Suche:ta ra

Nach Veröffentlichung von drei Alben innerhalb von drei Jahren und einer anschließenden vierjährigen Pause sind Tomb Mold auf ihrem vierten Album "The Enduring Spirit" wiedergeboren worden, ein durch und durch unverfrorener Schritt in neue Gefilde. Doch bei all dem frenetischen Wagemut und kühner Erkundung ist "The Enduring Spirit" nie etwas anderes als unverkennbar TOMB MOLD!

Während neue Strukturen die TOMB MOLD Architektur um neue Einflüsse bereits auf dem im letzten Jahr selbst veröffentlichten Tape "Aperture of Body" erweiterten, insbesondere beim letzten Stück "Prestige of Rebirth", treten sie bei "The Enduring Spirit" deutlich in den Vordergrund. Die Zeit, in der Derrick Vella mit Dream Unending im Doom-Genre erschuf und ausbaute, ist zweifellos in Tomb Mold eingeflossen- ganz zu schweigen von Payson Power und Max Klebanoffs Erkundungen in ihrem eigenen Projekt, Daydream Plus.

Mit dem Album-Opener "The Perfect Memory (Phantasm of Aura)" kommt das kantige, Dimensionen verschiebende Riffing der Band sofort zum Vorschein, während der Track durch verschiedene Stufen des progressiven Death Metal und einige der bisher extremsten Stücke der Band wandert. "Will Of Whispers" beginnt mit einer jazzartigen Fantasiesequenz, bevor es in ein blendendes weißes Lichtfeuer, geschmackvolle Gitarrenleads und zurück in ein verträumtes Serpentinenmuster kippt, das in seiner fast 7-minütigen Laufzeit ganze Universen umspannt.

Die hintere Hälfte des Albums setzt die Reise in das fort, was innerhalb der Death Metal-Normen möglich ist, und erreicht den Höhepunkt mit dem über 11-minütigen Albumschlussstück "The Enduring Spirit Of Calamity", einer jenseitigen Reise in einen Strudel, in dem alle Dinge in Raum und Zeit zusammenlaufen und den Baum des Lebens durch eine leuchtende himmlische Komposition bildlich greifbar machen.

Nach vier Jahren Pause war es für eine Band mit grenzenloser kreativer Energie, wie Tomb Mold es sind, eine Selbstverständlichkeit, den Umfang ihrer Vision zu erweitern - auf "The Enduring Spirit" haben sie ein Album mit einer cineastischen Umgebung geschaffen, die unbegrenzte Möglichkeiten der Erforschung bietet, sowohl für sie selbst als auch für den Hörer.

- Tomb Mold werden auf dem November 2023 Cover des Decibel Magazins zu sehen sein (erscheint Ende September)
- Beide früheren Tomb Mold-Alben gehören zu den 20 Buck Spin-Bestsellern aller Zeiten
- Artwork von Jesse Jacobi, der auch das Artwork von Planetary Clairvoyance gestaltet hat
- Aufgenommen von Sean Pearson (Tomb Mold, Dream Unending) und gemischt und gemastert von Arthur Rizk (Tomb Mold, Dream Unending, Kommand, Gravesend, Power Trip)
- Die Vinyl-Version enthält ein 4-Panel-Insert und ein riesiges 36x24-Zoll-Poster.

Eine neue Band aus der aufblühenden norwegischen Metal Szene. Sänger David Rosario war auf der Suche nach jemandem, mit dem er seine Songs aufnehmen konnte. Die Chemie mit Gitarrist Stein Hjertholm und Schlagzeuger Per-Helge Bruvoll war perfekt , also nahmen sie ein 3-Song-Demo auf und die Idee von Rozario war geboren. Das war kurz vor der Pandemie und natürlich waren alle Aktivitäten sehr eingeschränkt. Sie nutzten ihre Zeit und konzentrierten sich auf das Songwriting und die Suche nach der Richtung der Band, wobei alle drei Songwriting-Beiträge beisteuerten. Rozario tat sich dann mit dem Produzenten Trond Holter (Wig Wam, Holter, Jorn etc.) zusammen. Während der Aufnahmen wurde die Besetzung der Band durch den jungen Gitarrenvirtuosen Johan Jamtfall und den Bassisten Anders Halsan Engum komplett

Sampha announces the full details of his highly-anticipated, sophomore album LAHAI, out October 20th on Young. Taken from his paternal grandfather’s name, which is also Sampha’s middle name, LAHAI revels in the awe and magic of our existence, synthesizing the exquisite chaos that one experiences confronting the cycle of life and the beyondness. Spanning 14-tracks, with contributions from some of Sampha’s closest friends, peers and collaborators including: Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves and Kwake Bass, LAHAI, in contrast to Process, is a communal affair seeing Sampha explore the many ways in which we as humans connect to each other, and to something bigger than ourselves. On the album’s latest single “Only,” premiering today via a new music video directed by Dexter Navy in collaboration with Sampha, which follows the recent “Spirit 2.0,” we meet a newly energized Sampha, as he spits melodically over a fragmented hip-hop hued beat with co-production from El Guincho.

Not unlike its maker, LAHAI defies clear categorization. Spanning jazz, soul, rap, dance, jungle and west African music, LAHAI sees Sampha elevating his production and vocal ambition to great new heights. A notable singer, songwriter and producer, it’s no wonder that artists like Kendrick Lamar, Stormzy, Travis Scott and previously, Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne and Alicia Keys have all tapped the artist for his inimitable voice plus songwriting and production contributions to their music. His work expands across multiple disciplines, with previous creative partnerships including the fashion designer Grace Wales Bonner, the Shy Light zine with Durimel (who also shot the LAHAI artwork) his Process film with director Kahlil Joseph, and most recently creative director Jonny Lu, with whom Sampha worked to create the LAHAI album artwork and logo.

