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Cursed to ride forever on this mortal plane after partaking in a satanic drug ritual, the Death Wheelers pledge allegiance to the god of hell and fire. However, in order to prove themselves to their newly anointed leader and for the spell to take effect, the club Will need to engage in a series of lewd acts of sex and violence across the country.Immortality comes at a price and you’re about to pay for it… The beating heart of The Death Wheelers is a rumbling engine. Since their self-titled debut in 2015 and in 2020’s cinematic-storytelling breakout, Divine Filth, the Canadian outfit have tapped into wind-through-hair freedom and careened down open roads of groove, not a cop in sight. Their third record, Chaos and the Art of Motorcycle Madness, more than lives up to its name on all fronts. With songs like “Morbid Bails” and “Lucifer’s Bend,” the in-the-know references abound, and The Death Wheelers draw from classic underground metal, scummer heavy rock and cast themselves into a cauldron of cultish biker devil worship, reveling in any and all post-apocalyptic dystopias with genuine glee at having just seen the world eat itself. You might hear some surf guitar. Crazy things can happen. A sample in “Triple D (Dead, Drunk and Depraved)” underscores the message: “We want to be free to ride our machines without being hassled by the man. And we want to get loaded.” That line, from Roger Corman’s 1966 film The Wild Angels, serves as a mission statement, and as “Lucifer’s Bend” starts by laughing about how you can’t get away from Satan, they might as well carve it into their forearms to be ready when the blast of distortion hits, as much Entombed as Motörhead, galloping and sinister, coated in road dust and blood. The band tells the story like this: “Cursed to ride forever on this mortal plane after partaking in a satanic drug ritual, the Death Wheelers pledge allegiance to the god of hell and fire. However, in order to prove themselves to their newly anointed leader and for the spell to take effect, the club will need to engage in a series of lewd acts of sex and violence across the country. Immortality comes at a price and you’re about to pay for it…” While forging songs adherent more to ideology than style, The Death Wheelers cast their biker cult in their own image, and on Chaos and the Art of Motorcycle Madness, they challenge death head-on as only those with no fear of it could hope to do.

OM reunites one of the most powerful rhythm sections in rock music: Al Cisneros bass, vocals and Chris Hakius [drums], both ex-members of the legendary Sleep. Variations on a Theme is comprised of three long songs employing a series of rhythmic chants whose cadence-like textural drive conveys flight. The album's numerous lyrics serve as symbolist vehicles to a state outside the field of time and space. Variations on a Theme is a series of vibrations and flow. The opening track,"On The Mountain at Daw" is the thematic blueprint of the entire album; a transportive series of differentiated verse with sets of solid groove. "Kapil's Them" furthers the motif while the closer "Annapurna" breaks the spell, where the final wash of sound reflects the infinite.

100% Analogue 33RPM 180g 1LP
Remastered from the Original Analogue Stereo Masters for the First Time!

Hear this album as it was meant to be heard! Absolutely Stunning!
The greatest assembly of musical talent ever on one album! Features Performances by John Coltrane, Miles Davis, Bill Evans, Ben Webster & 27 More Jazz Greats!



In 1958, a young, successful French composer-arranger with a major infatuation on American jazz, worked his way to New York and convinced the very best players of the time to record an album of largely jazz standards. Michel Legrand would go on to win numerous prizes and accolades (3 Oscars, 5 Grammies, 2 Palmes D'or, etc.), but little of what followed matched the sheer brilliance of Legrand Jazz.

Miles Davis, John Coltrane, Bill Evans, Ben Webster, Phil Woods and practically every other session man in town signed up for sessions with Legrand to record his idiosyncratic arrangements of standards ("Django", "Don’t Get Around Much Anymore", "Night in Tunisia", etc.). Instead of regurgitating then current bop styles, he reinvented the very nature of orchestral jazz band repertoire to make a unique and forward-looking statement on the genre.

The sound of Impex's all-analogue LP preserves the wide soundstage of late 50’s Columbia recordings while creating intimate spaces between players on the stage for maximum definition. This rare, highly-praised recording has never sounded as good as it does now. Go big with Legrand Jazz.

Legrand Jazz was greeted by an enthusiastic review in the magazine Down Beat. Dom Cerulli awarded it five stars out of a possible five.

The meticulously recreated outer jacket is packaged in a gatefold with an original photo montage inside honoring Michel Legrand's masterpiece of reinvention and sublime fan-boy enthusiasm.

"The music is luscious and this just may be one of the best-sounding records you'll ever hear." - Ken Kessler, Hi Fi News, Rated 95/100 Sound Quality!

A year after its first edition, the Open Space series returns in order to keep exploring what ambient music might mean nowadays.

A breadth of fresh artists, some new to the label and others renowned for their more dance-centric works, the compilation aims to give each individual artist their creative freedom to explore the space.

Techno producers such as Arthur Robert or label head Len Faki himself keep the beats present but this time focus on evoking states of introspection rather than the shuffle of dancefloors.
On the other end of the spectrum, we find seasoned multi-instrumentalist Laraaji, who has been crafting deeply meditative soundscapes since the 80’s. Using the special opportunity, the label reaches outside its usual sphere, inviting artists like the modular synth expert Jeremy Wentorth or Jimmy LaValle’s band project The Album Leaf. All while still featuring some well known veteran producers the likes of John Beltran or Exos.

No matter their respective scene or background, all artists are using their unique approach to display something deeply emotive. Be it the warm, expansive electro of Future Beat Alliance or a bubbly cosmic arpride by Hamburg Duo Can Love Be Synth.

Truly living up to its name, the Open Space series aims to open up possibilities for artists to freely pursue their creativity in a completely undefined area, a space for exploration and connection.

Legendary drummer Kenny Clarke compared Jean-Luc Ponty to Dizzy Gillespie Fellow violinist Stuff Smith marveled, "He plays violin like Coltrane plays saxophone." Born in 1942, the French violinist Jean- Luc Ponty transported jazz violin playing into the world of modern jazz. On Frank Zappa's urging, Ponty moved to the States in 1970. Over the next years he toured with Zappa, the Mahavishnu Orchestra, and Chick Corea's "Return to Forever".In the early 1970s Ponty bought himself a sequencer and synthesizer and carried them around while traveling so he could record new ideas. By 1982 Ponty had a well- deserved reputation as a forerunner in jazz-rock and jazz fusion.
In a retrospective interview for this re- release of the 1983 album Individual Choice, JLP said:
"What I was recording in that new sequencer gave me the idea to go for a totally different concept, to use these recordings as rhythmic backgrounds, sometimes without drums or percussion. I planned to record a new album in which I would play all the background parts with my synthesizers and add my violin later on in the studio."
Ponty also invited a couple guests to contribute to the recording.

