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Die dritte und letzte Phase der Kaizers Orchestra-Reissue-Serie auf 180g Gatefold-Vinyl. Remastered von den Originalproduzenten, explodiert ihr facettenreicher Balkan-Punk-Sound, klingt offener & lauter, hat mehr Punch & Dynamik und atmet Live-Energie & Schwung ihrer Kultkonzerte. 'Violeta Violeta Vol.III' (2012) ist das ambitionierteste, majestätischste und grossartigste Album im Kaizer-Katalog. Eine Meisterleistung des Songwritings und Höhepunkt ihrer Musikalität, der der bereits reichen Palette neue Farben hinzufügt. Ein ausgewachsenes Gypsy-Musical, unterstützt von einem kompletten Symphonieorchester. Das grosse Finale, extravangant & maximalistisch. VV3 verlangte der Band alles ab und führte sie in einen 10-jährigen Winterschlaf. Mit diesem Album erreichten Kaizers Orchestra perfekte 8 von 8 #1 Platzierungen in den norwegischen Albumcharts.

30 Jahre Voodoo Rhythm Records wird mit 15 komplett verrückten Bands gefeiert, 15 empörende, ohrenbetäubende Stücke aus aktuellen oder kommenden VVR-Alben auf einer schick animierten Picture Disc oder als Digipack-CD mit Booklet! Flamenco und Blues Trash trifft auf Exotica Space Cumbia und wilden Rock'n'Roll Garage Chainsaw Punk plus Neanderthal Synth... Voodoo Rhythm Records wurde 1992 in Bern Schweiz gegründet, um eine Plattform für unkontrollierten Nicht-Mainstream-Rock'n'Roll zu sein: Voodoo Rhythm steht für eine Hirnexplosion und befasst sich mit den inneren Teufeln (voodoo), um sie mit den Teufeln in deiner Umgebung mit Rock'n'Roll (Rhythm) zu konfrontieren. Und das tun die 15 Bands auf dieser Kompilation alle auf ihre eigene Weise: The Monsters aus Bern in der Schweiz mit einem Song von ihrem kommenden Album 'You're class, I'm trash' oder Degurutieni aus Japan mit seiner Hi Exotic Hymne 'Acme am Nachmittag' und unser brandneuer Stier im Haus Nestter Donuts aus Spanien mit seiner unglaublichen Flamenco Trash One Man Band!!!! und viele viele mehr. Das Label ist nicht nur gegründet worden, um irgendwas zu veröffentlichen, wir wollen etwas anderes, neues kreieren und arbeiten zu 100% an allen Veröffentlichungen mit: vom Artwork bis zu den Aufnahmen usw. Auch bei diesem fünften Sampler hier ist die Moving Picture-Disc vom rumänischen Künstler Andy ,sinboy' Luke (Bad Decisions), der auch für andere großartige Artworks verantwortlich ist, gestaltet worden, das Mastering stammt von Lo Spider aus dem Swamp Land Studio in Toulouse Frankreich. (STILL) SONGS TO RUIN ANY PARTY, AGAIN!

Dieses Album vermittelt Geschichten über eine komplexe Figur. Er ist selbstbewusst, emotional, unsicher, neugierig, liebevoll und auf der Suche nach Verbindungen. Er sucht nach jemandem. Aber auch nach sich selbst. Er sehnt sich nach echten Verbindungen.

Verbindung zur Welt. Aber auch Verbindung zu seinem wahren Selbst. Er zeigt einen Hauch von Selbstbewusstsein und Verspieltheit. Er ist mutig. Aber auch unsicher und nicht immer präsent in der Welt, in die er eintaucht.

Marathon is not just a band, it's a top-level sport. The Amsterdam-based trio is bursting with energy, and it explodes out of them on stage, captivating audiences everywhere they go. With four Paradiso
shows under their belt, a packed Popronde, Welcome to the Village, Grauzone and many more, Marathon has quickly amassed an impressive live reputation, culminating in a top-10 spot at
Noorderslag. Both KINK and 3voor12 recognize the band as one of the talents of 2023.

V2 Benelux has signed Marathon for their debut EP, set to be released in May 2023. This is a major milestone for the band and a testament to their skills. Marathon's music is a passionate response to the crisis-ridden twenty-first century, channelling the energy of punk and the dissonance of shoegaze and post-punk to give voice to urban anxiety. Lennart's dynamic drumming, Kay's aggressive vocal delivery, and Nina's skillful six-string bass work create an explosive mix that is both raw and polished. Live, Marathon is a force to be reckoned with, with keyboardist Sofie and guitarist Victor bringing even more depth to their layered songs. Together, they create a high-energy defense against the doom and gloom of the modern world, making the uncomfortable bearable. Marathon is a band that demands attention, and their growing fan base is a testament to their undeniable talent.

