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*Text by Philip Sherburne: In the beginning, there was just a box of tapes and “Fate’s Gentle Hand.”

It was the autumn of 2010, and an anonymous figure known only as the Head Technician, an employee of Pye Corner Audio Transcription Services (“Magnetically aligning ferrous particles since 1970”), found himself at an auction in the village of Coldred, pop. 110. He was on the hunt for tobacco pipes when he chanced across a trio of boxes listed in the auction catalog, which described their contents only as “archived magnetic recordings.” The sole bidder, he won the lot, and upon receipt of his purchase took possession of an unspecified number of mouldering cassettes and ¼" reel-to-reel tapes. The collection contained no identifying information save for a single phrase scrawled on each box: “Black Mill Sessions.” And so, armed with razors, eyedroppers, and a bevy of solid-state circuitry, the Head Technician sat down at his machines and got to work

English jazz-funk band Level 42 released their tenth studio album Forever Now in 1994. While Forever Now marked the return of original drummer Phil Gould, it was the last album before the band’s breakup. Featuring the popular singles “Forever Now”, “All Over You”, and “Love In a Peaceful World”, the album was a commercial success. It reached #8 on the UK album charts. Music critics were also generally favourable, calling it the band’s “best album since the mid-80s heyday of World Machine and Running in the Family”.

As the 21st century was born, so Kreator underwent what was nothing less than a seismic creative rebirth. By this time, the iconic German band had released nine studio albums in the 1980s and '90s, which had established them as one of the most important metal names of these decades.In the first period, they had helped to shape and pioneer the thrash scene through such releases as 'Pleasure To Kill' (1986), 'Terrible Certainty' ('87) and 'Extreme Aggression' ('89). During the following decade, the band had opened up exciting horizons of experimentation on albums like 'Coma Of Souls' (1990), 'Renewal' ('92) and 'Endorama' ('99).
Now, though, it was time to move into a fresh era, as vocalist/guitarist Mille Petrozza explains.
“During the 1990s, we were definitely experimenting with what the band were doing. But (drummer) Ventor and I decided that for this album – our first of the new millennium – we wanted to go back to the sort of sound that we had at the start of Kreator. In other words, to get back to the reason why we began the band in the first place.”

There was also new guitarist introduced, as Sami Yli-Sirniö (who had made his reputation with Finnish band Waltari) took over from Tommy Vetterli. The latter (also known as Tommy T. Baron) had joined in 1996 and played on the 'Oucast' (1997) and 'Endorama' albums.

The producer for this album was Andy Sneap, who was now making a name for himself as one of the pre-eminent masters of this art in the modern metal world.“I had known and liked Andy since the days he had been the guitarist in Sabbat, as they were signed to Noise Records as Kreator were on that label. He was our first choice to work on this new project. I liked what he'd done for Testament on their album 'The Gathering' (released in 1999). He had given them a sound they'd never had before, and that really was what we were after. It was natural and organic, and also very modern. I remember phoning him at his Backstage Studios in England (Ripley in Derbyshire). And Warrel Dane, the vocalist in Nevermore, answered. Andy was producing their new album at the time ('Dead Heart In A Dead World', 2000). And when I heard this, again I was very impressed. So, I was delighted when he agreed to produce the new Kreator album.”

The album title came from something Petrozza had read. “In a book I came across a comment that John F. Kennedy said (in 1962). This was: "Those who make peaceful revolution impossible will make violent revolution inevitable”. I thought 'Violent Revolution' would make a good title for an album. So, I kept it in my mind for this record. I think 'Violent Revolution' is a title that makes a real impact.”

One interesting aspect of the track listing was that the 52 second instrumental 'The Patriarch' actually came after the opening song 'Reconquering The Throne'. Fans might have been expected that it would have opened the album. But for Petrozza, there was a logical reason for this not to happen. “We really wanted to lead off with a thrashing track, to show everyone what we were now doing musically. After 'Endorama', it was important that everyone should recognise this was a new era for Kreator.”

'Violent Revolution' is without question an excellent album. While in some ways it does hark back to the glories of the band's earlier days, nonetheless it does not sound at all nostalgic. The performances and production values are very much part of the contemporary era, and the strength of the compositions themselves are of the highest values. Rising to the challenge offered by a new generation of ambitious metal bands, Kreator proved they were far from being a spent force. Unlike so many of their peers, here was a band who still had so much creativity to offer, and were also clearly excited themselves by what they were doing. And when you hear the band themselves enjoying the entire process, then you know this is a bona fide revitalisation.

In 2022, the Vienna Philharmonic's New Year's Concert could once again take place in front of an audience. However, 2G-plus rules and an FFP2 mask requirement applied throughout the Gesellschaft der Musikfreunde building in Vienna. Standing room was not offered this year and the number of seats in the Golden Hall was limited to 1,000.

Daniel Barenboim performed with the Vienna Philharmonic as a young pianist as early as 1965, and he has also conducted them since 1989. He already took the podium at the tradition-steeped New Year's Concert in 2009 and 2014. Barenboim's engagements as head of the Berlin State Opera Unter den Linden and the Staatskapelle Berlin, as founder and director of the West-Eastern Divan Orchestra, and as a pianist show him to be a true musical citizen of the world. As such, he is also an exceptionally good fit for Vienna's world-class orchestra and the message of the New Year's Concert: hope, friendship and peace for the whole world.

At the start of the new year, the Vienna Philharmonic once again presented a cheerful, upbeat and contemplative program of symphonic waltzes, polkas and marches by the Strauss dynasty and its contemporaries. The 2022 program showed a clear reference to the fantastic and fairytale-like. In addition to the phoenix, a siren and an indeterminate number of brownies and nymphs, there was also Johann Strauss' waltz "One Thousand and One Nights".

Six pieces had their premiere at a New Year's concert in 2022. The "Phoenix March", the Polka mazur "The Siren" and the Polka française "Nymph Polka" were performed by Josef Strauss. Eduard Strauss was represented with the quick polka "Kleine Chronik", Carl Michael Ziehrer with the waltz "Nachtschwärmer" and Joseph Hellmesberger with the character piece "Heinzelmännchen" among the repertoire novelties.

There is the 50th anniversary of the UNESCO World Heritage Convention to celebrate in 2022, which Austria also joined 30 years ago. In the intermission film of the concert, the twelve Austrian World Heritage sites showed themselves from their best side. Schönbrunn Palace in Vienna, on the World Heritage List since 1996, was also the setting for the ballet interlude with ten dancers from the Vienna State Ballet to the waltz "One Thousand and One Nights." The second performance was created at the Spanish Riding School, which has been designated as a UNESCO Intangible World Heritage Site since 2015. Eight magnificent Lipizzaner stallions and their riders demonstrated the high school of classical horsemanship to Josef Strauss's "Nymph Polka".

The phoenix, a very special bird from ancient Greek mythology, burns at the end of its life cycle, only to rise again from its ashes. The Vienna Philharmonic Orchestra paid tribute to it twice. The concert began with the "Phoenix March", followed by the waltz "Phoenix Swing". Such a concert opening - with a march and a waltz - should be a sign. It is to be hoped that a rebirth and renewal in the new year can really take place.

