes, vocals and additional sounds, as well as transcribing a piece from “The Cry of Jazz” film. The final movement of Requiem for Jazz features Marshall Allen and Knoel Scott of the Sun Ra Arkestra. Their contributions were recorded remotely at the historic Arkestral Institute of Sun Ra in Philadelphia in late 2020.

The final Requiem for Jazz work in album form is an immersive 24-track, double LP experience. The physical package is a deluxe, heavyweight gatefold jacket with liner notes by South African writer Nombuso Mathibela, artwork by Damon Locks, and a large fold out poster designed by Jeremiah Chiu, featuring poetry written by Angel Bat Dawid in dedication to all of her collaborators on the project. Additionally, there is a limited Thy Kingdom Come purple color vinyl edition of Requiem for Jazz available for the first pressing only.

Calisthenics is the first album by Institute for Certified Nomadic Illicit Sonic Practices (ICNISP), the Berlin-based duo of Brazilian musicians Marina Cyrino (flute) and Matthias Koole (el.guitar).

With a mixture of electronic and acoustic sound sources, objects and preparations, inside amplification and no-input mixing, the duo leads guitar and flute towards a common hybrid terrain. Sound perspectives are shifted, instrumental identities are displaced. The piccolo can function as a noise generator and a percussion instrument, the guitar can sound like a bird, the alto flute can be played by an external balloon that moans. Partly inspired by drawings of the Handbook of Calisthenics and Gymnastics: A Complete Drill- book with Music to Accompany the Exercises by J. Watson, first published in 1864, ICNISP came up with a series of musical exercises to stay healthy and fit during the several lockdowns over the past few years. In a playful way, the title Calisthenics also translates an agitation present in many of the duo's energetic playing modes.

On Side A, Calisthenics comprises 7 tracks - or exercises - of different lengths, with a focus on specific instrumental materials or preparations. Side B consists of one track in which a larger form unfurls, with elements of the exercises concatenated into a Full Arch.

No cuts or overdubs.
Marina Cyrino - Amplified Piccolo and Alto Flute.
Matthias Koole - Electric Guitar.
Recorded and mixed by Rabih Beaini at Morphine Raum in Berlin.
Mastered by Paulo Dantas in Rio de Janeiro.
Cover art by Sara Lambranho.

Oh YASS! A GOSPEL inspired album recorded in January 97 with guest MR QUINTRON on Hammond church organ & piano! 5 originals plus 3 covers of OLD gospel traditionals AND a stormin' cover of YOUNG JESSE's "Mary Lou"!

Originally put together by a couple of Belgian Joy Division experts to celebrate the 25th anniversary of the sadly missed Ian Curtis-and the year that the Ian Curtis Movie began to be made. Now the movie is out to much critical acclaim. This album contains extremely rare audio interviews with all members of Joy Division - some of which have never seen the light of day before plus spoken word contribution on one number from Martin Hannett and a rare Martin Hannett interview. The interview sections are interspersed with superb live performances from various venues through the career of the band including rarities from Dutch and Belgian concert performances and a couple of rare alternative studio outtakes. The gatefold sleeve contains lots of Joy Division images and a detailed biographical article on the band.

Darling West decamped for a tiny island on Norway’s west coast to begin writing what was to become Cosmos, their fifth studio album. For the first time, the band’s core – married couple Mari and Tor Egil Kreken – have included band members Thomas Gallatin and Christer Slaaen in the songwriting and production process. As a larger united, Darling West has really evolved. Cosmos is indeed the sound of expansion. West coast, cosmic folk, americana… Call it what you will – there are even hints of afro blues on here – but where the band once fit firmly in the folk/americana category, you might as well just call it pop these days. Cosmos was recorded and produced in its entirety by Darling West. Vocal guests on the album include Matthew Logan Vasquez (Delta Spirit) and Jarle Bernhoft, while David Wallumrød, Lars Horntveth and Torjus Vierli all excel on keys. Finally, the one and only Rob Moose (Paul Simon, Bon Iver, Sufjan Stevens, Phoebe Bridgers) provides strings on “Till Night Turns to Day” and “Old Man”. The listener is also awarded plenty of what we’ve come to love from Darling West: Mari Kreken’s gorgeous voice and Tor Egil Kreken’s incredibly versatile playing (guitar, bass, banjo, etc.) playing. The sum of these parts makes up a magical record, with songs and melodies that will stay on your mind for the unforeseeable future. While many struggled to keep their heads up during the pandemic, the band did their best to contribute positively, and came out on the other side with a growing, dedicated fanbase, due to their incredibly popular “Family Sessions” on Youtube. A recurring concept where they featured a host of friends and other artists, thus creating a community – or family – which is still going strong. The music on Cosmos searches outward, while the lyrics look inward. The resulting record includes elements of pop, while it pushes the envelope for what Norwegian americana can sound like. Cosmos is also about loving yourself, and there are of course a handful of love songs about shaky relationships – as we’ve come to expect from Darling West. The band continues to develop their unique musicianship and Cosmos is indeed another masterstroke from the band.