Zwei Jahre nach der Veröffentlichung ihres Hit-Singles "bad grades" und ein Jahr,
nachdem sie es auf eine Times Square-Billboard als Spotify Equal-Künstler geschafft
haben, kündigen Kids With Buns ihr Debütalbum "out of place" an. Ein Album über das
Erwachsenwerden und das Gefühl, ein Außenseiter zu sein, in eine Sammlung von
traurigen Songs übersetzt.
Einerseits enthält die Platte eine Sammlung von Dingen, die du dir einfach gewünscht
hättest, rückblickend auf einen bestimmten Moment, den du jedoch irgendwie nicht
ausgesprochen hast. Andererseits enthält sie auch starke introspektive und selbstkritische
Passagen. Obwohl das zentrale Thema des Albums das Erwachsenwerden ist, berührt es
viel mehr als nur das Erwachsenwerden, einschließlich Themen wie Trauer (was in
deinem Gehirn passiert), queer sein (wie schlimm, nichts Neues) und sich in seinem
eigenen Kopf festgefahren fühlen (Unordnung, das Gleichgewicht).
In einem improvisierten Heimstudio, in dem Amber und Marie praktisch den ganzen
Sommer über lebten, wurde "out of place" von Mathias Stal (1712, bad grades)
aufgenommen und produziert. Unter Beibehaltung ihres unverwechselbaren Sounds, der
aus Maries androgyner Stimme und Ambers eingängigen Gitarrenhooks besteht,
markieren die neuesten Singles eine Entwicklung hin zu einem lebhafteren und
extrovertierteren Sound. Ihre persönlichen Probleme und Unsicherheiten in
Ohrwurm-Refrains zu verwandeln, führte zu sofortigen Erfolgen bei Live-Auftritten mit
ausverkauften Konzerten an Orten wie AB (Brüssel), Vooruit (Gent), Ekko (Utrecht) und
Merleyn (Nijmegen). Dennoch ist "out of place" auch ein herzlicher Soundtrack zum
Cruisen oder für eine spätabendliche Wein-und-Weh-Sitzung.
Nach einem erfolgreichen Auftritt beim ESNS, der ihnen einen Platz in den Top 25 der
Acts des Festivals von 3voor12 einbrachte, erweitern Kids With Buns ihren Horizont. Mit
einem neugewonnenen größeren Sound kommt auch ein beeindruckender internationaler
Tourneeplan: von Slots in der Line-up von Down The Rabbit Hole (NL), Pukkelpop (BE)
und Reeperbahn (DE) bis hin zu ihren eigenen Release-Shows im Hauptsaal der
Ancienne Belgique und De Helling in Utrecht. Mit "out of place" fangen Kids With Buns
gerade erst an.

Brussels-based power trio Don Kapot are set to release their rousing new album 'I Love Tempo' on the 15th of September via W.E.R.F. Records - NEWS distribution.

A lifeboat of free jazz, afrobeat and krautpunk sailed by Giotis Damianidis (bass), Viktor Perdieus (baritone saxophone) and Jakob Warmenbol (drums), the album follows the release of their critically acclaimed 2022 album 'Un Peu Live' recorded with Dutch multi-instrumentalist, vocalist and composer Fulco Ottervanger, and described by Bandcamp Daily as a 'very fun mix of modern jazz and krautrock.'

Don Kapot strike hard with their fourth album, mixed and co-produced by Greg Saunier (Deerhoof). Using a wide range of instruments, they evolve their sound into a solid complex rhythmic wave, shaken by demented samples and punk attitude.

From the vibrant, pounding rhythms of opening track 'Me Pig' to the off-kilter, whimsical beats of 'Macarona' and 'Terryble,' Don Kapot integrate new instruments and sounds into their repertoire, including keyboards and sampling. The groove remains a central element to the sound as the trio deliver a palpable blend of high tension and joyous energy where genres are demolished.

Elsewhere, the funk-heavy 'Bernadette' allows the magical, freestyle sax work of Perdieus take centre stage while 'Don Be No' is an urgent, flippant blast of vigour and zest before the album title track 'I Love Tempo' is an exhilarating and hypnotic journey that combines the freedom and verve of free jazz with the trance-like zeal of artists such as Tony Allen, Fela Kuti and Kologbo

Releasing their self-titled debut album in 2018 via Mr. Nakayasi Records, in 2021 they signed to Flemish record label W.E.R.F. Records and have released three albums under the label and have performed sold-out shows across Belgium and the Netherlands.

The players in Don Kapot also extend their musical adventures to other projects. Damianidis leads Punk Kong and has performed with Akira Sakata, Sakis Papadimitriou, Oghene Kologbo, Tony Allen, Baba Ani, Balasz Pandi and Gonzalo Almeida among others. Warmenbol was a member of The Unrevealed Society, Robbing Millions and M(h)ysteria. He also performs with Ruth Tafebe & the Afrosoul Messengers (with Giotis), Under The Reefs Orchestra and Monolithe Noir. Perdieus performs in Punk Kong and with Pompelmoes and The Milk Factory and took part in Ifa y Xango, Laia Arkestra, Bolhaerd, Nest and VVolk. He has also recorded and played with Andrew Cyrille (Bambi Pang Pang).

