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Novo Line – aka Berlin's algorave maestro Nat Fowler – delivers a noisy, ultramarine voyage into the depths of his archaic hardware. Clawing at the periphery between leftfield electronics and avant-garde pop, Zeit is an entirely new sonic universe, eerily familiar yet utterly uncharted. A visionary synthesist, Fowler is renowned for his productions that make use of mainly '80s equipment including vintage digital synths, discarded MIDI Hi-Tech, tape delay and even an ancient Atari ST computer. But, despite the aged technology, the result is far from nostalgic.

'Ain't That a Mess' slams in with Monica Kremidi's crooning à la Little Annie Anxiety with reeving car engines and guitar-rock static fed through a pan effect. Multilayered melodies soar on 'Stein', the pounding drums matched by gliding strings, crafting that holy grail of cavernous, booming textures and uplifting euphoria that mark out the most transcendent of rave tracks. The deceptively gentle opening bars of 'Morning Star' are interrupted by a viscously squelching bassline, Cass McCombs' vocals dancing deliciously with the raw beat.

Rejecting contemporary tech-fetishism, Novo Line has a near-supernatural ability to exorcise novel sequences, weaving together a record that speaks to the ghost in the machine.

Dark Red Vinyl. Lambent Material is the debut album by Eluvium , the moniker for composer Matthew Robert Cooper 's sonic experiments and explorations. First released in May of 2003, Lambent Material was immediately recognized as much for its artful simplicity as it was for its deceptive complexity - an album of melodic austerity, alien transmissions, and titanic waves of cathartic noise. Previously only available on vinyl as part of Eluvium 's Life Through Bombardment Vol. 1 box set (a 7xLP collection released in 2008 that has been sold out for well over a decade), Lambent Material - Anniversary Edition finally gets its first standalone vinyl release. Beautifully remastered for vinyl by LUPO at Loop_O Mastering, it is packaged in a full-color jacket and heavyweight inner sleeve with fully restored original artwork.

"Acts of Light" ist eine Fuge, die aus neun langsamen, hypnotischen Klageliedern besteht. Auf ihrem dritten Album lehnen sich Woods' Experimentalismus und Klangforschungen an die Intimität und Zärtlichkeit dieser intuitiven Komposition an. Nach ihren Erkundungen von Gefühlen und Körperlichkeit durch Klang, die in ihrer 2021 erschienenen EP "Feral Hymns" gipfelten, ist "Acts of Light" ein beunruhigendes, persönliches Angebot an Wildnis, Verlust, Abwesenheit, Mysterien und höchste Liebe. Verletzlichkeit, Erhabenheit und Offenheit, hervorgerufen durch Drone, Noise, Synthesizer, Kontrabass, Field Recordings und sakralen Chorgesang, bilden das private Ritual. "Acts of Light" ist ein klangvolles, reichhaltiges und gewichtiges Lamento, das sowohl unterirdisch als auch abgründig ist, während gleichzeitig seine detaillierten Ranken verborgene Formen erwecken, die bei jedem Hören aus dem Schatten hervortreten. Texturaler Staub und gesprenkeltes Licht bewegen sich hier langsam und ausladend durch einen klanglichen und sensorischen Übergangsritus, bei dem Woods' bewegende Kompositionen uns das Gefühl vermitteln, mit dem ganzen Körper empfangen zu werden. Geschrieben, aufgenommen, gemischt und produziert über einen Zeitraum von zwei Jahren zwischen der Westküste Irlands und Dublin, nahm Woods die Chorsänger des Palestrina-Chores in der Pro Cathedral Dublin auf, zusammen mit den Stimmen des Galway City Chamber Choir. Die Streicher wurden von Jo Berger Myhre in Oslo aufgenommen, während die Feldaufnahmen nomadisch auf ihren Reisen durch den Nordwesten Spaniens entstanden.

Standard Sleeve singles & Engraved Wooden Box. Vinyl comes with Download Card & Custom Laser Engraved Wooden Box. Recommend If You Like: Kramer, Jad Fair, Britta Phillips, David Grubbs, Paul Leary, Rob Crow, Danielson, Eerie Wanda. “In 2022, the pandemic seemed to be receding to the point where artists could work together again, literally side by side. So, as a kind of 'follow-up' to my Joyful Noise 2020 Artist-in-Residence box set, I revisited the notion of a limited-edition vinyl box celebrating the joys of collaboration. i thought about it for a good long while, and eventually, it felt good. I then put the idea under a microscope and found that it felt even better when I minimized the project to six 33rpm EP's on 7" vinyl. The borderless landscapes of audio art, tempered by the imaginations of the artists I chose to work with, then cast against the myriad infinities of mysteries betwixt those ageless, spinning rings...those rings that seem to sing, "...listen to us..." Rings of Saturn won't change the world, but the words & music dervishing off these grooves accurately expresses the Love poured into the foundations beneath these Nocturnes (w/ Britta Phillips), Psalms (w/ David Grubbs), Preludes (w/ Eerie Wanda), Elegies (w/ Jad Fair & Danielson), Laments (w/ Paul Leary), and Hymns (w/ Rob Crow). Working with others is my lifeblood. I am nothing without them.” Kramer, 2023.

You don't know yet but you're about to discover one of Europe's unearthed diamonds: this is the shape of the industrial to come, where punk, noise, ebm and rave meet.

Minimalistic but full of detail and big dynamics with songs that take you on a journey, there's not a single second wasted on his first 12"". From energy blasts like ""De Internet se sale"" or ""Disforia"" to the dystopic and dissonant synth pop gem of ""Parking Tanatorio"", through the EBM punk of ""Foto de un Caballo"" or ""Captcha"" which was debuted at Tresor at peak time and made everyone instantly scream their lungs out!

BTW If he's coming to play in your town don't miss it, it's one of the best live shows we have seen the last few years.

'Tema di Susie' is one of the main themes from the soundtrack composed by Alessandro Alessandroni for the 1976 Italian noir Sangue di sbirro, known in English as Blood and Bullets, as well as Knell, Bloody Avenger (the Susie in the original title refers to the female love interest of the film's hero, who is on a mission to seek revenge for the gangland murder of his policeman father).

At once sweet and sentimental, haunting and melancholic, 'Tema di Susie' stands out from the other tracks in the film, which are more action oriented. Like the rest of the score, however, it exemplifies the way in which, during the '70s, Italian film composers created their own version of the sound of American blaxploitation cinema, with its groovy blend of funk, jazz, and soul. It is no coincidence that the film's director, B-movie specialist Alfonso Brescia, specifically requested music in the style of Shaft, the iconic film that defined that sound in 1971.

Though seemingly simple, 'Tema di Susie' is a perfect example of Alessandroni's style – in particular his unique ability to effortlessly blend groove and melody, funk and feeling, into one musical piece. So, we invited different artists with different backgrounds, influences and approaches to bring their individual take on this elegant and now timeless tune.

Neapolitan duo Fratelli Malibu have taken Alessandroni's melodic theme and woven it into a mesmerizing tapestry of rhythmic beats, world percussion and ethereal atmospheres. Drawing inspiration from funk/Afrobeat, synth-pop and Italo-disco, they've conjured a psychedelic-tinged, afro-cosmic groove that's bound to transport you to another dimension.

As the music unfolds, you'll feel like you've stepped into a vibrant, fantasy world. The breaks, outro, and intro are woven with a psychedelic thread that leaves you yearning to return once the final note fades away. And that's not all – they've injected an irresistible pop sensibility into the track with the use of drum machines and synths. The result? A rework that not only amplifies the dreaminess of the original but also seamlessly marries the past with the future.