They were no less than George Duke (keys), Allan Holdsworth (guitar), Rayford Griffin (drums) and Randy Jackson (bass).
Individual Choice has been re- mastered by 2023 Grammy Nominee Christoph Stickeland includes new liner notes.

The issue was always: How could I transport my work as a producer and beatmaker on to a stage? How can something, that is happening behind locked doors in the studio, emerge into a live experience?" With this vivacious live quartet, he has found his answer.
Songs from a productive solo career spanning a period of over 10 years, Sepalot has a wide variety of songs to pick and choose from. Even in the live set up, his ove for electronic music remains unaffected and the subtle influence of Hip Hop is un- deniable. Despite this being the initial state of the project, a distinctive sound has evolved from jamming together in dark rehearsal rooms. The different characters compliment each other like a puzzle on stage, though Sepalot's part as producer and svengali is undisputable.
FABIAN FU?SS on the drums - longtime partner on the drum set and the voice behind Sepalot's unmistakable radio hit "Rainbows". ANGELA AUX on the bass and mostly the voice of the quartet is a writer and solo artist in his own right. Having released albums on Millaphone his roots are undeniably in hip hop with a heavy tinge of folk. MATTHIAS LINDERMAYR on the trumpet, who originated from a family of musicians, is highly decorated jazz virtuoso. His very own releases grace modern jazz specialist label Enja Records. ... and finally SEPALOT, bringing them together and making them more than the sum of its parts.

The electronic beats, the pulsating bass, Sepalot's enthusiasm for ambient sound design - all this remains unchanged and is garnished with the element of jazz. A unique, unequalled sound that strives for higher ideals and has immense international potential.

Summer is now upon us, and with it one of our dearest dancefloor artillerymen returns to Timedance.

Ploy's « For when we haven’t slept » stands as a mission statement for the party athlete, it is a celebration of weekends ran like both a sprint and a marathon and its three tracks narrates the spirally craze that keeps you out and makes the dancers forget the sole existence of their beds.

Starting with the first hits of strobe lights on a Saturday night, as the energy rises and the dancefloor manically comes together (Crazy BB), it then moves on to a welcome and slightly hectic high octane after-party (Rose) before rolling all the way through to the sheer moments of lustful euphoria that defines the best Sunday sessions (Finally).

Bass pressure and intoxicating techno collide seamlessly without falling into the traps of forced seriousness, while hints of hook-laden house music keep the groove at peak levels, so the bodies can keep moving, beyond sleep and exhaustion and into the final stages of pure frenzy, for when we haven’t slept.

The tone always makes the music. But only those who actually make the sound An ancient-house-avantgarde dream has always been there since the legendary -Warehouse- days of Ron Hardy, to bring more sounds and tones constantly to an independent, repetitive development. And thus beyond the limits of an executive creative artist on the otherwise purely commercial sense what we call in common -beyond imagination-. -Raw Footage-, the latest album concoction of Chicago house legend Ron Trent (Prescription) on his new imprint -Electric Blue- works in the best sense of Stanislav Lem heroes Trurl & Klapauciusals, cruising like those two metal brains frantically invented by the universe of 4/4-Sounds to get insane tracks out of the new material matter located there, and put them together to brand new ones. This trackwerk varies as well as of course between classical Chi-Town to the context of contemporary, epic house dubs and lives in a perfidious manner from the interaction of various computer
modules that constantly spits out new and exciting interactions. In the end, the software sings only as digital output of great analog sounds, which may well be understood as a mocking voice to the majority of contemporary Homeboy wackiness formats.-Unpredictable- and less -cryptic- might fit here as a keyword excellent, where you kick out of the rough house plant a significant entertainment value must, without the need to posess necessarily the same nerves of steel. Anyone who has ever really wondered what House sound could be appropriate for a journey through the vastness of the universe is, gets there now at this point completely to his fullest expense. Trent 2012 and its tracks on this album reflect a lot about the revolutionary founder of -Spirit of music- from the mid-80s, who is recorded then as now but with inadequate slogans such as -light years ahead of its time-. For as
Trents body of work -Raw Footage- is also particularly scary genius material, although still of totally solid stress field and background from the musical spectrum between the Windy City and the Motor City engine bridled her.-But heres to the Future- For Sir Trent more than twenty years after -Altered States- and the relevant follow-ups, thats not really a problem!
Der Ton Macht immer die Musik. Nur wer macht eigentlich den Ton Ein uralter-House-Avantgarde-Traum war und ist es seit den legendären
:Warehouse: Tagen eines Ron Hardy, Sounds und Töne immer ständig neu zur selbstständigen, repetitiven Entfaltung zu bringen und somit die kreativen Grenzen des exekutiven Künstlers über die sonst im rein kommerziellen Sinne gängige Vorstellungskraft hinaus zu sprengen.
:Raw Footage:, das neueste Album-Machwerk von Chicago House-Legende Ron Trent (Prescription) auf seinem neuen Imprint :Electric Blue: kommt im besten Sinne der Stanislav Lem Heroen Trurl & Klapauciusals, und cruiost wie jene beiden Metallgehirne wie wahnsinnig durch das All der 4/4-Sounds, um aus dem dort befindlichen Materiematerial neue, wahnsinnige Tracks zu erfinden und zusammenzustellen. Dieses Trackwerk variert denn auch wie selbstverständlich zwischen dem klassischen Chi-Town-Kontext bis zu kontemporären, epischen House-Dubs, und lebt auf perfide Art
und Weise aus der Interaktion verschiedenster Computermodule, die dabei ständig neue aufregende Interaktionen ausspuckt. Am Ende singt eine digitale Software nur noch als Output großer analoger Sounds, die durchaus als Spottgesang auf den Großteil eitgenössischer Homeboy-Frickelei Formate verstanden werden dürfen.:Unberechenbar: und weniger kryptisch mag hier als Schlagwort vortrefflich passen, wo man dem rohen Housewerk ganz erheblichen Unterhaltungswert abgewinnen muss, ohne das man dazu unbedingt gleich Nerven wie Drahtseile benötigt. Wer sich je
eigentlich gefragt hat , welcher House-Sound so für eine Reise durch die endlosen Weiten des Universums angemessen sein könnte, kommt an dieser Stelle jetzt völlig(st) auf seine Kosten. Trent 2012 und seine Tracks reflektieren mit diesem Album zwar viel von dem revolutionären Gründerspirit einer Musik aus der Mitte der 80er-Jahre, die damals wie heute dennoch nur unzureichend mit Slogans wie ihrer Zeit um Lichtjahre voraus zu erfassen ist. Denn wie Trents Gesamtwerk ist eben auch :Raw Footage: insbesondere furchteinflößend genialer Stoff, wenngleich auch immer noch vom ganz und gar soliden Spannungsfeld und Background des musikalischen Spektrums zwischen der Windy und der Motor City her aufgezäumt. :But here's to the future: - Für Trent auch mehr als zwanzig Jahre nach :Altered States: und den einschlägigen follow-ups nicht wirklich ein Problem!