Described as a musician's musician, Allen's sound is built on a foundation of pop, rock, Americana, Roots and Blues influences. Jon Allen has a soulful, whiskeysoaked voice and a striking gift for melody. He has never been content to be pigeonholed, as demonstrated by the eclecticism of his albums to date.Of the album Jon writes ''The last few years have felt like a pressure cooker slowly increasing to boiling point. There is sense of threat and a feeling of impending doom. Living in a large urban centre during a global pandemic brought out a sense of paranoia. We became more aware of our need for space, our need for silence and to be close to nature to get above the noise of a city. I'm absorbing all the time and everything from the famous Will Smith slap to missing people inspired the songs. How close are we all to the tipping point? What are we likely to do in heat of the moment? What will stress do to us when pushed? But light
follows dark, and there are the moments of simplicity and you can count your blessings for the simple things life has to offer".

Lucki Camel Jr. known professionally as LUCKI, is an American rapper and record producer from Chicago, IL. His debut single, “Untouchable Lucki,” was produced and premiered by music blog ELEVATOR. Lucki followed with his first project, “Alternative Trap,” in 2013 and has continued to work with prominent music figures ever since including Chance the Rapper, FKA Twigs, Danny Brown, Earl Sweatshirt, and Lil Yachty. In 2021, he collaborated with Philadelphia producer, F1thy, on “Wake Up Lucki.” Throughout the next year he released a series of standalone tracks. And in June 2022, he released “Y Not?” which is included here as a bonus track. Album includes appearances by Future and Babyface Ray. 24 tracks total.

R3volution H3roes Vol.3 concludes the second AA.VV. trilogy which includes special tracks created by some of the best artists on the techno scene.

The lineup of this release consists of 6 artists:

In Logo Side, the EP opens with a masterpiece by Dutch Boss Dimi Angelis, making his debut on

On the other side (Info Side), we find the Australian Vohkinne. Follow another debut on

XUNTANZA is a Galician word that means: The action of gathering a group of people to discuss an issue or have fun. And this is what it is the second volume of this VVAA series. A meeting point for great artists discussing and having fun around ELECTRO music. For this is the second chapter, we have brought four great artists from the Spanish electro scene to the table. Annie Hall, Boris Divider, Dark Vektor and Lefrenk are the artists in charge of this new release.

XUNTANZA is a galician word that means: The action of gathering a group of people to discuss an issue or have fun.

And this is what it is the first volumen of this VVAA series. A meeting point for great artists disccusing and having fun around ELECTRO music.

In this first volumen, four wizards of the scence will put his vision on this. Versalife, Cignol, Nullptr and boss label, Roi are the responsibles to open the debate on this gathering. Pure fun!

“Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that.” Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous sonic tableaux that places the listener right in the center of the film.

While arranging the score the composers consulted musician and ethnographer Poul Høxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. “Electronic music has almost limitless potential when it comes to making sounds and that’s obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. There’s no risk of that happening when you only have a few primary instruments to draw upon.” Robin remarked.

They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn’t have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. “One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances.” Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

“Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that.” Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous sonic tableaux that places the listener right in the center of the film.

While arranging the score the composers consulted musician and ethnographer Poul Høxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. “Electronic music has almost limitless potential when it comes to making sounds and that’s obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. There’s no risk of that happening when you only have a few primary instruments to draw upon.” Robin remarked.

They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn’t have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. “One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances.” Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