We love the track so much that we decided to double the fun with a vocal retouch version, courtesy of the Italian funk/soul collective Banda Maje. Their vocalists, Chiara Della Monica and Cristina Cafiero, elegantly infuse cinematic and Balearic vibes into the mix, paying a wonderful homage to Fratelli Malibu's exquisite arrangement.

‘Life And Death - The Five Chandeliers Of The Funereal Exorcisms’ pulls back the veil unto a nocturnal scene populated by shadows, embers burning coldly in the underworld. Marina Zispin is your guide, siren and protector both. Marina Zispin is the negative space between musicians Bianca Scout and Martyn Reid. Love And Death is the duo’s debut release, five chandeliers of melancholic, vibrant synth pop twinkling in the inky blackness. Both originally hailing from the North East of England and forming a musical partnership before lockdown, Bianca Scout and Martyn Reid initially worked remotely. Having relocated to South London and Newcastle respectively, Marina Zispin was born in earnest after the duo could begin writing and practising in the same space. Bianca Scout is a celebrated musician and dancer with a number of solo and collaborative works in her discographywhile Martyn Reid is a mainstay of the UK noise and power electronics scene, most recently with solo project Depletion. Marina Zispin largely eschews both Scout’s deconstructed approach to song and Reid’s focus on visceral, noise- based productions; the result is a new entity, the underground pop star that exists only in darkened dreams. Marina Zispin, then, is an avatar cajoled, nurtured and directed by Scout and Reid. Analogue electronics redolent of the early 80s Cold Wave and Synth Pop era form the base of the Zispin worldview, with Bianca Scout donning the Marina disguise, embodying the character over five songs of swooning drama, playful melodic interplays and tear-stained, doe-eyed sentiment. Flowers In The Sea opens with an austere 4/4 beat and hypnotic synth parts before Scout/Zispin floats in across the lagoon. Scout’s vocal tone is an instant winner, sweet like honey pouring down over the cold, robotic productions and stereo-panned synth work. We can almost see the petals drift into the horizon before being pulled under by the artist’s sadness. Ski Resort bursts out with a Jacno-inspired bassline and backing that could have been buried in a French disco in 1982 (think Stereo or Linear Movement) before Scout’s narrative details frivolousness and regret before a magical shift for the final coda into major key. Backworth Gold Club closes Side A, a mysterious rigid beat and minor chord synth arpeggios swimming in space, floating and obscure. On Side B, Hymn carries the tone on, church-like synths holding down the pattern for Zispin/Scout to float above in a flowing gown of reverb. The marriage of Reid’s cold musical backbone and Scout’s effortless vocal and co- production is in full flow here, the vocals at times rising to the rafters of this nocturnal place of worship, at other points they’re fuzzy samples cutting in and drifting out or sung with an extreme autotune, abstract and perfect in the moment. Surprise Party is the most straightforward pop bullet, Scout/Zispin’s vocal peering out more from the fog, perhaps revealing more than usual: vulnerability, maybe, the wandering muse of the artists behind the veil or just another layer of mystery behind the enigma? Marina Zispin’s Life & Death - The Five Chandeliers Of The Funereal Exorcisms ends as it began, scintillating in obscurity, leaving everything unanswered but open.

The whole of the UK mourned when Chas Hodges passed away in September 2018, and the parade of stars (including Eric Clapton, Joe Brown, Gary Brooker, Ralph McTell and Albert Lee) who performed at the tribute concert in December that year is testament to the regard in which Chas and his musical partner Dave Peacock are held.

Originally released on the duo’s Rockney record label in 1981, the “Mustn’t Grumble” album includes their two biggest hit singles – “Ain’t No Pleasing You” (# 2) and “Rabbit” (# 8) – as well as “I Miss Ya
Girl” and “Turn That Noise Down”.

This special edition has been mastered from the recently-found original ¼” production masters, and now also contains a newly-created inner sleeve. This features all the lyrics, photos, singles packshots and a brand new note by Dave Peacock himself about the writing and recording of the album.

"Die neue Edith Piaf" - so nannten die Menschen Mireille Mathieu, als sie am 21. November 1965 im französischen Fernsehen ihre magische Stimme entdeckten, während sie Piafs Lieder sang. 200 Millionen verkaufte Tonträger weltweit und fast 60 Jahre später präsentiert Mireille Mathieu eine besondere und abwechslungsreiche Neuauflage ihrer sehr erfolgreichen Hommage an die französische Ikone Edith Piaf. Diese neue, remasterte Ausgabe von Piafs zeitlosen Liedern wird auf allen digitalen Plattformen, als Doppel-CD im Digipack und zum ersten Mal auf Double Gatefold Vinyl erhältlich sein. Mit vielen seltenen alternativen Versionen, zwei bisher unveröffentlichten Live-Tracks aus dem Jahr 1965 und einem brandneuen, von Mireille Mathieu selbst komponierten und von Claude Lemesle geschriebenen Tribut-Track mit dem Titel "L'amour en robe noire" ("Liebe im schwarzen Kleid") wird diese Wiederveröffentlichung 2023, die an Edith Piafs sechzigsten Todestag erinnert, sicherlich ein ganz besonderes Highlight sein. Die mit einem großen Orchester aufgenommenen Interpretationen und die einzigartige Stimme von Mireille Mathieu zeugen von ihrer musikalischen Leidenschaft und Bewunderung für Edith Piaf und ihre weltberühmten Melodien. Dieses unverzichtbare Doppelalbum von Mireille Mathieu, einem zeitlosen Star des französischen Chansons, der sein Leben dem Gesang gewidmet hat, ist eine Hommage an die große Edith Piaf, für die Mireille bei ihren Konzerten auf der ganzen Welt immer noch einige ihrer ikonischen Lieder singt.

Hard-hitting, outspoken West Coast metalcore trio MUGSHOT has announced plans to release a new EP, "Cold Will," on November 3rd with their new label Pure Noise Records. The furious 5-track, neck-snapping record is an uninhibited commentary on sociopolitical travesties infecting the country, set to the tone of merciless rage and crushing riffs. Commenting on the EP, the band says: "'Cold Will' is crafted by the pains of life: Abuse, depression, manipulation, trauma, and other existential themes that present themselves as the rudder that directionally steers this record’s “ship.” Lyrical themes are met by and married with the crushing weight of dissonant riffs and frenetic drum patterns that further push the listener into this mental space of this record’s daunting thoughts and overall aggression. The hardcore inspired metal record consists of a frenzy of chaotically heavy riffs, abrupt tempo changes, and pure unbridled anger that all coalesce into one definitive statement. This record serves as the callout to any abusive person that has manipulatively used their power or title to take advantage of another. And to the people who we’ve lost because of these types of actions – this record is dedicated to them. When one’s voice is lost due to the distortions of life – our responsibility should be to amplify their voice and bring awareness to it."

2023 Repress

Reiko Kudo first debuted on the Tokyo underground music scene in 1980 with NOISE, a duo which apart from herself under her then maiden name Reiko Omura on voice, guitar and trumpet featured Tori Kudo on organ. Their only album TENNO (1980 on Engel) is probably one of the most outstanding and uncompromising records of all time.

Like other pioneering female producers from Japan such as NON (of NON BAND), PHEW and HACO, who had all begun their startling careers in the early days of the japanese Punk era, Reiko Kudo can surely be regarded as one of the most unique, uncategorisable and daring voices in the entire field of electronic and experimental music ever.

RICE FIELD SLOWLY RIPING IN THE NIGHT was REIKO KUDO's second album under her own name. It features TORI KUDO (MAHER SHALAL HASH BAZ) and SAYA and TAKASHI UENO (TENNISCOATS) on various instruments. The recordings took place in 2000 at Reiko' s and Tori's house in the rural surroundings of Shikoku island.

