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2020-04-28

KNEI - III

Wow! This is my twenty-fifth blog post this month! Pretty sure, that's a new personal record.

Well, if you have read any of my previous post and / or you are going through the world with open eyes, there are bunch of reasons for me writing so much right now. One of them is, that there are a lot of music freebies given away these days, be it for Easter, for Homeburn, out of corona boredom - plus the regular promo giveaways.

And you know me, if it's a recent release and I like it, I'm usually appreciative enough to feature it here - like this Argentinian psych album out on Necio Records, the label that also recently brought us Peruvian post rock from Parahelio.



KNEI - III (download) (2020)


Knei is one of those bands who are so vintage, so keen on emulating the sound of the Sixties and early Seventies, that "III" at first left me a little undecisive, because I wasn't sure if I just respected the effort or if I truly enjoyed the music for what it is.

Their brand of psychedelic rock, which is often closer to rock'n'roll and even rockabilly than to epic kraut or power trio excesses, isn't really seated in the center of my comfort zone, which didn't make it easier. Yet eventually the more I listened to it, the more it grew on me.

Admittedly the first things which kept my attention weren't the most profound reasons. First there was the "exotic" bonus simply caused by me not speaking Spanish. And foreign languages sometimes have their way of making music more intriguing.
The other thing is the Tarantino effect. If there are passages which might sound a little too worn out and unoriginal, your head still connects them with pictures which turn them into something cool.

But these two cheap effects kept me listening long enough to realize that most of the stuff on this rather short album actually has value beyond the pure aesthetical shtick.
Yes, a couple of licks and riffs could be a tad more original, but the songs around those are strong stuff with some great hooks, melodies and instrumentals, among which I especially love the more driving parts and the string and horn section arrangements accompanying the trio here and there.

Knei know how to keep an interesting balance between the nerdy odd stuff and universal pop appeal. And I also dig that dry natural drum sound. This is a fun record!

The vinyl version comes out in May and can already be pre-ordered from Necio Records / Mafia Discos. I recommend this Friday to do so, because Bandcamp once again waives its own revenue share. So on May 1st the complete money from each sale goes to the artists and labels.





2020-04-27

ARCHIVE - Sight Seeing

ARCHIVE - Sight Seeing (download ) (2020)

Archive nutzen die Covid-19-Zwangspause kreativ und haben einen kleinen, feinen, sehr elektronischen Track zusammengezimmert, den man sich bis kommenden Sonntag  (3. Mai) herunterladen kann.

Kein Jahrhundertsong, aber in kleiner Besetzung ohne Drummer oder Saiteninstrumente entstandene, absolut nicht zu beanstandene Archive-Qualitätskost. Wenn dies stilistisch ein Ausblick aufs nächste Album sein sollte, hätte ich kein Problem damit.

Der Download (als wav-File) ist für lau, um eine Spende für eine Gesundheitsorganistaion wird gebeten.

Hierg geht's lang (Logo anklicken):







2020-04-26

TWIN SISTER - Twin Sister

Just a week ago there was supposed to be an excessive New Wave of Dutch Heavy Jazz extravaganza with Dead Neanderthals playing not one, not two, nor twelve, but at least four shows at  Roadburn Festival, and I was determined to see as many of those as possible.

But alas I can't go to festivals due to health reasons right now - and yes, there was also that other big thing which canceled almost every live music event worldwide.

In my ongoing efforts to distract myself from my own as well as the world's current shitty situation I've already dedicated a bunch of nostalgic photo posts to 2020's "Homeburn", and now I'm just in the middle of reviewing several new releases of bands who I was supposed  to see there, one of them being Twin Sister.



TWIN SISTER - Twin Sister (download) (2020)


But wait, why was I talking about the damn Dead Neanderthals? Because Twin Sister actually is a new project of the duet, with René Aquarius on drums as usual, Otto Kokke on keyboards instead of saxophone, teaming up with Sex Swing bass player Jason Stoll.

In typical Neanderthal fashion the five tracks of this album are based on very ascetic ideas without very much seeming to happen, at least on the surface.

So all in all this whole album is made of not much more than six riffs (Which is one point two per track, you calculated that right!) going through minimal transitions.

But boy, those riffs are serious as fuck!