Amniote editions readies the DCX capsule with two beat oriented releases focused on tripped out atmospheric sounds.

Moloch Horridus debuts with four beautiful cuts of electro belters spanning from straight-in-your-face-no-bullshit stompers to more meditative moods.

DCX-4: Moloch Horridus - Self Guard EP
12” & digital
All tracks written & produced by Tred

Parietal Eye returns in collaboration with Cantil for two versions of Final Destination - explorations of sizzling hi-tek sci-fi soundscapes and turbo-driven drum programming.

DCX-6: Parietal Eye & Cantil - Final Destination
Mesh print & digital
All tracks written & produced by Yuri & Internazionale

The artwork is designed and imagined by Amniote household art director and co-founder Rose Marie Johansen.

Cairo, late 2013. In a city in turmoil, where the curfew had just been lifted after a second coup d'état, where the walls were still covered in dreams and revolt, where even the clubs of the city-centre echoed with anti-Islamist and anti-army slogans, I was deeply touched by the voice of Abdullah Miniawy at the 100Copies music studio, a stone's throw from Tahrir Square. A singer, writer, poet, poetry-slammer and student from the El-Fayoum oasis, this spokesman for Egyptian youth was shaking up the music scene and social networks with his hypnotic voice and unique blend of electro, sufism and jazz music, both punk and psychedelic, secular and avant-garde. Three months later, Abdullah's first on-stage revelations took place at the La Voix est Libre festival in Cairo with the "Jimi Hendrix of oud", Mehdi Haddab, followed by his first meeting with composer and saxophonist Peter Corser at the D-CAF festival (Downtown Contemporary Art Festival), created in the aftermath of the revolution by leading figure in theater Ahmed El-Attar. After three years of administrative battles, while censorship was making a comeback in Egyptian artistic circles, Abdullah finally arrived in Paris where he recorded an initial version of Purple Feathers with Peter Corser, which was broadcast on Soundcloud.

In 2017, gripped from the very first seconds by these soaring vocal and instrumental performances, Erik Truffaz accepted our invitation to become involved with Peter's hypnotic loops and Abdullah's electric vocals, and was soon joined by the visceral strings of cellist Karsten Hochapfel. Five years later, Le Cri du Caire is still turning heads, and often moving audiences to tears. Both free and spiritual, sensitive and elusive, their music elevates the soul to giddy heights and flies towards what may well be one of the shortest paths from zero to infinity.

Over the past 20 years, The New Pornographers have proven themselves one of the most excellent bands in indie rock. The group's ninth album and first for Merge establishes them alongside modern luminaries like Yo La Tengo and Superchunk when it comes to their ability to evolve while still retaining what made them so special in the first place. A dazzling and intriguing collection of songs, "Continue as a Guest" finds bandleader A.C. Newman and his compatriots Neko Case, Kathryn Calder, John Collins, Todd Fancey, and Joe Seiders exploring fresh territory and shattering the barriers of their collective comfort zone. Newman began work on "Continue as a Guest" after the band had finished touring behind 2019's "In the Morse Code of Brake Lights". Themes of isolation and collapse bleed into this album, as Newman tackles the ambivalence of day-to-day life during the COVID-19 pandemic. But Newman says that the album's title track also addresses the concerns that come with being in a band for so long. "The idea of continuing as a guest felt apropos to the times," he explains. "Feeling out of place in culture, in society, being in a band that has been around for so long_not feeling like a part of any zeitgeist, but happy to be separate and living your simple life, your long fade-out. Living in a secluded place in an isolated time, it felt like a positive form of acceptance: find your own little nowhere, find some space to fall apart, continue as a guest." Newman discovered new vocal approaches within his own talent. There are new and rich tones to Newman's voice throughout Continue as a Guest, from his dusky lower register over "Angelcover" to his slippery slide over the glimmering synths of "Firework in the Falling Snow," to bold tones he embraces on the soaring "Bottle Episodes." Another sonic change comes courtesy of saxophonist Zach Djanikian, whose tenor and bass luxuriate all over Continue as a Guest's alluring chassis, especially on the menacing build of "Pontius Pilate's Home Movies." Along with Newman's usual collaborators, several songwriters contribute. The bursting opener and first single "Really Really Light" is a co-write with Dan Bejar (Destroyer, the New Pornographers). Then there's "Firework in the Falling Snow," a collaboration with Sadie Dupuis of Speedy Ortiz and Sad13. Even as Newman embraces a collaborative spirit more than ever, his new album is a testament to his ability to discover new artistic sides of himself. "Continue as a Guest" sounds like a thrilling path forward for The New Pornographers, with songs that generate a contagious feeling of excitement for the future as well.