All recorded music on this album sounds like it originates in a parallel dimension where time and key signatures simply don't exist, Some might describe this as outsider music, but this doesn't really begin to do justice to the quality of the tracks, there is nothing accidental or forced here, this is simply music created in a very different way. Yet again REIKO KUDO had conceived of something utterly beautiful.

"After producing the album "Souvenir de mauve" with Maher Shalal Hash Baz which we released on our label Majikick, the idea came to us, to release Reiko Kudo's work. For Reiko's work, we brought our recording equipment from Tokyo to Shikoku and recorded the entire album at her house.

The piano was positioned in a room with a high ceiling. We would set up our small recording equipment in the room and started to record. The basic tracks were recorded without any rehearsal and just a few overdubs were added on top of it. To have a distant sound on the recording, Tori played trumpet in the next room. The choir was standing outside the house, singing "Enya-totto, enya-totto" through the open window. It was early spring, I remember that it was still a bit cold and the members of the choir were freezing outside.

Reiko plays only at certain times of the day, so that we were able to complete only two or three recordings a day. Therefore we had plenty of free time. We went to a hot spring, to a cafe, or we tried pottery on a spinning wheel at Tori's workshop. It was a very rewarding time.

When this album was finished, we brought it to her to listen to. She said happily "I think this is the best work I have ever done." We felt that all our efforts were richly rewarded. Secretly, we thought the same, so we are delighted that this album will be re-issued." - Saya and Ueno (Tenniscoats), Tokyo 2018

Originally released on Majikick Records, Japan, 2000 Restauration and mastering by Detlef Funder at Paraschall Mastering, Düsseldorf. Vinylcut at Calyx, Berlin Translation by Miki Yui and Claus Laufenburg. Many thanks to Reiko Kudo, Tori Kudo, Saya and Takashi Ueno, Satoru Higashiseto.

How Cheeky Do You Want It? the Hedzup Crew Have Been Transmitting Crafty-as-Hell Minimal House From Paris to the World for Many a Year Now, and They're Not Letting Up in Their Quest to Inject Some Freaky Fun Into the Club. This Latest Drop Is Another Split From Label Main Men Mancini and Wlad, Leading in With the Former's 'Cure Hater' Which Bounces Into Ear Shot With an Irrepressible Groove and Plenty of Wriggling Noises Snaking Around the Mix. Nu Zau Then Steps Up With a Remix Which Tips the Ingredients Into a Tougher, 90s-Styled Beatdown Without Losing Any of That Heads Down Energy You Expect From a Hedzup Release. Wlad Brings a Shimmering Sophistication to the Chords on 'Lucky Star' Without Losing That Naughty Rhythm Section, Giving Floog Plenty to Work With for a Remix Which Heads Further Into Techy Territory....

Es ist ein Jahrzehnt her, dass wir das letzte Mal von Marnie Stern gehört haben, aber wenn ihre Gitarre auf „The Comeback Kid“, dem Nachfolger von „The Chronicles of Marnia“ (2013), wie ein Sternenstaubregen hereinbricht, ist es, als wäre keine Zeit vergangen. Aber dies ist kein Nostalgietrip. „The Comeback Kid“ ist ein Statement der Absicht. "I can't keep on moving backwards", wiederholt Stern im hymnischen Eröffnungstrack "Plain Speak", während ihre Finger wütend auf das Griffbrett klopfen und der Song wie eine Rakete mit Warp-Geschwindigkeit vorwärts schießt. Stern verlässt auf „The Comeback Kid“ immer wieder ihre gewohnte Umgebung, ohne sich auf die Klopftechnik zu verlassen, die ihr eintausend Eddie Van Halen-Vergleiche einbrachte. "Til It's Over" ist ein so geradliniger "Alternative Rock"-Song, wie Stern ihn je gemacht hat, und es gibt eine Coverversion von Ennio Morricones "Il Girotondo Della Note". „Es war so toll, wieder ich selbst sein zu können, und wenn ich dachte: "Oh, ist das zu schräg? Dann erinnerte ich mich daran, dass ich tun darf, was ich will! Das ist meins. Das bin ich", sagt Stern über das Schreiben von Songs für „The Comeback Kid“. "Ich versuche, mich gegen diesen Schwachsinn zu wehren, der besagt, dass man, wenn man älter wird, seinen Sinn für guten Geschmack verliert. Ich möchte den Leuten Mut machen, nicht so homogen zu sein und ein bisschen gegen den Strom zu schwimmen. Die Freude an der eigenen Individualität ist die Botschaft von „The Comeback Kid“, ebenso wie die Erkenntnis, dass Musik zu machen, die wirklich widerspiegelt, wer man in all seiner Helligkeit und Schrägheit ist, möglicherweise der Schlüssel zum Glück ist. Bei dieser Platte geht es darum, sich selbst zu versichern, dass es beim Glück nicht darum geht, was für Dinge man hat oder wie viele Dinge man hat oder was man nicht hat - es geht um all die guten Dinge, die man tut", sagt Stern.

Es ist ein Jahrzehnt her, dass wir das letzte Mal von Marnie Stern gehört haben, aber wenn ihre Gitarre auf „The Comeback Kid“, dem Nachfolger von „The Chronicles of Marnia“ (2013), wie ein Sternenstaubregen hereinbricht, ist es, als wäre keine Zeit vergangen. Aber dies ist kein Nostalgietrip. „The Comeback Kid“ ist ein Statement der Absicht. "I can't keep on moving backwards", wiederholt Stern im hymnischen Eröffnungstrack "Plain Speak", während ihre Finger wütend auf das Griffbrett klopfen und der Song wie eine Rakete mit Warp-Geschwindigkeit vorwärts schießt. Stern verlässt auf „The Comeback Kid“ immer wieder ihre gewohnte Umgebung, ohne sich auf die Klopftechnik zu verlassen, die ihr eintausend Eddie Van Halen-Vergleiche einbrachte. "Til It's Over" ist ein so geradliniger "Alternative Rock"-Song, wie Stern ihn je gemacht hat, und es gibt eine Coverversion von Ennio Morricones "Il Girotondo Della Note". „Es war so toll, wieder ich selbst sein zu können, und wenn ich dachte: "Oh, ist das zu schräg? Dann erinnerte ich mich daran, dass ich tun darf, was ich will! Das ist meins. Das bin ich", sagt Stern über das Schreiben von Songs für „The Comeback Kid“. "Ich versuche, mich gegen diesen Schwachsinn zu wehren, der besagt, dass man, wenn man älter wird, seinen Sinn für guten Geschmack verliert. Ich möchte den Leuten Mut machen, nicht so homogen zu sein und ein bisschen gegen den Strom zu schwimmen. Die Freude an der eigenen Individualität ist die Botschaft von „The Comeback Kid“, ebenso wie die Erkenntnis, dass Musik zu machen, die wirklich widerspiegelt, wer man in all seiner Helligkeit und Schrägheit ist, möglicherweise der Schlüssel zum Glück ist. Bei dieser Platte geht es darum, sich selbst zu versichern, dass es beim Glück nicht darum geht, was für Dinge man hat oder wie viele Dinge man hat oder was man nicht hat - es geht um all die guten Dinge, die man tut", sagt Stern.

Today we announce The Vinyl Collection, Vol. 2, an 11-LP boxset to follow 2021’s Vol. 1, which includes the remainder of Billy’s catalogue: Glass Houses, The Nylon Curtain, An Innocent Man, The Bridge, Storm Front, River of Dreams. It exclusively features Fantasies & Delusions & Live from Long Island on vinyl for the first time. The boxset includes a 60+ page booklet that highlights the era through photos, quotes, and an essay by Rob Tannenbaum. All albums remastered from original sources at Sterling Sound.