Drittes Album der schwedischen Metal-Band Prime Creation. Auf Prime Creations "Tell Freedom I Said Hello" ist das Thema dystopisch. Es handelt sich jedoch nicht um ein Konzeptalbum; Jeder Song ist eigenständig und inspiriert von Büchern/Filmen und der Weltgeschichte. Die Songs haben oft einen melodischen, aber auch melancholischen Touch, der die Musik und die Texte auf faszinierende und fesselnde Weise miteinander verbindet. Gitarrist Robin Arnell schrieb die gesamte Musik für das Album, inspiriert von vielen verschiedenen Bands und Künstlern. Die Musik selbst hat einen etwas anderer Ansatz als die beiden vorherigen Alben der Band und ist noch härter geworden, ohne die Melodien und Harmonien zu vergessen. Prime Creation ist eine schwedische Metal-Band, die 2015 gegründet wurde und aus erfahrenen Musikern besteht, die modernen, treibenden, melodischen Heavy Metal spielen. Die Band erhob sich aus der Asche der Power-Metal-Band Morifade.

The latest EP from Drab Majesty marks the start of a stirring new chapter in the band's majestic legacy. Written during a 2021 retreat to the remote coastal Oregon town of Yachats, Deb Demure leaned into the neo- psychedelic resonance of a uniquely bowl - shaped 12 -string Ovation acoustic/electric guitar. After early morning hikes in the rain, Deb would record ambient guitar experiments the rest of the day, tapping into "flow states," letting the sound lead the way. These sessions were then refined or recreated, and later elevated further with key collaborations by Rachel Goswell (Slowdive), Justin Meldal Johnson (Beck, M83, Air), and Ben Greenberg (Uniform, Circular Ruin Studio). An Object In Motion is true to its title, capturing the chrysalis moment of an artist evolving, reborn and untet hered, silhouetted against an open horizon. "Cape Perpetua" kicks off the collection's divergent palette: sparkling acoustic fingerpicking refracted through delay, equal parts raga and reverie. Melodies and moods congeal and dissipate, at the threshold of rustic American primitivism, brooding neo-folk, and pastoral melancholia. "The Skin And The Glove" deploys jangle to different effect baggy, soaring, grey skied kaleidoscopic pop in the spirit of Stone Roses, Primal Scream, and The Glove. Rachel Goswell lends her iconic freefall voice to The Cure - esque ballad, "Vanity," infusing poetic gravity to the doomed refrain: "If the valve breaks / then the earth quakes / and history finds a way / to put you in your place." "Yield To Force", the closing track of the EP, may be the most anomalous offering of the set. A 15 minute instrumental odyssey of cyclical strings, ominous slide guitar, and simmering synthesizer, the piece sways and spirals like a long zoom into distant storm clouds. Demure finesses the guitar with a restless but regal grandeur, unfolding a panorama of peaks, shadows, and plateaus. It's music both intuitive and prophetic, tracing the slow swing of pendulums across an endless plain. Taken as a whole, An Object In Motion presents a showcase of potential futures from Drab's evolving domain, their sound poised to bloom at the precipice of transformation.

With I Will Make a Baby in this Damn Economy, Fat Tony embodies the kind of quixotic figure he would rap about; a singular entity who’s motivated, confident, and hungry; a perpetual-motion-machine locked in a staring contest with his country. It’s the latest album in his catalog produced entirely by L.A-based producer Taydex since 2020’s Wake Up. Later that same year Fat Tony released Exotica, and ever since he’s demonstrated he is in his own lane as a professional rapper with the mind of a magician, as quick to conjure an image as pull it out from under you, deftly manoeuvring through so many details and references a listener feels as if they have witnessed the work of an illusionist. He paints these canvases inside of songs that rarely spill past three minutes; they’re pocket-sized diaries replete with acute observations, character studies, microdoses of storytelling, and single-minded ruminations on a topic that bud, blossom, and fade before too long. Fat Tony & Taydex’s I Will Make a Baby in this Damn Economy cements Tony’s status as someone whose albums are not so much lyrically-lyrical as they are picaresque.
As with any Fat Tony project, the bars are tight as ever, but are so fluid for the 34-year-old it’s almost easy to take for granted the details, warmth, and humanity inside his free-associative tales of day-one friends who’ve passed, edgelord grifters who want to spit game, and nights on ketamine. Taydex’s production sprints through disparate yet simpatico styles, dipping its toes into Pi’erre Bourne-esque bass (see lead single “Spectacular”), house (“Loosen Up”), and even hyperpop. Meditations on loss and grief are woven throughout, but Tony throws a few curveballs as well: Consider “Alexis,” which sweetly reflects on a long-term platonic friendship. Taydex finds a Teddy Riley-indebted New Jack Swing groove just deep enough for the feeling to land and underlines the song’s sincere candor. This is the appeal of Fat Tony writ-large: his boisterous voice and genial personality invite you to the party, then you stick around to hear what he’s saying, which is frequently more introspective and complex than one assumes.
Written and recorded in Taydex’s new studio in North Hollywood, Tony says, “We had much more freedom and flexibility in making this album and you can hear it. It felt like a family project.” If the album is comfortable and loose, it is also dense and substantial. The album’s final two tracks contextualize the immediacy of what came before it—the mezcal with ices drank, Paul Wall swangin’ through to drop knowledge, the Polaris Prize-winning rapper Cadence Weapon providing a vibe check. “Make a Baby” accounts for Tony who’s seen everything, and knows he’s met the one to be a father with, and yet chooses to take his time to get it done. Taydex’s beat recalls turn-of-the-century R&B and the millennial promise of an endless good time. Sombre closer “Jasper, TX” is Tony coming to grips with the story of James Byrd, Jr., a Black man from East Texas dragged to his death by three white supremacists in 1998. These songs are not only trademarks of Tony’s fastidious rapping—they are deeply personal examples of his approach to artistry and life itself, where every decision is made in the shadow of history.
It’s here the mission statement of I Will Make a Baby in this Damn Economy comes into focus—you get the sense he means it, he’s ready for it, he’ll fight for it. He’s waiting to take the world at its word.