If Process, Sampha’s 2017 Mercury-Prize-winning debut album, was an artist figuring out his own place in the world, engulfed in the shadows of grief and loss, LAHAI is an exercise in the radical acceptance and joy in the human condition, and the beauty in the journey itself. Welcome to Sampha’s next musical chapter: LAHAI.

Columbo ist das mit Spannung erwartete neue Album von Bruno Major.

Dies ist die erste Veröffentlichung des RIAA-zertifizierten Künstlers, seit dem von der Kritik hochgelobten To Let A Good Thing Die aus dem Jahr 2020.

Mit Columbo baut Bruno Major auf seine einzigartige, unkonventionelle Popmusik auf, die Millionen von Fans auf der ganzen Welt begeistert hat.

“Hellframes" ist ein halsbrecherisches Album, auf dem Game Over weiterhin ihren rasenden, verrückten Thrash Metal abliefern und gleichzeitig das Songwriting aus der Komfortzone herausschieben.

Eine hektische Mischung aus thrashigem Wahnsinn, Punk-Attitüde, ansteckenden Melodien und einigen gruseligen, obskuren Atmosphären. Textlich sind einige Tracks eng miteinander verwoben und erzählen die Geschichte eines Priesters aus dem 15. Jahrhundert, der einen okkulten Kult ins Leben rief, der in der Neuzeit durch Technologie wiederentdeckt wurde und unaussprechlich Böses aus der Hölle entfesselte. Andere Songs tauchen in die Tiefen der menschlichen Existenz und des Geistes ein - Sie erforschen Schmerz, Angst und die unerbittlichen Kämpfe, denen wir uns jeden Tag stellen.

Homemade, charming folk-rock with the lovely voice of MANDY MORTON, 12-string guitars, dulcimer, mandolin, fiddle… Fabulous covers of “Let No Man Steal Your Thyme”, “Matty Groves” and more!

Formed in the early 70s, Spriguns of Tolgus evolved from the folk duo of Mandy & Mike Morton and the scene centered around their Anchor Folk Club in Cambridge. In 1974, the band (Mike and Mandy plus Rick Thomas and Chris Russon) decided to produce a recording to raise funds for new equipment. Using a small tape recorder and mixing desk, “Rowdy Dowdy Day” was recorded live in the dining room at the band’s rented house. A small number of cassettes were produced and subsequently sold at the Anchor Folk Club.

With the original cassette impossible to find now, we’re glad to present a new vinyl edition.

“We grew up in the ’60s to the sound of The Beatles; we embraced flower power and all it brought with it; and we indulged ourselves in every type of music on offer. From America came The Byrds, Jefferson Airplane, Joni Mitchell and Bob Dylan, and here in the UK we celebrated our own heroes, Pentangle, Fairport Convention, The Incredible String Band and later Steeleye Span” – Mandy Morton

A Boogie Wit da Hoodie veröffentlicht Vinyl-Version seines aktuellen Albums " Me vs. Myself ".

Die Doppel-LP ist ab 20. Oktober im Handel erhältlich.
Der globale Multi-Platin-Superstar A Boogie Wit da Hoodie ist seit seinem Erscheinen in der Szene im Jahr 2016 eine Kraft, mit der man rechnen muss. Der aus der Bronx stammende Rapper wurde von der New York Times als "der vielversprechendste junge Rapper, den die Stadt seit einiger Zeit hervorgebracht hat" bezeichnet und kann bis heute fast 18 Milliarden globale Streams und über 50 RIAA-Platin- und Gold-Zertifizierungen vorweisen.

Mit einem dynamischen Katalog weltbekannter Hits ("My Shit", "Drowning (feat. Kodak Black)", "Swervin", "Look Back At It" und mehr) und drei von der Kritik gefeierten Alben (HOODIE SZN, THE BIGGER ARTIST und ARTIST 2.0) hat A Boogie bewiesen, dass er einer der hellsten Stars der Musikindustrie ist.

A Boogie ist auch einer der gefragtesten Kollaborateure der Musikbranche und hat mit einer Vielzahl von Künstlern zusammengearbeitet, von Ed Sheeran, Maroon 5 und Khalid bis hin zu Chris Brown, DJ Khaled, Paulo Londra, Meek Mill, Pop Smoke und vielen anderen.

Kingdom Eighties is the latest videogame instalment in the award-winning Kingdom series by gaming studio Raw Fury. It's a single-player adventure game of micro-strategy and base building, heavily inspired by the memories and references of Eighties Americana. You play as The Leader, a young camp counsellor who will have to defend their town and family from the relentless attack of the mysterious Greed. Kingdom Eighties provides a minimalist feel with a beautiful, handcrafted modern pixel art aesthetic, combined with the neon lights of the Eighties and an Eighties inspired synthwave soundtrack.

The score is composed by Andreas Hald, a Copenhagen-based film and media composer who has written scores for movies and television. For Kingdom Eighties, Andreas used the exact same instruments that music producers were utilizing in the Eighties, using nothing but analogue gear and tools to create a signature, authentic Eighties sound. To top it off, the soundtrack was mastered for vinyl by Grammy Award-winner Adam Ayan at the Gateway Mastering Studios. The master audio went through multiple iterations to make sure the highest quality sound was obtained for this specific vinyl release.

Kingdom Eighties is available as a limited edition of 500 individually numbered copies on translucent magenta coloured vinyl. This 2LP set includes a poster of the game and a 4-page booklet with liner notes by the composer and game director. Additionally, it includes two full colour printed innersleeves and is housed in a deluxe gatefold sleeve with gloss laminate finish.

A captivating work of impressionistic memories, observations and intimate confessions, Ebony wrote her debut self-titled solo album while coming into prominence as an in-demand portrait photographer within New Zealand’s contemporary literature and independent music scenes. The release comes five years after her alt-country band, Eb & Sparrow, amicably parted ways in 2018.