Ltd. Green & Blue Vinyl

Over the past 20 years, The New Pornographers have proven themselves one of the most excellent bands in indie rock. The group's ninth album and first for Merge establishes them alongside modern luminaries like Yo La Tengo and Superchunk when it comes to their ability to evolve while still retaining what made them so special in the first place. A dazzling and intriguing collection of songs, "Continue as a Guest" finds bandleader A.C. Newman and his compatriots Neko Case, Kathryn Calder, John Collins, Todd Fancey, and Joe Seiders exploring fresh territory and shattering the barriers of their collective comfort zone. Newman began work on "Continue as a Guest" after the band had finished touring behind 2019's "In the Morse Code of Brake Lights". Themes of isolation and collapse bleed into this album, as Newman tackles the ambivalence of day-to-day life during the COVID-19 pandemic. But Newman says that the album's title track also addresses the concerns that come with being in a band for so long. "The idea of continuing as a guest felt apropos to the times," he explains. "Feeling out of place in culture, in society, being in a band that has been around for so long_not feeling like a part of any zeitgeist, but happy to be separate and living your simple life, your long fade-out. Living in a secluded place in an isolated time, it felt like a positive form of acceptance: find your own little nowhere, find some space to fall apart, continue as a guest." Newman discovered new vocal approaches within his own talent. There are new and rich tones to Newman's voice throughout Continue as a Guest, from his dusky lower register over "Angelcover" to his slippery slide over the glimmering synths of "Firework in the Falling Snow," to bold tones he embraces on the soaring "Bottle Episodes." Another sonic change comes courtesy of saxophonist Zach Djanikian, whose tenor and bass luxuriate all over Continue as a Guest's alluring chassis, especially on the menacing build of "Pontius Pilate's Home Movies." Along with Newman's usual collaborators, several songwriters contribute. The bursting opener and first single "Really Really Light" is a co-write with Dan Bejar (Destroyer, the New Pornographers). Then there's "Firework in the Falling Snow," a collaboration with Sadie Dupuis of Speedy Ortiz and Sad13. Even as Newman embraces a collaborative spirit more than ever, his new album is a testament to his ability to discover new artistic sides of himself. "Continue as a Guest" sounds like a thrilling path forward for The New Pornographers, with songs that generate a contagious feeling of excitement for the future as well.

The first thing that grabs you about Altin Gün"s new album is the energy. With Ask, the Amsterdam-based sextet turn away from the electronic, synth-drenched sound of their 2021 albums, Alem and Yol. While those two, created at home during the pandemic, paid homage to the electronic pop of the 80s and early 90s, Ask, marks an exuberant return to the 70s Anatolian folk-rock sound that characterised Altin Gün"s first two albums, On (2018) and Gece (2019). But there"s development here too. Ask is the closest the band have come so far to capturing the infectious energy of their live performances. "It"s definitely connecting more with a live sound - almost like a live album," says bassist Jasper Verhulst. "We, as a band, just going into a rehearsal space together and creating music together instead of demoing at home." "We didn"t record it like we did the last album," agrees vocalist Merve Dasdemir. "We basically produced that one at home because of the pandemic. Now we"ve gone back to recording live on tape." How many more worlds do Altin Gün visit in this joyful expedition? "Rakiya Su Katamam" is glowering space rock as though Gong had taken a stopover on the Bosphorus. "Canim Oy" is a psychedelic freak-beat stomper from a world where Istanbul"s Kadiköy district was the Carnaby Street of the east. "Güzelligin On Para Etmez" is a dreamy acid-folk anthem. And the finale, "Doktor Civanim," is an irresistible slice of sci-fi disco camp with lava-lamp synth squiggles that wouldn"t sound out of place next to Baris Manço"s "Ben Bilirim." Fresh yet timeless. Rooted in antiquity yet yearning for heavenly futures. Ask wants to take you places. All you have to do is strap yourself in

Originally conceived as a standard EP, the remixes of The Human & Assets' original composition Jugem Jugem have proven to be an eclectic array of high-quality tracks, ranging from warm and rounded minimal sounds to rumbling low-end rigidness - and a few classic techno bombs to round things off.

The project turned into a two-disc collection of remixes, each giving the listener a specific and original flavour of electronica. Remix duties were masterfully executed by Japan's own Ko-ta, known by his sly releases on DJ Nobu's Bitta label; rising underground marvel and Edit Select Record's household name Linear System, with his hypnotic syncopations - and to finish the release off in massive style, French heavyweight Moteka (Skryptom) brings his colossal version of the original.

Puscifer setzen ihre Serie von Album-Remixen fort und veröffentlichen "Existential Reckoning: Re-Wired", das am 31. März 2023 über Puscifer Entertainment/Alchemy Recordings/BMG erscheint.