»Infuso Giallo aka Philipp Carbotta originally hails from rural Western Germany, first cut his teeth in the music scene of nearby Cologne and conducts a host of activities in Berlin for a couple of years now – co-running the label Kame House, designing graphics and producing and playing leftfield electronic music. His debut LP Ocular Soda presents an intersection of these activities – self-released, self-designed and of course self-produced. Even before the first synth chords and reverse atmospheres of the two-part opener 'Every Waking Hour' tickle the ear, it is the eye that is drawn to the bright, cut-out style cover art – itself made up of two eyes on the front and what seem to be their rough shapes or discarded counterparts on the back.
To stay within that metaphor, Infuso Giallo's music is indeed of a reflective and calm nature, taking cues from Berlin School, library and New Age musics from roughly the 1970s to the 1990s – steadily repeating and slowly evolving ostinatos, lush digital pads, quirky filtered toplines and electronic percussion that mostly eschews four-four monotony in favor of much more subtle syncopations. Balearic bomb 'The Big Rip' with its big drums and acid bass turns the energy level up a notch while retaining the somnambulistic, lingering quality that makes Ocular Soda such a coherent listening experience – music on the sheath of waking and dreaming, both worlds and their inherent logics freely bleeding into each other. There are moments of great expanse, such as in 'Mole Gaze' – I couldn't help but see myself hovering somewhere in mid-air while the music unfolds as if on a great deserted plane below me. Maybe this is what it sounds like once the mole leaves his tunnels and takes in the sound of the world overground. 'Hello World', indeed, in its multitude of information to eye and ear, in its gently overwhelming quality. The title track 'Ocular Soda' closes the proceedings with a whimsical nod to 1970s botany-centered library music, its brooding chord sequence and sweet lead lines gradually fading in the distance. A fitting ending to an impressive LP of highly evocative, at times sombre and at times blissfully naive pieces that leave me yearning for more.«

Written, recorded & produced by Infuso Giallo in 2020 & 2021 in Berlin. Mixed by Philipp Janzen & Sebastian Blume at Dumbo Studios, Cologne. Mastered by Sam Irl in Vienna. Design by Infuso Giallo.

EXTLP ist stark im bombastischen Rave-Sound verwurzelt, aber es gibt viel mehr als nur rasenden Techno und halsbrecherische Breakbeats auf diesem Album. Auf den 15 Tracks reissen Modeselektor durch mutierende Crunk-Verzerrungen, glitchige Dub-Meditationen und Neon-Synthie-Pop. EXTLP wartet mit einem Staraufgebot an Gästen aus der ganzen Welt auf, darunter Dub-Veteran Paul St. Hilaire, die britische Rapperin Flohio, die Avant-Pop-Regelbrecherin Catnapp und der legendäre Einstürzende Neubauten-Frontmann Blixa Bargeld. Nach dem Mixtape "Extended" und den drei darauf folgenden EPs ist EXTLP der letzte Teil der vielleicht produktivsten Phase von Modeselektors gesamter Karriere.

Lockdown took its toll on Clive. Not the isolation or sense of impending doom - that was normal - but specifically the worldwide marmite shortage in April. On the verge of a 'Driving to Dundee barefoot' style meltdown, Clive found solace in his 20 year obsession with Alan 'foot on a spike' Partridge.

Taking Musique Concrete to its textbook conclusion, Clive has made music only using sounds from TV series 'I'm Alan Partridge'. Over 100, mainly foley samples were repurposed into the two title tracks of the Alan EP.

Alan A is a raw yet melodic, big plate of House. Containing everything from drawer slams to air bass, cereal destruction to Black Beauty, this orchestra of found sound makes for some unique and exciting rhythmic textures. Grab a cup of beans and enjoy.

Things take a dubby turn for Alan B. Late night broken beats and sultry bass worthy of Alan's Deep Bath. Featuring Lynn on jungle time-stretched vocals.

The EP is bought to a close by off-kilter acid-tinged synthwave nugget, Linton TT. It doesn't fol-low the Partridge sampling rules but needless to say has the last laugh.

Bonus Easter egg for the vinyl heads is a "Dan!" locked groove at the end of side A. Cook a cat!

Label info:
Income Trax is Clive from Accounts' filing cabinet of curiosities. Home for his more eccentric and exotic ideas.

Artist Bio:
Regional tiddlywinks champion, stationary cupboard loiterer and all-round beige sky thinker, Clive From Accounts likes two things; pens and music. But mainly pens. Using springs, tape and old synths with fonts he admires, Clive creates the musical equivalent of warm photocopies. If it's going to be that kind of party, Clive's going to put his Filofax in the mashed potato.

It's been an interesting couple of years for Clive. After being picked up by keen-eared funk wizards Fouk, Clive's vinyl debut hit the shelves perfectly to coincide with the largest record shop and club closure in living memory. Undeterred and with a fire in his belly no amount of pepto-bismol could squash, he pressed on.
A string of releases on highly respected labels On The Corner in London (making the Guardian's best tracks of 2020) and Dirt Crew Recordings in Berlin have led him nicely into the second half of 2021 with an EP on New York disco colossus Razor n Tape and the debut release of his own label: Income Trax.

Amsterdam's rising dark horse / talented misfit / rising talent mayo presents her debut EP for United Identities. ''Sad Violin Music'' holds three dirty jams, driven by her self-built modular synth.

Hypernatural, comprises of Dan Whitford, better known as one of the pillars of Melbourne heavyweights Cut Copy, Mirko Vogel, the engineer extraordinaire who has recorded for Modular and Room40, and Mike Gamwell, also known as Knightlife, who’s racked up several releases on Cut Copy’s own Cutters Records. You could say their roots are in Melbourne, Australia, but it seems unfair to pinpoint the trio to any specific location.

That’s because their sound lies somewhere deep in misty forests, or half-remembered dreams and subconscious wells of ancestral emotion. The transformative power of these 7 tracks was no accident however. The music was pieced together during two trips - one to the remote Swedish coast and another to the Scottish highlands. The three producers used a set of guidelines that allowed each of them to compose and arrange tracks separately yet collectively, like a connected Oblique Strategy. They took inspiration from the stark beauty of their natural surroundings, which had a huge effect on the music they were making.

The resulting tracks inhabit a world of their own, full of shimmering arpeggios and drifting pads, taut drums and sound effects. The opening track Longboat cruises into view with white noise washes and galley master rhythms, conjuring Old Norse battleships and a sense of sailing the open sea, destination unknown. The single Stormfront is a depth-charged deep house burner, bristling with atmospheric energy and rolling like thunder. With its cascading synth arpeggios and weighty drops, it swells like moody clouds on the horizon and releases tension like the first rain of a summer storm.

Hypernatural particularly succeeds in its world-building, and there’s a cohesion to the tracks despite their many differences in tempo and style. Spirit Walk joins marimbas with modular pulses, as well as slide guitar and snappy shakers, to bring out some Ry Cooder swagger. Unknown Caller taps into the phone line at the speed of 5G, sending breakbeats down the wire on a cold calling mission to recruit ravers for the next after hours. But there are also tracks nodding to blissed-out comedowns and daydreams. Both Changing Tides and New Dawn slow down time to an introspective moment, a catch of the breath, the witness to a beautiful moment. Album closer Valley harks back to classic rave-era ambient, an avalanche of optimism down a majestic mountainside.

