Suche:ta ra

Waiting For The Rain was produced by Dave Eringa (Manic Street Preachers) and recorded at Rockfield studios in Monmouth and The Libertines Albion Rooms studios in Margate. Having just completed an Arena Tour of America with Louis Tomlinson, Andrew Cushin is on the road again with Louis across Europe in August/September. Wor Flags, released last month is the fifth track (following It’s Coming Round Again, 4.5%, You’ll Be Free and Dream For A Moment) to be taken from Waiting For The Rain. A new single Just Like You’d Want Me To is released August 30th. 23-year-old singer-songwriter Andrew Cushin is Newcastle’s fastest rising star. He has already recorded with Noel Gallagher and counts Paul Weller and Sam Fender among his biggest cheerleaders. Andrew grew up on a council estate in Heaton, Newcastle. His songs, delivered in a gorgeous baritone that sounds way beyond his years, are full of his experiences growing up, his lust for life, his grief at the loss of loved ones, his hopes and fears, his love and his stoicism. Andrew Cushin released his debut single It’s Gonna Get Better (2020) followed by Waiting For The Rain (2020); ’Where’s My Family Gone’ (2021) featuring production and guitar from Noel Gallagher and in 2022, through Peter Doherty’s Strap Originals label, You Don’t Belong EP and double A Side single You’ll Be Free / Dream For A Moment. Press quotes: “Cushin recalls acoustic Noel Gallagher circa Morning Glory.” – Sunday Times Culture // “The kitchen-sink realism of his songs, raised on the concrete turfs of council estates and smoke filled social clubs of Newcastle, is something the chart-topping Toms, Jacks and Georges of guitar pop are not only desperately lacking, but entirely unaware of.” - The Line of Best Fit // “Andrew Cushin is a newcomer being feted by actual icons.” – Clash // “Has built enough hometown momentum to suggest he could ‘do a Sam Fender’ very soon.” - Music Week // “It's clear to see the future is bright for Andrew whose backing from big names as well as a loyal following sets him up nicely to take the scene by storm.” Daily Mirror // “Transforming his native infused-sound, Andrew Cushin releases a banger.” Wonderland // “A set of personal yet relatable songs that connect immediately and directly.” Louder Than War

Waiting For The Rain was produced by Dave Eringa (Manic Street Preachers) and recorded at Rockfield studios in Monmouth and The Libertines Albion Rooms studios in Margate. Having just completed an Arena Tour of America with Louis Tomlinson, Andrew Cushin is on the road again with Louis across Europe in August/September. Wor Flags, released last month is the fifth track (following It’s Coming Round Again, 4.5%, You’ll Be Free and Dream For A Moment) to be taken from Waiting For The Rain. A new single Just Like You’d Want Me To is released August 30th. 23-year-old singer-songwriter Andrew Cushin is Newcastle’s fastest rising star. He has already recorded with Noel Gallagher and counts Paul Weller and Sam Fender among his biggest cheerleaders. Andrew grew up on a council estate in Heaton, Newcastle. His songs, delivered in a gorgeous baritone that sounds way beyond his years, are full of his experiences growing up, his lust for life, his grief at the loss of loved ones, his hopes and fears, his love and his stoicism. Andrew Cushin released his debut single It’s Gonna Get Better (2020) followed by Waiting For The Rain (2020); ’Where’s My Family Gone’ (2021) featuring production and guitar from Noel Gallagher and in 2022, through Peter Doherty’s Strap Originals label, You Don’t Belong EP and double A Side single You’ll Be Free / Dream For A Moment. Press quotes: “Cushin recalls acoustic Noel Gallagher circa Morning Glory.” – Sunday Times Culture // “The kitchen-sink realism of his songs, raised on the concrete turfs of council estates and smoke filled social clubs of Newcastle, is something the chart-topping Toms, Jacks and Georges of guitar pop are not only desperately lacking, but entirely unaware of.” - The Line of Best Fit // “Andrew Cushin is a newcomer being feted by actual icons.” – Clash // “Has built enough hometown momentum to suggest he could ‘do a Sam Fender’ very soon.” - Music Week // “It's clear to see the future is bright for Andrew whose backing from big names as well as a loyal following sets him up nicely to take the scene by storm.” Daily Mirror // “Transforming his native infused-sound, Andrew Cushin releases a banger.” Wonderland // “A set of personal yet relatable songs that connect immediately and directly.” Louder Than War

Waiting For The Rain was produced by Dave Eringa (Manic Street Preachers) and recorded at Rockfield studios in Monmouth and The Libertines Albion Rooms studios in Margate. Having just completed an Arena Tour of America with Louis Tomlinson, Andrew Cushin is on the road again with Louis across Europe in August/September. Wor Flags, released last month is the fifth track (following It’s Coming Round Again, 4.5%, You’ll Be Free and Dream For A Moment) to be taken from Waiting For The Rain. A new single Just Like You’d Want Me To is released August 30th. 23-year-old singer-songwriter Andrew Cushin is Newcastle’s fastest rising star. He has already recorded with Noel Gallagher and counts Paul Weller and Sam Fender among his biggest cheerleaders. Andrew grew up on a council estate in Heaton, Newcastle. His songs, delivered in a gorgeous baritone that sounds way beyond his years, are full of his experiences growing up, his lust for life, his grief at the loss of loved ones, his hopes and fears, his love and his stoicism. Andrew Cushin released his debut single It’s Gonna Get Better (2020) followed by Waiting For The Rain (2020); ’Where’s My Family Gone’ (2021) featuring production and guitar from Noel Gallagher and in 2022, through Peter Doherty’s Strap Originals label, You Don’t Belong EP and double A Side single You’ll Be Free / Dream For A Moment. Press quotes: “Cushin recalls acoustic Noel Gallagher circa Morning Glory.” – Sunday Times Culture // “The kitchen-sink realism of his songs, raised on the concrete turfs of council estates and smoke filled social clubs of Newcastle, is something the chart-topping Toms, Jacks and Georges of guitar pop are not only desperately lacking, but entirely unaware of.” - The Line of Best Fit // “Andrew Cushin is a newcomer being feted by actual icons.” – Clash // “Has built enough hometown momentum to suggest he could ‘do a Sam Fender’ very soon.” - Music Week // “It's clear to see the future is bright for Andrew whose backing from big names as well as a loyal following sets him up nicely to take the scene by storm.” Daily Mirror // “Transforming his native infused-sound, Andrew Cushin releases a banger.” Wonderland // “A set of personal yet relatable songs that connect immediately and directly.” Louder Than War

HYbr:ID Vol. 2 is the second installment of Alva Noto’sHYbr:IDseries initiated in 2021. The new album captures the music commissioned to score RichardSiegal's Ectopia performed in 2021 by Tanztheater Pina Bausch with Shooting into the Corner (2008-09) by Anish Kapoor. Building upon the captivating blend of immersive dub and electronica from the first installment, HYbr:ID Vol. 2 takes the listener on a journey into the realm of intricately manipulated digital production. These ten compositions delve into infinity, drawing inspiration from resonance and elasticity, concepts rooted in Minkowski's four-dimensional spacetime model.

Throughout the album, Carsten Nicolai summons precise rhythmic patterns that gracefully hover, reminiscent of celestial bodies orbiting in perfect cosmic unison. The sonic landscape gradually unfolds with somber and brooding tones, incorporating spacious sound design, ethereal atmospheres, and cascading metallic percussions. These elements are delicately crafted with artistic finesse, set against a backdrop of expansive dub textures. At times, the music takes unforeseen turns, as melancholic chords skitter and meander through a digital haze, evoking an atmosphere of introspection and emotion. The ten compositions are accompanied by graphic notations informed by the album’s sonic and acoustic codes.