„Existential Reckoning: Re-Wired“ bietet eine Track-by-Track-Neuinterpretation der 12 Songs von „Existential Reckoning“. Die Puscifer-Bandmitglieder Mitchell und Round sowie die aktuellen Tourmusiker Greg Edwards (Failure, Autolux) und Gunnar Olsen interpretieren die Stücke des prophetischen, elektrolastigen Albums neu.

Gwendydd aus Sofia, Bulgarien, erobern die Extrem-Metalszene im Sturm. Die Female-Fronted-Band ist eine der sich am schnellsten entwickelnden Bands in der Szene. Die Band hat bereits ein Album veröffentlicht, das in Fachzeitschriften wie dem Rock Hard oder dem Metal Hammer auf großes Interesse gestoßen ist. Gwendydds zweites Album "Censored" ist der nächste Meilenstein in der Geschichte der Band und ein echter und brutaler Soundtrack verschiedener Realitäten, Hoffnungen und Träumen. Da sich die Welt nach langer Zeit wieder zu öffnen beginnt, wird die Band als Support-Act mit Dark Tranquillity und Ensiferum auf Tour gehen.

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Did you know that miracles happen every day? We don't always see it that way We look at the state of the world and think, "It'll be a miracle if we make it out alive." But miracles are what humans do. We're Earth's most inventive and unpredictable species, when we're allowed to be. Also the most destructive. Miracle-Level is Deerhoof's mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters. Musically, Miracle-Level is vulnerable, brave, and brimming with spicy surprises. Deerhoof's 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg, Manitoba. This is also their first album written entirely in Satomi's native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent.

white marbled vinyl
Jacidorex is back with another album, 'UNFACED01'. This record sees the Belgian DJ/producer pushing the boundaries of the genre even further with his signature brand of dynamic hypnotic acid patterns.

'UNFACED01' begins with a cinematic introduction before opening into a hip-hop track, which then swiftly transitions into electro techno, industrial techno, acid trance tech

Als "Mr. Isaacs" 1977 erstmals als LP-Vinyl erschien, war der Grundstein für die internationale Karriere zum Superstar des Reggae gelegt. Unter der Federführung von Produzent Ossie Hibbert und seinen Musikerkollegen von den Revolutionaries wurde der Interpret Gregory Isaacs zum Markenzeichen im Albumformat! - Mit einigen seiner größten Songs wie "Set The Captives Free", "Slave Master" (im Kultfilm "Rockers" prominent vertreten), "Storm" (der Riddim kommt in über 75 Versionen zum Einsatz), "Smile", "Get Ready" (Reggae-Cover des Rare Earth Hits), kommt der Longplayer dieser Tage als Kevin Metcalfe Remaster als 9-Track Originalalbum in einer Fan-Edition mit Sleeve Notes und bedruckter Innenhülle inklusive großformatiger Fotos.

Among the most important full-length album works from one of reggae’s greatest singers, "Mr. Isaacs" shows the great Gregory Isaacs in the prime of his career in 1976/1977. Better known for his love songs, Isaacs was equally adept at cultural themes. The tracks "Set The Captives Free" and "Slave Master" are among the most popular in his catalogue, the latter immortalized on film in the movie 'Rockers'. The track "Storm" became an early favourite in the dancehall, its rhythm track (aka the Storm riddim) is re-imagined no fewer than 75 times over the last 40 years. Gregory Isaacs love of Rocksteady shines in his cover of the Silvertones’ "Smile", and his soulful side comes through on a cover of The Temptations’ "Get Ready". The breadth of material on "Mr. Isaacs" is the hallmark of a reggae classic!

Further facts and collector's info:
- The album was one of the first titles ever distributed by VP Records, "Mr. Isaacs" reissue coincides with the label’s 40th anniversary celebrations.
- This pressing features the earliest known cover art and producer Ossie Hibbert’s original Earthquake labels, as found on the pre-release edition.
- "Mr. Isaacs (Remastered)" comes with a printed inner sleeve featuring extended liner notes by Harry Hawke plus a great artist photo on the other side

The sound of the classic period of Psychic TV - featuring Peter Christopherson and Geff Rushton (John Balance) of COIL, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary 'Dreams Less Sweet' album of the same year. "Thee First Will To And Testament Ov Psychic TV. All our works remain interconnected, interfaced, and intentional. Thee Process is thee Product". These recordings of a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organised by HÖH and GRAMM Records, to whom, eternal and infernal thanks all ways.

Magna Pia, a.k.a seasoned producer, DJ, and composer Hüseyin Evirgen, announces his second full-length album, ‘QUT’, arriving on Inland’s Counterchange label in March on double vinyl.

After 2 steamrolling EPs of club tracks on the label - now entering its tenth year of action - Magna Pia presents his most complete and advanced body of work to date, weaving a dense narrative of drone, figurative synthesis, bass-heavy electronica, and abstract techno.