In a way the swansification of Dead Neanderthals, which reached its peak on the "Ghosts" album, continues here, albeit I'd very much more classify Twin Sister as crushing post metal in the style of a conceptually reduced to the core Isis or Neurosis.
This is purest riff might, meant to break your body, hurt your feelings... and maybe also build you up again, in case you're receptive for the cathartic element of being hit with an neutron star.

Recommended for everyone with interests somewhere between heavy psych noise, post metal, droning avantgarde and no wave, or if you want to punish someone who really fucking hates stuff like that.

Ideally of course both.


"Twin Sister" will also be available on vinyl, but I'm sure you can already guess why the production is delayed... just can't escape the reach of that zombie apocalypse anywhere.




2020-04-25

BADA - Bada

Wenn es dieser Tage eine Künstlerin gibt, der sowohl auf Konserve als auch live (wir blenden die Pandemie jetzt mal aus) niemand in Sachen dröhnender Allmacht und andersweltlicher Herrlichkeit das Wasser reichen kann, dann ist es die Schwedin Anna von Hausswolff, von deren letztem Album "Dead Magic" ich immer noch nicht loskomme, und die auch das Roadburn Festival 2019 mühelos gewonnen hat.

Angesichts des emotionalen Gigantismus ihrer Konzerte und ihrer daraus wachsenden Popularität, aber auch der Selbstverständlichkeit, mit der sie sich nicht nur im Vorprogramm von Acts wie Swans oder Sunn O))) bewiesen, sondern auch mit diesen Gruppen auf Augenhöhe kooperiert hat, muss man schon staunen, auf welchem übersichtlichen Level sie noch mit ihrem eigenen Label Pomperipossa Records operiert.

Die vierhundert Exemplare des vorerst nirgends in digitaler Gänze herunterladbaren Debütalbums von Bada waren jedenfalls blitzschnell vor offiziellem Veröffentlichungstermin ausverkauft, und ich bin heilfroh, dass ich noch eines der letzten dreißig ergattern konnte.
Noch erleichterter war ich, als das Paket zu einem verbogen bei mir eintraf, die Platte selbst trotz deutlich eingeknickter Hülle aber wundersamerweise keinen Schaden genommen hatte.






BADA - Bada (LP) (2020)


Doch wer steckt eigentlich hinter dieser Gruppe, zu deren Identität die Plattenhülle an sich sich komplett ausschweigt? (Ich bin übrigens auch glücklich, dass meine wochenlange Sehstörung nach Beginn der Insulinbehandlung vorüber ist, denn als ich das Album bestellt habe, konnte ich mir das Cover absolut gar nicht ohne Kopfschmerzen anschauen.)

Bada ist eine Instrumentalgruppe, welche zu großen Teilen personalidentisch mit Anna von Hausswolffs Liveband ist - inklusive ihr selbst an der Orgel. Meine hohe Erwartungshaltung sollte damit hinreichend begründet sein.

Und nachdem sich der Opener "Början" zunächst geduldig langsam aus dem Nichts herandröhnt, um direkt in den Bombast von "Klander" überzugehen, ist das Grundvertrauen auch bereits gerechtfertigt, klingt dieses Doppel doch zu hundert Prozent nach nicht benutztem Material der "Dead Magic"-Aufnahmen, was vielleicht nicht der originellste mögliche Einstieg ist, aber qualitativ natürlich sofort überzeugt.

In "Ett Gammalt Ansikte" schlägt die Band dann allerdings andere Töne an, die mehr in Richtung schwerer, elektronisch angereicherter Psych-Kost der Marke Gnod geht und Bada als mehr als "Anna minus Gesang" etabliert.

"Roj Fridberg" ist ein mechanisch pumpender und lebendig atmender reiner Drone-Track, der den Hörer ein wenig einlullt, bevor die A-Seite vom im swansartig stampfenden Noiserocker "Avslag" kurz und mächtig abgeschlossen wird.

Auch die B-Seite wird von "Fogden" wieder mit purem Drone eingeleitet, welcher sich hier noch klerikaler, orchestraler präsentiert und in seinem Monumentalismus kurz davor steht, die Grenzen des Fassbaren einzureißen, stattdessen jedoch einen persisch eingefärbten, meditativen Ausklang findet.

"Dött Kluster" ist dött längste und atmosphärisch dichteste Stück, welches noch einmal mindestens einen Kopf über den von "Fogden" vorgelegten Riesenwuchs hinwegschaut.
Vom Geiste her fühle ich mich hier ansonsten an die Sunn O))) / Ulver-Zusammenarbeit "Terrestials" erinnert. Meisterhaft!