Emerging from the ashes of Ireland's early rave era - that had been absorbed into the vastly commercialised club scene of the late '90s - was an oft forgotten, but exceptionally fertile period for electronic music in Ireland. Spearheaded by the then Dublin duo of Decal (later becoming the solo project of Alan O' Boyle), nurtured through nights like Phunk City at The Funnel, Model One at Switch and at a later point midweek club haunt Electric City, an unlikely Irish electro movement was born; breeding an abundance of new labels, parties and producers hungry to make their mark. "Dreams of Electric Bleep" revisits a crucial time of development (1999-2005), when production standards on the island of Ireland rose in perfect synchronicity with the collapse of the music industry as we knew it.

While Detroit, The Hague and London heavily influenced the sounds heard in the clubs, clubs in pubs, warehouses and great outdoors of Ireland - it was producers from Belfast, Cork, Donegal, Dublin, Limerick and Mayo who created the first significant chunk of high-quality Irish electro, demonstrated here over a range of styles (originally released a variety of local and international labels). This double 12" release - featuring key tracks from Decal, Magnetize, Metroneem, Americhord, Phil Kieran, Takeover Sound, Chymera and John Braine - comes on picture-sleeved coke bottle clear vinyl, and includes a download code.

Designed by Jonny Costello (Adult Art Club) with liner notes from Stephen Rennicks (Drexciya Research Lab). Mastered by Paul Mac at Hardgroove Mastering, vinyl mastered and cut by Simon Davey at The Exchange Vinyl.

Lizzie Powell, kreative Kraft hinter der kanadischen Band Land Of Talk, hat mit bisher vier unanfechtbaren Alben die Grenzen des Indie-Rock gesprengt. Ihre fünfte LP 'Perfomances' ist die eindringlichste, kathartischste und persönlichste ihrer bisheriger Karriere, auf der sie kräftigen Gitarrenrock gegen dezentes Klavier eintauscht. Mit diesem Album findet die Band die perfekte Gelegenheit, ihre lebenswichtigen Sensibilitäten zu verdoppeln. Sie begleiten die Songs bei jedem Schritt vom Demo bis zur Produktion und verleihen jedem Track große Sorgfalt und ungefiltertes Gefühl.

2nd installment in RZA's brandnew 2022 Bobby Digital Trilogy on Electric Blue vinyl! Rza returns with the second of his three record Bobby Digital Trilogy, coming on the heels of his critically acclaimed first installment "Saturday Afternoon Kung Fu Theatre Rza vs Bobby Digital, Produced by DJ Scratch! The album is also the soundtrack and addition to the new Bobby Digital comic of the same name. "Dating back to the 1990's RZA has been using Bobby Digital as a pseudonym for various solo projects. These are not strictly outside of the Wu-Tang Clan diaspora as various members make cameos or co-produce, but they've allowed Diggs to explore musical and lyrical ideas that fight better with his alter ego. Bobby Digital can be considered a comic book superhero, fighting evil in both the physical realm and the virtual world of cyberspace, achieving a "meta" reality long before Facebook thought to trademark the term." - rap revies 2022 2022 release. The founding member of the multimedia supergroup, The Wu-Tang Clan, introduced the world to his alter-ego in his 1998 album Bobby Digital in Stereo. With lush digital orchestral sounds and inventive beats, he was putting the love of comic books on full display through it's concept and execution. Now, exactly 23 years since it's original release, RZA announces a partnership with Z2 Comics to give the character a story in the medium which inspired his creation! Bobby Digital: Pit Full of Snake pairs RZA with White Noise Studios member Ryan O'Sullivan, whose last collaboration with Poppy was widely celebrated by fans and critics alike, with Sound & Fury artist Vasilis Lolos rounding out the team to bring the world of Bobby Digital to life.

Cogan Has Been Part for Many Years of Parisian Collective House of Underground With Whom He Played Records All Over the French Capital as Well as the Country's Main Cities Clubs and Festivals From North to south.

He Recently Joined the Collective and Label Friendsome as a Resident to Take His Career to Another Level, Releasing His First Solo Wax : Power Source EP.
This Ep Is an Extract of His Live Performance, Which He Has Been Working on for Almost a Year, and Will Be Shown for the First Time at Badaboum on September 9th 2023 as Part of Friendsome's 5th Anniversary Party. We Will All Discover a New Side of Cogan's Work, Being More Known for His High Energy House Music, This Ep Takes Us on a Ride of Acid Techno With 90's Rave Inspirations. a Music That Will Not Let the Dancefloors and Audiences Restful !

Opening Up "Softly" on the Track for the Hackers Will Get You Into the Vibe of the Whole Ep, Before Taking Off on the Banger for the Racers. Track 2 and 3, Being for Gamblers and Farmers, Conclude This Beautiful Ep to Keep It Engraved in Your Mind Until the Next Party! Enjoy the Ride......

Available in two formats, both the LP and CD will come with an exclusive limited edition book including exclusive photos from the Racine carrée era, song lyrics and explanatory texts on the creation of the project (text will be in French, but we’re working on a multi-language translation via a QR code).

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

Cybotron has re-emerged in our contemporary cybercultural age when artifactual futures begin a transition into a new era of "Meta".

By combining their knowledge of philosophy, science fiction, and mechanical engineering, at a time when electronic instrument companies were only just beginning to distribute their products to the masses, two prosumer audio technicians named Juan Atkins and Rik Davis were able to re-engineer Cybotron – a combination of the words “Cyborg” and “Cyclotron” (an atomic particle accelerator) – to be used as a home studio performance music that would change the course of independently produced and distributed electronic music.

Dissolving the boundary between singer, songwriter, and producer, Juan Atkins named Cybotron’s future forward funkadelic sound “techno” in reference to Alvin Toffler’s concept of unlikely “techno rebels” against technocracy. Techno is music that sounds like technology, and its purpose was to help society survive our collision with a universally felt “future shock” by inserting an audio virus into the cultural matrix.

Techno’s blueprint spread across the Detroit-Berlin Axis between Metroplex and Tresor. As human society began its transition from a post-industrial to an information-based market economy, Cybotron enabled a thorough system override of the human senses towards a tangible man-machine hybridity and showed the world how to channel their emotions and imaginations into new sound technologies and create new ‘sonic’ spatialities where listeners can transport themselves out of the physical world into the future. The cover of their debut album Enter (1983) transmitted a fragmented view of a body in motion being digitized mid-stride, dissolving physical and virtual reality into sonic fiction.

Today, the man-machine hybridity of Cybotron is still the truest form of techno, coevolving in conversation with the technological music they created and inspired. The latest data disk marks a new chapter that reflects a techgnostic musical expression of the knowledge acquired during their decades-long hiatus. Unlike the dance music industrial replications of the Model 500 formula, acknowledging the content marketing expectations that segments music into specific, sellable genres, this techno music is self-aware. Cybotron processes dance music tropes spawned from its very own blueprint with a meta-tactical precision out of sync with our current rave new world.

Cybotron’s return demonstrates a studied engagement with what techno was and should be with a peerless update of Juan Atkins’ initial inventive idea of do-it-yourself electrically reengineered music xeroxed onto both sides of the 12” – uploaded directly into the alleys of your mind.
- The Rhythmanalyst

Previously released on Fabrika Records in 2011 by the band members at the ripe old age of 17, this release marks a milestone in the Goth and Wave revival of the early 2010s. With hits like "Du rennst" or "Raben", Die Selektion blew some very fresh air into the dusty world of dark electronic music, featuring haunting trumpet melodies and German lyrics that question the meaning of life and love once again, encased in brutal sounds that taste like iron and lust. These 11 songs push you straight back into early days of Electronic Body Music.