Hypernatural evokes panoramic vistas and serene countryside, and you could certainly imagine it soundtracking a hike along coastal hills, or a field at a festival. But it also resides beyond the pastoral, finding a home in airport departure lounges and autobahn service stations, until it eventually settles down inside us - even without the headphones on.

Stormfront
Hypernatural’s single Stormfront is a depth-charged house-tempo burner, bristling with atmospheric energy and rolling like thunder. With its cascading synth arpeggios, raindance incantation and weighty drops, it swells like moody clouds on the horizon, and releases tension like the first rain of a summer storm.

What If It Works’ first release, minimum wage maximum joy arrives by way of newcomer 11:68PM. Produced in Berlin in the winter of 2020 and mixed & mastered at the newly minted Brewery Studios, minimum wage maximum joy’s five tracks are precision-tooled for the club, showcasing 11:68PM’s veneration for UK-leaning house and techno.

11:68PM’s moniker, as well as the EP title minimum wage maximum joy draws on the artist’s experience of balancing the grind of the 9-5 with dreams of realizing his creative vision. The skittish breaks on “Bluff Mind State” and “Sway”’s glitchy “Call Mohandes Dub” reveal this state of mind, while “Vertical Mobility” reveals a playful side with its irresistible acid bassline and soaring synths.

In 11:68PM’s words: “Writing the record in the evenings in my bedroom on one of the loudest streets of Neukölln, after I had clocked out from work, I found myself in the ever-present struggle of being artistically active while making ends meet. In making this EP, I decided to prioritize my own desires and not wait for some hypothetical moment to pursue this project that might never arrive.”

Visually, this is underscored by Philipp Pess’ striking artwork, depicting the gaunt face of a man whose tired eyes hint at a lifetime spent in front of a screen.

With minimum wage maximum joy, 11:68PM offers a compelling glimpse into a new generation of Berlin’s left-of-centre club producers.

Credit 00 links back up with Mechatronica, this time in their White series, to manifest a lawless mirage of digital dread, paranoid energy and hallucinatory desire. Limited to 500 copies, no repress.

Having already proven that he is capable of maintaining sonic quality and distinction over the course of a full original program, Chevel (a.k.a. Dario Tronchin) now makes his LP debut for Stroboscopic Artefacts. His other S.A. contributions (including the inaugural entry in the label's singular Monad series, the "One Month Off" EP, his participation to the label's five-year retrospective series) have already hinted that a more complete exposition of his unique inner world would surface, and here it is at last.

Over the course of his young career, Chevel has gained a mastery over several compositional elements: Polaroid-like slow melodic fades, sharp ricocheting beats, and simply making one's headphones feel like a viable means of physical transportation. All of these elements come into play shortly after the needle hits the grooves of (Track A1), a euphoric introductory track marked by a spectral panning sequence and by beats chopped with a culinary expert's sense of elegance. The drum kit sounds that feature throughout are used sparely but - either because of this or in spite of this - provide maximum impact upon the listener's nervous system. The almost 'far Eastern' use of 'block' percussion on (Tracks A2 and B1) perfectly complements the synthetic sheen produced by fuzz distortion, radio static and bandpass-filtered sound bites, taking us to a terrain where a palette of decay effects provides just as much aesthetic inspiration as the presence of technological advancement.

There is more than enough humor and playfulness at work here, too, helping to once again banish the persistent stereotype of the modern techno producer as a sterile technician: the queasy melody line, sliced-and-diced whistling and gelatinous bounce of (Track D2) evoke a child's wonderment at playtime more than they do the rarefied rigour of the laboratory. The less pulsating numbers like (Track C3) and the closing (Track D3) will engage the listener as well, being like short audio films of abiogenesis (i.e. spontaneous generation of life from 'non-living' material) taking place. These tracks are not so much 'interludes' or contemplative retreats from the action as they are enhancers of it, utilizing fluttering cycles of melody to engage in a kind of conversation with the more driving tracks. As to the 'driving' tracks themselves: the places that they drive the listener to are satisfyingly beyond customary experience.

In other words, despite Chevel's keeping the sonic toolkit and overall atmosphere consistent from track to track, there is a rich variety in the emotional affectivity on display here. The net effect is like a dream state that leaves strong impressions even though one can't pinpoint exactly why they are doing so (and which leaves one wanting to dive back into the dream pool and experience something similar again.) This is a talent that unifies the diverse constellation of Stroboscopic Artefacts producers, and one that makes Chevel in particular one to continue watching, listening to, and experiencing.
Wire (USA/Germany/UK) - ''Very intriguing, can/'t wait to dive in.''
Pitchfork (USA) - "Nice use of space, though do find the atmosphere a little one-note. Percussion really pops."
RBMA - "Thanks for reaching out. Having a listen now and the album sounds really good. Happy to give it a shout on RBMA Twitter whenever is best for you."
Paramount Artists (UK) - "20/10 top effort!"
NTS Radio (UK) - ''Nice IDM music with fine textures and bass frequencies..''
Groove (Germany) - ''Very interesting delicate structures. Suggested for review in Groove.''
Exclaim! (Canada) - "I like this. I'll float it to my team and I'll let you know if anyone's interested in covering it."
Big Up Magazine (USA) - "Absolutely epic album."
Vicious Magazine (Spain) - "Great sounds, for our september issue, thx a lot!"
Little White Earbuds (USA) - ''Fantastic album from Chevel. I have unfortunately been at work today without my usual headphones but even listening on very poor quality ones, the rich sonic mastery comes through. Can't wait to get home and listen to this properly.''
Cone Magazine (UK) - "Thanks for sending this through. Looks great, and always interested about a new Stroboscopic release. I'll let you know when something goes up."

His partnership with the label has already resulted in a collaboration with Modern Heads, as well as one of the first entries in the Monad series, and now a fascinating new EP that showcases his talent for testing the limits of perception.
Alistair Wells is a producer whose current work is synonymous with a kind of benevolent intensity: he excels at sculpting tonally rich and percussively complex tracks that seem to both enlighten and confront. Under his most well-known alias as Perc, he has established a deep roster on his Perc Trax label to carry out a similar-minded program, and has built up a formidable arsenal of EPs and singles in the wake of enigmatic LPs like 2011's Wicker & Steel. His 'eclectic-yet disciplined' methodology practically guaranteed he would eventually come into the orbit of Stroboscopic Artefacts. His partnership with the label has already resulted in a collaboration with Modern Heads, as well as one of the first entries in the Monad series, and now a fascinating new EP that showcases his talent for testing the limits of perception.