"Träslöjd" überrascht dann zum Ende noch mit einem treibenden Robotik-Beat, über dem sich ein lupenreiner, dicht und bunt blühender Krautrockstrauß entfaltet. Zwar gibt auch dieser Track die melancholische Schwere des Bada-Grundsounds nicht auf, beendet dieses großartige Debüt jedoch auf einer unerwartet hellen Note.

Insgesamt kann ich an dem Album gar nichts beanstanden. Es ist dunkel und erhebend, abwechslungsreich und voller Charakter. Es löst komplett ein, was die beteiligten Musiker versprechen, und von daher sortiere ich es im Gesamteindruck innerhalb der diesjährigen Veröffentlichungen direkt mal in unmittelbarer Nachbarschaft von Insect Arks "The Vanishing" ein.

Falls nächstes Jahr tatsächlich wieder Konzerte stattfinden sollten, kann man wohl spätestens zu den Live-Nachholterminen von Bada (u.a. auf der MS Stubnitz und auf dem Roadburn Festival) davon ausgehen, dass dieses Werk - ob digital oder in Nachpressung - zur Steigerung des Momentums erneut komplett auf die Welt losgelassen wird.

Das ist selbstverständlich nur meine persönliche Spekulation. Ich sage nur: Falls dieses Ding irgendwann wieder zu haben sein sollte, nicht lange überlegen - zuschlagen!




CARPENTER BRUT - Blood Machines OST

Sauber! Es gibt neues Ohrenfutter von meiner eindeutig liebsten französischen Synthwavepartymaschine!


CARPENTER BRUT - Blood Machines OST (download) (2020)


"Blood Machines" ist der Soundtrack zum gleichnamigen Film, einem crowdgefundeten Low-Budget-Cyberpunk-Streifen, der ganz offensichtlich (habe ihn ja noch nicht gesehen) die kultische Huldigung der Achtziger-Jahre-Ästhetik auf ganz neue Spitzen treibt.
Also anscheinend so eine Art anders ambitionierter und nicht ganz so trashig absurder "Kung Fury", nehme ich an. Wobei jener Film ja durchaus auch einen starken Soundtrack hatte.

Carpenter Brut geht es hier allerdings deutlich ernsthafter und einheitlicher an, d.h. es gibt weder extreme Albernheiten (d.h. auch keinen durchaus gelungenen Synthwave/Hair-Metal-Crossover wie auf dem letzten Album "Leather Teeth") noch ultrahochkarätige Gastsänger wie David Hasselhoff. Den Abspanntrack "Gone Now" veredelt jedoch die Vokalistin der Pariser Band Pencey Sloe.

Neben jenem Track gibt es noch ein paar Track, die als instrumentale Hymnen oder Actionuntermalung hart groovende Tanzbarkeit und das Gefühl eines typischen Carpenter Brut-Songs zum unkontrollierten Abgehen vermitteln.

Daneben gibt es aber auch noch eine ganze Reihe meist recht kurzer, echter Score-Tracks, die das "Carpenter" im Namen groß schreiben und sich ganz darauf konzentrieren, eine dystopische Science-Fiction-Atmosphäre mit Horror-Touch zu kreieren.

Besonders lang ist dieses bisher nur digital erschienene Album nicht, aber dafür droht es auch nicht zu langweilen.
Franck Hueso, der Mann hinter Brut, hat mal wieder alle Regler auf richtig gestellt und "Blood Machines" mit einem enormen Suchtpotential gedopt.

Fazit: Dieser Shyce macht Bock, im rosa Cadillac durchs All zu bügeln und allen bremsenden Verkehr mit der Strahlenwumme wegzulasern.





2020-04-24

WOMEN OF DOOM (compilation)

It's not often that I talk about compilations, but for the following collection I will gladly make an exception. I stumbled over it through my love for the disbanded sludgorchestral doom giant(esse)s SubRosa and the doom'n'roll couple Year Of The Cobra.

The title which the New Mexican label Blues Funeral Recordings found for this collection doesn't leave a lot of questions concerning the content. In their own words "Women of Doom" is meant to be a celebration of "badass female artists whose creativity and heaviness has been blowing our minds and our speakers for years."