Die Selektion take you on a wild ride through the suburbs of your soul, joined by Nitzer Ebb, Die Krupps, Cabaret Voltaire and DAF.

MONSTER HOUSE Original Motion Picture Soundtrack by Douglas Pipes! Monster House is a 2006 animated Horror film directed by Gil Kenan (Scream, Ghostbusters: Afterlife). The plot tells the story of
a neighborhood that is terrorized by a haunted house during Halloween. The movie features the voices of Steve Buscemi (Reservoir Dogs), Maggie Gyllenhaal (Donnie Darko, The Secretary), Mitchell Musso (Hannah Montana), Sam Lerner, Spencer Locke, Kevin James (The King of Queens), Nick Cannon, Jason Lee, Fred Willard (Spinal Tap), Jon Heder (Napoleon Dynamite), Catherine O-Hara
(Beetlejuice), and Kathleen Turner (Jessica Rabbit in Who Framed Roger Rabbit).

Monster House marks Sony's first computer animated film produed by Sony Pictures Imageworks. Produced by Roger Zemeckis (Back to the Future Trilogy) and Steven Spielberg's Amblin Entertainment, the film was released in 2006 and was met with praise from fans and critics for its blending of horror and accessibility to a broad audience as a feature animated film.

Roger Ebert gave the film his highest ranking of four stars calling it "one of the most original and exciting animated movies I've seen in a long time" and compared it to the work of Tim Burton. Douglas Pipes is an award winning American film score composer whose feature films include the Academy Award nominated Monster House, the Halloween horror anthology classic TRICK 'r TREAT, and the Christmas comedy-horror film Krampus.

First time on vinyl, expanded version of Japan-only CD album from 2006! Now a double LP with unreleased tracks on audiophile grade colored vinyl (Disc 1: Opaque Baby Blue, Disc 2: Opaque Brown) The Jungle Bros embraced of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz sample , on this reissue double LP Release on Colored Audiophile grade Vinyl , the I got U album is remastered and re-released with additional tracks .Michael Small (Mike Gee), Nathaniel Hall (Afrika Baby Bam), and Sammy Burwell (DJ Sammy B). Known as the pioneers of the fusion of jazz, hip-hop, and house music, they were the first hip-hop group to collaborate with a house-music producer. The trio released their debut album, Straight out the Jungle in July 1988. Their hip-house club hit single, "I'll House You" was added to the album in late-1988 reissues. Fostered by Kool DJ Red Alert, the Jungle Brothers success would pave the way for De La Soul, A Tribe Called Quest, and eventually the Native Tongues collective that they founded. Hip-Hop-House with a jazzy feel including "I Got U", a re-recorded "Sunshine" and four bonus tracks/versions. -- The Jungle Bros embrace of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz samples -- _John Bush, All Music

Still one of the most highly regarded horror films of all time, F.W. Murnau's unauthorised adaptation of Bram Stoker's Dracula, Nosferatu (1922), is an Expressionist masterpiece of the silent era. Much of the original score by Hans Erdmann (meant to be played live by an orchestra) was lost, leading Nosferatu to inspire several subsequent soundtracks, the best known of which is by Hammer Horror composer James Bernard, written for the Tanis Film video reissue of the film in 1997.
The world premiere of the score was performed by Nic Raine and the City of Prague Philharmonic Orchestra at the London Film Festival the same year and now, almost twenty years later, the score is being pressed on vinyl for the first time.

Für ihr neuestes bzw. drittes vollständiges Studioalbum 'Sanguivore' haben die fünf Briten von Creeper einen Blutpakt geschlossen, um sich voll und ganz auf die Dinge zu konzentrieren, die sie wirklich ausmachen; um mit einer brennenden Fackel in die eher schwach beleuchteten Nischen des stets fruchtbaren Geistes von Frontmann Will Gould vorzudringen.

Das Ergebnis: Über 40 Minuten Musik, die das Grandiose und Epische mit dem Punkrock-Geist verbindet, der seit ihrem Debüt von 2017 ein Eckpfeiler des Creeper-Sounds ist: eine zerrissene Lederjacke, eingewickelt in einen plüschigen Samtmantel - ein Mantel, der mit rotem Satin gefüttert ist, versteht sich. Inspiriert von Folklore und Mythos, der eher schattigen Seite der Populärkultur, haben Creeper einen eigenen Raum abgesteckt; eine neblige Welt der Gothic-Bilder und dunklen Romantik, der Krypten und Burgruinen, des Unerwiderten und der Untoten - eine Welt, in der die Liebe ihren Preis hat und die Schönheit mit geschärften Zähnen lächelt.

Vom Eröffnungsstück 'Further Than Forever', einer neunminütigen, vielschichtigen Tour-de-Force, die dem verstorbenen Jim Steinman ein Lächeln ins Gesicht zaubern würde, bis zum Schlussstück 'Spook And Mercy', einer nächtlichen Geschichte über die kleine Mercy und ihre gefräßigen Taten, ist 'Sanguivore' eine äußerst beeindruckende, lose konzeptionelle Reise durch das Glorreiche und Grafische.

Für ihr neuestes bzw. drittes vollständiges Studioalbum 'Sanguivore' haben die fünf Briten von Creeper einen Blutpakt geschlossen, um sich voll und ganz auf die Dinge zu konzentrieren, die sie wirklich ausmachen; um mit einer brennenden Fackel in die eher schwach beleuchteten Nischen des stets fruchtbaren Geistes von Frontmann Will Gould vorzudringen.

Das Ergebnis: Über 40 Minuten Musik, die das Grandiose und Epische mit dem Punkrock-Geist verbindet, der seit ihrem Debüt von 2017 ein Eckpfeiler des Creeper-Sounds ist: eine zerrissene Lederjacke, eingewickelt in einen plüschigen Samtmantel - ein Mantel, der mit rotem Satin gefüttert ist, versteht sich. Inspiriert von Folklore und Mythos, der eher schattigen Seite der Populärkultur, haben Creeper einen eigenen Raum abgesteckt; eine neblige Welt der Gothic-Bilder und dunklen Romantik, der Krypten und Burgruinen, des Unerwiderten und der Untoten - eine Welt, in der die Liebe ihren Preis hat und die Schönheit mit geschärften Zähnen lächelt.

Vom Eröffnungsstück 'Further Than Forever', einer neunminütigen, vielschichtigen Tour-de-Force, die dem verstorbenen Jim Steinman ein Lächeln ins Gesicht zaubern würde, bis zum Schlussstück 'Spook And Mercy', einer nächtlichen Geschichte über die kleine Mercy und ihre gefräßigen Taten, ist 'Sanguivore' eine äußerst beeindruckende, lose konzeptionelle Reise durch das Glorreiche und Grafische.

Für ihr neuestes bzw. drittes vollständiges Studioalbum 'Sanguivore' haben die fünf Briten von Creeper einen Blutpakt geschlossen, um sich voll und ganz auf die Dinge zu konzentrieren, die sie wirklich ausmachen; um mit einer brennenden Fackel in die eher schwach beleuchteten Nischen des stets fruchtbaren Geistes von Frontmann Will Gould vorzudringen.