The ominously titled opener "Death of Rebirth" - a title hinting at some form of hellish repetition - starts things off with a sense of dark premonition. Yet, in signature Perc style, that aura of uneasiness beckons listeners to explore further rather than to flee from it: in this context, the reliable 4/4 kick drum throb is the only means of orienting oneself or angling through a glassy and metallic labyrinth where foreign objects conspire to make previously unimagined percussive noises. "Negative Space" is a variation upon this theme of trying to maintain focus within a foreign environment bristling with strange enticements and potential dangers: with the kick pattern from the previous pice still acting as a trusty guide, new sound forms arise at every turn: a novel sort of hybridized piano / gamelan tone, a shuddering assembly line, and snaking delay feedbacks. Like dub music meant to be listened to in a hall of mirrors, "Negative Space" induces a heady feeling of multiplying realities.

The closing "Ma", if translated into Japanese, can mean "space / pause" and thus acts as a nice complement to "Negative Space." However, this massive, side-long audio force field dispenses with the previous tracks' steady pulse, and suggests a rigorous act of ritual contemplation taking place in the midst of phenomenal chaos and challenging blows to the body. "Ma" succeeds in modernizing the industrial-era rhythmic invocations of artists like Z'ev, achieving an almost classical solemnity without sacrificing Perc's usual love for cleverly maniuplated electricity. Altogeher, 'Ma' is an eye-opening, ear-infliltrating statement that will warp your understandings of time and space in a most exquisite way.

Whereas many electronic producers aim at being the most prolific in their genre, or the most extreme, Lucy and Rrose have wisely chosen to be the most consistently curiosity-provoking representatives of their craft.


Whereas many electronic producers aim at being the most prolific in their genre, or the most extreme, Lucy and Rrose have wisely chosen to be the most consistently curiosity-provoking representatives of their craft. Their decision to team up as a production duo for the newest Stroboscopic Artefacts EP may have seemed inevitable, given their shared responsibility for shifting techno's focus towards the facilitation of profound psycho-acoustic effects. And yet, even those who saw this coming will still be in for a wild ride.

Lucy's skill as a studio technician - displayed capably over his trilogy of full-length albums - has always been enhanced by his skill as a storyteller and as an artist with reverence towards myths and the pull of the unknown. This sonic personality is a perfect complement to the scientific severity of Rrose, for whom the electronic pulse beat and subsonic massage permit entry to a febrile psychic landscape whose contents are never entirely what the individual listener might expect or be prepared for.

As with both of the artists' solo offerings, these recordings feel as much like the branching off point for new creative acts rather than as objects to be passively enjoyed. As such, the opening "Chloroform" is a somewhat ironic title for a piece that is anything but anesthetic: at high volumes, its monstrous low-end surge and prickly, scintillating sonic ephemera are very likely to bring attention to otherwise imperceptible phenomena. "Peeling" continues in this style with a more urgent tempo, developing its own cascade of sensory impressions from seemingly unstable deep-bass loops, injections of intentional surface noise, and pitch-shifted / harmonizer-effected phantom phrases.

"Stained Glass," maybe the most straight-ahead piece on the record, is still a potent distortion of the mundane primed with shivering bell tones, tamed feedback and hints of speaker cones fraying. The climactic "Foil Gardens" is an elegant study in harmonics whose time-dissolving ability nods to the works of composers like Charlemagne Palestine or Eliane Radigue, without being a pure homage to either. The undertow of distortion beneath the glistening tone waves, in particular, provides a distinct update to the legacy of so-called
tonal 'minimalism'.

The end result here is a record that feels uncannily lifelike: an organism that always seems on the verge of a heuristic breakthrough, and whose full potential may not even be known by its creators.

Words by Thomas Bey William Bailey

MOTOR CITY SCENE, also released as Stardust, by American saxophonist PEPPER ADAMS and trumpeter DONALD BYRD, was recorded in 1960 and released on the Bethlehem label. Donald Byrd and Pepper Adams—and their ace band, including Kenny Burrell, Tommy Flanagan & Paul Chambers—deliver what is one of the finest performances of “Stardust” you’ll ever hear on this album. And that’s just the first track; this is Donald Byrd hitting his first peak, and summoning a band behind him that was formidable, and deft.

The second release to be pressed into Totem's slabs of 10-inch vinyl is from techno impresario Luke Slater's L.B. Dub Corp moniker. Slater has been operating as a pioneer, with a full deck of aliases, throughout the genre's many corners since the days when techno was a newborn phenomenon. The stripped back sounds of L.B. Dub Corp's last releases on the imprint have resounded naturally within the psychotropic space carved out by Stroboscopic Artefacts.

Hot on the heels of his preliminary EP on Stroboscopic Artefacts, Embryo, which paved the way to the present album, and two years after the landing of his 2016-released inaugural LP, Montagne Trasparenti, Mannequin helmsman Alessandro Adriani returns with his highly anticipated full-length debut for SA, Morphic Dreams. Throughout eleven cuts painstakingly executed but lacking not an iota of the fresh, spontaneous oomph that made his sound stand out of the crowd of techno producers to have emerged over the past decade, Adriani lays the foundations to a suspended sound imaginarium, governed by its own rules and principles of gravity. Revolving around the notions of sublimation and quest for inner balance, Morphic Dreams is comprised of four distinct sequences, conceived and designed as reflections of four mental states, each of them linked to the four alchemical elements i.e. Water, Earth, Air and Fire here represented by the A, B, C and D-sides. Fluid and enveloping, the A-side bathes the listener in some zero-G uterine vortex, pitching and rolling from the slo-burning exotic sensuality and tribal spell of The Tropical Year to the trunk-bending, arpeggiated fast-track pulse of Storm Trees, through Raindances feverish electro swing. Entering a further abrasive, minerally rich phase, the B-side unleashes Adrianis dark side with optimum conviction. Deeply anchored in earthly materiality, this new evolution stage starts off to the frantic Italo bass of Dissolving Images, rushing headlong into a kaleidoscopic maelstrom of fractured reflections and nasty Giallo-like ambience. The delirious body stretch sequence then rather abruptly swerves onto a calmer flux with Dust/Mist, a much enticingly hip-swaying collaboration with Simon Crab, ex-member of the seminal 80s UK industrial-experimental band Bourbonese Qualk, before Casting The Runes engulfs us into a tormented world of swollen eeriness and disquieting esoterism. Back to a widescreen showcase of droney distortions, nasty acid swashes and other quirky drum programming, Hors De Combat opens a new chapter, shortly followed by the playful bass intricacies and modular jeu-de-piste of Invisible Seekers, featuring Avian affiliate and longtime friend Shawn OSullivan. A further mind-expanding piece, C-side closer Crow deploys its blackened wings wide and high as a chaos of martial percussions and liquefying synths slivers crash past the red-hot skyline. A fluttering melodic interlude, Things About To Disappear blazes a clean trail for Make Words Split And Crack to flourish, slowly but surely blooming into a nonstop grandiose twelve minute-shy finale geared up with the stirring cacophonic force of a Ligetian symphony and something of an epic-scale Kubrickian soundtrack.

Phuturistic Electro / Techno Music Written By an Alien Microchip, connected to the Intergalactic Celestial Circuits. Transmitted across the Space Time Continum from a Distant Galaxy populated by Artifically Intelligent Robots.
This message was Intercepted by The Hacker Command and recorded to wax for Phuture generations to interpret..