Straight outta Rockaway Beach, Queens, New York City, USA, THE WORLD, Prison is a state of mind, an experience, a loose collective, a band, a jam band and a bunch of psychedelic dudes who aren"t your average bunch of jambanders. All that, all at once, ALL THE TIME. You get what you"re dealing with here? No...you don"t. The only way to REALLY get it is to go to Prison -- and if you"re not from greater NYC and haven"t showed at any of the shows, here"s your best bet: their breakout album, Upstate. And whatta breakout! So high, you can"t get under it; so wide, you can"t get over it! How wide? Every song has two titles, that"s how wide. And almost everybody sings, like, all the time. That wide. Sure, you can break down the numbers -- five guys, five songs and four sides of vinyl in one gatefold sleeve -- but that won"t get you Upstate, either. Prison is the sound of everybody in the room figuring out where to go, individually and collectively. As they go through it, the meaning changes, the destination changes, the words mean something different. It"s meaning and no meaning, rising and falling, sinking and flying on the back of something massive cacophonized by three guitars, four vocals, a bass and drums. A lot of information bouncing around and enough time to really get you out of yourself! Take a look at the titles: each one a dichotomous inquest that the assembled Prison-ers march upon with fervor, glee, vengeance -- a whole spectrum of feels and perspectives woven into the jam for you to see. The Prison population changes with the seasons, and during the season this album was recorded, Sarim Al-Rawi, Mike Fellows, Sam Jayne, Matt Lilly and Paul Major were in Prison. Sarim you might know from Liquor Store, Mike"s made a bunch of scenes and records as Mighty Flashlight, Sam, who passed away in 2020 (R.I.P., brother) was in Love as Laughter -- and Paul Major you know from Endless Boogie, who Matt had roadied for -- and despite being "just a skateboarder who loves music" with no previous experience on the drums, he and Sarim inaugurated the Prison experience, like, seven years ago. Since then, it just fell together and it keeps doing so. A free thing called Prison.

"Ein außergewöhnliches Talent" (Jamie Cullum), "aktuell der Name in aller Munde" (BBC 3), "eine Kraft, mit der man rechnen muss" (Jazzwise). Mit gerade einmal 21 Jahren ist die Saxofonistin Emma Rawicz aktuell „talk of the town“ der britischen Jazz-Szene, die aktuell zu den interessantesten der Welt gehört. Ihr ACT-Debüt ‘Chroma‘ ist nicht nur ein extrem vielschichtiges, im wahrsten Sinne farbenfrohes
Album, sondern auch ein Statement und Ausrufezeichen in Richtung der internationalen Jazz-Szene.

Internationally renowned singer/songwriter and folk-rock high priestess Alanis Morissette released her greatest hits album The Collection nearly twenty years ago. Now, for the first time ever on vinyl, this collection of hit records is being reissued as account exclusive double LPs in varying shades of violet, alongside a standard black version for the general market. Beautifully assembled and repackaged for vinyl, this collection spans the decade between 1995 and 2005 when the Canadian popstar first broke out in the States. It includes a number of Morissette’s well-known singles, plus a few interesting soundtrack selections, and a cover of Seal's smash single "Crazy".

Internationally renowned singer/songwriter and folk-rock high priestess Alanis Morissette released her greatest hits album The Collection nearly twenty years ago. Now, for the first time ever on vinyl, this collection of hit records is being reissued as account exclusive double LPs in varying shades of violet, alongside a standard black version for the general market. Beautifully assembled and repackaged for vinyl, this collection spans the decade between 1995 and 2005 when the Canadian popstar first broke out in the States. It includes a number of Morissette’s well-known singles, plus a few interesting soundtrack selections, and a cover of Seal's smash single "Crazy".

With "Times Are Tight" we have the missing link of the "soul chain" where Neddy Smith, Steve Kahn & Co.,Touche', Maxine Singleton, Jagg ... have found a pinch of glory. The history began 40 years ago when S.P.Q.R. (sub-label of Best Record) released "Danceteria", a wonderful compilation with 10 disco-soul-funk songs produced in the States among which the fantastic tune written, arranged and performed by Jimmy Young, still relevant today, that during the summer 1983 was rocking half world's dancefloors. The vocal side of "Times Are Tight" is so good for vibe and sentiment, while the instrumental version is early 80's disco-funk perfection. Great groove with really interesting instrumentation and variation. Yes indeed! This is the classic funk anthem from the early 80's - the lyrics are so apt for the current economic situation "Don't give up, your day is coming!"

Marbled Green & Black Vinyl! Das Album Turkish Leather des Detroiter Trios RITUAL HOWLS erzählt Geschichten, die so auch aus der Feder von Poe und Lovecraft kommen könnten. Auf ihrem Debüt für Felte, ,Turkish Leather" vermischen sie viele verschiedene Spielarten zu einem selbstbewussten Mission Statement. Die Sounds von Ben Saginaw und Chris Samuels erschaffen den Spielraum für die düsteren Texte von Paul Bancell. Die Einflüsse von RITUAL HOWLS reichen vom britischem Post-Punk über NICK CAVE bis zum Industrial von SKINNY PUPPY; die Band schafft es, diese Einflüsse mit Expertise zu vermischen. Field Recordings treffen auf Elektronik; auf ,Turkish Leather" verwandelt sich Sound Design in Pop. Viele der Tracks haben eine cinematische Reichweite, ob das das Industrialstück ,A Taste Of You" mit seiner Lynch'schen Barszene oder die Goth-Synthies von ,Take Me Up", einem langsam schwelenden Track, der sich zu einem Melodram mausert, sind. Es fällt leicht, sich diese schrägen Gitarren zu einer Szene in einem Jarmusch-Film vorzustellen: die Ästhetik der Tracks zieht des Hut sowohl vor TOM WAITS als auch vor ENNIO MORRICONE. RITUAL HOWLS schaffen es, diese Einflüsse zu verbinden und absolut einzigartige morbide, roh und hart zu klingen. ,Turkish Leather" ist ein Album, das mit nichts hinter dem Berg hält; die Band kündigt sich mit dem Selbstbewusstsein harzgesottener Veteranen an.