Recorded on vintage analog studio gear and mastered to tape, EBONY LAMB finds Runga and Nielson placing Ebony’s distinct, fragile-but-firm voice within a cinematic confluence of jazz, folk, psychedelia, alt-country and ambient pop. Written over the last five years while coming to terms with the realities of a changing world, themes of gratitude, loss, acceptance and aspiration run through the album like a river, especially in the nocturnal groove of ‘My Daughter My Sister My Son’ and ‘Brother Get Me Home’.

From the album’s opening notes, Ebony expresses herself in non-judgmental terms, singing with a raw tenderness that draws listeners into her reflections on friendship (‘Drive Me Around’), the complexity and contradictions of success (‘Successful Feelings’), and connections in seemingly hopeless moments (‘Come, Put A Record On’). Yet while her songs can feel like she’s sitting just across from you, Runga and Nielson’s production imbues them with an expansive sensibility. Spare, vivid and moving,

EBONY LAMB is an album that captures a defining artistic leap from a talented artist coming into her own. Singing to herself and the listener, she implores us to continue reaching forward without losing sight of what we have and the elements of our lives that truly matter.

The sophomore album from The Three O'Clock found the band further blending psychedelic pop with
contemporary sounds. Producer, Earle Mankey, encouraged the band in their experimentation. The
result yielded a college-radio hit, "Jet Fighter," which remains one of the group's most well-known
songs. Other standouts include, "A Day In Erotica," "Stupid Einstein," "Fall to the Ground," and their
version of the Bee Gees "In My Own Time". This album positioned the band at the forefront of the
Paisley Underground scene. Many fans and critics consider this to be their masterpiece. For the
album's 40th anniversary, the album was remastered by Bill Inglot and Dave Schultz. Additionally, the
band decided to update the cover art and give the album two front covers with no back cover. The LP
lacquer was cut at Bernie Grundman Mastering, and pressed at Citizen Vinyl on clear green vinyl

Classic black vinyl plus bonus 7"-single with two exclusive tracks! Babydoll is the fifth Rat Columns album and, following 2021's Pacific Kiss, the second to be released on Tough Love. The recordings took place in Perth, Western Australia, partially by engineer Jason Hayles in a 1960's office building that formerly housed the secretarial pool of a successful mattress company, and partially by DW in an industrial unit, and feature the ensemble cast of Taylah McLean, Chris Grunwaldt, Scott Payne, Richard Ingham, Cohen Bourgault and, of course, DW himself. It was then mixed and mastered in Melbourne by Mikey Young and Joseph Carra, respectively. Babydoll seems to mark a return to a murkier, dirgier Rat Columns format. Distortion is fetishized again and many small amplifiers were tortured in the album's production. Tempos have drifted down and the lyrical concerns move ever inward, in an inverse bloom. The mood is dour, introspective, circular, the songs long, and short attention spans are neglected. 'Cerulean Blue' churns through a crystalline memoryscape, homaging low-brow grunge auto-fiction and a partial history of mid-period rave. 'Life In The Jungle' is a fever dream of imperialist wartime fantasy projection. 'Heavenly Assault' attempts a crushing density amid visions of transcendent devotion. 'Virtual Sweden' takes us ever northwards into the frosted tip of Scandinavian détente. 'Babydoll', like 'Cerulean Blue', homages a primarily imagined low-cosmopolitan world of alt-lit digi-poets, bedroom fantasists, underwater prisons for gorgeous, gorgeous girls. 'Bees Make Honey' lets more sophisticated music machines into the conversation, and marks the first use of vocal tuning software on a Rat Columns album, albeit in an avant-amateurist fashion. 'Jane, I Live For You' enters the space-ballad race, dreaming of synthetic folk-rockers, leaning on sampler keybeds in the half-light. 'December' is yet another tribute to fallen Stars, mansions on the hill, winter skin in cashmere sweaters, truth in education, love, faith, (im)purity. In all these respects, it is a classic Rat Columns record. Because all Rat Columns records are classic records.

11 track Studio from Caesar Spencer released by New Radio Records

Experimental Rock / Abstract Hip-Hop / Post Industrial music Pascal Bouaziz used to be the singer and leader of French rock band Mendelson, and "Bruit Noir" (Black Noise) is his side project. This is a completely new venture, a departure from everything he's done over the last 20 years, bringing together hard-hitting lyrics and biting sounds. Boaziz has improvised lyrics over music by drummer Jean-Michel Pirès, who has played with Bed and Married Monk, a blend of the stripped-down clarity of Pérec's A Man Asleep and the stormy punk of Suicide. Crossing the boundaries of the politically incorrect, Bruit Noir offers a raw, hard-hitting album, where the sincerity of the words blends with the intensity of the compositions.

Caleb Nichols put himself on the map with Ramon, a critically acclaimed
queer Beatles rock opera
Now, he's tackling something of a more radical proposition -- just 11 great songs,
full stop.
Nichols is out with his new album, Let's Look Back -- his second full-length album
on the hallowed indie label Kill Rock Stars.
"It's about the idea that you have to look back and confront stuff before you can
move forward," Nichols says. "It's about vindication, and reintegration, and
trusting yourself."
Produced by Zach Rogue, Let's Look Back's highlights are everywhere -- from the
unstoppable power-pop rocket that is "Demon Twink" to the luminous pop of "J'ai
Vu La Lune!" to the bold and brassy "Wicked."
"I'm not the good witch/ I'm the bad one!" goes Nichols' infectiously catchy
refrain. But Let's Look Back is most definitely a good one -- one that will send fans
of early 2000s indie rock, from the Shins to the Decemberists to Belle and
Sebastian, to heaven.