Das Ergebnis: Über 40 Minuten Musik, die das Grandiose und Epische mit dem Punkrock-Geist verbindet, der seit ihrem Debüt von 2017 ein Eckpfeiler des Creeper-Sounds ist: eine zerrissene Lederjacke, eingewickelt in einen plüschigen Samtmantel - ein Mantel, der mit rotem Satin gefüttert ist, versteht sich. Inspiriert von Folklore und Mythos, der eher schattigen Seite der Populärkultur, haben Creeper einen eigenen Raum abgesteckt; eine neblige Welt der Gothic-Bilder und dunklen Romantik, der Krypten und Burgruinen, des Unerwiderten und der Untoten - eine Welt, in der die Liebe ihren Preis hat und die Schönheit mit geschärften Zähnen lächelt.

Vom Eröffnungsstück 'Further Than Forever', einer neunminütigen, vielschichtigen Tour-de-Force, die dem verstorbenen Jim Steinman ein Lächeln ins Gesicht zaubern würde, bis zum Schlussstück 'Spook And Mercy', einer nächtlichen Geschichte über die kleine Mercy und ihre gefräßigen Taten, ist 'Sanguivore' eine äußerst beeindruckende, lose konzeptionelle Reise durch das Glorreiche und Grafische.

Für ihr neuestes bzw. drittes vollständiges Studioalbum 'Sanguivore' haben die fünf Briten von Creeper einen Blutpakt geschlossen, um sich voll und ganz auf die Dinge zu konzentrieren, die sie wirklich ausmachen; um mit einer brennenden Fackel in die eher schwach beleuchteten Nischen des stets fruchtbaren Geistes von Frontmann Will Gould vorzudringen.

Das Ergebnis: Über 40 Minuten Musik, die das Grandiose und Epische mit dem Punkrock-Geist verbindet, der seit ihrem Debüt von 2017 ein Eckpfeiler des Creeper-Sounds ist: eine zerrissene Lederjacke, eingewickelt in einen plüschigen Samtmantel - ein Mantel, der mit rotem Satin gefüttert ist, versteht sich. Inspiriert von Folklore und Mythos, der eher schattigen Seite der Populärkultur, haben Creeper einen eigenen Raum abgesteckt; eine neblige Welt der Gothic-Bilder und dunklen Romantik, der Krypten und Burgruinen, des Unerwiderten und der Untoten - eine Welt, in der die Liebe ihren Preis hat und die Schönheit mit geschärften Zähnen lächelt.

Vom Eröffnungsstück 'Further Than Forever', einer neunminütigen, vielschichtigen Tour-de-Force, die dem verstorbenen Jim Steinman ein Lächeln ins Gesicht zaubern würde, bis zum Schlussstück 'Spook And Mercy', einer nächtlichen Geschichte über die kleine Mercy und ihre gefräßigen Taten, ist 'Sanguivore' eine äußerst beeindruckende, lose konzeptionelle Reise durch das Glorreiche und Grafische.

Since 2011, Mike"s been a Drag City stalwart, first with Sic Alps, then as a solo and with The Peacers - but Mike "The Mighty Flashlight" Fellows has been a behind-the-scenes figure at Drag City since the early early days, playing live and on record with Royal Trux, Silver Jews and Will Oldham. Mike D"s music, in all phases, takes the form of a next-phase roots-pop: soaked in the traditional waters of rock and roll and passed through a variety of after-punk sonic sieves, highlighted with DIY and lo-fi values, and making a jolly hallucinatory racket, at that! He prefers a particular density of obtuse angles colliding sweet and hot noise, an arrangement he has perfected over all his Sic Alps/solo/The Peacers years; his innate understanding of the mechanics of a pop song wends purposefully through the junk-strewn landscape, sharing secrets with cipher in hand. Playing in this cracked kingdom of sound/garden of verse, Mighty Flashlight alternately accents and balances Mike"s eccentricities with his playing and knob-spinning - and with the Flashlight shining bright upon him, Donovan"s serpentine path becomes ever so much more elastic, heightened from line to line, change to change, its motility creating different shapes in our ears. Mighty"s own kind of stereo imagining informs Donovan"s smoky subterranea with additional depth of field, while still allowing all the wayward details within the arrangement to diverge as one. Mike and Mighty wind it all together: art punk utterance and top 40 radio junk of yore, the primitivity that formed recorded music in its youth, honkytonk romanticism, liminal chamber-folk and ever-present disassociated psychedelia, transformed via self-medication into a gleeful, extramusical ennui while giving the listener impetus to sing along with Mike"s patented unlikely combos of melody and lyric.

The dual forces of shadow and light, despair and hope, frustration and catharsis are at play in the music of Cupid & Psyche, the Los Angeles-based indie rock duo of Michael Vidal and Juan Velasquez. First gaining recognition in the late aughts as members of the punk band Abe Vigoda, whose 2010 album Crush was named one of the "Best 50 Albums of the 2010s" by Pitchfork, the two have reunited as collaborators for the first time in a decade. Cathartic jam sessions would birth the emotionally resonant songs that appear on their debut album, Romantic Music. Though they pull from a wide array of `80s and `90s influences, Cupid & Psyche bring together these disparate moods and genres through their own esoteric lens on Romantic Music_making for a singular sound that at once feels familiar and alluringly hypnotic. Listeners will detect the gloom of post-punk and goth, the haziness of dream-pop and shoegaze, the bittersweet guitar melodies of second-wave emo, and the manic electronic rhythms of trip-hop and big beat. The immersive soundscapes on Romantic Music are sometimes agitated and driving, while other times ethereal and transcendent. This duality matches the album's lyrics of looking for a divine escape from the grim realities of existence, as well as the darkest parts of one's psyche. "The thesis of the album is trying to transcend the limits of life and the struggle therein," Vidal says. "There's a lot of lyrics about feeling trapped or frustrated, and then trying to find a way out. There's a lot of times I sing of hope and grasping towards love. But maybe in trying to escape, you take the wrong door, be it substance abuse or other vices." Now as Cupid & Psyche, Vidal and Velasquez return to a friendship that creatively feels like home_except this time, with more experience, self-knowledge, and less pressure to make anything other than the music that emerges naturally. The LP's title Romantic Music is tongue-in-cheek, since there are no love songs proper on the project, and the phrase itself can imply a kind of light listening. But it befits that deep bond that the members have, as friends who understand and empathize with each other's worst, so they're capable of bringing out each other's best.

ON THORNS I LAY sind griechische Titanen. Während ihre Kollegen von Rotting Christ, Septic Flesh und Nightfall eher dem symphonischen und schwarzen Metal zugeneigt waren, setzte die Band aus Athen auf ihrem Debüt von 1994 auf einen Hauch von Gothic. Das macht Sinn, schließlich sind sie nach einem Sonett von Shakespeare benannt.

ON THORNS I LAY haben bisher 9 Alben veröffentlicht, darunter Orama, Crystal Tears, Aegean Sorrow und Threnos, die großartige Kritiken erhielten (Scream Norwegen, Album des Monats, Inferno Finnland 5/5, Metal Storm Top 5 Alben des Jahres 2020 und viele andere...). Sie teilten die Bühne mit großartigen Bands wie Dream Theater, In Flames, Anathema, Amorphis, Katatonia, Rotting Christ, Tiamat, The Gathering, Satyricon, Septic Flesh und vielen mehr.

Ihr Musikstil ist purer, atmosphärischer, melodischer Doom Death Metal!

Das letzte Album "Threnos" folgte dem Pfad des atmosphärischen, aber dennoch emotionalen Doom Death Metal - eine Hommage an die Wurzeln und ein weiteres Mal das Markenzeichen der Band. ON THORNS I LAY erzählen weiterhin dichte Geschichten von Verlust und Verzweiflung.