"Rob wollte, dass sich die Welt von The Northman rau und ungemütlich anfühlt, als wäre es mit Schlamm und getrocknetem Blut bedeckt, also war es wichtig, dass die Musik dies widerspiegelt." Die Komponisten Robin Carolan (Tri-Angle Records) und Sebastian Gainsborough (Vessel) wurden vor eine Aufgabe epischen Ausmaßes gestellt, als Regisseur Rob Eggers (The VVitch, The Lighthouse) sie bat, die Filmmusik für seinen ehrgeizigen Film The Northman zu schreiben. Sie mussten eine Filmmusik schaffen, die sowohl die immensen Recherchen zur Authentizität dieses historischen Stücks aus der Wikingerzeit würdigte; als auch den filmischen Maximalismus des Films für ein modernes Publikum ergänzte. Die Künstler gingen bis an die Grenzen ihrer Kreativität und das Ergebnis ist ein wunderschönes Klangbild, das den Hörer mitten in den Film versetzt. Beim Arrangieren der Partitur zogen die Komponisten den Musiker und Ethnographen Poul Hoxbro zu Rate, um sich inspirieren zu lassen und einen Einblick in die Geschichte der Wikingermusik zu erhalten. Da Robin und Sebastian aus dem Bereich der elektronischen Musik kommen, waren sie keinerlei Beschränkung auf eine kleine Auswahl von Musikinstrumenten unterworfen, nutzten diese aber als Ausgangsbasis. "Elektronische Musik hat ein fast grenzenloses Potenzial, wenn es darum geht, Klänge zu erzeugen, und das ist natürlich eine unglaubliche Sache, aber man kann auch in ein Wurmloch geraten und sich darin manchmal verlieren. Diese Gefahr besteht nicht, wenn man nur ein paar Hauptinstrumente hat, auf die man zurückgreifen kann" so Robin Carolan. Sie benutzten traditionelle Instrumente wie die Tagelharpa, die Langspil, die Kravik-Lyra und die Säckpip, um die filmische Welt von The Northman zu erschaffen, aber sie nahmen sich auch kreative Freiheiten, indem sie Instrumente wie Trommeln hinzufügten, von denen einige Wissenschaftler glauben, dass sie in der Musikkultur der Wikinger keine große Rolle gespielt hätten, einfach weil es keine archäologischen Beweise für echte Trommeln gibt. "Eines der Stücke sollte den Klang eines Bullroarers nachahmen; ein uraltes Instrument, das in heiligen Ritualen oder in der Schlacht zur Einschüchterung von Feinden eingesetzt wird. Es erzeugt einen wirklich verwirrenden, röhrenden Vibrato-Sound und tiefe Frequenzen, die wahnsinnige Entfernungen zurücklegen können." sagt Robin auf die Frage nach einem der einzigartigeren Aspekte der Partitur. Alle Beteiligten haben so viel Mühe in ihre Recherchen und ihre Kreativität gesteckt, und dieser Reichtum ist in jedem Stück offensichtlich. Das Album als Ganzes ist ein cineastisches Meisterwerk aus Klang und Atmosphäre, wunderschön und verstörend zugleich, genau wie der Film, den es so wunderbar begleitet.

"Rob wollte, dass sich die Welt von The Northman rau und ungemütlich anfühlt, als wäre es mit Schlamm und getrocknetem Blut bedeckt, also war es wichtig, dass die Musik dies widerspiegelt." Die Komponisten Robin Carolan (Tri-Angle Records) und Sebastian Gainsborough (Vessel) wurden vor eine Aufgabe epischen Ausmaßes gestellt, als Regisseur Rob Eggers (The VVitch, The Lighthouse) sie bat, die Filmmusik für seinen ehrgeizigen Film The Northman zu schreiben. Sie mussten eine Filmmusik schaffen, die sowohl die immensen Recherchen zur Authentizität dieses historischen Stücks aus der Wikingerzeit würdigte; als auch den filmischen Maximalismus des Films für ein modernes Publikum ergänzte. Die Künstler gingen bis an die Grenzen ihrer Kreativität und das Ergebnis ist ein wunderschönes Klangbild, das den Hörer mitten in den Film versetzt. Beim Arrangieren der Partitur zogen die Komponisten den Musiker und Ethnographen Poul Hoxbro zu Rate, um sich inspirieren zu lassen und einen Einblick in die Geschichte der Wikingermusik zu erhalten. Da Robin und Sebastian aus dem Bereich der elektronischen Musik kommen, waren sie keinerlei Beschränkung auf eine kleine Auswahl von Musikinstrumenten unterworfen, nutzten diese aber als Ausgangsbasis. "Elektronische Musik hat ein fast grenzenloses Potenzial, wenn es darum geht, Klänge zu erzeugen, und das ist natürlich eine unglaubliche Sache, aber man kann auch in ein Wurmloch geraten und sich darin manchmal verlieren. Diese Gefahr besteht nicht, wenn man nur ein paar Hauptinstrumente hat, auf die man zurückgreifen kann" so Robin Carolan. Sie benutzten traditionelle Instrumente wie die Tagelharpa, die Langspil, die Kravik-Lyra und die Säckpip, um die filmische Welt von The Northman zu erschaffen, aber sie nahmen sich auch kreative Freiheiten, indem sie Instrumente wie Trommeln hinzufügten, von denen einige Wissenschaftler glauben, dass sie in der Musikkultur der Wikinger keine große Rolle gespielt hätten, einfach weil es keine archäologischen Beweise für echte Trommeln gibt. "Eines der Stücke sollte den Klang eines Bullroarers nachahmen; ein uraltes Instrument, das in heiligen Ritualen oder in der Schlacht zur Einschüchterung von Feinden eingesetzt wird. Es erzeugt einen wirklich verwirrenden, röhrenden Vibrato-Sound und tiefe Frequenzen, die wahnsinnige Entfernungen zurücklegen können." sagt Robin auf die Frage nach einem der einzigartigeren Aspekte der Partitur. Alle Beteiligten haben so viel Mühe in ihre Recherchen und ihre Kreativität gesteckt, und dieser Reichtum ist in jedem Stück offensichtlich. Das Album als Ganzes ist ein cineastisches Meisterwerk aus Klang und Atmosphäre, wunderschön und verstörend zugleich, genau wie der Film, den es so wunderbar begleitet.