Over eight tracks each referencing his rich cultural and musical background, we are treated to a unique overview of a producer at the crest of his art. The word ‘Qut’ is an ancient positive affirmation, in one short word encompassing all that is scared, pure and good. The Old Turkic term meaning not only ‘good fortune’ and ‘joy’, but in shamanic circles, the ‘wonder of the heavens’, permeates the roots of Evirgen’s multi-heritage history.

That Evirgen expresses his interpretation of this central theme through the marriage of bewitching melodies with atonal, experimental and rumbling electronics is a conscious comment on the distortions and mutations of our Modern Era. We now exist in the digital age of the Technosphere for better or worse, and must seek beauty where-ever possible.

The opening ‘Prologue’ invites the listener into a futuristic yet organic sound world, where lush stereo processing goes hand in hand with rumbling bass and subtly detuned drone languages. From the echoes of traditional Uyghur folk music, translated via synthesizers into a glistening slow-diving opus (‘Qizil’), to churning dub-techno adorned with a symphony of evolving sine-waves (‘Venus M’), Evirgen then deploys ‘X’ - a haunting experimental piece composed predominantly with his voice and electronic processing.

The interweaving synth lines of ‘Gudanna’ pierce the fog with a radiant and transcendent club-techno bounce before the ode to the ancient Bronze Age goddess ‘Astarte’ unfolds its snare-driven broken-beat formations. The title track ‘Qut’ embodies by far the heaviest club track of the album, in a deadly, stripped-back moment of future-techno hypnotism. Dancing flames of purple-tongued synthesis are held (just) in line by a wonderfully tough throb of drums.

With his ‘Epilogue’, Magna Pia allows the spectral ideas and concepts laid out across the LP to connect and travel full circle, confirming our suspicions that this could be one of the most coherent and exciting works to emerge in the brave new field of introspective, and sensitive techno-electronic language.

The Bluebeaters landmark debut album from 1999 receives a first-ever vinyl release. Featuring band's hits like Cher's "Believe" or Black's "Wonderful Life" all cooked in a strictly mid 60s Jamaican Blue Beat & Rock Steady style. Gatefold 2LP clear vinyl with printed inserts, limited to 500 copies, instant collector's item.

Record Kicks in collaboration with Universal Music Italy presents the release of The Bluebeaters seminal debut LP "The Album" for the first time ever on wax on a limited edition clear vinyl double LP on March 31. Way before the vinyl comeback of the 2010s, "The Album" was released in 1999 on CD and on two limited edition promo 12"s that are now very in-demand in the scene on V2 Records. "The Album" marked a generation of Soul, Rock Steady and Reggae fans in Italy selling over 40.000 physical copies and now 24 years after its original release, it gets published on full vinyl.

Fronted by "The King" Giuliano Palma on vocals backed with members of cult Italian bands of the 90s such as "Casino Royale", "Africa Unite" and "Fratelli di Soledad", The Bluebeaters' analog recordings finally find the vinyl format they deserve. On the album's track list you can find Jamaican music classics such as "World's Fair" from the Skatalites, Joe Higgs' "There's a Reward" or Bob Marley's "Coming In From The Cold" mixed with hits such as Cher's "Believe", Black's "Wonderful Life" or even 1978 "See You Tonite" by Gene Simmons from The Kiss that perfectly sound as if they were recorded by Clement "Coxsone" Dodd at Studio1 in Kingston in 1966.

The Bluebeaters are not newcomers on Record Kicks, the Milan label released their "Everybody Knows" album in 2015. Top Italian musicians in love with vintage Jamaican ska and reggae and blessed by Ken Booth, during the last 25 years of their career they headlined festivals like Rototom Sunsplash and International Ska Fest in London. Among their fans, they count the likes of Gaz Mayall, David Rodigan and the legendary late lamented Lloyd Knibb (The Skatalites).

The reissue of The BB's "The Album" is part of Record Kicks' 2023 initiatives to celebrate its 20th anniversary. Side by side with similar imprints like Daptone, Big Crown, Colemine or Timmion Records, under its motto "The explosive sound from Today's scene", Milan-based record label and music publishing Record Kicks, has been pitching the contemporary funk & soul scene since 2003. With over 250 physical releases under the belt, the label has released bands from all over the globe and earned support of VIP fans such as rap superstars Jay-Z, Tyler The Creator and Dr. Dre, who sampled the label's catalogue.

marbled vinyl in 3 different colours

Four years on from the release of Astral Projection, ASC's last LP for Horo, a re-listen reveals a body of work that still sounds prescient and current, mapping out a simmering landscape that stood proudly on it's own in the crowded world of electronica.