Dreißig Jahre und zehn Alben später veröffentlichen ON THORNS I LAY nun ihr erstes Album bei Season of Mist. Ihr selbstbetitelter Longplayer treibt den Death-Doom in epische Höhen und wirft einen neuen, gotischen Glanz auf die muskulösen Riffs und den höhlenartigen Gesang, der an die seligen Tage des Peaceville-Death-Dooms der frühen 90er Jahre erinnert.

ON THORNS I LAY sind griechische Titanen. Während ihre Kollegen von Rotting Christ, Septic Flesh und Nightfall eher dem symphonischen und schwarzen Metal zugeneigt waren, setzte die Band aus Athen auf ihrem Debüt von 1994 auf einen Hauch von Gothic. Das macht Sinn, schließlich sind sie nach einem Sonett von Shakespeare benannt.

ON THORNS I LAY haben bisher 9 Alben veröffentlicht, darunter Orama, Crystal Tears, Aegean Sorrow und Threnos, die großartige Kritiken erhielten (Scream Norwegen, Album des Monats, Inferno Finnland 5/5, Metal Storm Top 5 Alben des Jahres 2020 und viele andere...). Sie teilten die Bühne mit großartigen Bands wie Dream Theater, In Flames, Anathema, Amorphis, Katatonia, Rotting Christ, Tiamat, The Gathering, Satyricon, Septic Flesh und vielen mehr.

Ihr Musikstil ist purer, atmosphärischer, melodischer Doom Death Metal!

Das letzte Album "Threnos" folgte dem Pfad des atmosphärischen, aber dennoch emotionalen Doom Death Metal - eine Hommage an die Wurzeln und ein weiteres Mal das Markenzeichen der Band. ON THORNS I LAY erzählen weiterhin dichte Geschichten von Verlust und Verzweiflung.

Dreißig Jahre und zehn Alben später veröffentlichen ON THORNS I LAY nun ihr erstes Album bei Season of Mist. Ihr selbstbetitelter Longplayer treibt den Death-Doom in epische Höhen und wirft einen neuen, gotischen Glanz auf die muskulösen Riffs und den höhlenartigen Gesang, der an die seligen Tage des Peaceville-Death-Dooms der frühen 90er Jahre erinnert.

TufStuf Records is a Jungle, Hardcore & Jungle Techno vinyl and digital record label from London UK. Run by head honcho Arkyn. The sounds of the label are heavily influenced by the authentic 1992 - 1994 rave vibes. But have a modern and cutting edge take on the original energy of the early 90's. Expect raw and hard hitting drum breaks, low pressing sub bass and ravey and emotive synths.

SULPHUR AEONs neuestes Werk ist gesegnet mit Kontrasten, klanglicher Ebbe und Flut. Ein Taifun kantiger Riffs und wilder Blastbeats, raffinierte Melodieschichten, dichte Atmosphäre und triumphal gesungene Refrains reißen dich mit. Ätherische Akustikgitarren, subtile Synthesizer, einen Hauch von Gothic ('The Yearning Abyss Devours Us'), satte Leads, E-Bow-Parts, heftige Aggression ('Arcane Cambrian Sorcery'), monumentale Schwere, die in hypnotische Gesangsmuster übergeht ('Seven Crowns And Seven Seals'), und ein großes Finale ('Beneath The Ziqqurrats') - "Seven Crowns And Seven Seals" überschreitet Genres; es wütet und zerstört, lullt dich im nächsten Moment in gefährlich täuschende Ruhe, nur um dich unwiderbringlich in den dunklen Strudel des Ozeans zu reißen. SULPHUR AEON meistern ihren durchdringenden Cinematic Death Metal der Extraklasse, gehen über sich hinaus und klingen dabei doch unverkennbar kohärent - perfekt eingefangen und verfeinert von den langjährigen Mitarbeitern Simon Werner und Michael Zech (Secrets Of The Moon, Bølzer etc.), während das Mastering von V. Santura (Triptykon, Dark Fortress) übernommen wurde. Was das Artwork betrifft, so haben SULPHUR AEON diesmal mit der Tradition gebrochen, wieder mit Ola Larsson zu arbeiten, und sich mit dem Italiener Paolo Girardi zusammengetan, um eine Lovecraft'sche Apokalypse darzustellen, die der Opulenz und Dynamik des Albums einen raueren Stil entgegensetzt.

SULPHUR AEONs "Seven Crowns And Seven Seals" ist der offensichtliche und - zumindest im Moment - möglicherweise auch der Höhepunkt einer Band, die besessen von ihrer Kreativität ist und sich leidenschaftlich und bereitwillig der Herausforderung stellt, Musik zu produzieren, die so zeitlos und originell ist wie das literarische Vermächtnis von H.P. Lovecraft. Stürzen Sie sich in die dunklen Gewässer und lassen Sie sich von der Flut des Ozeans verschlingen...

Nicky Prince has never been bound by musical genre. The Milton Keyes born and raised. Vocalist has the versatility to fit any vibe while not compromising her signature sound. Although best known for her Garage hits with Zed Bias in the early 2000s, Nicky was performing and recording with various acts well before the height of Garage’s popularity. She started her career singing in Soul and Funk bands, and over the last two decades has lent her voice to Electro, Hip-Hop, Drum & Bass, House, and Ska tracks.
In 2009 Nicky graced listeners with her debut solo EP “See What You Mean.” Within only five tracks the singer-songwriter displays impressive range, from the up-tempo, energetic funk of “I’m Hearing You” to a bluesy rendition of Nina Simone’s “Don’t Let Me Be Misunderstood,” to the hushed tones of the EP’s sole acoustic number, “Balancing Scales.” She is backed on this effort by her band Soul Selecta, which includes renowned UK session players Dave Baldwin on Hammond organ and Robert ‘Skins’ Anderson on drums/percussion. Sadly, the release was criminally slept-on.

While “See What You Mean” was available on streaming services and CD, the EP
never received the vinyl treatment. So, rather than simply reissuing the project, Nicky has teamed with KU to offer what she calls a “reincarnation” of her debut on wax.

Now retitled “Listen Up,” this underrated affair has had new life breathed into it. To bring out the best in the original recordings, each song has been meticulously remastered by Christian Obermayer at Strype Audio. Then to fill out the 12”, Nicky has added a handful of unreleased songs, including a heavy groove cover of Michael Jackson’s “I Can’t Help It,” which sees her reconnect with Zed Bias; a punchy, funked up tune titled “Listen Up;” and the original version of “Balancing Scales” that reveals what the track sounded like before it was stripped down to just guitar and vocals. This offering perfectly captures Nicky’s distinct tastes and inspirations. Further, it fills a hole in your record collection that you didn’t know was there until now.

Bell Curve's new EP Obelisk for Berlin's SSPB provides a daring evolution of her soundworld, channeling the bristling intensity of her previous work into a more expansive headspace. Alongside six mesmerising new tracks from Bell Curve, the EP features a remix from Hessle Audio rising star Toumba. Obelisk compiles Bell Curve's most compelling and enthralling work to date. Reveling in dazzling repetition and delicate sonic nuance, it is a cathartic and defiant statement in an industry that increasingly demands hollow immediacy and caters to short attention spans - an homage to struggles and affirmation of strength and self-belief, while equally offering euphoric escape for those willing to spend time inside its mystic whorl. Club sonics are here plucked from their original contexts and expanded outwards - icy rave stabs on "Staircase" ascending into the heavens or the astral breaks and springy bass of "Hope It Gets Better".

Subtle shifts in tone and texture guide the listener through the trip, reverb tails slowly extending into lysergic drift or rippling grain and feedback rising from pulsing bass tones. Jordanian producer Toumba amps up the tempo on his remix of "Staircase" while maintaining the original's emotional core, bolstering the track's dextrous rhythms with distinctive Levantine timbres. Obelisk captures a constant push and pull between emotional states - from anxiety and melancholy to joy and euphoria, working through turmoil to find transcendence.