"Joe Turner is fast becoming a household name. A tastemakers, tastemaker - the DJ, Producer & multi-instrumentalist has already received nods from Jamz Supernova & Chris Hawkins (6Music), BBC Radio 1’s Chillest Show (Sian Eleri) and Future Artists (Jack Saunders), Jaguar, Pete Tong, BBC Introducing London, triple j, Selector Radio, TSHA, John Digweed and DJ Mag.
Born and raised in Croydon, Joe Turner has quickly established himself as one of the most exciting young producers around. His self-released debut single Atmosphere (2019) gained the support of ex-BBC Radio 1’s Phil Taggart, BBC 6 Music’s Tom Ravenscroft and BBC 1Xtra’s Jamz Supernova, who was so impressed with Joe’s talents that she signed him to her own record label Future Bounce to release double A side Retina / Stay. The tracks hit #1 on the HypeMachine chart and gained further support from the likes of BBC Radio 1's Annie Mac, BBC 6 Music's Lauren Laverne, i-D's The Best New Music, and Eton Messy."

Home to Cuca Records and hundreds of Nashville-fantasizing pluckers and singers, Wisconsin’s Driftless region was a hotbed of country music in the 1960s. Influenced by old-timey ethnic songs, Bakersfield outlaws, countrypolitan rainbows, and the lonesome twang of every rural route roadhouse, these 17 Driftless Dreamers washed up at Jim Kirchstein’s Sauk City record plant with little more than $100 and a longing. Collected here are the fruits of Cuca’s documentary approach to record making, capturing the voices and stories of a culture and glacier in abatement.

London-based record label Wisdom Teeth kicks off 2021 with something close to home: Blush - the playful, dynamic debut LP by label co-founder, Facta. Recorded unusually quickly over a short stint in early 2020, the record is the product of a period of refreshed and unfussy creativity. It’s an innovative and distinctly contemporary album that moves a good few steps beyond the artist’s work to date - loosely rooted in UK dance music but taking added influence from ambient, modern classical, dreampop, Balearic, folk music and beyond. The result is a lush, ornate record populated by aqueous pads, bleeping arps, wandering melodies and sparse broken rhythms; acoustic instruments that play out alongside FM synths, all processed with a pristine UV sheen inherited from modern pop music. The record opens with ‘Sistine (Plucks)’ - a crystalline synth piece with a stumbling, shifting metre revolving around an odd-ended MIDI harp loop, coloured through with washed-out pads and snatches of found sound. This breezy mood follows through to ‘On Deck’, where an FM vibraphone rings out on top of woozy, warping chords and a subby soca groove. Moving forward the record moves cohesively through a range of shifting moods and hues. The machine jazz of ‘Brushes’ is tense and coiled, with nods towards Burnt Friedman, Photek and Eli Keszler. ‘Iso Stream’ sees a rich, colourful sprawl of arpeggiated synths and dissociated vocal chops unspool slowly to form pooling, lowlit melodies. Title track ‘Blush’ is a forlorn Autonomic love song built from clicks-n-cuts - like dBridge & Instra:mental reduced and reinterpreted by SND. Throughout, bold, broad melodies take centre stage, and the tracks build like compositions rather than loops or club tools. There are echoes of the dancefloor - particularly in the slo-mo bruk of ‘Verge’ and the glacial subs underpinning ‘Diving Birds’ (a collaboration with friend and Trilogy Tapes regular Parris) - however the end results find us somewhere far off. ‘Blush’ is the second long-form release to come from Wisdom Teeth following K-LONE’s 2020 debut album, ‘Cape Cira’, which was widely ranked as one the best LPs of 2020.

Remastered 15 year Anniversary edition of Jenny
Lewis’s first solo album from 2006. The album
comes with all-new gatefold packaging featuring
never-before-seen photos by Autumn de Wilde.
 Known and loved by many as the frontwoman of
Rilo Kiley, Jenny’s vocal and songwriting gifts have
continued to blossom at a rapid rate since that
band’s first album in 2000. This may be her solo
debut but there’s nothing virginal about it.
 The album was lovingly crafted together during
short spurts of recording activity in the San
Fernando valley, Portland, Oregon and Lincoln,
Nebraska - due to the shared production duties of
celebrated finger-picking guitar prodigy M. Ward
and Nebraska’s resident production genius Mike
Mogis.
 The magnificent backing vocals come courtesy of
gospel singers Chandra and Leigh Watson (the
Watson Twins). Talented friends were roped in
between tours and recording sessions and standout track a cover of the Travelling Wilbury’s ‘handle
with care’ - with its phenomenal sing-a-long
crescendo features vocals shared equally by
Jenny, M. Ward, Conor Oberst and Ben Gibbard.

UK label Wisdom Teeth closes out 2021 with a synchronised double drop from label heads Facta and K-LONE.

Having retreated to more low-lit, pensive territories on his debut LP, Blush, In Bloom marks Facta’s headlong return to the dancefloor. At its core, In Bloom is a house record, albeit one bearing all the usual eccentricities of a Facta release: bleeping off-kilter melodies, glitching FX, warped subs and fizzing neon synths. Up top, C Sequence follows on from 2019’s Doves in exploring a future-facing and experimental take on mutant tech-house. Centred around a writhing, modulating FM bassline, the track undulates and builds gradually to a soaring mid-section before collapsing back in on itself. On the flip, In Bloom drops the tempo to a dubby stomp, with a reversed synth hook playing out over ricocheting chords and a phasing, blown-out sub line.

Soundtrack to the 2003 Academy Award nominated film. Features songs by My Bloody Valentine, Air, and The Jesus and Mary Chain. On Rolling Stone’ s Greatest Soundtracks of All Time list.

3-LP on 180-gram vinyl, housed in a two-piece box. Limited-Edition of 9,000 (WW). Liner Notes By Jesse Jarnow & Michael Parrish. Audio timing and speed correction by Plangent Processes and newly mastered by Jeffrey Norman. Available for the first time on Vinyl. Not available in other official physical or digital formats. Produced for release by David Lemieux.

Undertones, the first collaborative album between Lo-Fi producers Glimlip and Yasper, contains 20 tracks that combine influences from Jazz, Funk and Soul with Instrumental Hip-Hop. By involving schooled jazz musicians in their project, this album captures the classy creativity of live recordings resulting in a tremendously rich and refined sound.

The Wombats kick off the most exciting phase of their constantly evolving success story today with the announcement of their fifth studio album Fix Yourself, Not The World, due for release on 7th January 2022 via AWAL. Alongside this, the indie heroes have revealed plans for a five date headline UK arena tour in April 2022, playing massive nights in Leeds, Glasgow, Cardiff and Liverpool, as well as their biggest ever headline show at The O2, London on 15th April. Tickets will go on sale from 9am BST on 20th August.

The announcement comes accompanied by a brand new single ‘If You Ever Leave, I’m Coming With You’, which is BBC Radio 1’s Future Sounds Hottest Record In The World.