Toy Machine skateboard's seminal 1996 video “Welcome To Hell” features a unique and progressive patchwork of skateboarders, most of which would become icons in their world, and helped redefine
what the modern skateboarding video could be. A young Joseph Shabason felt that impact. The acclaimed musician hit rewind on his VHS copy of “Welcome To Hell” hundreds of times in his youth,
each watch as thrilling as the last. That invigorating, improvisational, full-body experience of skateboarding is one that Shabason likens to jazz, where a shared language exists between the wheels and woodwinds. The way the skateboarder and musician command that language is what distinguishes them, adding definition to the mercurial concept of “style.” This connection becomes most apparent in collaboration; ensembles of skaters and musicians are a noisy, creative bunch.

Reflecting on this relationship and the Toy Machine classic would ultimately lead Shabason to wonder: what does hell sound like? The answer was a concept album that, like his previous records, lives in
the personal. One that, much like skateboarding itself, would push him to try something new: rescoring "Welcome To Hell". Out on October 20th, 2023.

"The Vinyl Collection, Volume 2" vereint Billy Joels monumental erfolgreiche Alben aus dem späteren Teil seiner Karriere: "Glass Houses" (1980), "The Nylon Curtain" (1982), "An Innocent Man" (1983), "The Bridge" (1986) und "Storm Front" (1989), "River of Dreams" (1993). Außerdem gibt es 2 Titel zum ersten Mal auf Vinyl: die Doppel-LP "Fantasies & Delusions" und die 3er-LP "Live from Long Island" aus dem Jahr 1982. Alle Songs stammen von den Original-Album-Mastern, Zudem ist ein über 60-seitiges Booklet mit Billys persönlichen Anmerkungen und einem Essay von Rob Tannenbaum enthalten

Neo Noir Swing! The modern Les Paul from the Dark Side! PO and his band catapult you right into a ball room filled with misfits and goons and smack you with 12 songs including the terrific cover version of Niagara's 80's disco hit L'amour a la plage Pierre Omer was born in London of an Indian father and a Swiss mother. He is a founder member of the legendary Swiss funeral Rock'n'Roll band The Dead Brothers (guitars and accordion). In 2009 he started several solo projects along with Robert Butler (the Shit, the Miracle Workers), Roland Bucher and Christian Aregger (Blind Butcher) in 2013 the Swing Revue was born, along with: Pierre Omer: vocals, guitar Julien Israelian: drums, Géraldine Schenkel: Fender Rhodes, Christoph Gantert: vocals, trumpet, and the one and only Lalla Morte: Sings Fakir and Dances. They played many shows and festivals such as: Binic Folk Blues Festival, Montreux Jazz Festival, Buskers Bern, Festival Les Athénéennes, Pod'Ring Biel, Vinelz, Le Cirque Electric Paris etc. This new album is recorded by the band itself in true DIY-style - Pierre already produced some Voodoo Rhythm Records (mama rosin) in the past - and was mixed in Berlin's Big Snuff Studio with Nene Baratto (movie star junkies, black lips, Heat, Jimi Tenor, King khan, Black Mass Rising. The whole album Stands out with Pierre's amazing song writing skills, the lazy laid back dark vocal and his irritating guitar playing, along with Christop Gantert's devil possessed trumpet playing. The Music of the swing era of the 30's and 40's, combined with a garage spirit and an eye for everything else make for a special album. Classic black vinyl with dlc and printed inlay, CD as gatefold wallet with 12page booklet.

All vinyl comes w/ printed inner sleeve + download card. Genre: Metal. Limited edition Transparent vinyl available exclusively to indie stores. Legendary Tacoma, Washington mathcore/hardcore/metal band Botch’s final EP An Anthology of Dead Ends was originally recorded in 2002, serving as a swan song sending off one of heavy music’s most inventive groups.

Now, the band’s final EP is set to be re-issued on Sargent House over 20 years after its original release. Their monstrous concoction of metal, noise, indie rock guitar trickery, and depth is on full display.

This is a last will and testament to the group's drive and intent, cementing their legacy as one of the untouchable greats, already having influenced many a group. Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time.

Their final show was June 15, 2002, the same day as the original release of An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup.

Over 20 years since they played their final show, Botch are reuniting for select dates across the US throughout the end of 2023. Botch continue their first live performances in over 20 years throughout the end of 2023.

All vinyl comes w/ printed inner sleeve + download card. Genre: Metal. Limited edition Transparent vinyl available exclusively to indie stores. Legendary Tacoma, Washington mathcore/hardcore/metal band Botch’s final EP An Anthology of Dead Ends was originally recorded in 2002, serving as a swan song sending off one of heavy music’s most inventive groups.

Now, the band’s final EP is set to be re-issued on Sargent House over 20 years after its original release. Their monstrous concoction of metal, noise, indie rock guitar trickery, and depth is on full display.

This is a last will and testament to the group's drive and intent, cementing their legacy as one of the untouchable greats, already having influenced many a group. Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time.

Their final show was June 15, 2002, the same day as the original release of An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup.

Over 20 years since they played their final show, Botch are reuniting for select dates across the US throughout the end of 2023. Botch continue their first live performances in over 20 years throughout the end of 2023.

Bad Wolves refuse to follow. Instead, the platinum-certified Los Angeles band — John Boecklin drums, Daniel 'DL' Laskiewicz lead vocals, Doc Coyle [lead guitar, backing vocals] and Kyle Konkiel [bass, backing vocals] — circumvent convention by stretching the boundaries of hard rock with earthquaking heaviness, enigmatic experimentation and enthralling melodies. Bulldozing boundaries is nothing new for the boys and their upcoming album, 'Die About It, maintains that narrative. With a story that emphasises the sarcastic statement pointed towards those defending their own beliefs into absurdity, wrong or right, Bad Wolves believe that if you're gonna cry about it then you might as well Die About It,

Pieces well and truly picked up by a who's who of collectors and selectors, the TD team follow Bobby Snacks' super smash with some seriously synthy slices from good buddies Miserymix.

A collaboration born behind the Piccadilly Records' counter, Miserymix is the dark disco alias of Goth Spice (Kohl AF, dressed in black and armed with nonpliments) and Mushy P (a toothy and goofy Talking Drummer). Based a mere 192 away from Senor Snacks in the thriving metropolis of Levenshulme, this pair of disco delinquents share a penchant for pingers, Prosecco and the lesser known corners of Europe's 80's club sound.

After a mysterious appearance on one of Duca Bianco's brilliant V/As, Miserymix drop their debut EP on Drum Chums, aiming directly for the dance floor.

The Italo-noir of 'Sexy Cowboys' gets the set off to a sleazy start, its seductive synths and strangled guitars riding throbbing bass and leather-clad percussion right into the darkroom, where the yelping vocal echoes over the creak of a swing. Miserymix push the tempo for the pacey disco pump of 'Proverbial S.O.B.', a peak-time stomper dubbed senseless for the perfect tops-off groove. Subtle kalimba, cut up vocals and orchestral hits find every sweet spot atop the one note bassline, while those airy piano chords steer us straight into the sublime.

Kicking off the flip is the uber-anthemic, endorphin-laced and mid-paced dancefloor destroyer 'E Motion'. Our disco duo spend plenty of time on the foreplay, teasing every ounce of ecstasy out of the nuanced perx, rolling bassline and sparkling synths before unleashing some flawless Francophone vocals on the way to a colossal chorus. Smouldering like a Propaganda club mix, this Europop obscurity has been upgraded into an accidental pill tune of perma-gurn proportions - this one is a road-tested dance floor sure shot.

Indulging the afterglow, Miserymix sign off with the superb synth pop of 'Name Game'. Stomping drum machines play host to an insistent bassline and some slinky keys, while the cucumber cool Euro vocal serves cabaret camp and maximum vamp.

Remember folks, the TD crew (drum)rolls deep...

100% Drum Fun Guaranteed!