Tracks like "Dance Skeleton Dance" particularly invoke this duality, drawing catharsis from darker sonics, reconfiguring bass pressure and anxious percussion into a humid dancehall stepper. "Without U" contains emotional struggle as part of the very circumstances of its making - written while working through heartbreak, its delicate repetitions and searching tone reflecting the process of reconnecting with oneself. Title track "Obelisk" forms the emotional core of the EP, coalescing from weightless vapors into dramatic synthesizer motifs, evoking euphoric memories of complete immersion on the dancefloor and our ability to find ecstatic experience even in the contemporary hellscape.

Percussionist extraordinaire Valentina Magaletti recorded live at Colourful Storm's showcase at Cafe Oto in 2021. Intricate, textural longform percussion pieces comprised of traditional drums, found objects, voice and electroacoustics conjured to hypnotic effect. A rare solo recording, following collaborations with Laila Sakini, Yves Chaudouët, Marlene Ribeiro and outings for Blume and Takuroku.

Extremely curious listening for fans of African Head Charge, The Necks, and followers of Magaletti's collaborative groups, including Moin, Vanishing Twin and Holy Tongue. First-time vinyl pressing following a short run of cassettes. Full-colour reverse-card sleeve with postcard and new artwork by Dennis Tyfus.

It's rare to see Nassau, Covid and Grace Jones in the same sentence, but they were indeed part of the creative basis for DJ Vadim's brand new album, FEEL UP.

As a busy international DJ, this was nothing short of armageddon for Vadim. The skies were darkened, but rather than sink into inactivity and hibernation, DJ Vadim created within himself his own tropical music festival, an alternative universe that would share some kind of kinship with the recordings made at Compass Point Studios, orchestrated by Chris Blackwell for Grace Jones (1980-1982), James Brown, AC/DC, and many others...

It was a melting pot of world-class musicians, blending reggae, pop, soul and African rhythms and sounds... together creating one of the most influential albums of the period, and it was in this spirit that the inspiration and title of DJ Vadim's new album, FEEL UP (literally 'Feel good' / 'Have the strength, the courage'), was born.

Forty years after those sessions at Compass Point Studios, the same quest for discovery took place in Vadim's Barcelona studio. The desire for growth, self-discovery and the creation of new sounds took hold. The dubcatcher with its 80s digital sounds went out and came back with a wide variety of musical tapas.

Inhale, exhale, FEEL UP is the soundtrack you've been missing without even knowing it!

GER SMILE zeigen mit ihrem hervorragenden Debut PRICE OF PROGRESS leichtfüßig auf, dass Post Punk im Jahre 2023 noch immer erfrischend klingen kann. Sie nehmen ihre Referenzen nicht als Dogma, bleiben experimentell, eigensinnig. Erzählerisch, eingängig, rough und anschmiegsam verschmelzen dabei die feinsinnigen, poetischen Beobachtungen von Sängerin Rubee True Fegan (USA) mit dem versierten Sound einer Band, die von Produzent Olaf Opal genau dahin gebracht wurde, wo sie hingehört: an den Startblock innovativer, kluger und sinnlicher Gitarrenmusik. In PRICE OF PROGRESS manifestiert sich das Zusammenspiel aus musikalischem Sturm und Drang und der Reife einer reflektierten Erzählperspektive. Was hier entstanden ist, klingt nun, 2023, in seiner jugendlichen Frische durchaus nach einem Debut - gleichzeitig aber nach dem Werk einer erfahrenen, über lange Zeit gewachsenen Band. Nur deutsch klingt es nicht, was sicher im Wesen von Sängerin Rubees True Fegans Heimat Albuquerque (New Mexico) begründet liegt, gleichsam aber in der Vielseitigkeit, die sich SMILE erlauben - und ihrer einhergehenden Virtuosität an den Instrumenten. SMILE versuchen sich dabei - einem Post-Punk britischer Machart folgend - durchaus in homogener Geradlinigkeit (Herrengedeck), lassen Kühle zu (Machine Dreaming) und folgen einem düsteren Ernst (Säge). Diese Facetten aber vermengen sich mit einer heiteren Experimentierfreude (Stalemate, Produce, Hungry Ghosts), mit Humor (Doohickey), mit verträumter Beschwingtheit (Commuter) und Genresprengender Pop-Af finität (Protection). So zeigt sich dieses stilsichere Album in einer Vielseitigkeit, die heute selten zu finden ist - und klingt trotzdem wie aus einem Guss. Auch die ersten drei Singles zeigen gut das Panorama, das SMILE mit ihrem Debut aufmachen: Dog In The Manger erinnert zunächst an Talk Talks Happiness Is Easy, wechselt aber nach dem Drum-Intro schnell die Spur. Der Opener der Platte stellt Rubee als Sängerin vor, die, trotz einer gewissen Gelassenheit in der Performance, von Wut und Traurigkeit getrieben ist. Der Text ist eine politische Reflexion, ausgelöst vom gekippten Abtreibungsrecht in den USA, das sich mit einer alten griechischen Fabel verbindet. So startet das Album mit einem Rätsel und offenbart, das Musik noch immer eine Waffe sein kann - aus Sound, Herz und Verstand. In Doohickey, einem der beschwingtesten Songs der Platte, kramt Rubee in ihrer Erinnerung, besucht ihre verstorbene Großmutter, eine unfreundliche alte Frau, die in ihrem Haus hortete, was sie fand. So entsteht eine Kurzgeschichte über die weirdest person alive und zeigt SMILE als Band, in der Text und Musik nicht konkurrieren, sondern stets Symbiose feiern. Zackig und temporeich wie das erzählte Leben kommen auch Gitarren und Rhythmussektion daher, finden zu einer soghaften Dynamik, ohne mit billigen Sing-alongs zu arbeiten. Protection, die dritte Single, ist wohl das eigensinnigste Stück der Platte, erzeugt, gesanglich pendelnd zwischen Blood Orange und Bands wie Siouxsie & The Banshees oder Bow Wow Wow, eine breite und intensive Palette, bringt einen The Fall-artigen Witz ein und wird zwischen den vermittelten Gefühlen zur Achterbahnfahrt. Das Stück schrieb Gitarrist Lars Fritzsche, mit dem Ziel, einen klassischen Hit zu schaffen (gelungen, wenn auch nicht klassisch!) - und schuf in der Offenheit des Songs dabei eine perfekte Fläche, die nun gleich mehrere Stimmen der Band versammelt. Im Zentrum: Rubee, die hier einen Text performt, der zwischen Traum und Cut-up ihren poetischen Glanz scheinen lässt. Die aus der Hüfte geschüttelte Dramaturgie ist dabei Paradebeispiel für die Innovation einer der spannendsten neuen Gitarrenbands, die nun auf dem Indielabel Siluh (Wien) eine Heimat zwischen Köln, Bonn und Albuquerque gefunden hat. Wahnsinn! (Hendrik Otremba)

ENG SMILE IS A POST-PUNK BAND WITH A SINGER, WHO PREFERS NOT TO SING. INSTEAD, SHE INTONES HER POETIC STORIES SPIKED WITH PERSONAL REFLECTIONS. With their excellent debut PRICE OF PROGRESS, SMILE light-footedly show that post punk can still sound refreshing in 2023. They don't take their references as dogma, remain experimental, stubborn. Narrative, catchy, rough and cuddly, the subtle, poetic observations of singer Rubee True Fegan (USA) merge with the accomplished sound of a band that producer Olaf Opal has put exactly where it belongs: on the starting block of innovative, clever and sensual guitar music. In PRICE OF PROGRESS, the interplay of musical Sturm und Drang and the maturity of a reflective narrative perspective manifests itself. Ltd pink vinyl LP!