Recording remotely over the past year from their respective homes, the band have been working hard to produce some of the most captivating, inventive and forward-thinking music of their career to date. With frontman Matthew “Murph” Murphy in Los Angeles, bassist Tord Øverland Knudsen in Oslo and drummer Dan Haggis in London, they discussed each day’s plan via Zoom, then recorded separately, sending individual files to producers Jacknife Lee (U2, The Killers), Gabe Simon (Dua Lipa, Lana Del Rey), Paul Meaney (Twenty One Pilots, Nothing But Thieves), Mark Crew (Bastille, Rag‘n’Bone Man) and Mike Crossey (The 1975, The War on Drugs, Yungblud) to mix into the finished tracks. “It was pure madness, to be honest,” explains Murph.

“We’re so excited for people to hear this new album! We’ve explored new genres and pushed ourselves further than ever musically. It will always stand out for us in our memories from our other albums as we recorded it across three cities during lockdown, and we weren’t all in the same room at the same time!” says Dan Haggis.

The Wombats kick off the most exciting phase of their constantly evolving success story today with the announcement of their fifth studio album Fix Yourself, Not The World, due for release on 7th January 2022 via AWAL. Alongside this, the indie heroes have revealed plans for a five date headline UK arena tour in April 2022, playing massive nights in Leeds, Glasgow, Cardiff and Liverpool, as well as their biggest ever headline show at The O2, London on 15th April. Tickets will go on sale from 9am BST on 20th August.

The announcement comes accompanied by a brand new single ‘If You Ever Leave, I’m Coming With You’, which is BBC Radio 1’s Future Sounds Hottest Record In The World.

Recording remotely over the past year from their respective homes, the band have been working hard to produce some of the most captivating, inventive and forward-thinking music of their career to date. With frontman Matthew “Murph” Murphy in Los Angeles, bassist Tord Øverland Knudsen in Oslo and drummer Dan Haggis in London, they discussed each day’s plan via Zoom, then recorded separately, sending individual files to producers Jacknife Lee (U2, The Killers), Gabe Simon (Dua Lipa, Lana Del Rey), Paul Meaney (Twenty One Pilots, Nothing But Thieves), Mark Crew (Bastille, Rag‘n’Bone Man) and Mike Crossey (The 1975, The War on Drugs, Yungblud) to mix into the finished tracks. “It was pure madness, to be honest,” explains Murph.

“We’re so excited for people to hear this new album! We’ve explored new genres and pushed ourselves further than ever musically. It will always stand out for us in our memories from our other albums as we recorded it across three cities during lockdown, and we weren’t all in the same room at the same time!” says Dan Haggis.

The Hope Conspiracy are a legendary hardcore band from Boston, MA. "Death Knows Your Name" is their landmark album originally released in 2006. Recorded by Kurt Ballou at God City Studios, it is a powerful chapter in the band's recorded legacy. From the haunting first notes of "They Know Not" to the Earth shaking "Stolen Days", the unrelenting rage of the album is undeniable. From musicianship to presentation, "Death Knows Your Name" still stands as a high watermark for the genre. The "Deluxe" edition features the classic eleven song album along with the song "Eurohell". A track previously available on their "Hang Your Cross" EP (now out of press). The physical packaging has also been revamped, featuring a special "Black on Black" printing of Aaron Horkey's incredible artwork for the release.

The soundtrack to the movie The United Way. The United Way is the legendary story of ‘The Red Devils’ – Manchester United. From their humblest of beginnings in England’s Industrial North at the turn of the 20th Century, Manchester United gifted working men, women and children alike, the poor and the struggling, a new Dream – a winning Dream of hope, beauty and ambition. Here is a family club which pulled itself, phoenix-like, from the ashes of the horrific Munich air disaster to become champions of European football, committing to a stunning, relentlessly attacking style and elevating working class boys to the status of gods: Charlton, Best, Cantona, Beckham and Ronaldo. Such is the mythical aura of the club, that its stadium is universally known as “The Theatre of Dreams”. Now, with over 650 million supporters around the world, 73m Facebook fans, 18m Twitter followers and 1.8m shirts sold per season, Manchester United are the most celebrated, widely supported sports club in the world. Presented by the peerless Eric Cantona and featuring stunning archive and never seen before footage, “The United Way” celebrates the birth and growth of a global phenomenon – a unifying club for the people, by the people. The whole film is set to a score by George Fenton - one of the UK’s most successful composers, writing scores for over 100 films and dozens of plays and TV programmes. He has been recognised with numerous awards: 5 Oscar nominations, multiple Ivor Novello, BAFTA, Golden Globe, Emmy and BMI awards, a Classical Brit, The Nina Rota Award at Venice and a World Soundtrack Lifetime Achievement Award from Film Fest Gent.

“Mekons fght off the darkness with stout hearts and great songs on
Exquisite…Recorded remotely during the pandemic, the eternally enduring
post-punk crew’s latest is a fne addition to their enormous catalog…
We’re living through history; it’s a blessing to have Mekons along for the
ride
”– Rolling Stone
Hunkered down and unable to record together, in 2020 the MEKONS created a
glorious digital chain letter of an album. Exquisite is a sprawling manifesto of
connection and defance that deftly slides through fddle tunes, digi-dub, freside
ballads and urgent rock & roll. And that’s just side A.
The original recording plan was to have been the whole-band-in-a-room session in
Valencia, Spain. When the pandemic rendered that impossible the process took a
sharp swerve. The album credits describe it this way: "Exquisite was recorded in
lockdown on mobile phones, broken cassette recorders, clay tablets & other
ancient technologies in Aptos, Chicago, London, Los Angeles, New York & Devon.
"
This legendary group from Leeds, have written contemporary music history for
the last 40 years as radical innovators of both frst generation punk and insurgent
roots music, and Exquisite is another powerful vector of that legacy.

From its earliest utterances, experimental music has been particularly disposed to transnational and cross-cultural collaboration. Seeking the answer for a fundamental problem - how to transcend the boundaries of difference, distance, and time - it presents a means to find common ground and communicate through the elemental form of sound. Over the last 5 years, this precisely what the duo of Félicia Atkinson & Jefre Cantu-Ledesma has achieved, intertwining sublime sonorities across the geographic expanses between their respective homes in France and the United States. Their third album for Shelter Press, ‘Un hiver en plein été’ (‘A winter in the middle of summer’) - the first to have been largely recorded by Atkinson and Cantu-Ledesma together in the same space - distills a mesmerizing pallet of acoustic and electronic sources into an open discourse of radically poetic forms, offering glimpses of warmth and intimacy waiting in the post-covid world to come.

Both veteran experimentalists with celebrated bodies of solo work behind them - each traversing the challenges of electroacoustic practice in their own singular ways - prior to their first recorded outing in 2016, Félicia Atkinson and Jefre Cantu-Ledesma had only crossed paths in person once, initially meeting in San Fransisco during 2009. The mutual bond formed during that brief encounter flowered into their first LP, ‘Comme Un Seul Narcisse’, followed two years later by 2018’s ‘Limpid As The Solitudes’. Both recorded remotely - sending files back and forth, fortified by conversations on a vast range of subjects - these two albums were guided by impassioned conceptual nods to Guy Debord, Baudelaire, Brion Gysin and Sylvia Plath, while seeking resolutions for the challenges and unique possibilities that working at a distance provoked.