Well, we're two full months into 2017 and the world continues to burn like an avalanche of flaming biohazard material sliding down a mountain of used needles into a canyon full of rat feces. But hey, it's not all bad: Portugal. The Man has a new album coming out called Woodstock.


PTM's last album came out over three years ago—a long gap for a band who've dropped roughly an album a year since 2006. And in true, prolific band fashion, they've spent almost every minute since 2013 working on an album called Gloomin + Doomin. They created a shit-ton of individual songs, but as a whole, none of them hung together in a way that felt right. Then John Gourley, PTM's lead singer, made a trip home to Wasilla, Alaska, (Home of Portugal. The Man's biggest fan, Sarah Palin) and two things happened that completely changed the album's trajectory.

First, John got some parental tough love from his old man, who called John on the proverbial carpet or dogsled or whatever you put people on when you want to yell at them in Alaska. What's taking so long to finish the album' John's dad said. Isn't that what bands do Write songs and then put them out' Like fathers and unlicensed therapists tend to do, John's dad cut him deep. The whole thing started John thinking about why the band seemed to be stuck on a musical elliptical machine from hell and, more importantly, about how to get off of it.

Second, fate stuck its wiener in John's ear again when he found his dad's ticket stub from the original 1969 Woodstock music festival. It seems like a small thing, but talking to his dad about Woodstock '69 knocked something loose in John's head. He realized that, in the same tradition of bands from that era, Portugal. The Man needed to speak out about the world crumbling around them. With these two ideas converging, the band made a seemingly bat-shit-crazy decision: they took all of the work they had done for the three years prior and they threw it out.

It wasn't easy and there was the constant threat that the band's record label might have them killed, but the totally insane decision paid off. With new, full-on, musical boners, the band went back to the studio—working with John Hill (In The Mountain In The Cloud), Danger Mouse (Evil Friends), Mike D (Everything Cool), and longtime collaborator Casey Bates (The one consistent producer since the first record). In this new-found creative territory, the album that became Woodstock rolled out naturally from there.

Remember that mountain of burning needles we were talking about Good. Because Woodstock is an album (Including the new single Feel It Still') that—with optimism and heart—points at the giant pile and says, Hey, this pile is fucked up!' And if you think that pile is fucked up too, you owe it to yourself—hell, to all of us—to get out there and do something about it.

Run-D.M.C.'s Raising Hell remains the turning point at which hip-hop crashed through mainstream barriers and never left. Anchored by the crossover smash "Walk This Way," the 1986 blockbuster still sounds like a revolution unfolding in real time. It has everything – hard-rock riffs, turntable scratching, itchy rhythms, hit singles – not the least of which are the trio's invigorating raps and inseparable chemistry. And now it's the first rap record afforded audiophile treatment, courtesy of Mobile Fidelity.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, the reissue label's numbered-edition 180g 33RPM SuperVinyl LP elevates Raising Hell to sonic heights on par with its musical and cultural significance. Ranked the 123rd Greatest Album of All Time by Rolling Stone, 43rd on Pitchfork's Greatest Albums of the 1980s, one of the Top 100 Albums of All Time by TIME – and included on "Best of" lists by Spin, Paste, XXL, Entertainment Weekly, and basically every other significant media outlet – the triple-platinum effort rocks the house.

Benefitting from the ultra-low noise floor and groove definition of SuperVinyl, Raising Hell unleashes a torrent of massive dynamics and tsunami of frequency-plumbing details underlined by Rick Rubin's taut, crisp, albeit raw and streetwise production. Just as the Queens-based group both defined what hip-hop could represent – and displayed just how big it could get – Rubin's work melded ear-worm hooks, savvy drum loops, metal-leaning guitars, and, of course, Run and D.M.C.'s cross-fire lyrical interplay into watertight frameworks bursting with ideas, tones, samples, and beats. Heard anew on Mobile Fidelity vinyl, Raising Hell is in every regard the aural equivalent of a direct-to-console 1970s classic. And it sounds as fresh as hell.

As for the music, it ranks among the most influential, inventive, and invigorating ever released – rap or otherwise. Vanguard artists such as Ice-T, Eminem, Jay-Z, and Public Enemy's Chuck D – who declared it his all-time favorite and "the first record that made me realize this was an album-oriented genre" – have testified on behalf of its brilliance. And never mind the presence of the Top 5 single "Walk This Way," whose power helped make Aerosmith's Steven Tyler and Joe Perry relevant for the first time in nearly a decade – and literally put Run-D.M.C. in bedrooms ranging from the Bronx to Bartlett to Bad Axe.

Look instead to the rest of the entirely filler-free set, be it the corkscrew turns, slippery wordplay, and "My Sharona"-meets-"Mickey" mixology of the boisterous "It's Tricky," the fat-but-minimized bass grooves and warped turntable wobble of the hysterical "You Be Illin'," chimes-accented inertia and boombox-on- shoulder thunder of the now-iconic "Peter Piper," or voice-as-percussion attack of the funky "Is It Live." With Raising Hell, the answer to the question is always affirmative – a sensation bolstered by the fact the group always had something to say.

The definition of Golden Age Hip-Hop in every way, Run-D.M.C. avoids the negativity and misogyny that later plagued the style, spinning assertive tales about identity (the biographical and culture-changing "My Adidas"), work ethics ("Perfection"), and, most notably, pride (the Harriet Tubman- and Malcom X.-referencing "Proud to Be Black"). Pavement-packed inner cities, tree-lined suburbs, and cornfield-rimmed rural areas would never again be the same. And rocking a rhyme that's right on time would become trickier than ever.

For the third of Sonic Youth's sound experiment series, they teamed up with legendary nosie-nik Jim O'Rourke. Building on the ideas from the brilliant extended version of "The Diamond Sea" (from WASHING MACHINE); the series explores the (mostly) instrumental side of the band. Though sold as an EP, the three tracks on the CD version of clock in at just over 56 minutes, and can sit quite comfortably with any of SY's best work.

The title track opens the record with over 20 minutes of drenching feedback, saxophone tints, and cut-up television dialogue suggesting the soundtrack to a film-noir set in an industrial wasteland. The comparatively short (at 6 minutes) "Hungara Vivo" is the middle track of this extraordinarily strong trio and is the band's first true "ambient" soundscape: even the master himself, Brian Eno, might be a little envious. The closer, "Radio-Amatoroj," is a 29-minute mediation that structurally recalls "Hyperstation" from the seminal DAYDREAM NATION album. Though this record, and indeed the series to which it belongs, is not aimed at fans of the band's more pop-oriented material, as a whole, it is easily the best work they have done in years. All text written in Esperanto. Eye-fucking cover art.

Following on from the Primal Scream frontman’s brilliantly-received previous release for Ace, ‘Sunday Mornin’ Comin’ Down’ (accolades included being short-listed for Rough Trade’s compilation of the year), Bobby Gillespie brings us another slice of the music that soundtracks his life. And in this case, it’s his touring life. Drawing on the experience of ‘the way that the noise and clamour of the road can tire you out, wear you down and frazzle your nerves to shattered fragments of jangled exhaustion’, these are the records Bobby turns to for solace, for comfort, for empathy and for resourcefulness.

The compilation features an introduction from the man himself, talking us through his personal choices as though he’s sitting cross-legged on the carpet going through records with you in his lounge. Also long-time cohort of the band, Kris Needs has written extensive liner-notes, serving up an intensive track by track insight and analysis.

Titled after and kicking off with the Willie Nelson track of the same name, ‘I Still Can’t Believe You’re Gone’ leads us through a darker and deeper exploration than its predecessor, featuring Nick Cave’s funereal version of ‘By The Time I Get To Phoenix’ and Ry Cooder’s sparse and beautiful reworking of ‘Dark End Of The Street’. And we get there via such greats as Bob Dylan, JJ Cale, Donnie Fritts, Crazy Horse, Lee Hazlewood, Al Green, Thin Lizzy and so many more.