"Rob wollte, dass sich die Welt von The Northman rau und ungemütlich anfühlt, als wäre es mit Schlamm und getrocknetem Blut bedeckt, also war es wichtig, dass die Musik dies widerspiegelt." Die Komponisten Robin Carolan (Tri-Angle Records) und Sebastian Gainsborough (Vessel) wurden vor eine Aufgabe epischen Ausmaßes gestellt, als Regisseur Rob Eggers (The VVitch, The Lighthouse) sie bat, die Filmmusik für seinen ehrgeizigen Film The Northman zu schreiben. Sie mussten eine Filmmusik schaffen, die sowohl die immensen Recherchen zur Authentizität dieses historischen Stücks aus der Wikingerzeit würdigte; als auch den filmischen Maximalismus des Films für ein modernes Publikum ergänzte. Die Künstler gingen bis an die Grenzen ihrer Kreativität und das Ergebnis ist ein wunderschönes Klangbild, das den Hörer mitten in den Film versetzt. Beim Arrangieren der Partitur zogen die Komponisten den Musiker und Ethnographen Poul Hoxbro zu Rate, um sich inspirieren zu lassen und einen Einblick in die Geschichte der Wikingermusik zu erhalten. Da Robin und Sebastian aus dem Bereich der elektronischen Musik kommen, waren sie keinerlei Beschränkung auf eine kleine Auswahl von Musikinstrumenten unterworfen, nutzten diese aber als Ausgangsbasis. "Elektronische Musik hat ein fast grenzenloses Potenzial, wenn es darum geht, Klänge zu erzeugen, und das ist natürlich eine unglaubliche Sache, aber man kann auch in ein Wurmloch geraten und sich darin manchmal verlieren. Diese Gefahr besteht nicht, wenn man nur ein paar Hauptinstrumente hat, auf die man zurückgreifen kann" so Robin Carolan. Sie benutzten traditionelle Instrumente wie die Tagelharpa, die Langspil, die Kravik-Lyra und die Säckpip, um die filmische Welt von The Northman zu erschaffen, aber sie nahmen sich auch kreative Freiheiten, indem sie Instrumente wie Trommeln hinzufügten, von denen einige Wissenschaftler glauben, dass sie in der Musikkultur der Wikinger keine große Rolle gespielt hätten, einfach weil es keine archäologischen Beweise für echte Trommeln gibt. "Eines der Stücke sollte den Klang eines Bullroarers nachahmen; ein uraltes Instrument, das in heiligen Ritualen oder in der Schlacht zur Einschüchterung von Feinden eingesetzt wird. Es erzeugt einen wirklich verwirrenden, röhrenden Vibrato-Sound und tiefe Frequenzen, die wahnsinnige Entfernungen zurücklegen können." sagt Robin auf die Frage nach einem der einzigartigeren Aspekte der Partitur. Alle Beteiligten haben so viel Mühe in ihre Recherchen und ihre Kreativität gesteckt, und dieser Reichtum ist in jedem Stück offensichtlich. Das Album als Ganzes ist ein cineastisches Meisterwerk aus Klang und Atmosphäre, wunderschön und verstörend zugleich, genau wie der Film, den es so wunderbar begleitet.

For the best part of 10 years, For Those That Knoe has maintained its position as a platform for obscure and under-represented artists of recent past, (re)introducing their music to the world in the form of a stories told in chapters and specially crafted albums.

Taking a slightly different tack, For Those That Knoe is looking to the present rather than back in time with a first LP outing for Slovenian producer Vid Vai.

Vid Papez has had a succession of quality EPs under his belt, originally classically trained on violin, lute and guitar, his sound has developed into a lush mix of catchy breakbeat rhythms, precise intelligent percussion and other-worldly melodies and sound scapes.

In constructing Laminar Flow, Vid has taken inspiration from fluid dynamics and coupled it with early influences in the form of UK bleep, IDM and breakbeat sounds. The result is a timeless piece of liquid-smooth sonic art that is strongly relevant in 2022 whilst also giving a gentle nod to the pioneers of the deeper end of the rave scene.

Second release on the BeBop label. Limited copies.

Comprising Marco Simioni, Mattero Mazreku, and Francesco Pio Nitti, Qualia are a group of Italian producers who have never met in person. Due to the covid pandemic, they had to colaborate in the cloud, yet the results are impressively coherent.

Having previously released records on Detroit Underground and fellow Utrecht label 030303 between them, they arrive on U-Trax in April 2022 with their eponymous EP of four deep tracks taking influence from a range of genres, including acid-techno, ambient, noise, and beyond.