Oakland CA's Blue Ocean have been working around the fringes of the
Bay Area indie scene since 2019, honing their very particular noisesoaked racket into a unique and instantly identifiable sound - They blend
elements of shoegaze, pop, noise rock and electronics into a dense,
sometimes disorienting soundworld that embodies a spectral mystery
that recalls forebears like Disco Inferno, Bark Psychosis and Flying
Saucer Attack
"Fertile State" is their debut album, following on the heels of 3 tape EPs and a LP
drawn from those tapes that sold out instantly on release in 2021. Songs like
"Ode," "Fertile State" and "Syncnine" show how much Blue Ocean has grown in the
last few years. They've easily shrugged off many of the markers of their punk/
indie roots, allowing their experimental urges free rein and and the noise to find
it's own level. It's a bracing, invigorating album that truly rewards deep listening
and points the way forward to an intriguing future

Tallahassee, FL singer-songwriter Sarah Morrison's debut studio album
Attachment Figure depicts the strangeness of exploring new
relationships with subtle and spacious electronic production - As a
former live keyboardist in Locate S,1, Morrison co-produced Attachment
Figure with fellow bandmates Ross Brand and Clayton Rychlik, both of
whom also play in Of Montreal's backing band
She was motivated to experiment with looser song structures and more
unconventional chord progressions by her collaborators' fondness for avantgarde jazz, as well as Locate S,1 frontwoman Christina Schneider's idiosyncratic
writing style.
Throughout the album, echoing keys, woodwinds, and guitar ripple like a moonlit
lake from which Morrison's voice emerges. Her presence is spectral, yet
conversational, willing to conjure concrete imagery of mango- flavored vitamins
and the warmth of phone chargers alongside ghost stories of mannequin corpses
and epistolary curses, a balance shaped by an obsession with the theatrical
sincerity of Kate Bush and Mark Hollis.
Lyrically, Attachment Figure meditates on questions about identity, personal
growth, and helplessness - whether within a relationship or the oppressive
structures of society itself - often rooted in Morrison's experiences growing up in
the South. "There's a connection between Southern hospitality and femininity and
just allowing things to happen," Morrison says. "I've been in many relationships
with people who have used that 'southern charm' to their advantage. I think a lot
of people, non- men in particular, put on this charm instinctively. It's a defense
mechanism that I was interested in studying."
Attachment Figure is perpetually suspended between states of being, harmony
and dissonance, and contradictory sentiments we all hold as we enter into the
arms of someone new, but ultimately, it's guided by a desire for authentic love--
and a flair for intricate, intuitive songcraft.

The songwriter that helped kick off indie rock as we know it" NPR… // Remixed and remastered under the supervision of Martin Phillipps, this expanded edition of The Chills’ debut album is reissued for the first time in over 35 years. The newly mixed edition features additional rarities and unreleased tracks from The Chills vaults, along with brand new reimagined artwork by Martin Phillipps and a host of additional liner notes. Originally produced by Mayo Thompson (Pere Ubu/Red Krayola) and featuring standout tracks ‘Wet Blanket’, ‘Night Of Chills Blue’, this extended 18-track edition includes much-lauded tracks from the era, such as ‘House With A Hundred Rooms’ and the awesome ‘Party In My Heart’. Part of the 80s extraordinarily vibrant and innovative independent music scene in New Zealand, The Chills became flag bearers, taking the Dunedin sound, as championed by the Flying Nun label, to the world. Long recognised as one of New Zealand's most influential bands, Brave Words is a shining example of their unique sound and has been praised as a masterpiece by critics and fans alike. “‘Brave Words’ may well be The Chills' finest album

The heralded Minneapolis-based band Barbaro forges an exhilarating
new musical path on 'About the Winter', their inaugural outing for
StorySound Records
Featuring guitarist Kyle Shelstad, bassist Jason Wells, and violinist Rachel
Calvert, the dynamic young group developed a strong following for their
modernist bluegrass sound on their 2020 debut, 'Dressed in Roses'. Their new
album, however, represents a "coming of age" for Barbaro, according to Shelstad,
as it more authentically reflects the band's adventurous musical evolution over
the past few years. All three band members point to the title tune, "Let's Talk
About the Winter" as the song that established the tone for the album. The song,
Wells explains, "fully captured the soundscape that now defines us as a band."
The ten tracks on 'About the Winter' provide a wonderful showcase for the unique
dynamic created from Shelstad's string band roots blending with Calvert's and
Wells' backgrounds in classical music. The album also finds Barbaro expanding
its sound by having Shelstad share vocal duties with Calvert for the first time,
along with weaving electric instrumentation into the group's acoustic- based
music. The bandmates all agree on the key contributions of producer Brian
Joseph (Bon Iver, Sufjan Stevens). "His production," Calvert revealed, "elevated
these tracks to an entirely different level." Together they have fashioned a
captivating pastoral Americana sound on 'About the Winter' that is both
traditional and progressive.
The new album adds to what has been already exciting time for Barbaro, who
were selected by the U.S. government to perform concerts and conduct music
workshops in Qatar, Turkey, and Bulgaria as part of its 2023 American Music
Abroad program.

The Best of Kris Drever includes all the highlights of his acclaimed career to date including those made with Lau and Drever McCusker Woomble Limited Edition of 500 Black LP's. Featuring for the first time on vinyl format "Wintermoon" , hard to find / out of print classics "Ghosts", "Harvest Gypsies" and "The Poorest Company" alongside two brand new songs "Catterline" and "Punchbag". "The Best of" album features many incredible guest performances from over 17 years of recordings including: Boo Hewerdine, Eddi Reader, Kate Rusby, Ian Carr, Yola, Heidi Talbot, Norman Blake (Teenage Fanclub), Roddy Woomble (Idlewild), Louis Abbott (Admiral Fallow), Andy Cutting (Leveret), Euan Burton, Rachel Lightbody, Elysian Quartet, John McCusker, Tim O'Brien, Megan Henderson (Breabach), Eamonn Coyne and Joan As Police Woman. ' Completely infectious' BBC Music ***** ' Immense yet ultra- supple sophistication, musicianship of the first order ...a breath of fresh air' SONGLINES ' Guitarist with that bravely experimental trio Lau, Kris Drever has all the makings of a solo celebrity' THE GUARDIAN ' Sets the standard for others to follow - Kris Drever is a serious talent' MOJO

Motiviert von dem Wunsch, ihren eigenen künstlerischen Stil zu erforschen und neue Wege zu beschreiten, haben SYLVATICA ihr drittes Album mit dem Titel "Cadaver Synod" aufgenommen. Dieses Album taucht in die düsteren Geschichten des Mittelalters ein und enthält Elemente wie die eindringlichen Klänge von Kirchenorgeln, Theremin und gregorianischen Gesängen. Das Ergebnis ist eine Reihe düsterer und atmosphärischer Kompositionen, die durch den Einsatz von Hammond-Orgeln und Synthesizern bereichert werden und eine nostalgische 70er-Jahre-Stimmung mit gelegentlichen Doom-Einflüssen hervorrufen.