Where the triumphs of its predecessors rose from the bridging of disparate moments and divergent spaces, ‘Un hiver en plein été’ culminates as a celebration of closeness, a result of Atkinson and Cantu-Ledesma working together in the studio, responsively in real time, for the first time. Recorded in Brooklyn during August of 2019 - a handful of months before the pandemic would impose chasmic distances across the globe - its six discrete works, carefully crafted and finalized over the ensuing year, evolve seamlessly across the album’s two sides, weaving a sprawling tapestry of sonority, within which both artists retaining their own voices and visions, while drawing each other towards uncharted ground.

Atkinson likens the recording of ‘Un hiver en plein été’ to have been akin to “a playground”, each artist “hungry for each sound, a bit like the rush in the Louvre in Godard’s Bande à part”, to which Cantu-Ledesma adds that the process seemed to have had “a mind of its own”, with both “along for the ride”. This organic sense of entropy and enthusiasm - a joyous exploration of the unknown - guides the momentum of the album’s evolving arc, as unfolding chasms of ambient space ripple with humanity, life, and fleeting glimpses of the actions that led to its material core.

Crafted from deconstructed melodic elements and drifting long-tones - laden with subtle nods to Indian classical ragas and free jazz - searching patterns of speech, textural elements captured within the studio and the outside world, and searching tonal and percussive interventions, ‘Un hiver en plein été’ coheres as a multi-faceted series of electroacoustic dialogues; nesting conversations between two artists working at the juncture of abstraction and narration, field recording and harmony, and the philosophical and phenomenological, in search for the meaning of friendship, and its manifestation in pure sound.

Grey Marbled Vinyl
Mit unerschütterlicher Hartnäckigkeit hat die undurchdringliche Schwermetall-Hartkernfabrik HATEBREED eine weitere eiserne Guss- und Schallwaffe mit dem Gewicht des falschen Selbst hervorgebracht. Es ist keine Überraschung, dass ihr achtes, abendfüllendes Album das Ergebnis des üblichen Schweißes und Blutes ist, das HATEBREEDs einzigartige Nische in der Musikwelt seit über zwei Jahrzehnten zementiert hat. Bekannt für ihre Fähigkeit, ihren Fans eine intensive und kathartische Veröffentlichung zu bieten, haben HATEBREED ihren Schreibstil durch diesen Albumzyklus herausgefordert, um Material zu produzieren, das in einer zeitgenössischen Welt, die von Überreizung, emotionaler Dämpfung und mangelnder sozialer Geduld überflutet ist, außergewöhnlich gut zu vergleichen ist. "Weight Of The False Self' ist eine perfekte Darstellung von HATEBREED im Jahr 2020, ein frischer Ansturm von baldigen Klassikern mit all den Elementen, die Sie vom ersten Tag an hierher geführt haben", erklärt Gitarrist Frank Novinec. Fast jedes Individuum trägt ein metaphorisches Gewicht in Bezug auf sein emotionales Konstrukt. Unsere Erfahrungen prägen, wer wir werden, und im Laufe der Zeit entsteht allmählich eine schwere Last, die wir immer weiter mitschleppen. Für viele von uns wird die Last so groß, dass wir uns schwer tun, von unten herauszukommen, geschweige denn uns zu bewegen.

Es sind diese Kämpfe, die sich durch das Gewicht des falschen Selbst übersetzen lassen. "Ob man es sieht oder nicht, jeder trägt eine Last. Die Musik, die wir lieben, hilft uns, diese Last zu tragen", erklärt Sänger Jamey Jasta. Stücke wie "Cling To Life" liefern ein Wortspiel, das normalerweise bedeutet, sich verzweifelt an die letzten Atemzüge zu klammern, aber hier zeigen diese Worte, dass es nach wahrem Verlust und Trauer aufrichtige Erleichterung bringen kann, sich an die Idee von Glück und Zukunft zu klammern. Am anderen Ende des philosophischen Spektrums präsentiert die erste Single "Instinctive (Slaughterlust)" nicht nur ein neues Vokabular-Wort, sondern schreit auch nach der Kraft, die von unseren Verteidigungsmechanismen ausgeht, wenn wir in eine Ecke gedrängt werden. Wenn jemand von seiner Vergangenheit verfolgt wird, von einer anderen Person, oder wenn er nur sein eigenes Territorium verteidigt, ist es nur eine Frage der Zeit und der Entfernung, bis er zu einer wilden, ursprünglichen Bestie explodieren kann. "Es sollte verboten sein, ein so schweres Lied zu machen", beschreibt Bassist Chris Beattie. Das Lied "Wings Of The Vulture" ist eine Metapher für all die negativen Kräfte der Natur, des Schicksals und der Menschheit, die hoffen, uns in einigen unserer schwächsten Momente zu erbeuten, indem sie auf den Tod von etwas Sinnvollem warten. "A Stroke Of Red" berührt, entgegen dem, was auf den ersten Blick scheint, das Konzept, die Wahl zu haben, sich selbst oder anderen zu schaden. "Auge um Auge, aber das macht jeden blind. Wenn man einmal diesen dunklen, gewalttätigen Weg gegangen ist, gibt es kein Zurück mehr.

Dieses Lied ist eine dunkle Leinwand; ich verlasse meinen Körper, um schreckliche Dinge auf einer anderen Ebene zu tun, und komme zu mir selbst zurück, um daraus zu lernen, so dass man diesem dunklen, fleischlichen Verlangen niemals nachgibt", erklärt Jasta. Das Album-Artwork des renommierten Heavy-Metal-Künstlers Eliran Kantor zeigt einen Mann, der an der massiven Skulptur einer Steinbüste herummeißelt. In Kantors klassischem Malstil, der durch den Lehm von Aufruhr und Traurigkeit bricht, beginnt ein Licht durch den Fels zu scheinen, während der Bildhauer sein Gesicht von den blendenden Strahlen der Heilung abwendet. Das Bild kombiniert visuell die Themen des Albums, nämlich den emotionalen Kampf und die Überwindung des Schmerzes, nachdem Schichten von Depression, Angst, Verrat und Herzschmerz die Seele eines Menschen verhärtet haben. Im Laufe von mehr als 20 Jahren und 8 Alben ist der Schreibprozess für eine Band wie HATEBREED in ihren Wurzeln sicher geblieben, aber dennoch hat sie sich nach knackigen und überzeugenden Stücken mit progressivem Sound umgeschaut, die dem Mix hinzugefügt werden sollen. Es gibt Wellen von frischen Klängen, während das massive Fundament, auf dem HATEBREED stehen, weiterhin stark gehalten wird. "Auf diesem Album habe ich mich wirklich angestrengt und mich dazu gebracht, die Dinge umzuschreiben, bis sie besser waren, bis es klickte. Ich habe mich aus dieser Komfortzone herausgerissen. Im Zeitalter der Altlasten, in dem die Bands so viele Hits aus ihrem Katalog bei Shows spielen müssen, hören wir gerne, dass die Fans neue Songs verlangen, wenn wir live spielen", erklärt Jasta, "wir haben mit diesem Album wirklich unsere Stärken ausgenutzt". "An fleischigen Rippen und adrenalingeladenen Trommeln mangelt es auf dieser Platte nicht. Ich bin stolz darauf, dass wir durchweg einen Soundtrack liefern, zu dem man in seinem Wohnzimmer moshen und seine Wohnung zerstören kann", erklärt Schlagzeuger Matt Byrne. Bei der erneuten Aufnahme des Albums mit Hilfe von ZEUSS erlebte die Band ein Gefühl der Herausforderung und des Durchbruchs, das es ihr ermöglichte, eine neue Ebene des Klangs zu erreichen.