Leading the release, 'Perception' brings beautiful strings, funky 808 drums and acid tones for a deep and moving opener. The track clearly reveals the inspiration Qualia got for this release from the early Gescom releases. Stretched across the A2 is the ambient bliss of 'VV Cephei A', which brings Boards of Canada-esque drones and tones.
On the flip, the title track 'Qualia' brings a headsy dose of braindance to the mix, recalling the early experiments of Aphex Twin with merciless 303 squelches and distant reverberations. Closing track 'Until I Break Apart' leads with dark, moody strings before a pounding kick introduces a stark tempo shift before deep ambient atmospheres engulf the final minutes.

“Nice EP. Need a proper listen in a dark room with only the speakers and me ;)”
Minus Magnus — Mhost Likely

“Beautiful Ambient soundscapes!”
IDA — Ectotherm, Boiler Room Glasgow

“Excellent release from U-Trax. Perception and Until I break apart are my fav's.”
Drox — Nightimedrama, Crobot Muzik, Analog Cabin, Southern Outpost

“Interview & Premiere”
— Parkett Channel

“The best part is “VV Cephei A”, where a floral intro leads to colliding drone pulses.”
— Terminal 313

Limited to 50 copies… Veleno Viola welcomes Parasite, a promising Maltese newcomer, with a 4-tracker EP of edgy, hypnotic and frantic blend of Proto-EBM and oldschool Industrial.

After more than a decade of heating up dancefloors at over 600 festivals and stages in 34 countries and 6 released albums, the nine-headed instrumental collective Jungle by Night melted their years of passion, friendship, and influences from krautrock, dance, jazz and techno together into a new analogue composition that will put us in a trance. > makes us revel in the human things around us and connect with each other like never before in times of rampant digital distractions.

Jungle by Night: ''In a world in which technology and its algorithms have become highly influential in our daily lives, we'd almost rather stare at our screens than look out for each other. With >, we pay a tribute to natural, spontaneous HUMAN rhythm as a counterpoint to the sophisticated intoxicating algorithms of the computer.''

With this new analogue album, nine-headed instrumental collective Jungle By Night bursts our bubble and reminds us to surrender to being human. The oddball ensemble exists within its own cosmos and serves us a danceable and thundering live act, connecting with crowds like no other, with beaming fun and energy along the way.

"Jungle By Night has been one of the best live bands in the Netherlands for years."
- The Independent (UK) -

" To top it all off, they turn the stiffest festival audience in the Netherlands into a football choir at the long end. Jungle by Night can simply do all the festivals for another year.
- VPRO, 3voor12 -

"They're undeniably cool, they've come from Amsterdam and they're killing it! We're talking about Jungle By Night, the young Dutchmen who have been acclaimed by Tony Allen and described as the "future of Afrobeat".
- Radio Nova (FR) -

Tracks>>
1.Scrolling in the Deep 2.Axolotl 3.Cookies 4.E17 Snack 5.Angelo Samsonite 6.Where Are We Going
7.Destination A2 8.Multi Beam 9.Force 10.Odyssey

Having impressed with his 2019 debut album on Negentropy, the breaks/tech-house/minimal techno fusion of Rhythm Tension, Zweizig has been given a chance to showcase his wares on Constant Sound's popular Constant Black offshoot. The headline attraction is undoubtedly opener 'Manipulate Our Reflections', a spaced-out chunk of hypnotic late-night science that wraps wonky, Villalobos style electronic noises and pulsing pads around a locked in (but also surprisingly swinging) tech-house groove. Relic provides a chunkier and groovier remix that boasts darker noises and a more beefed-up sound, while bonus cut 'Vvoid' is a twisted, undulating acid-jacker.

Hexvessel and Svart Records celebrate the 10 year anniversary of Hexvessel’s debut album Dawnbearer with a set of reissues, including CD, double vinyl. “Dawnbearer is a very important album for us, being our first album but also the first original album release for Svart Records. It’s also a very special record for our fans, and one that’s particularly close to my heart, in a world of its own when compared to the other records we have made. Considering that it’s been out of print now for some time, I’m delighted to be able to oversee a reissue of this album, together with original demos and out-takes, and liner notes showing the making of this album which carries the initial DNA of Hexvessel’s musical and spiritual journey”, says band leader Mat McNerney, “We haven’t touched a thing on the original layout, but added some bonus material for the limited edition, should you wish to own a luxury edition of this, our now classic debut.” Hexvessel band was founded by English singer/songwriter Mat McNerney (Beastmilk, Grave Pleasures, Carpenter Brut etc) after he moved to Finland in 2009. Their style of music has been referred to as “forest folk” or as Noisey/Vice puts it: “Weaving English folk, lilting Americana, and mushroom-induced psychedelia”. Their debut album 'Dawnbearer' was released worldwide in 2011 on Svart Records and is considered to be an influential classic record of the modern Occult Rock revival. Highly popular with Hexvessel fans and unique in their catalogue, featuring guitars by Andrew McIvor (Code), violin work of Daniel Pioro (who works on Paul Thomas Anderson’s soundtracks with Jonny Greenwood from Radiohead), the early production work of Jaime Gomez Arellano (Ghost, Paradise Lost), and guest vocals from Carl Michael Eide (Virus, Ved Buens Ende, Aura Noir). “Think Woven Hand, haunted ’60s/’70s pastoral folk, or a darker riff on Midlake. McNerney covers Clive Palmer’s post-Incredible String Band crew C.O.B. and successfully transforms and darkens Paul Simon’s “Diamonds On The Soles Of Her Shoes.” He quotes Crowley, Truman Capote, Isaac Babel, etc. Unlike black metal-ready folk, this is folk by a talented, ambitious black metal musician. But the energy’s there. As is the atmosphere.” - Stereogum “(Part of) a new wave of bands who share many of the original occult bands' musical and philosophical characteristics, spearheaded by Ghost, from Sweden, and the Devil's Blood, from Holland – have begun to lure in a new generation of fans, predominantly from the metal scene, their names alone – Ancient VVisdom, Hexvessel, Blood Ceremony– point to a focused step back to the age of Wheatley and Hammer. ” - The Guardian (2011)

