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With Dominik Eulberg and Arne Schaffhausen (of EXTRAWELT) we welcome back two longtime Cocoon heroes to the label. The two were featured in a VICE Magazine special last year for a 'field recording' documentary. you-need-to-hear-this/dominik-eulberg-westerwald-extrawelt-zurich-lost-and-found) which marked the beginning of a new collaboration. Dominik and Arne checked their fresh recorded sounds in the studio and found out that there have a common base and musical understanding. They started to work on new tracks and it looks like this joint venture will continue for a longer time. The first results of their mutual work is 'A Little Further' which will be released in three different versions on Cocoon Recordings in the next weeks (COR12117). So let's start with 'Not On A Map' version: This one seems to be tailor made for the next afterhour and the rising sun. Dominik and Arne create the perfect mood for those special moments on the floor with a nice mix of energetic beats, interesting sounds and an emotional bass- and synth-programming. So many layers and different levels however the overall picture never gets overcharged or too demanding. Coming up next is the '37 Routes' version which quite stands out with the used breakbeats and no standard 4/4 kick drum. The synths are more scratchy and louder and the bassline seems to jump out of the speakers, this is a massive wall of sound production. The direction here is clear. However the two incorporated some cool and magic breaks that seem to refer to the deeper Eulberg sound which forms a great mix of two different techno-visions. Last but not least there's the 'Imaginery Escort' version which appears a bit like the dub edit of 'A Little Further".

"Back in print with a brand new 2024 cut by Carl Saff at Saff Mastering, pressed on striking Transparent GOLD colored vinyl and topped off with a collectible “Footlong” OBI. NPR calls “Angherr Shisspa” a “vital reissue of a punk-prog opus”.

Japan's Koenjihyakkei blend progressive rock, jazz fusion, symphonic rock and neoclassicism with the energy of hardcore punk, the volume of metal and the attitude of rock in opposition.

Tatsuya Yoshida’s (of the renowned bass and drum duo RUINS), progressive rock powerhouse is Area and ELP at their most excessive; Deus Ex Machina with tempo changes multiplied by 100; and Magma at their orff-ian choral, fusion jazz, overcharged gospel peak.

“Angherr Shisspa”, the band’s landmark fourth album explodes with glittery keyboard lines, speedy bass/drum workouts, emotive reed respites, and operatic female vocals that take the listener from sheer exuberance to absolute apocalypse... all performed with superhuman technique in confoundingly catchy, complex arrangements.

“...towers over most modern progressive rock because of an attention to detail and an almost overwhelming force of conviction. No irony here: this rocks with the teeth and heart to cut through scenes and the ""overground"" like a knife."" - PITCHFORK"

Over the course of 20 years, German artist Black To Comm (Marc Richter) has pushed the limits of / and merged the aesthetics of art, conceptual installations, and music, coming in a wave of innovation alongside his peers Pita, Fennesz, and later Sarah Davachi to name a few. Through it all Richter as Black to Comm has challenged assumptions, explored identity, and confronted the concept of authorship itself. At Zeenath Parallel Heavens finds Black to Comm contemplating the hybridity within each and every one of us, be it sexual, racial, cultural, or linguistic. Richter mirrors personal dualities musically with a combination of sounds he created and manipulated samples, blurring their boundaries. "I always try to blur the line between sampling and my own recordings, also between "real" instruments,MIDI, electronics, editing, between authenticity and theatrics/artificiality," says Richter. When recording he became aware of how AI text programs processing resembles his own methods. "I had the realization recently that the way I compose is not too dissimilar to what AI software is doing nowadays - especially when the AI is hallucinating (this is the term used when the AI is overloaded/overcharged/inundated and comes up with made-up results)." Human behavior reflected in a computer facsimile of human intelligence appealed to the ethos of Black to Comm, whose titles and concepts are often oblique and tongue-in-cheek.

Over the course of 20 years, German artist Black To Comm (Marc Richter) has pushed the limits of / and merged the aesthetics of art, conceptual installations, and music, coming in a wave of innovation alongside his peers Pita, Fennesz, and later Sarah Davachi to name a few. Through it all Richter as Black to Comm has challenged assumptions, explored identity, and confronted the concept of authorship itself. At Zeenath Parallel Heavens finds Black to Comm contemplating the hybridity within each and every one of us, be it sexual, racial, cultural, or linguistic. Richter mirrors personal dualities musically with a combination of sounds he created and manipulated samples, blurring their boundaries. "I always try to blur the line between sampling and my own recordings, also between "real" instruments,MIDI, electronics, editing, between authenticity and theatrics/artificiality," says Richter. When recording he became aware of how AI text programs processing resembles his own methods. "I had the realization recently that the way I compose is not too dissimilar to what AI software is doing nowadays - especially when the AI is hallucinating (this is the term used when the AI is overloaded/overcharged/inundated and comes up with made-up results)." Human behavior reflected in a computer facsimile of human intelligence appealed to the ethos of Black to Comm, whose titles and concepts are often oblique and tongue-in-cheek.