WOMEN OF DOOM (compilation) (download) (2020)


Derived from the two aforementioned bands there are three tracks, where I could already put a face to the artist's name.
Those are Amy Tung Barrysmith, bass player and singer of Year Of The Cobra, whose solo composition "Broken" is a mellow yet dark ethereal piano ballad, SubRosa's front woman Rebecca Vernon with her new project The Keening, and the complete other four fifths of the band as The Otolith.

The latter start their track "Bone Dust" with an intro (taking in fact half of the song), in which the combination of simple clean guitar and the twin violins of Kim Pack and Sarah Pendleton leaves no doubt about where they are coming from. Neither do the slow stomping heaviness nor the familiar vocals which follow. And yes, it's good to hear them again, even though drummer Andy Petterson also has that exciting Insect Ark gig going on. (Damn, that duo is almost missing here.)

The Keening on the other hand omits Vernon's former role as guitarist and vocalist with a purely instrumental, beautiful piano piece.

SubRosa's footprint on this sampler still remains huge though, as several of the other tracks evoke their memory. "A Curse To Be Broken" by Besvärjelsen is very close to their style, while Doomstress Alexis mixes strings with more traditional Sabbathisms and vocals akin to Johanna Sadonis (Lucifer) or the grand Devilmother Jinx Dawson of Coven.

The same description almost works for Deathbell, even though their song sounds quite different alone by adding a clerical horror flick (and at the same time 70s rock) vibe with a swirling organ.

The opener "Astral Hand" by Heavy Temple is pure Candlemass worship, even down to the voice of singer Nighthawk.

Frayle's "Marrow" is clearly influenced by Chelsea Wolfe with its ghostly vocals and the heaviness of our mysterious queen's "Hiss Spun" album.

Finally there is Mlny Parsonz, singer of Royal Thunder, who contributes two songs to the compilation. Musically she gives me hints of doomish country (or let's call it uhm... blues), while as a singer she delivers the most earnest, honest and touching performances of the whole bunch.

I'll leave it to you to pick your own favorites, but what I can surely say is that all ten tracks are without a doubt good or even great stuff, and that this release also works as a whole.

"Women of Doom" is available on vinyl and CD from the US or the UK - or for import postage savers like me as a digital copy/stream on Bandcamp





2020-04-23

THE DAY BEFORE (a full frame fisheye medium format photo series)



Here's a complete film which I shot on March 2nd 2020, meaning a couple of weeks ago this year. But it seems like an eternity ago, right?


It was actually the last day in freedom before my hospitalization and the radical change of my personal as well as everyone's public life.

All this has of course nothing to do with the pictures themselves. I took them with my heavy, too rarely used Kiev 88 medium format camera, in combination with the even more sparsely used Arsat 3.5/30 lens*, which is a 180 degree full frame fisheye. Whether the typical "blobby" fisheye effect jumps right into your face or comes more subtle is strongly dependent on the framing and composition of each picture. I like that, because it means that it still matters what I'm doing, instead of just relying on a gimmick.


As film I used an expired (August 2011) Ilford Delta 3200. A film that highly sensitive in normal day light is an unnecessary "you don't do that" luxury. But it creates a beautiful grain. 

















* Given that I haven't used this lens for so long (I honestly wasn't even sure if it still worked properly, since I sometimes had one or two frames missing, and didn't want to upset myself.) a second Kiev 88 Fisheye gallery is among the long overdue updates of my personal (and probably still/again super outdated) personal homepage:

derohlsen.de












2020-04-22

THE MYSTERY OF THE BULGARIAN VOICES feat. LISA GERRARD - Shandai Ya / Stanka

Everyone loves a good transition. So after the review of the mythic (Mythic Sunship) let's move on to the mysterious:




THE MYSTERY OF THE BULGARIAN VOICES feat. LISA GERRARD - Shandai Ya / Stanka (12" EP) (2020)


The comeback album and Prophecy Records debut of the legendary folk music choir The Mystery Of The Bulgarian Voices, "BooCheeMish" was undoubtly one of my favorite records of 2018. (Same goes for their magical concert in Hamburg.)

This new release however is not yet the successor of that album, but rather an appendix, since it mainly features already familiar pieces, partly in alternative versions, and only very little completely new material. And with that we already have the central point of critique; exchange one or two of the older tracks with new compositions and this EP would clearly have a better balance and higher relevance.