Die Produktion dieses Albums ist im Vergleich zu ihren früheren Werken absichtlich rauer, um die organischen und atmosphärischen Aspekte zu betonen und gleichzeitig einen spielerischen Ansatz zu verfolgen. Trotz dieser Veränderungen bleibt der unverwechselbare klassische Sound der Band erhalten, der mit einer frischen und aufregenden Wendung neu belebt wurde. Sylvatica kreiert seit 2009 fesselnde Melodien und liefert atemberaubende Soli, als die Band von einer Gruppe von Jugendfreunden gegründet wurde, die von der Folk-Metal-Bewegung der späten 2000er Jahre begeistert waren.

Die Band debütierte mit den Folk-infizierten EPs "Sagn & Sagaer" und "Mosemanden", dicht gefolgt von dem vom melodischen Death Metal inspirierten Album "Evil Seeds". Während dieser Zeit gingen sie mit bekannten dänischen Folk-Metal-Bands auf Tournee.

Funk The System! The recipe is simple: Dig deep, listen to your heart, record everything you got on a dusty old desktop computer, leave it to simmer for the time of a pandemic, and if it's still fresh, serve it up on the finest plate of black wax! This collaboration started in Dusseldorf in the year 2018. Locked up for a week in the Flanger Studios, Wolf Muller and Credit 00 recorded everything: from the jaw harp to smartphone apps, chopping up GDR Jazz breaks and squeezing the Funk out of every synthesizer and drum machine at hand. You will hear the open mindedness towards all sorts of musical influences from the first note. Each of the five tracks showcases a wild mix of flavours: Disco Reggae, B-Girl Breakbeats, Protest Folk, Subway Funk, Tabla Rhythms, you name it... they'll take it and shake it! It is obvious these two got sonically socialized and educated by the multiculturalism of Hip-Hop in their early days. After the first Recording Session, the tracks fermented for some time until they were cracked open again. This time in Leipzig at Credit 00's Westend Workshop. That's also where Rizmi from Birmingham joined the team and lent her voice to the title track. She reinterpreted the lyrics of the obscure German 1980s Workers' Rock Song, that Wolf digged out for the Intro Skit of ,,Funk The System". A long time in the making, Rat Life is very happy to finally publish this EP!

MAW Records release the next tracks in line from the Maw Lost Tapes digging saga by Masters At Work.

This release entails the story of a special studio session by one of the NY House Pioneers who brought you 'The Music's Got Me' by Visual along with his partner Timmy Regisford back in 1982. His name is Boyd Jarvis (RIP), a keyboard genius, also one of the early creators of this unique sound. Masters At Work had only a few rare sessions in the early 90s with Boyd and the outcome are some of these stunning outtakes on 'Boyd's Jam' produced by MAW. Driven by the Zipper sound and swinging house KD beats in MAW style, the Boyd bassline carries the tune in the pocket groove with LV chords bringing atmosphere and mood. Then comes the Boyd magic with his organ solo ripping through the hypnotic groove.

This one is classic Masters At Work taken from the early 91-92 sessions, it's as authentic as can be.

Sampha announces the full details of his highly-anticipated, sophomore album LAHAI, out October 20th on Young. Taken from his paternal grandfather’s name, which is also Sampha’s middle name, LAHAI revels in the awe and magic of our existence, synthesizing the exquisite chaos that one experiences confronting the cycle of life and the beyondness. Spanning 14-tracks, with contributions from some of Sampha’s closest friends, peers and collaborators including: Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves and Kwake Bass, LAHAI, in contrast to Process, is a communal affair seeing Sampha explore the many ways in which we as humans connect to each other, and to something bigger than ourselves. On the album’s latest single “Only,” premiering today via a new music video directed by Dexter Navy in collaboration with Sampha, which follows the recent “Spirit 2.0,” we meet a newly energized Sampha, as he spits melodically over a fragmented hip-hop hued beat with co-production from El Guincho.

Not unlike its maker, LAHAI defies clear categorization. Spanning jazz, soul, rap, dance, jungle and west African music, LAHAI sees Sampha elevating his production and vocal ambition to great new heights. A notable singer, songwriter and producer, it’s no wonder that artists like Kendrick Lamar, Stormzy, Travis Scott and previously, Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne and Alicia Keys have all tapped the artist for his inimitable voice plus songwriting and production contributions to their music. His work expands across multiple disciplines, with previous creative partnerships including the fashion designer Grace Wales Bonner, the Shy Light zine with Durimel (who also shot the LAHAI artwork) his Process film with director Kahlil Joseph, and most recently creative director Jonny Lu, with whom Sampha worked to create the LAHAI album artwork and logo.

If Process, Sampha’s 2017 Mercury-Prize-winning debut album, was an artist figuring out his own place in the world, engulfed in the shadows of grief and loss, LAHAI is an exercise in the radical acceptance and joy in the human condition, and the beauty in the journey itself. Welcome to Sampha’s next musical chapter: LAHAI.