In Bobby’s own words: ‘These songs are soul savers to soothe frayed and battered nerves and to ease and settle the heart. They work on me like medicine every time. I would like to share this wonderful music that has given me strength, joy and inspiration over the years with you the listener, so that you too might get the same feelings of protection and inspiration that I do whenever I listen to these songs. We're all travellers on some kind of road through this life, and we all need respite from time-to-time - the music on this compilation is soul food of the highest order - I hope you enjoy it.’.

Here's 'Originally / I Don't Know About War', a 12” record that takes us way back to the early days of dub music made in France!

Both tracks dropped in 2002 and kicked-off the career a young and versatile Shanti D, produced by the prolific Junior Cony aka Jean-Mi, member of French punk-rock bands Bérurier Noir and Ludwig Von 88.
MPC60s, floppy disks, analogue effects, sequencers, vintage equipment and a DIY way of thinking: in the early 2000s Junior Cony and Shanti D helped lay the foundations of the French dub scene. The duo went on to collaborate on 3 studio albums, maintaining a punk spirit through their anti-war & anti-establishment messages.

Twenty years on, Dubquake Records is paying them a well-deserved tribute with the reissue of these two crucial tracks.


b a2. Originally Dub Mix

[Carbon Mix]

Year of The Knife have announced their new album, No Love Lost, due out October 27th from Pure Noise Records. The album finds Year of The Knife at their most sonically honed with nine lean and vicious songs that clock in at a blistering 20 minutes. Recorded by Kurt Ballou (Nails, The Armed, Code Orange), No Love Lost sounds truly massive, a crushing amalgam of hardcore and death metal influences that demands your attention and stays with you long after its concise runtime. To mark the album's announcement, Year of The Knife have shared two new singles, the 86 second "Wish" and 48 second "Last Laugh," highlighting both the economy of songwriting and the level aggression found on No Love Lost. Both tracks also include guest vocals from some of heavy music's greatest, with the former featuring Devin Swank of Sanguisugabogg and the latter featuring Dylan Walker of Full of Hell. In late June, Year of The Knife were involved in a car accident while on tour. All four members endured serious injuries, especially vocalist Madison Watkins, who suffered many broken bones and a traumatic brain injury. No Love Lost sounds even more urgent and defiant in light of the band's recent circumstances, and profits from the album's sales will be going directly to the members' ongoing recovery efforts.

It may have been 13 years since the last record, but Crime In Stereo are back with the announcement of its forthcoming album House & Trance, set for release on 27th October 2023 on Pure Noise Records. Lead single Hypernormalisation analyses the apathy of people in the face of their imminent demise,"The wildfires gathered themselves together, advancing enough petition signatures to force a vote on rerouting subterranean magma ducts directly into any east/west commuter corridors. Cities of water rushed in from the sea only to circle the neighbourhood for hours, stymied by alternate side parking." House & Trance feels like the natural next step for Crime In Stereo. It was entirely self-produced by the band (outside of it, both Romnes and Cioni are acclaimed and accomplished producers), and flows on so well from their past that it’s almost like the intervening decade and a bit hasn’t happened.

Breaking Teeth (3rd Single / Will have a music video & Reddit AMA) Breaking Teeth is the 3rd of 4 singles from their new album The Fear Of Letting Go. Tyler Tate (vox) describes this track as the heaviest song on the record and sounds simply - "pissed off". "When I wrote the lyrics I was so fed up with the world & my life in general. Set back after set back, problems around every corner. Living should be simpler but the society we live in prevents that. We should all be pissed about it.” Band will do Reddit AMA & MV Visualizer We're All Left Suffereing (2nd Single / With Album announce) 'We're All Left Suffering' is the second of four singles from Michigan based metalcore band Hollow Front's upcoming album 'The Fear Of Letting Go'. The release follows their 2022 album ‘The Price Of Dreaming’ (#9 Current Hard Music Albums, #35 Current Digital Albums, #42 Independent, # 48 Current Rock Albums) which received praise from New Noise “a blistering and bruising experience, evoking myriad emotions and conveying a heady and moving blend of euphoria and despair.” and RockNLoad “Hollow Front has dropped nothing short of a phenomenal album with The Price of Dreaming. While the release doesn’t do anything new, it takes an already established formula and polishes it into a perfect shine. If you’re a fan of any of the modern Metalcore titans, you’ll love this release, hopefully as much as I do. Utterly brilliant.” 'We're All Left Suffering' is the first song the band has released since the announce of Dakota Alvarez's departure (former guitarist/singer) and marks the next chapter in the bands journey. The song will be accompanied by a music video and lined up with the announce of their forthcoming record "The Fear Of Letting Go" (Out October 27th). Lead vocalist states “This track is an anthem for the broken spirited. We live in a world riddled with heartache and constant struggle. Whether mentally, physically, or financially; we area collective of human beings doing our best to survive. I think with everything that’s happened in the world over these last three years, things might seem hopeless. It feels like the whole world has gone mad, and we’re all just here suffering along for the ride. It can be incredibly discouraging being a human in today’s social and economic climate. So I think this song is for those people who are sick of dealing with the bullshit life is throwing at them, and just want to truly breathe for once.”

For 14 years Throat have been the sonic equivalent of forcing a square peg into a round hole; often abrasive, causing utmost irritation at times and on a rare occasion a feverishly pleasant dose of brooding darkness in one's otherwise dull existence. The peg now fits. We Must Leave You sees Throat dropping pegs of all shape and size through the same hole. The last confines of musical genres are behind them, resulting in an album which can be regarded as the easiest listening Throat has ever presented or simultaneously their most difficult and puzzling work to date. Thematically what we have here is a breakup album. Never ones for thinking small, Throat breaks up with the world. Enough is enough. Bring back lockdown. No need for petty social commentary on how the world is burning. Let it burn. Throat is already walking away and it remains to be seen where they end up next. If anywhere. Breakups always require dramatic music and We Must Leave You more than fits the purpose. Throat have already hinted at new directions and new sounds on their previous two albums, but here it all breaks loose. Rooted in the same heavy, dark rock sound as always, but a touch of gothic drama from the 80s has been injected to the band's sonic palette which obviously means a few deeper shades of black. The noise and dissonance remains, but this time it all has been dipped in honey and black grease paint. We Must Leave You was written over a few years time and finally recorded in 2023 at Tonehaven Recording Studio with Tom Brooke and the band's own Amplified Human Audio. Once again, Andrew Schneider mixed the album at Acre Audio and Carl Saff handled mastering duties at Saff Mastering. Photography by Dorota Brzezicka and design by Stefan Alt of Ant-Zen.

Therapy? are an alternative metal band from Northern Ireland. The band was formed in 1989 by original members guitarist-vocalist Andy Cairns and drummer-vocalist Fyfe Ewing and Michael McKeegan. For their fourth album Semi-Detached, which was released in 1998, the line-up included Graham Hopkins and Martin McCarrick as full-time band members while Fyfe Ewing left the band before recording. The album entered several European album charts and features the singles "Church Of Noise" and "Lonely, Cryin' Only" and the final single "Stay Happy".

Semi-Detached is available for the first time as full-length vinyl LP, celebrating its 25th anniversary. The album is pressed on yellow and black marbled vinyl and includes an insert with lyrics.

Bill Seaman is a musician, media artist and media researcher int the field of interactive and generative music (he calls this recombinant music). He has been working on a series of works that combine elements of ambient, noise, experimental, new classical and more. He describes these works as being alt.genre. He has recorded five solo albums (on Eilean Rec. and Fluid Audio) and a numerous of collaborative albums with some music artists such as Craig Tattersall, John Supko, Offthesky, Rutger Zuydervelt, Stephen Vitiello, between others. Seaman has also often created video works to accompany a number of his solo and collaborative pieces. Seaman is self-taught as a musician and composer, and is a Professor in the Music Department at Duke as well as Art, Arth History & Visual Studies.