'Festering Grotesqueries' is a musical statement crafted and executed by
four individuals who are completely sold out to heavy fucking metal -
Firmly rooted in the sounds of classic Death Metal and Grindcore,
'Festering Grotesqueries' is all at once cacophonous and catchy,
merciless and memorable, an album that is as brutal as it is fun
Avoiding genre stereotypes that would relegate them to the dustbins occupied by
countless imitators of the oldschool, Dripping Decay have combined speed and
technique with groove and swagger to create a dynamic exhibition of crushing
and unforgettable tracks: 14 'Festering Grotesqueries' in all

'Festering Grotesqueries' is a musical statement crafted and executed by
four individuals who are completely sold out to heavy fucking metal -
Firmly rooted in the sounds of classic Death Metal and Grindcore,
'Festering Grotesqueries' is all at once cacophonous and catchy,
merciless and memorable, an album that is as brutal as it is fun
Avoiding genre stereotypes that would relegate them to the dustbins occupied by
countless imitators of the oldschool, Dripping Decay have combined speed and
technique with groove and swagger to create a dynamic exhibition of crushing
and unforgettable tracks: 14 'Festering Grotesqueries' in all

Following on from the success of our first BlackHole vinyl release, we are delighted to bring you the next release from their amazing catalogue, an excursion into eight of the tracks that were included on Tiesto's classic 'In Search of Sunrise 06' mix compilation. This was an album that has had limited vinyl exposure, and this collectors edition will be sold on a first come first served basis. A double vinyl release with 8 tracks (2 per side) in their full unedited glory, all original approved artwork, 5mm sleeve, housing 180g heavyweight black vinyl....

Gatefold single vinyl LP with an 8 page 12" size bookelt in the other side of the gatefold.

We're thrilled to announce the return of Tobor Experiment, the visionary musical project led by the enigmatic Giorgio Sancristoforo, to the Bearfunk fold. After a twelve-year hiatus, Tobor Experiment emerges from the shadows with their second LP, "Available Forms". Picture the ethereal ambiance of a dimly lit jazz club colliding with the futuristic vibrations of a 1970s sci-fi TV show, and you'll begin to grasp the sonic experience that awaits. Giorgio draws on a whole host of musical inspirations, from the name checked Tim Gane & Letitia Sadier to the moog pioneers Claude Denjean & Jean Jaques Perrey. With the moogsploration of contemporary jazz Tobor Experiment invites listeners on an extraordinary musical odyssey where jazz meets electronica meets nu-disco.

Prepare to be captivated from the very first note of the infectious opener, "Lowpass Risotto" as Tobor Experiment masterfully combines familiar elements with their unique artistic vision. Resonating with undertones reminiscent of the timeless classic "Take Five" the track immediately grabs your attention. While the familiar drum shuffle sets a comforting foundation, Tobor Experiment takes an unexpected twist by infusing the composition with squelchy Moog lines and captivating hollow body guitar solos. The result is a harmonious blend of nostalgia and innovation that transports you to an entirely new sonic realm.

Continuing the journey, the mesmerizing 6/8 rhythm of "Up!" pays homage to the iconic sounds of Stereolab while showcasing Tobor Experiment's innovative spirit. As enchanting synth pads weave through the air, you find yourself immersed in a dream-like state, carried away by the hypnotic shifting patterns of the bass and drums.

With "Astounding Stories" Tobor Experiment returns to the energetic vibes of the album opener, inviting you to surrender to a sonic tapestry rich with musical exchanges. In traditional jazz style we receive solo's from all parties. Each instrument adding its unique voice to the narrative, creating a dynamic and engaging musical conversation.

As the album progresses, "Moonscape Dust" emerges, drawing inspiration from the atmospheric brilliance of "Low." This track serves as a portal to an otherworldly sonic landscape where time and space lose their hold. Here, organic drums step aside, making way for a low-fi drum pattern that lays the foundation for ethereal synth pads. The composition invites you to explore the depths of your imagination, transcending earthly boundaries and allowing you to float in an immersive soundscape.

The album's closing track, "Monsters" has an air of "Air" about it... the ethereal synths beckon you to surrender to the weightlessness of space, just allow yourself to be carried away by the infectious rhythms, intricate melodies, and atmospheric textures that shape this extraordinary musical journey.

Each track on "Available Forms" showcases Tobor Experiment's exceptional ability to transcend musical boundaries, creating a genre-bending album that defies all expectations. From start to finish, the soundscape presented is a testament to Tobor's relentless pursuit of musical innovation. Each composition is a fusion of diverse elements, seamlessly blending organic instruments and electronic textures in a way that challenges traditional genre classifications.

The AI-generated artwork serves as a portal to an alternate dimension. Paying homage to the retro-futuristic aesthetic of 1970s science fiction TV shows, it captures the essence of the album's fusion between organic and electronic realms.

Das zehnte Arch Enemy-Album, das 2017 aufgenommen wurde, war das ultimative Statement der Heavy-Metal-Überlegenheit einer Band, die mit den Jahren immer noch an Statur gewann. "Will To Power" ist das erste Album, das die Band mit ihrem aktuellen Line-up aufgenommen hat, und eingefleischte Fans waren begeistert, ihre Lieblingsband in Topform zu hören, als auch etwas überrascht von ihren neuen kreativen Erkundungen. Das Album ist endlich wieder in den folgenden Formaten erhältlich: - Schweres 180g Vinyl in Schwarz und Gelb, inklusive 2-seitigem Einleger - Special Edition CD, die in einem "PocketPac" (umweltfreundliche Verpackung) und einem 16-seitigen Booklet geliefert wird

Das zehnte Arch Enemy-Album, das 2017 aufgenommen wurde, war das ultimative Statement der Heavy-Metal-Überlegenheit einer Band, die mit den Jahren immer noch an Statur gewann. "Will To Power" ist das erste Album, das die Band mit ihrem aktuellen Line-up aufgenommen hat, und eingefleischte Fans waren begeistert, ihre Lieblingsband in Topform zu hören, als auch etwas überrascht von ihren neuen kreativen Erkundungen. Das Album ist endlich wieder in den folgenden Formaten erhältlich: - Schweres 180g Vinyl in Schwarz und Gelb, inklusive 2-seitigem Einleger - Special Edition CD, die in einem "PocketPac" (umweltfreundliche Verpackung) und einem 16-seitigen Booklet geliefert wird

Three years after the original release date of Caterina Barbieri’s career defining album Ecstatic Computation, the Italian artist reissues the record on her newly found own label light-years.

Caterina Barbieri is an Italian composer who explores themes related to machine intelligence and object oriented perception in sound through a focus on minimalism. Ecstatic Computation revolves
around the creative use of complex sequencing techniques and pattern-based operations to explore the artefacts of human perception and memory processes by ultimately inducing a sense of ecstasy and contemplation. Computation is turned from being a formal, automatic writing technique into a creative, psychedelic practice to generate temporal hallucinations. A state of trance and wonder where the perception of time is distorted and challenged.


Equally nervous and ecstatic, the fast permutation of patterns can create a state where time stands still whilst simultaneously being in motion. Is this propulsive music moving forward or backward? As
long as the perception of the present is constantly enhanced and refreshed in an endless sense of loss, re-discovery and the search for self-orientation this question lies mute aside the thrilling and perplexing moment of the matter at hand.