‘Reach For The Sun’, their debut album, helmed by produced by Paul Leavitt (All Time Low, Circa Survive) cemented ‘The Dangerous Summer’ in the Pop-Punk scene.  Blending melodic rock, pop-punk and emo, lyricist and vocalist AJ Perdomo explored a wide range of themes in ‘Reach For The Sun’, including love (‘Never Feel Alone’), life (‘Settle Down’), death (‘The Permanent Rain’), the past, the future.  What makes ‘Reach For the Sun’ truly remarkable is its universal appeal and resonance. The album consistently garners recognition on lists of essential pop-punk and emo releases, often being mentioned alongside legendary records by Green Day, Paramore and Sunny Day Real Estate.  For fans of Taking Back Sunday, The Starting Line, The Wonder Years

Marcus Belgrave's Gemini II album has never been reissued before with the original artwork, but here it comes with a Japanese Obi-strip and featuring prominent musicians and legends like Wendell Harrison, Phil Ranelin, Roy Brooks and Harold McKinney. This is a diverse record with plenty of spirituality and a loud and proud sense of blackness. The standout tune 'Space Odyssey' is the best known, not least because it was later covered by pioneering Detroit techno talent Carl Craig. Next to that tense cosmic workout are two parts of 'Gun Finger' which are both horn led and upbeat grooves, the seductive sounds of the title tune and free-bop jam 'Marcia's Opal'. 'Odoms Cave' is a tender and introverted closer.

“Cinematic electronica embraces intelligent Indian infused beat making”.

Belgian beat collective Up High Collective return with their new album 'Koinonia.' Their second full-length comes five years after their debut album in 2018. For 'Koinonia' they have invited Belgian iconic drummer Lander Gyselinck (STUFF.) and several other guest musicians. The first single 'Koi' is available now, the record is set for release on Wednesday October 11 on vinyl, Bandcamp and via all digital platforms via San Kofa Rhythm Records.

"Going with the cinematic tides of sound: first single 'Koi' features compelling South-Asian sitar, imminent strings, drums by Lander Gyselinck and carefully constructed beat making."

Spearheaded by producer duo Koen De Petter and Renaldo Maria, this record is Up High Collective’s most ambitious music project to date and has been in the works since 2015. The name of the record - Koinonia is Greek for "fellowship" or "community" - refers to the intense and inspiring interplay between the collective and several musicians they invited to contribute.

Raw analog recordings and beats by the producer duo, brimming with imperfections and samples from original Indian music, laid the foundation for live studio sessions by Bert Cornelis, one of the few sitar players in Belgium, drummer Lander Gyselinck (Lander & Adriaan, STUFF.), double bassist Jens Similox (Orchestre Collone) and multi- talented bassist Boris van Overschee (Okon, Delv!s). From their intrinsic penchant for deconstruction, the live elements were cut up by the producers, heavily rearranged and presented as new sounds. After several sessions in their Up High Studio (Leuven), carefully constructed collages gradually started to form with all of its layers filling the deepest corners of the sound space.

The result is a record that balances perfectly between cinematic electronica with complex harmonies to get lost in and solid club oriented beats with crunching textures and off the grid rhythmic patterns.

"All of these songs share an underlying, invisible force bound by the intense interplay and mutual inspiration between us and the live musicians.

Soul Clap Records serve up the flavours of Tatie Dee for their next release. Morning Routine is a six-track weave through bumping house complete with trademark remixes from Black Loops and Belaria.

Opener ‘Nuit d'Ménil’ channels journeys home through the 20th arrondissement of Paris, around Ménilmontant, for Tatie and her friends. Those late-night walks inspiring this dreamy glitched out, synth heavy roller.

Next up, ‘Bed and Break fast’ is a dancefloor bumper, raw and emotive yet powerful and punchy. Moving from a breakbeat to a 4/4 rhythm it’s an intoxicating concoction laced with grooving bars, glistening pads and deft sax injections. Black Loops steps up on remix duties honing in on that breakbeat flavour with a late night, blissful, bouncy burner.

On the flip, ‘I Wasn't Born In 1937’ nods to Tatie’s pal Lucas Moinet, who runs Studio 937. The person that introduced her to the world of the MPC, rolling with her to buy her first one. Having got home and plugged everything in, the first sound Tatie composed on her MPC was this one - it was for him.

Next, ‘16 Swing-71’ is a classic-leaning, ‘90s feeling deep house track. Weighty organs and trademark deep house stabs are served with the 16 swing-71 shuffle from the SP1200 to make everything groove just right. Closing it out Baleria puts a fast-paced new beat spin on 'Bed and Break fast’ for a club ready powerhouse remix.

Ben Bondy dives deep into the aether on this latest full length for Good Morning Tapes, folding blissed chorus-pedal shimmers into smudged dreampop vapours, a bit like like how we’d imagine claire rousay if she were releasing on Chain Reaction.

Mining a similar path to Jake Muir’s Mana album, Bondy explores a late, late night mood on this one, obscuring delicate digital processes behind gossamer webs of static, windchimes and smeared guitars drifting into bliss. Over the space of half an hour, breathy atmospheres blur into a pastel-hued paradise, feeding digitally distressed melodies into whirring machinery and swirling pads.

On ‘Omni Field’ diffracted dub chords swirl around a rainstorm, before ‘Pool’ arranges a guitar arpeggio like some lost E2 E4 edit, and ‘conté' evokes the meditative calm of Harold Budd or Roger Eno with its enigmatic, pastoral ambience. The album’s central point comes with 'kanga', a fuzzy dreamscape assembled from booming subs and psychoactive bells that feel more potent than a blotter under the tongue...

Cala Tarida Musica is thrilled to present this summer anthem collaboration by some esteemed Balearic residents. 'Residentes Balearicos' team up with legendary Ibizan DJ Alfredo and include new unreleased vinyl exclusive remixes from Chris Coco and SIRS. 'Sundown' features an infectious vocal that seamlessly fuses dub influences with a nostalgic old-school house groove. This EP is guaranteed to get your dance floor moving.