GER SMILE zeigen mit ihrem hervorragenden Debut PRICE OF PROGRESS leichtfüßig auf, dass Post Punk im Jahre 2023 noch immer erfrischend klingen kann. Sie nehmen ihre Referenzen nicht als Dogma, bleiben experimentell, eigensinnig. Erzählerisch, eingängig, rough und anschmiegsam verschmelzen dabei die feinsinnigen, poetischen Beobachtungen von Sängerin Rubee True Fegan (USA) mit dem versierten Sound einer Band, die von Produzent Olaf Opal genau dahin gebracht wurde, wo sie hingehört: an den Startblock innovativer, kluger und sinnlicher Gitarrenmusik. In PRICE OF PROGRESS manifestiert sich das Zusammenspiel aus musikalischem Sturm und Drang und der Reife einer reflektierten Erzählperspektive. Was hier entstanden ist, klingt nun, 2023, in seiner jugendlichen Frische durchaus nach einem Debut - gleichzeitig aber nach dem Werk einer erfahrenen, über lange Zeit gewachsenen Band. Nur deutsch klingt es nicht, was sicher im Wesen von Sängerin Rubees True Fegans Heimat Albuquerque (New Mexico) begründet liegt, gleichsam aber in der Vielseitigkeit, die sich SMILE erlauben - und ihrer einhergehenden Virtuosität an den Instrumenten. SMILE versuchen sich dabei - einem Post-Punk britischer Machart folgend - durchaus in homogener Geradlinigkeit (Herrengedeck), lassen Kühle zu (Machine Dreaming) und folgen einem düsteren Ernst (Säge). Diese Facetten aber vermengen sich mit einer heiteren Experimentierfreude (Stalemate, Produce, Hungry Ghosts), mit Humor (Doohickey), mit verträumter Beschwingtheit (Commuter) und Genresprengender Pop-Af finität (Protection). So zeigt sich dieses stilsichere Album in einer Vielseitigkeit, die heute selten zu finden ist - und klingt trotzdem wie aus einem Guss. Auch die ersten drei Singles zeigen gut das Panorama, das SMILE mit ihrem Debut aufmachen: Dog In The Manger erinnert zunächst an Talk Talks Happiness Is Easy, wechselt aber nach dem Drum-Intro schnell die Spur. Der Opener der Platte stellt Rubee als Sängerin vor, die, trotz einer gewissen Gelassenheit in der Performance, von Wut und Traurigkeit getrieben ist. Der Text ist eine politische Reflexion, ausgelöst vom gekippten Abtreibungsrecht in den USA, das sich mit einer alten griechischen Fabel verbindet. So startet das Album mit einem Rätsel und offenbart, das Musik noch immer eine Waffe sein kann - aus Sound, Herz und Verstand. In Doohickey, einem der beschwingtesten Songs der Platte, kramt Rubee in ihrer Erinnerung, besucht ihre verstorbene Großmutter, eine unfreundliche alte Frau, die in ihrem Haus hortete, was sie fand. So entsteht eine Kurzgeschichte über die weirdest person alive und zeigt SMILE als Band, in der Text und Musik nicht konkurrieren, sondern stets Symbiose feiern. Zackig und temporeich wie das erzählte Leben kommen auch Gitarren und Rhythmussektion daher, finden zu einer soghaften Dynamik, ohne mit billigen Sing-alongs zu arbeiten. Protection, die dritte Single, ist wohl das eigensinnigste Stück der Platte, erzeugt, gesanglich pendelnd zwischen Blood Orange und Bands wie Siouxsie & The Banshees oder Bow Wow Wow, eine breite und intensive Palette, bringt einen The Fall-artigen Witz ein und wird zwischen den vermittelten Gefühlen zur Achterbahnfahrt. Das Stück schrieb Gitarrist Lars Fritzsche, mit dem Ziel, einen klassischen Hit zu schaffen (gelungen, wenn auch nicht klassisch!) - und schuf in der Offenheit des Songs dabei eine perfekte Fläche, die nun gleich mehrere Stimmen der Band versammelt. Im Zentrum: Rubee, die hier einen Text performt, der zwischen Traum und Cut-up ihren poetischen Glanz scheinen lässt. Die aus der Hüfte geschüttelte Dramaturgie ist dabei Paradebeispiel für die Innovation einer der spannendsten neuen Gitarrenbands, die nun auf dem Indielabel Siluh (Wien) eine Heimat zwischen Köln, Bonn und Albuquerque gefunden hat. Wahnsinn! (Hendrik Otremba)

ENG SMILE IS A POST-PUNK BAND WITH A SINGER, WHO PREFERS NOT TO SING. INSTEAD, SHE INTONES HER POETIC STORIES SPIKED WITH PERSONAL REFLECTIONS. With their excellent debut PRICE OF PROGRESS, SMILE light-footedly show that post punk can still sound refreshing in 2023. They don't take their references as dogma, remain experimental, stubborn. Narrative, catchy, rough and cuddly, the subtle, poetic observations of singer Rubee True Fegan (USA) merge with the accomplished sound of a band that producer Olaf Opal has put exactly where it belongs: on the starting block of innovative, clever and sensual guitar music. In PRICE OF PROGRESS, the interplay of musical Sturm und Drang and the maturity of a reflective narrative perspective manifests itself. Ltd pink vinyl LP!

This 1970 album see master saxophonist Stan Getz cover hits of the day, with Beatles producer George Martin at the controls. Getz tries his hand at songs by Paul Simon, Bacharach-David, a heartfelt take on Joni Mitchell’s “Both Sides Now” and Graham’s Nash title track. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Thirteen tracks of searing blues, soulful R&B and high-energy rock & roll include ten originals, five co-written by Coco, and include guest appearances by Lee Roy Parnell, and Ronnie Baker Brooks. Co produced by Grammy Award-winner Tony Braunagel (Bonnie Raitt, Taj Mahal) and Jeff Paris (Keb' Mo', Bill Withers).

Minimal Wave presents the first vinyl reissue of French legends Martin Dupont’s seminal album from 1987, ‘Hot Paradox’. Martin Dupont was originally founded by Alain Seghir in Marseille in 1980. He enlisted numerous collaborators throughout the years, including Beverley Jane Crew, Brigitte Balian, and Catherine Loy. Martin Dupont was immensely talented with a rare dynamic between its varying members that was likely inspired by a combination of their magnetic personalities, creative vision, and the home studio where they recorded. Their music was colorful, enthusiastic, delicate, melancholy, and mysterious. A mixture of hot and cold, light and dark. They created electronic music that incorporated guitars, clarinets, and saxophones and is described by many as New Wave yet truly transcended genres.

Aside from having been released as part of ‘The Complete Collection: 1980-1988’ 5-LP box set, the ‘Hot Paradox’ album hasn’t been available on vinyl since 1987. It is one of Martin Dupont’s most exquisite albums, illustrating the band’s mastery of synthesizer work, drum programming, and vocal duets. The album is vibrant and emotive, simultaneously somber and bright, theatrical and danceable. It is an essential album in the French cold wave, new wave, and minimal synth scenes, and in recent years, has finally received the recognition it deserves beyond any musical categorization.

The Hot Paradox album reissue is pressed on 180-gram black vinyl, is accompanied by the original insert/lyrics sheet, and is housed in a heavy-weight sleeve featuring art by Yves Cheynet. After remaining under the radar for 35 years, Martin Dupont reformed in 2022 and returned to the stage in 2023 with a US tour and the Kintsugi album. The band continues to tour Europe and record new material in their new studio in France.