Nachdem er mehrere Jahre lang mit der Band gearbeitet hat und während er normalerweise seine Zeit mit Bands verbringt, die einen ziemlich anderen Sound haben, ist Zeuss in der Lage, HATEBREED zu testen und ihre bereits berüchtigte Schwingung zu erweitern. "Es war wirklich großartig, wieder mit Zeuss an diesem Projekt zu arbeiten. Ich liebe die Art und Weise, wie die Gitarren klingen", kommentiert Gitarrist Wayne Lozinak. Im Laufe der Zeit scheint die Qualität der Produktionstechnologie immer besser zu werden und ein sicheres und produktives Nest zu schaffen, in dem das Album

In 2020 Brooklyn's Holy Hive introduced us all to something we didn't know we needed. Homer Steinweiss' thickly pocketed drumming paired with Paul Spring's floaty falsetto vocal produces a sound that's like a salve. It's been dubbed Folk Soul and Holy Hive not only expertly overlay the more apparent musical aspects of folk and soul-but they also draw from the more profound: being able to pull traditions from the past and make them their own. When Homer wasn't playing drums for Lady Gaga or Adele or Bruno Mars, he'd produce Paul's solo folk records. Along with original bassist and frequent collaborator Joe Harrison, these sessions proved to be Holy Hive's foundation. And their fi rst record, Float Back to You, expertly combined what each musician does best: Paul's heady, reflective approach to folk with Homer's universal classic soul sound. With their new record released on Big Crown, Holy Hive's beautifully simple-and-sparse Folk Soul sound is back-but updated. With new influences and the challenge of creating and capturing music during a global pandemic, this new self-titled album, is more personal, more reflective. They describe three distinct phases when piecing together Holy Hive: this first stage was pre-pandemic in California while traveling as a group, then-like the rest of us-they were separated, creating together but apart, and lastly an explosion of output once they reunited in New York. There is a natural but subtle evolution for Holy Hive on this record. Homer and Paul drew from new and maybe more obscure-yet-honest influences. It's still very much Folk Soul-how could it not be. But, like all artists, they've taken in what they've made and how they've made it, only to push it into new places. We know of Holy Hive's ability to lyrically convey the abstract and complex in poetic and palatable ways. But where the first record was soulfully silver-tongued with chill songs about love and affection, Holy Hive widens the lens with these novel influences, reflecting the points both Homer and Paul are in their own lives.

LTD. CLEAR PINK & BLUE SPLATTER VINYL

In 2020 Brooklyn's Holy Hive introduced us all to something we didn't know we needed. Homer Steinweiss' thickly pocketed drumming paired with Paul Spring's floaty falsetto vocal produces a sound that's like a salve. It's been dubbed Folk Soul and Holy Hive not only expertly overlay the more apparent musical aspects of folk and soul-but they also draw from the more profound: being able to pull traditions from the past and make them their own. When Homer wasn't playing drums for Lady Gaga or Adele or Bruno Mars, he'd produce Paul's solo folk records. Along with original bassist and frequent collaborator Joe Harrison, these sessions proved to be Holy Hive's foundation. And their fi rst record, Float Back to You, expertly combined what each musician does best: Paul's heady, reflective approach to folk with Homer's universal classic soul sound. With their new record released on Big Crown, Holy Hive's beautifully simple-and-sparse Folk Soul sound is back-but updated. With new influences and the challenge of creating and capturing music during a global pandemic, this new self-titled album, is more personal, more reflective. They describe three distinct phases when piecing together Holy Hive: this first stage was pre-pandemic in California while traveling as a group, then-like the rest of us-they were separated, creating together but apart, and lastly an explosion of output once they reunited in New York. There is a natural but subtle evolution for Holy Hive on this record. Homer and Paul drew from new and maybe more obscure-yet-honest influences. It's still very much Folk Soul-how could it not be. But, like all artists, they've taken in what they've made and how they've made it, only to push it into new places. We know of Holy Hive's ability to lyrically convey the abstract and complex in poetic and palatable ways. But where the first record was soulfully silver-tongued with chill songs about love and affection, Holy Hive widens the lens with these novel influences, reflecting the points both Homer and Paul are in their own lives.

Tom Middleton is focused on the future in many ways. His new alias GCOM is an all-new, 21st century redesign of his original Global Communication concept and collaboration with Mark Pritchard. The new album E2-XO is some of the most advanced music he has ever made, both in sound and concept. signifying a technological, creative and philosophical evolution into the new era; from planetary communication and understanding to Galactic Communication.

Bonobo veröffentlicht sein neues Album ‘Fragments’ auf Ninja Tune mit Gastfeatures von Jamila Woods, Joji, Kadhja Bonet, Jordan Rakei & weiteren!

Mit „Fragments“ veröffentlicht Bonobo alias Simon Green die emotional intensivste Platte die er je produziert hat - keine Überraschung also, dass er es auch als sein Opus Magnum betrachtet. Auf dem Album sind Jamila Woods, Joji, Kadhja Bonet, Jordan Rakei, O'Flynn und Miguel Atwood-Ferguson zu hören. Das Album entstand zunächst aus Ideenfragmenten und Experimenten und wurde schließlich in einem Ausbruch von Kreativität zusammengefügt, der sowohl durch Zusammenarbeit als auch durch Greens Flucht in die Wildnis befeuert wurde.
Als einer der größten Namen in der Dance-Musik kann Green auf drei Grammy-Nominierungen und 2 Millionen verkaufte Tickets für die Tour zu seinem 2017er Album, „Migration“, zurückblicken. „Migration“ war ein Top-Ten-Album in mehreren Ländern, ein Top-Five-Album in Großbritannien, erreichte Platz 11 der deutschen Albumcharts und war Billboards Dance-Album Nummer eins in den USA. Außerdem ist er ein beliebter Mainstage-Performer bei den größten Musikfestivals der Welt. „Fragments“ ist eine Serie von zwölf klanglichen Bekenntnissen, die einige der härtesten und tanzbarsten Grooves enthalten, die Green je geschaffen hat. Die Balladen sind perfekt platziert. sie fangen eine Welt im Wandel ein und glühen vor Hoffnung. Die Ideen herauszukitzeln, erforderte anfangs einige harte Arbeit. Der ständig auf Tournee befindliche Green arbeitet am besten, wenn er in Bewegung ist, folglich zwang ihn der weltweite Stillstand zum persönlichen Stillstand.