DJ support: DJ Nova / RodonFM Greece, Luca Averna / Pikes Ibiza, Leo Mas, Chris Coco, SIRS, Adam Warped / STRANGE DAYS radio show, Andy Wilson, Ibiza Sonica, Nancy Noise, Problematic Disko, Tomi Chair.

Known for being part of the INNA DE YARD family for almost 20 years, Jamaican singer extraordinaire DERAJAH is a major figure in Kingston music scene. He is the bridge between the old and new generations, passing the knowledge from the elders to the youths. We are delighted to present his latest effort in collaboration with A-class studio band The 18th Parallel: ‘PROSPERITY’. A showcase album of 6 songs with dub versions produced between Geneva, Switzerland and Kingston, Jamaica. With the expert touch of mixing maestro Westfinga, the 11 tracks of ‘Prosperity’ are sonic masterpieces, timeless and innovative.

In between the raw and brutal sound of 80’s Jamaican rub a dub and today’s sophisticated and polished modern sound. Derajah's raw and emotive vocals paint vivid pictures of struggle and resilience, carrying a profound message of social consciousness and resistance against oppressive forces, while The 18th Parallel's ultra-solid riddims create a rich tapestry of sound that will transport you to the heart of roots reggae. With its impeccable production quality, ‘Prosperity’ captures the essence of reggae's golden era.

This groundbreaking album is a testament to the enduring power of music to inspire, uplift, and ignite change.

The story towards the creation of this album also needs to be shared. As Fruits Records members were in Jamaica on tour and to record their first projects, they crossed Derajah paths a couple times without getting a chance to work together. But this was enough to set a strong foundation to a relationship that goes way beyond the musical side only. A few years after this meeting, one phone call only was enough to start the process. The rest is pure magic! Spontaneity, trust and loyalty became the guidelines for the creation of this gem, which stand out of time and space, and aim to carry on its path anyone seeking for knowledge, love and prosperity.

2xLP, 180g Vinyl. Zehn Jahre ist es her, dass ANE BRUN ihr erstes Jahrzehnt als Künstlerin mit der Veröffentlichung von SONGS 2003-13, einem karriereumfassenden Doppelalbum, markierte. Jetzt, wo ihr internationaler Ruf floriert, gibt SONGS 2013-23 der angesehenen, mit Platin ausgezeichneten und mit mehrfachen norwegischen und schwedischen Grammy-Auszeichnungen geehrten norwegischen Singer-Songwriterin die Möglichkeit, ihr zweites Jahrzehnt als Künstlerin zu feiern und gleichzeitig die fortlaufende, faszinierende Entwicklung ihres einzigartigen, fesselnden Talents zu illustrieren. Die Sammlung vereint Tracks des extrovertierten "When I'm Free" von 2015 und der Zwillingsveröffentlichungen der Pandemie-Ära, dem reich strukturierten "After The Great Storm" von 2020 und dem zerbrechlicheren, intimeren "How Beauty Holds The Hand Of Sorrow", und bietet mit dem brandneuen Song "Hand In The Fire" auch einen möglichen Hinweis auf Bruns nächste Schritte. Wie seine Vorgänger wird das Album von ihrem eigenen Label Balloon Ranger veröffentlicht und verkörpert Bruns Mischung aus kühnen, erhebenden Gefühlen und tröstlichen, melancholischen Melodien, vorgetragen von einer der einfühlsamsten Stimmen unserer Zeit.

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album, ‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.

Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.

Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave and courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ - ‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy.

It's only just begun.’ Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each song is definitely a standstill moment.’

Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends, relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’

Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”

And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her.

She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.

While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before.

‘falling or flying’- released on September 29th

Oblako Maranta is a duo formed by Andrey Redkov and Antonio de Oto. “Tribal Trabant” was created with collaboration taking place between Saint Petersburg and Rome. It is characterized by the exceptional qualities and unique elements of their musical alter egos, Radial Gaze (Andrey) and A-Tweed (Antonio).

Logical’s third vinyl release showcases an intriguing blend of Eastern-inspired disco vibes, complemented by powerful acid-infused tribal-techno sounds. The album also includes two dystopian club remixes by label owner Mike Sacchetti and Lisbon based, Anastasia Zems.

Dan Lacksman is a Belgian electronic music pioneer who co-founded the Electro Pop Dance formation Telex and is credited for their classic 'Moskow Diskow.' He also worked under the Transvolta name but put out only one single, 1978's impossibly hard-to-find classic 'Disco Computer.' Dan himself has carefully remastered the original for this special 12" reissue. It's still a retro-future sound all these years later with the signature talk box vocals and sleek drum machines under cosmic synths. On the flip is a long version of 'You Are Disco' which is a similar vibe but with a slightly more lively groove and vocal. Two serene dancefloor gems by any standards.

In the late 1980s, Disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as "The Beat." Although Hip-Hop, New Wave, Gothic, Punk, and the burgeoning Modern Rock genre held considerable sway, the pre-RAVE clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed “The Beat.” This musical tapestry encompassed everything from Hip-Hop and Freestyle to Industrial, New Wave, Boogie, Miami Bass, and Techno – the unifying thread being the distinctive vibe that characterised this eclectic mix.

As House, Techno, and Raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate – some recalling '92, while others leaning towards '93 – what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by “the Beat,” acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

Finally, but by no means least, we unveil the third and concluding volume of this extensive, impeccably curated chronicle of San Francisco's underground rave scene and its unique soundscape. Mirroring the same fervour and meticulous track selection as the first two volumes, 'The Beat By Spun' is nothing less than indispensable for any dedicated music enthusiast, DJ, or dancer. Once again, this collection showcases an outstanding array of tracks, featuring music from talents like Mattski, Bass Kittens, Hawke, and Deep2, all maintaining the high standards set by the previous volumes. It's a blend of rarities, classics, and obscurities, combining to deliver an exhilarating, almost transcendental experience to those who dare to immerse themselves in the sonics!