Latest volume of the first AA.VV. trilogy on R3volution Records. For this third volume, four great artists of the Techno scene are called to express themselves together with the owner of the label Michele Mausi: Joton, Keikari, Wrong Assessment (already appeared on the label) and Alexander Kowalski with the pseudonym of D_Func. together with Mario Berger.

Can you miss these bombs?

Quideau and Yellow Yawn are the pseudonyms used by Tingis for experimental and minimal proto-industrial projects, operating in Carrara (Tuscany) during the 80’s. Analog gear and tapes were largely used. Veleno Viola is proud to release for the first time on vinyl this obscure and forgotten material. Limitied to 100 copies – Yellow Vinyl

LTD Clear 2LP+MP3

Metrist contributes the second part of his Pollen EP trilogy to Timedance. This instalment sees the producer up the intensity of his sound to a fever pitch. Brash synths, sub drops and bold edits combine to make an evil concoction. His singular production aesthetic showcases meticulous and forceful sound design, but all the time keeps a sense of humour like no one else.

Repress

***
Reveal, rage,
rise, redeem,
run, raise,
return, riot.
***

Redsonja Records brings to light reference number 16, held back until now, as to date 18 of our catalog has already been released. Visionary 01 is an EP by VVAA released on vinyl and digital format which showcase new a graphic identity of Redsonja Records: the warrior. In addition, RS16 also includes a future reference: Visionary 02. The four producers that participate coincide in several aspects related to the concept we believe in as a label. They all possess a kind of "divine touch" when producing their tracks, you can tell they all work from their soul. Jose Rico presents a track title ‘Discotime’, deep rhythmic cadences in the purest Detroit style; clean, bright, and delightfully mischievous sounding. Analogies intentionally created, synths that cross each other with elegance and leave space for all the necessaries. The result is an essential track in any relevant music collection. It takes us to other worlds that are more relaxed, more divinized, more colorful, more leisurely ...

EBM – Acid – TECHNO… From Sweden’s Celldöd on Violet Poison’s label Veleno Viola…

Leipzig’s Dj Balduin has been a staff favourite for some time as we are avid fans of his GLYK imprint, and in particular his debut EP “Vvigmara”. Dj Balduin proclaims to enjoy producing music that creates “states of hypnosis with an occasional, gentle “hands-up-face-slap” every now and then” which perfectly sums up “Lost Cat” - his first release for KOMPAKT.

“E.W.B.A” came to Dj Balduin while having a shower, so chances are high we have this summer’s rain dance anthem on our hands as it has all the right elements - a classic rave synth meets an infectious open snare to break through the beat.

The kick drum thud of “Sheee” seems to be all too menacing at first, but surprisingly learns how to open itself into a gorgeously seductive uplifting house tune.

This story ends with the perfect set closer; “Lost Cat And An Untied Shoe” brings that beat back with soaring synths and a playful natural bass line that adds just the slightest edge of funk to carry the crowd home at the end of the night.
Leipzigs DJ Balduin und besonders seine Debüt-EP „Vvigmara“ trendet, seitdem wir sein GLYK-Label kennen, unter den Mitarbeitern von Kompakt. Laut eigenen Angaben genieße es DJ Balduin, Musik zu produzieren, die seine Zuhörer in den „Zustand der Hypnose versetzt und gleichzeitig mit gelegentlichen zarten Schlägen ins Gesicht wachhält“, was auf „Lost Cat“ – sein erstes Release auf Kompakt – auch geschieht.

„E.W.B.A“ kam DJ Balduin unter der Dusche, die Chancen stehen also hoch, dass wir hier eine Hymne für diejenigen Raves haben, die unter kräftigen Sommergewittern stattfinden werden – die richtigen Zutaten sind alle da: klassische Rave-Hooks, ansteckende Snaredrums, die hervorbrechen aus dem Bass.