Hiding in Plain Sight takes the musical baton left by Astral Projection and expands the environment. The two opening tracks (No Mask, A Whisper In Your Ghost) are sumptuous palette cleansers that paint the walls with bliss. As we continue on, mesmerising waves of melancholy wash over Grey Area themed constructions, sometimes jagged (No Mask, Dying Star, Centrifuge, Galaxies), other times propulsive (Dreadnought, Surface Encounters). Pensive, frozen constructions that come off as soundtracks to movies only James has seen pepper the LP (Overscan, Dying Star, Mirrored Sequence) while the centrepiece of the LP soars unbound over stuttered, sculpted breaks (Orbiting Neptune).

ASC's great gift is his ability to create worlds of music that are densely layered and complex and yet project a sense of perfect effortlessness while they assimilate into your psyche.

Hiding In Plain Sight is not so much a journey, as a destination. A rich, full bodied alien planet intricately designed to envelop your senses.

Public Image Ltd. (PiL) will release Hawaii on 7” limited edition vinyl on 31st March. The release follows an incredibly brave and well received performance on The Late Late Show Eurovision Special on Friday 3rd February, in which John Lydon’s heartfelt emotions were visibly on show.

The track is the most personal piece of songwriting and accompanying artwork that Lydon has ever shared. The song is a love letter to John's wife of nearly 5 decades, Nora, who is living with Alzheimer’s. A pensive, personal yet universal love song that will resonate with many, the song sees John reflecting on their lifetime well spent and in particular one of their happiest moments together in Hawaii. The powerfully emotional ballad is as close as John will ever come to bearing his soul. “It is dedicated to everyone going through tough times on the journey of life, with the person they care for the most,” John says. “It’s also a message of hope that ultimately love conquers all.” Celebrating their 40-year anniversary in 2018, Public Image Ltd. haven’t been going quite as long as John and Nora, however, the band is widely regarded as one of the most innovative and influential bands of all time.

PiL’s music and vision has earned them 5 UK Top 20 singles and 5 UK Top 20 albums. With a shifting line-up and unique sound - fusing rock, dance, folk, pop and dub – Lydon guided the band from their debut album First Issue in 1978 through to 1992’s That What Is Not, before a 17 year hiatus. Lydon reactivated PiL in 2009, touring extensively worldwide and releasing two critically acclaimed albums This is PiL in 2012 followed by their 10th studio album What The World Needs Now… in 2015, which peaked at number 29 in the official UK album charts and picked up fantastic acclaim from both press and public. (The album also peaked at number 3 in the official UK indie charts and number 4 in the official UK vinyl charts). What The World Needs Now… was self-funded by PiL and released on their own label ‘PiL Official’ via Cargo UK Distribution. John Lydon, Lu Edmonds, Scott Firth and Bruce Smith continue as PiL. They are the longest stable line-up in the band's history and continue to challenge and thrive. PiL will be releasing their new album ‘End Of World’ this year. Details to be announced soon…

“Uncharacteristically soul-bearing” - Pitchfork

“a swooning, poignant ballad awash with memories of happier times… He’s remarkably tender as he croons: “Don’t fly too soon / No need to cry, in pain / You are loved.” It’s the vulnerability that is most striking. Lydon’s love for his wife shines through like sunrays breaking through clouds, casting everything in a golden light: “I remember you,” he reassures her. He’s backed by harmonising chants of “aloha”, the Hawaiin term that is both a greeting and a farewell. It’s a message from the heart, overflowing with spirit and compassion. What better word for what Lydon is trying to convey here?” - The Independent

“a beautiful and rueful ballad written by 66-year-old Lydon to his wife Nora, who suffers from Alzheimer’s. It’s a peach of a track: both pensive and personal, it reflects on one of their happiest times together in Hawaii. “Remember me/ I remember you… You are loved,” not-so-Rotten sings over a lush soundscape of gently twanging guitars vaguely reminiscent of Fleetwood Mac’s Albatross.” - Telegraph