Channeling the speed of youth and the heaviness of a fleshy, lived life in equal proportion, Upchuck’s second LP, Bite the Hand That Feeds, is a Trojan Horse par excellence, craftily smuggling in waves of sentimental emotion and clever pop songwriting under a veil of pulsing rhythms and scorching riffs. What binds Upchuck together is a purity of intention, an organic loyalty to a thick knot of uncalculated friendships, struggles, and desires. These are songs about the joy of continuing to live, songs that find each other in the rush of a crushing reality, propelling the listener onward towards a collective release, however brief it may last. Themes of surviving through the night, youth-blinded love, cheap champagne soaked back-alley parties, and chaotic street protests are subsumed under a single unifying thread: the needs we have for one another, our shared hunger for connection. In a world saturated with arbitrary rules and paper-thin moralism, Upchuck offer free¬dom through sensation, a type of unserious transcendence found through the swirl of bodies melting into one another in the passion of dance. With Bite the Hand That Feeds, Upchuck isn’t trying to tell anyone how to live. Rather, they are simply trying to find a way to make life more worth living for both themselves and their friends—if the music compels you to move, you might as well consider yourself their friend too. Shortly after the release of their debut album Sense Yourself, Upchuck absconded to Southern California to record Bite the Hand That Feeds, enlisting the production talents of Ty Segall and the airy reprieve of his secluded Topanga Canyon home studio. Upchuck credits Segall, who recorded the entire record live to tape over the span of five days, with helping to elevate the arrangements of their second record to bold new heights—fans of Segall’s extensive catalog will undoubtedly recognize the shadow of his creative touch in Bite the Hand That Feeds’ commanding, layered drum polyrhythms, tasteful use of oddball effects, and fuzzed out, every-guitar-pushed-into-the-red ethos. All the same, final credit for Upchuck’s evolution from Sense Yourself to Bite the Hand That Feeds must be paid to the band itself. Following the release of their debut LP, Upchuck embarked upon a break-neck string of live shows, touring alongside the likes of Segall’s Fuzz, Amyl and the Sniffers, Negative Approach, OFF!, and Sub¬humans. The razor tight focus of Bite the Hand That Feeds was forged in the fire of these live shows, speaking directly to the power of their in-person presence—these are songs meant to be heard pressed up against a barricade, blasted through dimed guitar amps placed so close to your ears that you can practically reach out and touch them. In its totality, Bite the Hand That Feeds offers a sonic portrait of what it feels like to be young and caught up in the thrill of it all, coursing between ripping dance grooves and thundering dirges, anti-self-serious crowd anthems and charming pop hooks.

These two tracks from Mike Bandoni and Chip Wickham have been a long time coming. These two stable mates from the 'Craig Charles Fantasy Funk Band' have been discussing a collaboration for years and now; it's finally in the bag! Mike brings his trademark killer funky Drums (Recorded by the legendary Malcolm Catto), Percussion, Rhodes, Bass and vintage Guitar vibes to the party whilst Chip delivers some sublime and highly complimentary work on sax and flute. Infinity Pool sounds like a long lost Bobbi Humphrey meets Bob James composition with the flute taking centre stage underpinned by what can only be described as mammoth funk grooves on every other instrument. A true modern Jazz Funk classic with just a fraction more Funk than Jazz! Get It! is a cool number with a phenomenally infectious groove and a hook that stays in the brain for days! Think early Kool & The Gang. You'll be humming these hooks day and night! Chip again raises the bar further with some sublime flute and ...

The 11th and final studio album from Siouxsie and the Banshees - The Rapture was also as fresh and innovative as the first.
How the Banshees are able to remain vital and celebrated after almost two decades is down to their ever evolving and metamorphic spirit.
Only ever released on gatefold 2xLP vinyl outside of the UK, The Rapture's artwork has been reimagined and designed to rightly reflect this final Banshees offering.
Remastered from the original ¼' tapes and cut at half speed at Abbey Road studios, London.
Both artwork and audio have personally been overseen and orchestrated by Siouxsie Sioux and Steven Severin.

German post-punk band Onyon scrambled our brains when we heard them for the first time last year, so much so that we signed them & reissued their eponymous debut cassette EP (originally co-released in limited quantities by the Flennen/U-Bac labels) in June of '22. "Last Days On Earth" is the band's latest & first proper full-length for Trouble In Mind. The oddball, synth-soaked world of Onyon is disorienting at first - the band's herky-jerky rhythms may operate in a familiar fashion to bands like Devo, Kleenex/Liliput or label-mates LITHICS, but Maria Untheim's woozy synth squiggles that populate & punctuate the band's songs keeps everything at arms-length. Flirting with the primitive cool of 80's minimal-synth and the wire-haired cretinism of 60s garage, especially on tunes like the manic `Dogman' or first single `Alien, Alien'. Guitarist Ilka Kellner's six-string salvos rage unpretentiously with edges torn & frayed, rarely (if ever) soloing, but never afraid to unleash a spindly lead-line over Florian Schmidt's rubbery bass lines & Mario Pongratz's stuttering drum patterns that phase in & out of time imperceptibly like drunks doing their best to seem sober. Kellner & Untheim share vocal duties (in both English & German - sometimes in the same song), but the real magic comes when the two sing together, voices merging in loosely harmonic gang vocals; one deadpan, the other slightly unhinged. The group's beguiling lyrics add to the mystique - inscrutable neu-world fables about egg machines, ghosts, worms that talk, and urges to consume newspaper that ooze a rural, old-world understanding of life & the imperceptible spaces in between reality & fiction, transmuted thru a modernist sci-fi lensflare. Recorded, mixed & mastered in late 2022 by Martin Müller, "Last Days On Earth" is released on CD, black vinyl & limited purple vinyl (while supplies last) as well as streaming via most digital platforms.