Der Schlag der Bassdrum von „Sheee“ scheint zunächst bedrohlich, lernt aber überraschender Weise sich selbst zu wandeln hin zu einem prachtvoll verführerischen House-Stück. Die Geschichte endet mit dem aller besten letzten Stück: „Lost Cat And An Untied Show“ bringt den Beat zurück zusammen mit aufsteigenden Synths und einer verspielten, natürlichen Bassline, die einen Funken Funk hinzufügt, um die Dancer nach Hause zu begleiten in der Nacht.

Claiming Montreal as his new home town, Brussels-born Senz Beats has been building an impressive body of work with underground veterans from both coasts of the US (Dave Dub, Megabusive, Lex Boogie From the Bronx..) and beyond. Cappo, Nottingham's very own veteran MC, needs no introduction having already made waves at home and abroad with his impeccable string of solo albums as well as his work with the Nottingham super group VVV.
Here, Senz Beats and Cappo join forces to present a stark reminder of where humanity is headed if we continue to place our values in capitalist ideals. The raw, driving energy of the beat offers the perfect backdrop for Cappo to deliver his warning to those caught up in the materialistic rat-race: the tidal wave is close approaching.
4 experts in their field offer up remixes of this epic track. Boot Records very own Jazz-T (Jehst, Lee Scott, J-Zone...), ex-Def Jux engineer and artist Uncommon Nasa (Vast Aire, Aesop Rock, Mr. Lif...), Lex Boogie From The Bronx (Marq Spekt, Rass Kass, Vordul Mega...), and R.E.D.A. (Insight, Main Flow, M. Sayyid...) each give this track their own distinctive flavour to devastating effect.
Lastly, on the bonus track Fool's Gold, J Lawson echos Cappo's Tidal Wave warnings concerning lusting after riches at the expense of everything else, also produced by Senz Beats. One of the few remaining songs from over 2 years of collaboration roughly 10 years ago, this song has stood the test of time and is ready and eager to be presented to the world.

[a] 1. Tidal Wave [clip]




[f] 6. Tidal Wave (Instrumental) [clip]

vtgnike is danil avramov, born in Vladimir,russia. started actively
making music in 2010 after moving to moscow. after releasing couple of
eps under different monikers, got a few vtgnike d.i.y. cds(one of
those probably got into nico's ears in NY) i've got beautifull DUBNA
LP on other people(yes really still think its a great record) and few
month after its release got in jail because of drug charges dated
2009. long story here. im 100% on weed legalization and
decriminalization of other drugs in a logically gentle and mentally
stable sociaty(and the world is not equal, its diversed and i respect
all non violent cultures :-). got free in 2016(THANKS TO EVERYONE
INVOLVED AND NICO) and got another album with a gostzvuk fam.
i am a proud resident of NII club.
in producing i've been switching music genres all my life ) electronic
music that has a flow in it, dosnt need to be glued to any specific
range of bpm, etc.

DJ Overdose is back again on your favorite record label, Dalmata Daniel, this time sharing a record with an old-school legend from the land of Dalmatas and Daniels, Sematic4.

Both sides are full of great tunes of hard-hitting electro, but both are a bit different in mood and sounds.

The style and sound of DJ Overdose is so distinctive, you can spot it from miles away. The first track has a groovy title, with a car symbol and silly characters. Great music for driving your white convertible in the Detroit sunset, it's dark, repetitive, the usual genius with impressive drums. The title of Funky Mess is no lie, it's a funky song with a Japanese telecom sampler resembling the Detroit underground scene. The last track RZ-1-DMX is classic electro with some nice slow melodies, that you can nod to.

Sematic4 is operating with more classic electro elements on Dream Creator with some spacey tunes, while North Star '78 is a rather hard-hitting club music with a nice groove, interesting drums and some super melodies. One Nite In Heaven recalls the atmosphere and soundscape of the golden days of the Hague electro scene - a way of showing respect to the era.

Sematic4 is an oldschool dj and producer from Hungary, who started spinning records in the 90s, a well-made and active dj, who started buying his own gear and all kinds of gadgets, and producing music on his own. A real music geek, who lives for music with releases on Bass Agenda, Tropical Underground and legendary Dave Clarke plays his songs.

And you all know DJ Overdose.

This is the third album of Book Of Air, a series created by the granvat platform and curated by the composers and brothers Stijn and Bert Cools.

As in the first Book Of Air album "Fieldtone" and the second "vvolk", the parameters time and sound are again widely present. This time the 3 interwoven bass lines give the deep drive and foundation of the sound, completed with a layer of acoustic instruments and sparkling chords on top. "Se (In) De Bos" is inspired by the fluctuation objectivity of our daily observations.

vvolk investigates performing and improvising music, in close relation to present time; what are the possibilities in playing music, when changes in this music pass by unnoticed How do we as musicians relate to the running time of a performance This clearly challenges the improvising musicians, and makes audience and
performers discover new territories in collective improvisation.