The Remixes series continues to shine, and attempts each time to bring remixers that have never been previously featured. This time we have one of the oldest and most original statesmen of the scene - the one and only Nookie, remixing an old skool tune in an old skool way, and it is beautiful to behold. Meanwhile Dj Beeno reworks Luna-C & Saiyans epic track, Innercore smashed an IOTB tune, and Paul Bradley reworks the classic 2 Pumpin by 2 Croozin.

Bob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decade's unprecedented run of transformational brilliance finished. Then came Blood on the Tracks.

A start-to-finish cycle that documents a lover's pursuit of, entanglement with, and loss of a woman, the bracingly intimate 1975 effort remains one of the most encompassing break-up albums ever made and ranks as the most personal statement of the Bard's career. To hear it is to experience the agony, frustration, trauma, highs, lows, confusion, sadness, and, ultimately, requisite redemption associated with intimate relationships gone astray. Dylan maintains it's a work of fiction, but it's evident close-vested autobiographical premise is what helps make it universal: It's the icon singing through tears, going out of his mind, battling hallowing emptiness, firing shots across the bow, and accepting culpability. It is, in short, a consummate expression of love's darker sides and the consequences of what happens when dreams unravel.

As part of its Bob Dylan catalogue restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LP at RTI. The end result is the very finest, most transparent analogue edition of Blood on the Tracks ever produced – and the first-ever proper analog reissue. Fantastically presenting both the solo acoustic and band-supported songs with the utmost clarity, dynamics, presence, immediacy, spaciousness, imaging, and balance, this version shines a high-powered light on the fluid vocal phrasing, timbral shifts, functional rhythms, and inward-looking strumming that contribute to every song here serving as a wound-exposing confessional.

For all the melancholic pain, unresolved questions, shattered memories, wasted times, unrequited dialogues, and weary regret within, Blood on the Tracks remains as daring as it is reflective. Rather than follow for a monotone caustic vibe, Dylan's songs burrow into the subconscious for the manners in which they are even-keeled, mellow, and occasionally, even peaceful. Dignity, honour, poignancy, and fairness – all traits uncommon in any situation in which partners dissolve histories, change hearts, and attribute blame – instil the record with equilibrium on par with the consistency of the flowing melodies.

Throughout, tunes come on and proceed as if they could continue forever, Dylan spinning poetic verses and conversations amidst finely tied knots of acoustic notes, chords, and fills, the deceivingly simple architecture conjuring the intertwined refractions of a bezeled jewel, various angles, colours, and textures conjoining into a gorgeously inseparable whole. Backed by Tony Brown's flexible albeit subtle bass, Buddy Cage's country-streaked pedal-steel guitar, and Paul Griffin's soul-baring organ – an instrument used to shadow, tuck-point, and illuminate here as effectively as any time in rock history – Dylan pours soulful emotion, open his veins, and bleeds.

Ranked 16 on Rolling Stone's list of the 500 Greatest Albums of All Time, and replete with existential thought, piercing directness, raw singing, and majestic arrangements,

Given the sonic and artistic merit of this album, we anticipate huge demand.

In Japanese, the word “Guru-Guru” refers to the state of spinning, whirling.?
This state is captured in the work of Japanese artist Hoshina Anniversary, who makes his third appearance on MUSAR with his EP Guru Guru and marks the return of the label after an extended break.

Hoshina’s self-titled brand of ‘Watechno’ has appeared on well-loved dance music labels like ESP Institute, Volvox’s Jack Dept and Young Marco’s Safe Trip, alongside MUSAR where he also appeared as Shifting Gears back in 2022; an electronic-jazz-centered moniker.

His Guru Guru EP captures the latest snapshot of Hoshina’s sound and sees him draw from Japanese language as a through-line.
The title track is the clearest representation of his ‘Watechno’, where he uses Japanese instrumentation on top of a menacing EBM-style march. The track's slowly whirling momentum is the “Guru-Guru”.

On tracks like “Banri”, which means far away in Japanese, we see new shades to Hoshina’s work as he mixes a Japanese Wadaiko drum groove with acidic elements and piano melodies to make a track of contradictions which pairs roughness with elegance. Whereas on “Usagi”, Japanese for rabbit, Hoshina fires up the BPM.
Piano melodies remain here but their effect is more drifting and emotive than on “Banri”.
“Kaga” is named after a place in the southernmost part of Ishikawa Prefecture, between Kanazawa City and Fukui City.
On this track, Hoshina’s love for jazz comes through and even mirrors the work we heard from him under Shifting Gears.

The concept of strict musical genre has arguably been dead for decades, and the latest offering from Danish powerhouses Gustaf Ljunggren and Emil de Waal once again reinforces this notion. Their third collaborative album "Stockholm Kobenhavn", a spacious, cinematic and boundaryless exploration of their shared musical connection is set to release on July 7th on April Records. Emil de Waal has been one of Denmark"s leading drummers for three decades. Gustaf Ljunggren initially studied the saxophone at the Rhythmic Conservatory of Copenhagen, where whispers spread throughout the school that he was the best saxophone player in town and yet never practiced. His career has seen him prove that he can bring grace, musicality and heart to any instrument he touches, from the pedal steel guitar, to the bass, piano, and more. In the words of Danish multi-instrumentalist Kresten Osgood, "Although an instrument may be new to him he is able to play it like he has had a lifetime of experience working with it. Over the years I think the only instrument I haven"t seen him play is the drums." "Stockholm Kobenhavn" has a vast array of influences including Jazz, Americana, Film Music and Electronica. It is full of space, coaxing the listener into a meditative state and inviting them to drift away with their own imagination. The record plays as a series of open-ended sketches or moods, absent of big defining melodies or familiar song-like structures. Each piece evolves over time, providing musical interest in the form of rhythmic ideas, rich harmony, texture, and repetitive melodic patterns from a guitar or rhodes. Imaginative electronic production techniques combine the warm sounds of acoustic instruments with a constantly developing palette of otherworldly textures and effects. Grounded by an unwavering pulse, the combination of programmed beats and acoustic drums provide the hypnotic foundation over which the pair explore and challenge their common musical ground. The album closes with an intimate recording from a performance at STUK in Belgium, with a comforting guitar-led Americana tune bringing the listener back into the room and sharing in the joy the duo have felt in playing together over the past twenty years.