But let's go through the seven tracks:

"Shandai Ya" with guest singer Lisa Gerrard (Dead Can Dance) is quite close to its known version, yet some delicate vocal and instrumental details were added. Nice touch, but if you're not listening too analytical you might even miss the differences, so this is good, really good in fact, but not at all essential.

"Stanka" has a greater emphasis on the choir, which is more remarkable.

The highlight of side A however is "Zaidi Sluntse", the only completely new track, which is a pure collaboration between the choir and beatboxer SkilleR, without any instrumental backing besides that. An exciting mixture of tradition and modernity.

I'm not a friend of radio edits. And I'm especially not a friend of radio edits of already short songs. So while "Mome Malenko" is of course still a joy to listen to, you don't need this if you already own "BooSheeMish". This goes even more for the last EP track, which is just the original version of "Shandai Ya".

But before that there are two more tracks, which add a lot more to the release. "Rano Ranila" is quite different from the original, with the folk band being - I daresay - more "funky" and generally much more in focus, even featuring a prominent solo.

"Rite Of Passage" finally is a live recording of a Lisa Gerrard solo composition and probably the most successful showcase of all the astonishing skills and that unmistakable magic this project brings to the table.


The Mystery [...] feat. Lisa Gerrard live in Hamburg 2018
All in all I cannot really give a final advice whether you need this EP or not. Especially if you already know the previous album you might skip this for the mentioned reasons.
And even for new listeners who want to experience this astonishing, otherworldy music for the first time "BooSheeMish" still remains the better choice.

On the other hand those bits of new stuff are really something and I don't regret at all to have "Shandai Ye / Stanka" in my collection now.

The vinyl quality also gives no reason to complain and the artwork certainly once again is beautiful. 





2020-04-21

MYTHIC SUNSHIP - Changing Shapes (Live At Roadburn)

Well, this was supposed to be a review about a vinyl release. But somehow I made it a personal sport to miss out on Mythic Sunship. Not entirely of course, but it's undoubtly a thing.

I saw parts of not only one, but two of their Roadburn 2019 performances, yet I missed the central happening in Het Patronaat, where they teamed up with a saxophone player to invoke the spirit of their sensational last album "Another Shape Of Psychedelic Music" due to that infamous clash with Triptykon, which so many fans suffered under.

I got another chance for that experience though, when the band did a similar thing at this year's Hell Over Hammaburg edition, but I didn't go there, because I already had plans for Bohren & der Club of Gore during the same week. (Yet those plans where crushed by me having to check into hospital.)

At that point I had already ordered the vinyl pressing of "Changing Shapes" with the missed Roadburn show, but to save postage I bought it at a German retailer, who ended up not being able to deliver it. Since I'm still hoping that there will be a repress rather sooner than later due to high demand, I haven't canceled that order yet.

But meanwhile I wasn't ready to settle for another shape of sound carrier... until the band itself used Homeburn (= fans celebrating pretend Roadburn in lack of the real thing) as an oppurtunity to give away the download for free. Ok, can't say no to that!   



MYTHIC SUNSHIP - Changing Shapes (Live At Roadburn) (download) (2020)


You may have noticed my specific wording that Mythic Sunship "invoked the spirit" of "Another Shape Of Psychedelic Music". That is because they did explicitly not play the album in full. In fact as a fully improvisational band they never recreate studio songs.
The aim for this show was just to get into the same headspace that fueled the album, so moods and motifs are familiar here and there, but as a whole the overall shape has indeed changed, while still being absolutely faithful to the original inspiration.

In five tracks (one is CD/download only) Mythic Sunship are playing themselves into a wild, yet somehow still controlled ecstasis of fuzzy stoner riffs and psychedelic rock, infused with a surprisingly authentic free jazz spirit, mainly, but not exclusively provided by Søren Skov's smooth saxophone. Their chemistry together - that's proven right from the beginning - has not been a one-off. It's an absolute pleasure to hear how they stir this ship through the most adventurous waters, even splashing at the edge of chaos sometimes, but never at risk of drowning in it.

Mythic Sunship live at the Ladybird Skatepark / Roadburn
There are of course a lot of parallels in Mythic Sunship's music to their labelmates Causa Sui and Kanaan, who both are regularly following the traces of Miles Davis resp. Mahavishnu Orchestra. Mythic Sunship are adding some serious Coleman and Coltrane vibes to the fold with both the "Shape" studio album and this congenial live alteration.