Recital publishes the first vinyl edition of Let the Darkness Fall, a forgotten corner from the vast discography of Suzanne Langille & Loren Connors. Joined here by David Daniell and Andrew Burnes (of the Atlanta-based group San Agustin), Darkness was recorded in the summer of 1998 on a Tascam Porta-5 in Loren and Suzanne’s Brooklyn living room, and issued the following year as a limited CD by Secretly Canadian.

The tender gloom of Let the Darkness Fall sounds like a broadcast of some private séance. The trio of guitarists here show a beautiful restraint, hovering just underneath vocalist Suzanne Langille’s ephemeral poetry. Once they hit RECORD, the sensitivity of the players melded this quartet into a sole-entity; finishing each other’s phrases in slow motion. Suzanne’s gentle voice glows through the wispy guitar shadows with a quiet determination. One could almost imagine her building a nest out of the guitar lines she’s gathered.

This collection of musicians is a precursor to the band Haunted House, a wild sort of jam-band playing the blues without playing structure. Recital continues the series of Loren Connors-related editions, stretching from his art books Wildweeds & Night of Rain, to his masterpiece solo LPs Airs & Lullaby. And Recital is equally thrilled to highlight Suzanne Langille’s mystifying command of voice and word and the intricate guitar work of Andrew Burnes and David Daniell. Come revisit the mist that filled that living room 25 years ago.

I feel a deep sense of loss listening to this music, but at the same time the possibility of going beyond it through sound. It doesn't want to illustrate anything, but I would like it to be transformative, even of a feeling that sounds like death. It is an elegy." — Furtherset

The Infinite Hour is a shattered elegy synthesized in electronics. Furtherset's music does not explain, settle or justify, it rather simply manifests the grip of anguish. As a whole, the album's six compositions resemble the labored breathing of one who mourns a disappearance and fears oblivion. A feeling like having one's chest weighed down by a stone, while still being attentive to one's breath, and aware of what remains. From this dimension The Infinite Hour arises and transfigures loss into a space that is always extending: the hour is infinite, the melody is circular, and even stasis has its own measure that is exceeded into eternity.

The album was created between 2020 and 2022, in a slow process of writing and continuous refinement parallel to the previous EP, Auras. The compositions found their final form during the mixing process carried out together with composer & sound artist Bienoise (Mille Plateaux). They were later named based on references to authors who influenced and are dear to Furtherset: Amelia Rosselli, Vladimir Chlebnikov, Hubert Damisch, Dante Alighieri. Each track, composed with its live rendition in mind, manifests itself to the listener as a possible variant of a path that is never definitive. Their live performance, an increasingly distinctive moment within Furtherset's work, is a gesture of concentration and extension, where every composition is developed through meticulous variations of each singularity.

The Infinite Hour is one possible manifestation of an ever-changing musical landscape, a universe with unmistakable sounds but always on the verge of disintegrating, collapsing, and opening up spaces, times, infinities.

Furtherset is the musical project of artist and musician Tommaso Pandolfi (1995). His compositions' distinctive traits are stratifications and recursive shifting modulations, synthetic clusters and sampling, alongside rhythmic and embracing harmonies. The project is envisaged as formal research that follows a path towards saturation and layering, but is always capable of generating voids in which the listener can take their place and fill them according to their own focus.

Works for the Ever Present Orchestra Vol. II continues Black Truffle’s documentation of the late work of legendary American experimental composer Alvin Lucier, who sadly passed away in 2021 at the age of 90. Like the first volume of the series, the two works recorded here were written for The Ever Present Orchestra, an ensemble founded in Zürich in 2016 to perform Lucier’s work exclusively. At the core of the music Lucier wrote for the ensemble is the electric guitar, an instrument he began to explore in 2013. Played with e-bows, in these works electric lap steel guitars take on roles akin to the slow sweep pure wave oscillators heard in many of Lucier’s works since the early 1980s. This strikingly elegant pair of compositions would serve as an ideal introduction to Lucier’s late music for a listener as yet unfamiliar with its graceful exploration of beating patterns and other acoustic phenomenon.

The two pieces have quite different characters, exemplifying Lucier’s ability to harvest a remarkable range of musical results from closely related compositional procedures and concerns. In Arrigoni Bridge (2019), Lucier uses a technique familiar from earlier works such as Still Lives (1995), where sine waves traced the shapes of household objects. Here, three lap steel electric guitars (played by Oren Ambarchi, Bernhard Rietbrock, and Jan Thoben) follow the form of the Arrigoni Bridge that connects Middletown and Portland, Connecticut. The bridge’s two enormous steel arcs become slowly sweeping pitches, alongside which alto saxophone (Joan Jordi Oliver Arcos), violin (Rebecca Thies) and cello (Lucy Railton) sustain long tones, creating a variety of audible beating patterns depending on their distance from or proximity to the guitars. With its stately pacing, warm middle register tones, and rich timbral variety in the sustaining instruments, Arrigoni Bridge is a beautiful example of compositional reduction producing immersive results. Flips (2020), on the other hand, is more austere. Scored for two lap steel electric guitars (Rietbock and Thoben), double bass (Ross Wightman) and glockenspiel (Trevor Saint), the two acoustic instruments played with bows, the piece zooms in on the range of a major second (two semitones). The two guitars sweep in opposite directions within the range, crossing every four minutes; the double bass and glockenspiel sustain long tones, producing beats of different speeds determined by their distance from the guitar tones. This limitation of the tonal range means the music is often dissonant and forces the phenomenon of audible beating to the surface, resulting in a paradoxical music composed entirely of long tones yet alive with pulsating rhythm. Exemplifying Lucier’s ability to uncover near-infinite complexity within seemingly simple materials, Works for the Ever Present Orchestra Vol. II is a fitting tribute to one of the major figures of the experimental music tradition and a testament to the continuing power of his work.

Originally released in September 1997 on Eternal Records and includes writing and production work from Ian Masterson and David Green, Xenomania (Matt Gray, Brian Higgins, Stuart McLennan, Tim Powell), Metro (Paul Barry, Graham Stack, Mark Taylor, Steve Torch) and DNA (Nick Batt, Neal Slateford).

This Special Edition 2LP pressed on clear vinyl, boasting the original cover design (originally by Gerard Saint), with photography by Steve Shaw. The original ten track album is presented over side A/B, while the three contemporaneous non-album cuts 'Someone New', 'Keep Up With The Good Times' and 'Coconut' are featured on the bonus 12" single sides C/D.

Packaged in a lavish gatefold sleeve with deluxe finish printing, each record is housed in a beautiful inner bag, featuring rare photographs and full album lyrics.

Das selbstbetitelte Debütalbum von Dirty Talons fasst die ersten beiden Aufnahmesessions zusammen, die die Band in den Jahren 2021 und 2022 abgeschlossen hat. Alle grundlegenden Instrumentalstücke sowie die meisten Lead-Vocals wurden in nur wenigen Tagen live im Radiokulturhaus in Wien, Österreich, aufgenommen. Während die Gitarristen Marco und Zock sowie der Bassist Bernie während ihrer Zeit bei ASTPAI in der Vergangenheit mehrere Platten gemeinsam veröffentlicht haben, markiert dieses Album das bemerkenswerte physische Debüt der Sängerin Jess Howells.Jess' Texte erforschen intra- und zwischenmenschliche Kämpfe und Zusammenhänge aus verschiedenen Perspektiven
und berühren Themen wie Angst, Liebe, Unsicherheit, Narzissmus, Wut, Einsamkeit und Bedauern