Critically-acclaimed, criminally-overachieving Glasgow-based singer and guitarist Alasdair Roberts is known as a superlative original songwriter as well as an interpreter of traditional songs from Scotland and beyond. For the past twenty years, his recordings have alternated between these two complimentary poles, with "pop" records such as The Amber Gatherers and A Wonder Working Stone nestling in his expansive back catalogue alongside "folk" albums such as No Earthly Man and What News (with Amble Skuse and David McGuinness). Additionally, all of these records possess a further dimension, derived from their collation of songs together into one album-length statement. This is part of Alasdair"s great achievement in his career - for him, this thing of music and song hasn"t come the eons it"s travelled to simply entertain. These impulses fully present and well honed, Alasdair returns to his roots with Grief in the Kitchen and Mirth in the Hall, his fifth full-length collection of traditional song. Recorded live in the studio, it is an entirely solo collection of twelve traditional ballads and songs sparsely arranged for acoustic guitar, piano and voice. The majority of the songs originate in Alasdair"s homeland of Scotland, with a couple from Ireland and one from Prince Edward Island on Canada"s eastern seaboard too. The record takes its title from a line in the final verse of one of its songs, "The Baron o" Brackley" - a ballad of feuding clans and matrimonial betrayal from the north-east of Scotland. Grief in the Kitchen and Mirth in the Hall: it"s a title which goes some way towards encapsulating many of the record"s themes. Collectively the songs treat of various conflicts and tensions - those of gender; of class, status and position; and of geography and tribal belonging - and the roles and responsibilities expected at the various intersections of these constructs. That we should never forget! As with many of Alasdair"s recordings, Grief in the Kitchen and Mirth in the Hall contains ballads aplenty: tragic ("Bob Norris"), supernatural ("The Holland Handkerchief") and dramatic ("Eppie Morrie"). There are love songs ("The Lichtbob"s Lassie") and anti-love songs ("Kilbogie"). There are rare, seldom-heard pieces ("Young Airly") and much more well-known ones ("Mary Mild," a version of "The Queen"s Four Maries"). Woven through all of this - a thread of levity, perhaps - is a triptych of zoological allegories - a panegyric to a mystical steed ("The Wonderful Grey Horse"), a lament for a lost cow ("Drimindown") and a paean to a regal waterbird ("The Bonny Moorhen"), which serves to highlight the intersection of the mythic, the eternal and the mundane at which we all find ourselves in every day of our life on Earth. Grief In the Kitchen and Mirth in the Hall was masterfully recorded by Sam Smith at Green Door Studios, Glasgow over an economical two days, and mixed in one day. Its brevity on all levels is an aspect of its expression. Alasdair"s renowned acoustic fingerstyle guitar is understated yet questing, ever in service to the needs of the song, underpinning his soulful tenor voice. Three songs eschew his habitual acoustic guitar in favour of simple piano arrangements. The spare setting and Alasdair"s deeply committed performance gently reminds of the meanings and melodies of these old songs, chosen instinctively and with care, for all to hear and sing in 2023, and the world beyond that is ever coming.

French electronic producer Blutch is back with another supremely trippy EP “Condate” on home label Astropolis Records, featuring a remix from Azo.

This Brittany native has a broad, borderless sound that mixes up electronica, breakbeat, house and IDM with stirring emotional undercurrents that range from nostalgia to melancholy. Last year he served up his superb ‘Terre Promise’ album on the label, and once again, it combined a raft of different sounds on one majestic record. He again shows off his ability to layer captivating melodies over compelling rhythms on this fresh new EP which extends his LP released last year with a more dancefloor suite. "Condate" is the original name of the city of Rennes in Brittany, France, where he lives. A city he loves passionately. The tracks featured in this EP are mainly taken from his live act "Terre Promise". The cover artwork also comes from the audiovisual live act: a motion design work made by Romain Navier, mixing landscapes from Brittany and hallucinated 3D creations, dressing Blutch's stage with a fabulous work around the album's theme. These tracks represent the more festive part of the live show, just as Blutch's love for Rennes is also linked to its festive character.

First single ‘Condate’ is a physical cut driven by a slick breakbeat. Melodic rain falls down the face of the track as booming bass roots you to the dance floor, and once again, the whole track is doused in heavenly synth work and subtle waves of euphoria.

‘Condate’ is a perfectly impactful EP, both physically and emotionally. The EP drops on the 24th March (vinyl/digital).

Nach der Veröffentlichung der 2CD-Version des Albums Moonage Daydream im letzten Jahr, wird der Soundtrack nun am 31. März als 3LP Vinyl veröffentlicht.

"Moonage Daydream" beleuchtet das Leben und Genie von David Bowie, einem der produktivsten und einflussreichsten Künstler der jüngeren Musikgeschichte.
Auf Spielfilmlänge nimmt uns Brett Morgen mit in die Welt Bowies, erforscht anhand von großartigem, vielfältigem und nie zuvor gesehenem Filmmaterial, Live-Auftritten und Musik (Morgen sichtete vier Jahre die Archive des David Bowie Estates) seine kreative, musikalische und spirituelle Reise.
Durch den Film führt uns dabei die Erzählerstimme von David Bowie selbst.
Das Begleitalbum zu "Moonage Dream" enthält Songs aus Bowies gesamter Karriere, darunter bisher ungehörtes Material, speziell für den Film und dieses Album angefertigte Mixe und Gesprächspassagen Bowies.

Zu den Highlights des Tracklistings zählen ein bisher unveröffentlichtes Live-Medley von "The Jean Genie / Love Me Do / The Jean Genie", aufgenommen beim berühmt-berüchtigten letzten Ziggy-Stardust-Konzert im Londoner Hammersmith Odeon 1973 und mit Jeff Beck an der Gitarre. Weitere Raritäten sind eine frühe Version
des Hunky-Dory-Favoriten "Quicksand" und eine bisher unveröffentlichte Live-Version von "Rock 'n' Roll With Me", mitgeschnitten bei der legendären "Soul Tour" 1974.