If you're more a psych purist or rock / metal guy who's unfamiliar with all these jazz names, but you really dig this show (as you should, because otherwise what is wrong with you?), this is your cue, man! Dive into all that shit, find enormous joy and inspiration and thank these brave sonic seamen from Denmark!

It's still a shame I didn't witness this event in person, but this live recording is the best possible consolation. Still want that black gold though, so El Paraiso, please fire up the pressing plant for a second edition, because this Mythic Sunshit truly rips!






2020-04-19

CAMEL DRIVER - \ /

After my review of Moewn's swan song album it seems appropriate to discuss another Northern German Pink Tank Records instrumental band with an animal connection now!

Of course there are not that many to choose from with those criteria, so I'm talking about Camel Driver, who not only shared one of my favorite split records with the aforementioned back in 2016, but who have actually just put out a new record.

Interestingly, when you take a look at the artworks - just like on the split -, the two bands still seem like different sides of one coin. On the cover of the disbanded Moewn's album a flock of magic seagulls is ascending into space, while the hallucinogenic Camel now floats deep inside some far away nebula waiting to be picked up by the Guardians of the Galaxy, showing us its uncensored camel toe in a Vulcan greeting.




CAMEL DRIVER - \ / (white opaque vinyl) (2020)


Said camel toe is also somehow the album title. Yet since its transcription into "\ /" is a complete nightmare for everyone who tries to name the Windows folder of his digital copy*, I'm probably not the only one referring to it just as "II" (two).

So much for that. But since I've now already talked about the cover (a once again awesome artwork by Samson Goetze by the way) and title, let's take a look at the thing right away:
It comes on white vinyl, which I love, because uhm... I just love white vinyl (also available on black), and it's accompanied by a neat little poster of the back cover.




Musically Camel Driver are staying true to their cultivated sound, which is an extremely fluid, but mostly bone dry sounding mixture of fuzzy and psychedelic power trio stoner rock and prog metal as well as post rock, all with a penchant for melodic Arabisms as defining trademark.
On top of that the super busy bass in particular exudes a healthy dose of funk.

As the chops of the trio didn't stop growing since the last release, the arrangements can sometimes be quite technical, but it never leads to showboating as self purpose. Whenever there is swagger, it's always forgivable, since it's perfectly embedded it into the mood of the song.

Camel Driver live 2019
It doesn't really matter whether Camel Driver speak the language of the heavy riff (and boy, especially towards the end they have some pretty powerful surprises in store) or the delicate lead guitar - they never sacrifice the atmosphere as central essence of the piece.
The styles they are incorporating all just seem like colour choices in order to paint the bigger picture, which makes it a pretty useless to put them into a specific genre box. I guess it's just damn good instrumental rock music. And definitely a highlight of this year so far among various of the mentioned genres if you will.

In conclusion it's no overstatement to say that the band has done everything right. The Camel may be older and wiser now, but its humps are standing tighter and more sexy than ever!



*Important notice for the vinyl snob crowd: Don't miss the download only bonus track "Inferno"!






HOMEBURN 2020 - Sunday




Wouldn't today be a great occasion to cross Earth from my must-see bucket list? And Darkher too, while we're already at it?

But since Roadburn Festival isn't happening here's one last time a bunch of pictures from Sunday (formerly known as Afterburner) shows of earlier editions.

As a proper soundtrack I suggest Bongripper playing "Satan Worshipping Doom" in full on Roadburn Sunday 2012:




Avatarium

Avatarium

Avatarium

Bast

Big|Brave

Blind Idiot God

Bongripper

Buried At Sea

Come To Grief

Coroner

Coroner

Coroner

Ecstatic Vision

Emma Ruth Rundle

Gost

Imperial Triumphant

Imperial Triumphant

Les Discrets

Lucy In Blue

Lumerians

Lumerians

Marissa Nadler

New Keepers Of The Water Towers

New Keepers Of The Water Towers

New Keepers Of The Water Towers

Radar Men From The Moon

Radar Men From The Moon

Selim Lemouchi's Enemies

Selim Lemouchi's Enemies

Selim Lemouchi's Enemies

Selim Lemouchi's Enemies

Supersonic Blues

Syk

Temple Ov BBV

The End

The End

The Osiris Club

The Papermoon Sessions

Triptykon

Triptykon

Triptykon

Ulver

Ulver

White Hills

White Hills

Wrekmeister Harmonies

Wrekmeister Harmonies

Zonal feat. Moormother