I could smell the curves of the river beyond the dusk and I saw the last light supine and tranquil upon tide-flats like pieces of broken mirror, then beyond them lights began in the pale clear air, trembling a little like butterflies hovering a long way off. -The Sound and the Fury, William Faulkner

This is the third and final instalment of Jeremiah M. Carter’s album triptych, »Vessels«. Following »Rejoice« and »Speak You Also«, all three album’s where conceived within a 6 month period during ferociously exalting creative sessions.

The Emotional turmoil of the early pandemic is as present on »Vessels« as it is in the other two albums, yet the final instalment showcases as more distinctive sense of focus, where the earlier albums saw Jeremiah expel a state of uncertainty and trepidation into an intense, almost spiritual form of musical cleansing, Vessels still bears those same hallmarks, yet comes across with an air of refinement and finality.

Spanning six pieces, each work feels like an integral part of the albums overarching narrative, fervently nestled amid divinity and humility. By its final piece, which also clocks in as the longest in the entire triptych, we are treated to one of Jeremiah’s finest moments, and for a few seconds, it all comes together for one last swansong, forming a sonic distillation of elation and grief, desire and passion. – It’s all here.

Auf ihrer neuen EP „Sugar EP“ verbindet Tash Sultana kunstvoll Klänge ihrer früheren Werke („NOTION“, „Flow State“ und „Terra Firma“) und schafft somit einen ausgereiften musikalischen Ansatz. Tash verwebt diese Elemente gekonnt miteinander und vermittelt Lektionen aus gegenwärtigen Momenten. Mit ihrer einzigartigen Mischung aus musikalischem Talent und Introspektion wird Tash Sultana ihre Fans weiterhin fesseln und inspirieren und mit ihrer neuen EP eine transformative und tief bedeutsame Erfahrung liefern.

Hurry has grafted the best qualities of ‘90s bubblegum power pop—the pitch-perfect songwriting, the pop-rock sheen, the borderline saccharine vocal melodies—onto something far more raw and emotionally resonant. Don’t Look Back is striking in its tenderness and candor—approximately half of the lyrics on the record concern the deterioration of an 11- year relationship Scottoline was in, with the other half being a celebration of new love. The first words Scottoline sings, in opening track “Didn’t Have to Try,” is essentially a statement of theme: “And we’re back at the beginning / Never thought I’d see a face like that again / It attacks when we’re not ready / And I won’t play it safe this time.” This is pop music about actual feelings which means it’s automatically better than most pop music. It is challenging and addictive.

There is not a single moment on Don’t Look Back that isn’t completely drenched in melody and emotion. “Parallel Haunting” evokes the tuneful ache of golden age Evan Dando; “Little Brain” sounds like golden age Evan Dando and golden age Noel Gallagher. Don’t Look Back is, in a word, bittersweet, with melodies that feel like a jackhammer on your brain’s pleasure center and lyrics that feel like getting slapped in the heart.

Rare 1986 Funk/Soul From Alabama.

Originally released as a private pressed cassette tape only.

First Time On Vinyl.

Released in collaboration with the Numero Group.

180g BLACK vinyl limited to 500 copies w/obi strip. Non-Returnable.

Armed with little more than his Peavey T-60 guitar and a Jumbo Fuzz pedal, Errol Stubbs and his bar-band cohorts cranked out a self-released tape of funked-up disco soul in 1986. With no label or distribution to speak of, Errol would simply put on his best suit and sell the cassettes by hand. The tape languished into obscurity…until now!

The story of Errol Stubbs begins in Birmingham, Alabama in 1959. The youngest of five, he was surrounded by music as a child–his aunt taught piano at Daniel Payne College while his older brother, Avery Beavers, was an accomplished jazz trumpeter. Under the guidance of Avery, Errol started playing trumpet at the age of nine, though he gravitated toward songwriting and quickly picked up the guitar. Inspired by blues greats the likes of Albert King, Buddy Guy, and Little Milton, 12-year-old Errol began mimicking the sounds that filled southern airwaves. As a teenager, he played at barbecues, fish fries, and dive bars across the Magic City. After a brief stint at Jefferson State studying music, Errol’s passion for songwriting beckoned him away from the classroom.

Stubbs bounced around bar bands before settling on a live lineup and saving enough dough to take his vision to the recording studio. Over the course of two days, his well-rehearsed band recorded Turning it Out mostly live to tape at the Sound Of Birmingham Studio. Located on Birmingham’s east side, the state-of-the-art studio kept the lights on by recording commercial jingles but was more than happy to open their doors to local talent.

Taking notes from guitar god Ernie Isley and funk legend Rick James, the resulting recordings are drenched in cosmic phaser-fuzz guitar work, slapping bass lines, and sexual disco innuendos. Big brother Avery lends a hand on Clavinet for “Sweat,” while studio owner/engineer Don Mosley adds a tasteful dose of Moog synthesizer across a handful of cuts.

Soon after the Sound Of Birmingham sessions, Errol released the private pressed EP “Dancin’ Fancy,” b/w “Spaced Out On Your Love,” the latter of which was featured on Numero Group’s 2019 compilation Visible and Invisible Persons Distributed In Space.

The seven-song cassette Turning It Out was sold in local record stores and from night club stages, but only a few copies made their way out of Birmingham.

When he first came on the scene, Phil Woods was often referred to as
"The New Bird," in a nod to the legendary Charlie Parker - A testament to
his genius on the saxophone to be sure
But while obviously indebted to Parker - as all modern jazz saxophonists of a
certain era were - there is no question that Phil Woods was an original. After
earning a degree in music from Juilliard in the early 1950's, Woods found himself
in the orbit of the great Quincy Jones. At Jones' invitation Woods joined Dizzy
Gillespie's infamous Jazz Ambassadors - a tour sponsored by the US State
Department as part of a global cultural diplomacy initiative - and subsequently
became a member of Jones' own touring band. This recording, his 9th album as a
band leader, consists entirely of Woods' five- part Rights of Swing Suite. An
ambitious large-scale composition based solidly on jazz traditions. A culmination
of the influences the then 30 year artist had absorbed. Arguably considered one
of Woods finest recordings, the record features a stellar section made up of
Wood's fellow Quincy Jones band members. (It should be noted that these same
musicians, for the most part, are also the section on Benny Bailey's Candid
Records recording, Big Brass, recorded a a few months prior in November of
1960). Recorded at the Nola Penthouse Studios in New Your City on two dates in
January and February of 1961, and conducted by Quincy Jones. The LP includes
extraordinary liner notes by Candid A&R man and producer Nat Hentoff, and indepth commentary from Woods himself, giving a context and insight that adds to
the experience of hearing these extraordinary performances