Meshuggah wurden 1987 im schwedischen Umeå gegründet, vom legendären Rolling Stone-Magazin bereits als "eine der zehn wichtigsten Hard- und HeavyBands" bezeichnet, und haben sich den Respekt und die Bewunderung von Fans und Musikern gleichermaßen
verdient.

Es ist unmöglich, über Experimental- oder Avantgarde-Metal zu sprechen, ohne diesen wirklich bahnbrechenden Act zu erwähnen: MESHUGGAH mischen ultra-komplizierte rhythmische Muster mit
massiven Riffs und aggressiven Growls und kombinieren
Death Metal, Mathcore, Thrash und Progressive Metal, um ihren einzigartigen Stil zu kreieren.

Das Jahr 2023 markiert nun das 15-jährige Jubiläum des Meilensteins der Band: "ObZen"

Endlich auch auf Vinyl erhältlich: das neue Album der amerikanischen Progressive Metal-Sensation.

Keinem anderen Metal-Act gelingt auf so meisterhafte Weise das Beherrschen von Melodien sowie die einzigartig faszinierende Verschmelzung mit Hip-Hop-Rhythmen und düsteren Sounds - und das, ohne sich der Krücke von Mitsing-tauglichen Hooks bedienen
zu müssen. Das nun vierte Studioalbum der Band "Remember That You Will Die" enthält Kollaborationen mit $not, Chino Moreno (Deftones), Brasstracks, Steve Vai und Produktionen von den Gitarristen Tim Henson & Scott LePage sowie Beiträgen von Rodney Jerkins (Michael Jackson, Destiny's Child, Lady Gaga), JUDGE (Migos & Marshmello, blackbear, Young Thug) und vielen weiteren Hochkarätern.

We are very pleased here at RE:WARM Records to announce our first release of 2023 and our first full artist album from none other than David Kitt as he brings us his first album since July 2021. The Genre-bending Irish musician and producer has announced his ninth studio album ‘Idiot Check’ to be released on 31 March 2023 via RE:WARM. A unique and sincere songwriter with an expert ability to meld inspirations, eras and sounds, Kitt’s music glimmers with a sense of timelessness well-earned after over twenty years immersed in music.

Produced and recorded by Kitt himself using his “Breaking Bad mobile studio set-up”, the album was written between 2016 and 2022 in Dublin, Paris and eventually the remote town of Ballinskelligs in south-west Kerry, where the artist moved during the pandemic and has stayed ever since. Blending acoustic and electronic elements with expert precision, the record showcases both the diverse circumstances of its inception and Kitt’s personal breadth as a songwriter and producer. From the fuzzy, lo-fi “Wishing Well” fluttering with a gentle sense of magnetism, to the infectious and upbeat “Not So Soon”, and jovial, traditional folk cut “Balances”, “Idiot Check” is an evergreen album as experimental as it is ageless.

Steve Gunn and David Moore’s Let the Moon be a Planet is a volume of improvisatory exchanges between classical guitar and piano, and a meeting place where two artists become acquainted through instrumental dialogue without a single expectation distracting them from the joy and open field possibility of collaboration.
A project enveloped by an aura of reciprocity, Let the Moon Be a Planet unfolded from an invitation to connect between two New York-based musicians who admired each other’s work but had never intersected: guitarist and songwriter Steve Gunn, whose solo, duo, and ensemble recordings represent milestones of contemporary guitar- guided material, and pianist and composer David Moore, acclaimed for his minimalist ensemble music as the leader of Bing & Ruth.
The exchange began remotely as Gunn and Moore responded to one another’s solo improvisations, embarking on a synergistic progression of deep listening and connection through musical conversation. “We were both fans of each other’s music and this was a chance to try a different process which was much more open,” says Moore. “It felt like something I needed personally as an artist, to not be so controlling over the final output, and to truly collaborate with somebody else.”
Similarly for Gunn, who was exploring new pastures and passages in classical guitar when the dialogue began, the project was an invitation for pure conversation and exchange, creating space for him to revisit foundational forms with his playing: “I was trying to break out of what I was doing, to have something that just pulled away all the elements of usual structured things.”
Let the Moon Be a Planet intertwines the trajectories of two musicians acclaimed for pushing the boundaries of their instruments, unified by a shift away from what they recall as more “detail- oriented” approaches to composition. Fueled by the magnetism of their call and response exercise, Gunn and Moore set out on a nomadic songwriting venture without an intended destination.
“We didn’t know it was going to be an album,” Gunn explains. “There was never pressure on us to complete or make something. It was interesting to start realizing that this could be an album and to take a step back... to arrive at a project after the fact.”