Since releasing a track on the RND034873349921 compilation on the Pause_2 label in 2001, Tim Diagram has released over thirty-five albums as a solo artist or as part of collaboration projects. he has appeared on many well-respected labels, such as; False Industries, Static Caravan, Nomadic Kids Republic, Fluid Audio, Time Released Sound, Chemical Tapes – to name but a few. Tim runs the Handstitched* label in the UK which specialises in bespoke, handmade packaging for the more electro-acoustic and drone-like elements of his and other artists work, and he is involved in audio-visual commissions, including art gallery installations and music videos for a global clothing brand. As well as Maps and Diagrams, Tim also records music under the Atlantis name and works in collaboration with Genoveva Kachurkova as Bluhm, with Charles Sage as Hessien, alongside Rob Lyon as Somme & with Arbee under the name Emba.

Stephen Spera is a New York based artist working in sound, photography, and plastic arts. His works have been released on some labels such as Handstitched, Tesselate, and Editions Vaché. In 2020 he began a series of collaborations with Bill Seaman, as the two artists admired each other’s work and found much in common. Their work together was graced with an ease which kept them composing an album- “Architectures of Light” -which was released on Britain’s Handstitched label. The project was very well-received. The two stay in touch and kept working, joined now by Tim Martin whose work as Maps and Diagrams was long-admired by Stephen and Bill. They too found instant understanding of each other’s work, and “ The World was turning Before” is the result of their collaboration. The three artists possess an almost uncanny communication that enables them to work whilst still enjoying each other’s individual voice, and this trio has come together so well that, in Spera’s words, “We no longer know who played what…”

See Through You is the highly anticipated 6th album from Post-Punk Legends A Place To Bury Strangers. Outpacing even their own firmly blazed path of audio annihilation, this album repeatedly
delivers the massive walls of chaos and noise that every A Place To Bury Strangers fan craves in spades. See Through You is an explosive journey which explores the listener's limits of mind-bending
madness while simultaneously offering the catchiest batch of songs in the band's discography. It’s a nod of the cap to the art school ethos of the band's origins, while forging a new and clear direction forward. Simply put, See Through You is an epic, instant classic.

Das bahnbrechende Album Spirit Trail von Bruce Hornsby aus dem Jahr 1998 wird dieses Jahr 25 Jahre alt. Im September werden BruceHornsby & The Noisemakers eine Herbsttournee, um diesen Anlass mit einer Spirit Trail:25th Anniversary Edition Box-Set.Spirit Trail 25th Anniversary ist ein 3-Album-Boxset, das das remasterte Album, vier unveröffentlichte Tracks und zehn Live-Songs enthält unveröffentlichte Tracks und zehn Live-Songs.

Unzählige wollten Thomas Rainer aufhalten, ihn stürzen und haben alles getan, um ihn Dreck fressen zu sehen. Sie belächelten ihn für seine Vision, für seinen grenzenlosen Willen, seinen Herrschaftsanspruch erbauen, zu untermauern und zu mehren. Doch das ist Vergangenheit. Längst pflastern sie als besiegte Gegner seinen Weg, hängen als Trophäen an den Wänden seines Hauptquartiers. Er kam, sah, siegte - und führt nun seinen endgültigen Triumphzug durch die Straßen der gefallenen Städte. "Veni Vidi Vici" lautet der Name des Kreuzzugs, mit dem Thomas Rainer Mauern einreißen, Armeen auslöschen und ganze Reiche zu Fall bringen wird. Mit ihm oder gegen ihn - etwas anderes lässt dieser Tanzdiktator nicht gelten. Überlege dir gut, ob du an seiner Seite durch ein Meer aus willigen Gespielinnen und rauschender Sünde waten und dich selbst so fühlen willst wie der berüchtigte Caligula - oder ob du als Verlierer von der Geschichte vergessen werden willst.
NACHTMAHR haben ihre "Kriegserklärung" propagiert - und liefern mit dem gleichnamigen Song nur einen von vielen Beweisen für die Überlegenheit dieses Club-Kolosses. Doch das ist erst der Anfang: "Tradition" wird mit seinem infernalischen Maschinen-Beats gleich hinterhergejagt, "Mütterchen Russland" ist voller marschierender Wucht und russischer Epik, das langsame, wogende "Die letzten Dämme" oder die allumfassende Industrial-Vernichtungswaffe "Hoffnung" als zertrümmernder Schlusspunkt erweisen sich als übermächtige Attacken zeitgemäßer Clubkultur. Geschmierter denn je läuft seine Industrial Infanterie, unter der stolz in die Höhe gereckten Standarte des Austrian Imperial Industrial versammelt der Trümmergeneral ein einschüchterndes Arsenal schwerer Waffen, die jeden Club in seine Einzelteile zerlegen werden und die Konkurrenz aus der Geschichte fegen werden wie eine lästige Fliege.
Die Welt wird brennen. Entzündet an den Überresten der untergegangenen Gegner, spiegelt sich im Widerschein dieses Triumphs der musikalischen und körperlichen Exzesse eine neue Weltordnung des Industrial, ein in Stein gemeißelter Beweis für die Überlegenheit von NACHTMAHR. Dabei ist es bedeutungslos, ob der Herr der übermächtigen Beat-Brigade flirrende Industrial-Exzesse, donnernde EBM-Rammböcke, schleppende Rhythmen oder noisigen Terror in die Schlacht schickt: Das Ende wird stets dasselbe sein, NACHTMAHR werden das Schlachtfeld stets als Sieger verlassen. Den Gegnern schallt es in den Ohren, die Frauen flüstern es andächtig: "Veni vidi vici" - bis in alle Ewigkeit.

Orchestral Manoeuvres In The Dark (OMD) return with their 14th studio album Bauhaus Staircase, over six years after the triumph of their Top 4-charting record The Punishment of Luxury. The album was born from the impetus to kickstart new explorations during lockdown when as Andy McCluskey admits: “I rediscovered the creative power of total boredom.”

The album’s first offering as a single is the title track which serves as a nod both to Andy McCluskey’s love of the Bauhaus era & the power of protest art. “I am a huge lover of visual arts especially mid 20th century movements” Andy comments. “The song is a metaphor for strength and artist passion in the face of criticism and adversity. When times are hard there is a tendency for Governments to look at cutting funding for creativity just at the moment when the arts are most needed to nourish our souls. It seems appropriate that the song and its eponymous album were created during Covid Lockdown.”

Ranging further from the beautiful film noir ballad of ‘Veruschka’ and the dance stylings of ‘Anthropocene’ - a term for the current epoch in Earth’s evolution to the sinister ‘Evolution Of Species’ and the hectic ‘Kleptocracy’ - OMD’s greatest straight-up protest song - the new album is a broad electronic sonic masterpiece that lyrically tackles the topics of the future. The record closes on ‘Healing’ - a moment of reflective calm.

By rights OMD should be in semi-retirement performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead they’ve created a landmark album worthy of their finest work. Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.


“I’m very happy with what we’ve done on this record" McCluskey summarises. “I’m comfortable if this is OMD’s last statement.”