REPRESS

Codek is the brainchild of Jean-Marie Salaun who grew up in Paris influenced by the folklore of the inner city. In 1978 he joined art rock group SpionS alongside Gregory Davidow and recorded two singles. Diving into the Paris post punk scene he met Claude Arto and designed the artwork for Claude's single on Celluloid Kwai Systeme / Betty Boop.' Robin Scott (M Pop Music') had produced the SpionS first single and wanted to collaborate further. With Claude, Jean-Marie wrote Me Me Me', intended for a choir, for M. Then SpionS split and Robin was off to Switzerland to record an album to follow-up his hit single. That left Jean-Marie alone in London, where he began working as Codek, a play on the brand name Kodak The Me Me Me' single was released by MCA Records in 1980. Back in Paris, now with some studio experience, Celluloid Records hired Jean-Marie to produce records for Artefact and Les Orphelins. Over the next 2 years he began working on ideas for the next Codek single Closer / Tam Tam'

Closer' started its life as an electric baseline played by Jean-Marie. Claude Arto sequenced the floating synthesizers. Laurent Grangier and Frédéric Lapierre of reggae band Immigration Act played the horns. The lyrics Hard to say. Easy to do. We don't need to say what we do' were a statement on creation as narration expressed Jean-Marie's ennui, I'm tired with it.' Tam Tam' was inspired by Burundi drummers playing on the plaza in front of Beaubourg where the song was recorded. Jean-Marie enlisted one of the drummers from the circle, Georges Atta Dikalo, to lay down percussion for the song. The female singers were from the French Caribbean and added falsetto tribal chants. JM was part of the the African night scene in Paris, remixing Xalam's Kanu' and Touré Kunda's Salaly Muhamed.' Claude achieved complex rhythmic patterns using a modular synthesizer and heavy processing. Jean-Marie recorded himself beating his chest for the thump noises. The recording of Tam Tam' and Closer' spanned over two years. They started on 16-track in Studio d'Auteuil, where JM blew the woofers, before resuming in Studio Centre Georges Pompidou with an added 8-track recorder. Jean-Marie was producing other bands, and a lot of this was recorded on "borrowed" studio time. The single was released in 1981 on West African Music, a tiny label from the Ivory Coast, and was re-released a year later by Island Records in the UK (where the B-side was re-named Tim Toum'). Both tracks were staples in the DJ sets of Beppe Loda and Daniele Baldelli, finding a spiritual home in the Cosmic scene of Italy.

Both songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1981 edition with artwork by Angela Boy, inspired by primitive electronics and African paintings. Each copy includes an doubles-sided insert with photos and liner notes by Jean-Marie Salaun.

Die meisten in der Musikindustrie sagten eine neue Thrash Dämmerung voraus, nachdem eine dritte Welle die Szene in den frühen 00er Jahren erreichte und für genügend Nachwuchs sorgte, um in den Ruhestand gehende Veteranen wie Slayer zu ersetzen. Es stellte sich heraus, dass 20 Jahre später eine junge dänische Band sich weigern würde, im Status Quo zu verharren und die Szene mit einem der aufregendsten Debütalben seit Municipal Waste's "Waste 'Em All" heftig traf. Diese Band war DEMOLIZER, und im Jahr 2022 begaben sie sich erneut ins Studio, um das neue Album "Post Necrotic Human" aufzunehmen, nachdem sie die dänischen Autobahnen mit ihren alles zerschmetternden High-Speed-Riffs und erdrückenden Donner-Breakdowns bereist hatten. Das Album wurde in den Plague Studios aufgenommen und gemischt, und in No Masters Voice gemastert.
Das bedeutet, dass du schon bald deine Nachbarschaft mit dem nicht enden wollenden Gebrüll der neuen Platte von Demolizer auf allen Streaming-Plattformen und auf deinem Plattenteller bestrafen kannst! Demolizer, die 2018 gegründet wurden, spielen zermürbenden, harten und ungefilterten Thrash Metal, bei dem du deine Zähne mit zerquetschten Fingern aufheben wirst, nachdem du den Pit knapp überlebt hast. Demolizer ist die Manifestation eines großen, wütenden Mittelfingers, der dem Establishment entgegengestreckt wird, und bietet den härtesten, schnellsten und thrashigsten Thrash Metal, von dem man nur träumen kann! Die Dänen haben in den letzten drei Jahren zwei Alben veröffentlicht: das "Thrashmageddon"-Album und die EP "Upgrade", die weltweit gute Kritiken erhielt. Mit mehr als 100 Shows im Rücken sind sie mehr als bereit, dir mit ihren messerscharfen Riffs die Eingeweide rauszureißen und mit ihren Breakdowns auf den Überresten herumzutrampeln.

Die meisten in der Musikindustrie sagten eine neue Thrash-Dämmerung voraus, nachdem eine dritte Welle die Szene in den frühen 00er Jahren erreichte und für genügend Nachwuchs sorgte, um in den Ruhestand gehende Veteranen wie Slayer zu ersetzen. Es stellte sich heraus, dass 20 Jahre später eine junge dänische Band sich weigern würde, im Status Quo zu verharren und die Szene mit einem der aufregendsten Debütalben seit Municipal Waste's "Waste 'Em All" heftig traf.

Diese Band war DEMOLIZER, und im Jahr 2022 begaben sie sich erneut ins Studio, um das neue Album "Post Necrotic Human" aufzunehmen, nachdem sie die dänischen Autobahnen mit ihren alles zerschmetternden High-Speed-Riffs und erdrückenden Donner-Breakdowns bereist hatten.

Das Album wurde in den Plague Studios aufgenommen und gemischt, und in No Masters Voice gemastert. Das bedeutet, dass du schon bald deine Nachbarschaft mit dem nicht enden wollenden Gebrüll der neuen Platte von Demolizer auf allen Streaming-Plattformen und auf deinem Plattenteller bestrafen kannst!

Demolizer, die 2018 gegründet wurden, spielen zermürbenden, harten und ungefilterten Thrash Metal, bei dem du deine Zähne mit zerquetschten Fingern aufheben wirst, nachdem du den Pit knapp überlebt hast. Demolizer ist die Manifestation eines großen, wütenden Mittelfingers, der dem Establishment entgegengestreckt wird, und bietet den härtesten, schnellsten und thrashigsten Thrash Metal, von dem man nur träumen kann!

Die Dänen haben in den letzten drei Jahren zwei Alben veröffentlicht: das "Thrashmageddon"-Album und die EP "Upgrade", die weltweit gute Kritiken erhielt. Mit mehr als 100 Shows im Rücken sind sie mehr als bereit, dir mit ihren messerscharfen Riffs die Eingeweide rauszureißen und mit ihren Breakdowns auf den Überresten herumzutrampeln.