Zum 10. Todestag von Lou Reed veröffentlichen DIE BUBEN IM PELZ ihr neues Album "Verwandler" (Konkord) auf welchem sie sich den Songs von Lou Reed widmen und diese in den Wiener Dialekt übersetzen. Als 2015 das selbstbetitelte Debütalbum (Konkord) von DIE BUBEN IM PELZ erschien, wirbelten sie damit viel Staub auf. Denn die beiden Gründungsmitglieder David Pfister und Christian Fuchs (beide vom Radiosender FM4) wagten etwas Riskantes. Die Buben übersetzten das ikonische Debütalbum von Velvet Underground komplett ins Wienerische. Wechselten die legendäre Andy Warhol-Banane auf dem Cover mit einer Wurst aus - und übertrugen die Atmosphäre des New York von 1967 in das Wien von 2015. Düstere Parallelen wurden ausgelotet. Flirrende Gitarren zum Klingen gebracht. Spirituelle Verwandtschaften mit Lou Reed, John Cale und Nico zelebriert. Die Platte wurde inzwischen zu einem viel beachteten Klassiker der deutschsprachigen, alternativen Popmusik. Für die deutsche Tageszeitung ,Die Zeit" beispielsweise ein Album des Jahres 2015. Ebenso erfuhr das Artwork der LP von Dieter Oitzinger große Aufmerksamkeit. Die Erstauflage auf Vinyl mit einer abziehbaren Wurst statt einer Banane ist inzwischen ein begehrtes Sammlerobjekt. 2017 und 2019 erschienen zwei weitere Platten auf dem Wiener Label Noise Appeal, zuletzt ,Geisterbahn" produziert von Alexander Hacke von den Einstürzenden Neubauten und Alexander Lausch. Neben Pfister und Fuchs bestehen DIE BUBEN IM PELZ auch noch aus dem Bassisten Christof Baumgartner (Black Palms Orchestra), Bernd Supper (Scarabeus Dream), Markus Reiter (Destroyed But Not Defeated) und Gernot Scheithauer (Liger). Brutalität und Zärtlichkeit Zum 10. Todestag von Lou Reed am 27. Oktober veröffentlichen Die Buben Im Pelz ihr neues Album ,Verwandler" (Konkord), auf dem sie sich erneut ausschließlich den Songs von Lou Reed und Velvet Underground widmen. Auch wenn Titel und Artwork auf den Klassiker ,Transformer" von Lou Reed anspielen, übersetzten die Buben dieses Mal kein komplettes Album, sondern eine Auswahl von Reed-Songs mit Blick auf sein gesamtes Schaffen. Und auch dieses Mal zeigt sich: Die Klassiker von Lou Reed, zwischen textlicher Brutalität und Zärtlichkeit, funktionieren auch in unserer seltsamen Zeit perfekt als tröstende Ventile. Egal ob in persönlichster Identitätssuche oder beim großen Blick auf die Welt. Black Vinyl!

Zum 10. Todestag von Lou Reed veröffentlichen DIE BUBEN IM PELZ ihr neues Album "Verwandler" (Konkord) auf welchem sie sich den Songs von Lou Reed widmen und diese in den Wiener Dialekt übersetzen. Als 2015 das selbstbetitelte Debütalbum (Konkord) von DIE BUBEN IM PELZ erschien, wirbelten sie damit viel Staub auf. Denn die beiden Gründungsmitglieder David Pfister und Christian Fuchs (beide vom Radiosender FM4) wagten etwas Riskantes. Die Buben übersetzten das ikonische Debütalbum von Velvet Underground komplett ins Wienerische. Wechselten die legendäre Andy Warhol-Banane auf dem Cover mit einer Wurst aus - und übertrugen die Atmosphäre des New York von 1967 in das Wien von 2015. Düstere Parallelen wurden ausgelotet. Flirrende Gitarren zum Klingen gebracht. Spirituelle Verwandtschaften mit Lou Reed, John Cale und Nico zelebriert. Die Platte wurde inzwischen zu einem viel beachteten Klassiker der deutschsprachigen, alternativen Popmusik. Für die deutsche Tageszeitung ,Die Zeit" beispielsweise ein Album des Jahres 2015. Ebenso erfuhr das Artwork der LP von Dieter Oitzinger große Aufmerksamkeit. Die Erstauflage auf Vinyl mit einer abziehbaren Wurst statt einer Banane ist inzwischen ein begehrtes Sammlerobjekt. 2017 und 2019 erschienen zwei weitere Platten auf dem Wiener Label Noise Appeal, zuletzt ,Geisterbahn" produziert von Alexander Hacke von den Einstürzenden Neubauten und Alexander Lausch. Neben Pfister und Fuchs bestehen DIE BUBEN IM PELZ auch noch aus dem Bassisten Christof Baumgartner (Black Palms Orchestra), Bernd Supper (Scarabeus Dream), Markus Reiter (Destroyed But Not Defeated) und Gernot Scheithauer (Liger). Brutalität und Zärtlichkeit Zum 10. Todestag von Lou Reed am 27. Oktober veröffentlichen Die Buben Im Pelz ihr neues Album ,Verwandler" (Konkord), auf dem sie sich erneut ausschließlich den Songs von Lou Reed und Velvet Underground widmen. Auch wenn Titel und Artwork auf den Klassiker ,Transformer" von Lou Reed anspielen, übersetzten die Buben dieses Mal kein komplettes Album, sondern eine Auswahl von Reed-Songs mit Blick auf sein gesamtes Schaffen. Und auch dieses Mal zeigt sich: Die Klassiker von Lou Reed, zwischen textlicher Brutalität und Zärtlichkeit, funktionieren auch in unserer seltsamen Zeit perfekt als tröstende Ventile. Egal ob in persönlichster Identitätssuche oder beim großen Blick auf die Welt. Black Vinyl!

Sechs Jahre nach Ihrem Debüt und direkt nach ihrer Tournee als Special Guest für Depeche Mode erscheint mit „Navel" das langerwartete zweite HOPE Album auf Haldern Pop Recordings.

NAVEL, das zweite Album der Berliner Band Hope ist eine Übung in Verletzlichkeit. Die vier Musiker*innen wagen sich hinter den Soundwänden hervor, die sie in der Vergangenheit um sich herum errichtet hatten, und zeigen, wie sie hinter den Barrikaden sind: sanft, nah- und fehlbar.
Das hat zum einen mit einer inneren Entwicklung der Sängerin Christine Börsch-Supan zu tun und mit der sich daraus ergebenden neuen musikalischen Richtung der Band. Wo früher Wut und Wucht war, ist heute so etwas wie Ruhe. An die Stelle von Monumentalität ist Meditation getreten. Erzählte das 2017 erschienene HOPE in seinem vollkommen eigenständigen dunklen, dystopischen Noise-Sound von Zwängen, unterdrückten Gefühlen und Gewalt, stellt sich auf NAVEL nun Heilung ein. „Solace“ singt Christine Börsch-Supan mit ihrer genauso klaren wie warmen Stimme im gleichnamigen Song immer wieder: Trost, Trost, Trost.Die Sängerin, auf deren eigener Gefühlswelt die Texte der Band basieren – und damit auch ihr emotionaler Klangraum –, hat sich in den vergangenen Jahren von einer Essstörung befreit und damit von der großen Wut, der anklagenden Haltung und dem Aufbegehren, die die Musik von Hope lange bestimmten. Mit NAVEL hat die Band nun eine Art Zen-Garten errichtet. Einen offenen, auf das Maximale reduzierten, luftigen Raum, der dazu einlädt, ihn zu durchschreiten, der sich aber nicht aufdrängt – und der niemandem eine Deutung aufzwingt. Die Moog-Sounds, die zarten Gitarrenakkorde, das Schlagzeug, oft nur so auf den Fellen der Trommel gespielt, dass ein Sound entsteht, der wirkt wie elektronisch erzeugt – alles auf NAVEL ist durch die Weite bestimmt, die sich zwischen den Elementen auftut. Für NAVEL hat sich die Band von der Idee von Perfektion und Kontrolle verabschiedet und damit – schönstes Paradox – ein nahezu perfektes Stück Musik geschaffen.