RSS Feed Editorial Emissions

Press Release Roundup: March 9

posted March 10, 2018, 7:17 pm by Carlita | Filed Under Music News, Press Release Roundup, Releases | comment Leave a Comment

Music journalists get hit with a steady helping of press releases every day. For the music fan without that kind of sensory overload, a lot of music news can pass by without being seen. Every Friday, we will weed through and compile a list of some of the most intriguing press releases to come across our virtual desk.

Soundset 2018


With Spring fast approaching, Rhymesayers Entertainment and Rose Presents reveal the details for the 11th annual Soundset Festival. Once again, the pre-eminent Midwest music and lifestyle experience takes over the Minnesota State Fairgrounds on the Midway Sunday May 27, 2018.

This follows last year’s 10 year anniversary, the biggest year to date, which attracted over 35,000 fans.

Over the years, Soundset has asserted its place at the forefront of the culture as “the largest one-day Hip-Hop festival in the world.” 2018 continues that tradition, only bigger, better, and bolder. In addition to over 40 of the genre’s hottest acts, the day features b-boy and b-girl competitions, DJ sets, live production showcases, art exhibits, a skateboard showdown, custom car show, and more.

It all goes down when gates open at 11:00 AM on May 27 at the Minnesota State Fairgrounds on the Midway. Rain or shine.

Confirmed artists for Soundset 2018 include:

Logic, Migos, Atmosphere, Erykah Badu, Tyler The Creator, Russ, Wu-Tang Clan (25th
Anniversary Enter The Wu-Tang: 36 Chambers), Brockhampton, Ice-T, A Boogie Wit Da Hoodie, Hieroglyphics, Prof, Jaden Smith, Grieves, DJ Jazzy Jeff, Murs, Rapsody, Evidence, Kamaiyah, Westside Gunn & Conway, J.I.D, Young M.A, deM atlaS, DJ
Scratch, Pell, Jack Harlow, Skratch Bastid, DJ Livia, Bugus, Quincey White, The
Lioness, OG Grip, Lazerbeak and Paper Tiger are Sick Trim, Willie Wonka, DJ
Rowsheen, Mike 2600, DJ Bles One and more.

Once again, Atmosphere is primed to deliver an unforgettable hometown set following up their critically acclaimed, Fishing Blues. Red hot from the runaway success of his GRAMMY® Award-nominated quadruple-platinum smash “1-800-273-8255” and third opus Everybody, Logic joins the bill among the headliners, promising nothing short of a show-stopping gig. Three of the hottest names in the game, the multiplatinum triumvirate Migos stand poised to bring the house down after crushing the Billboard Top 200 at #1 with Culture II earlier this year. It’s the first time they’re here!

Legendary R&B and soul sorceress Erykah Badu graces the stage with what promises to be pure magic as Odd Future founder and gold force of nature Tyler, The Creator gets ready to ignite the mosh pits. Supporting his full-length debut There’s Really A Wolf, Virginia’s own Russ takes over with his own fire and flash.

A group that needs no introduction, Wu-Tang Clan will unite to celebrate one of the most influential, impactful, and important rap albums of all-time as Enter The Wu-Tang: 36 Chambers turns 25 this year, Multiplatinum New York disruptor A Boogie Wit Da Hoodie brings new East Coast energy, while Ice T reps the West Coast O.G.’s like only he can. Musical collective Brockhampton turn up with their wave-making sound as rising pop icon Jaden Smith fuels the party with style and substance. Minnesota’s own Prof will be on hand to rep his hometown, introducing the audience to his new album Pookie Baby due out on April 13.

Touting new music from his latest Rhymesayers epic Weather or Not, Dilated Peoples’ Evidence makes his way back to the hallowed Soundset stage. Pell drops in with some New Orleans style, and XXL Freshman Cover star Kamaiyah flaunts Bay Area bravado with a hint of massive melody. Just a month after releasing A Journey Into the Unimaginable, L.A.’s own Murs unlocks a live trip of his own for fans. Making his first appearance at Soundset, the legendary DJ Jazzy Jeff brings decades of skill to the lineup. Rhymesayers own and another vet Grieves returns to Soundset performing his new album, Running Wild. Rapsody is back for a second go-round, as is Hieroglyphics. Dreamville’s own J.I.D. ignites the stage with tracks from his debut The Never Story. Minnesota native Lazerbeak also teams with Paper Tiger for their first ever live performance as Sick Trim.

Reprising his role as main stage master of ceremonies for the sixth time, radio and television personality Sway Calloway of SiriusXM Shade 45 returns to the fest. Heather B of SiriusXM, JPRATT and CROS One are also on hand again to host the other stages.

Always going beyond the music, the Essential Elements tent houses the 5th annual Freestyle Session Minnesota B-Boy/B-Girl competition. The Skateboard Showdown presented by Familia offers an extreme angle for the eighth year. Fans get to experience the Soundset Custom Car Show and the Last of the Record Buyers production showcase for the tenth time. Plus, the second live painting exhibition.

That’s not even half of it though. You’ll have to get a ticket for the full effect…

Get ready for Soundset 2018.

To get tix, click HERE!

Rockharz 2018


The ROCKHARZ Open Air makers put out more heavyweights for this year’s 25th anniversary of the festival. Now there are six new bands for the billing. Besides BANNKREIS and VERSENGOLD, WINTERSTORM, ONI and BLIND CHANNEL will be guests on this year’s edition. Furthermore, croatian Folk Rockers MANNTRA will be on stage with a very special guest, namely Michael Rhein (IN EXTREMO). The billing so far now looks like this:


To get tix, click HERE!

Miles Davis and Ledisi


In 1985, Miles Davis shocked the music world by moving from Columbia Records to Warner Bros. Records and started recording Rubberband. This album marked a radical departure for him, with funk and soul grooves and was to include vocals by Al Jarreau and Chaka Khan. Produced by Davis, Randy Hall and Zane Giles, the line-up boasted Davis on trumpet and keyboards, keyboardists Adam Holzman, Neil Larsen and Wayne Linsey, percussionist Steve Reid, saxophonist Glen Burris and Davis’s nephew Vince Wilburn Jr., on drums. Engineered by Reggie Dozier (brother of Lamont Dozier, part of the legendary Motown songwriting team), the Rubberband sessions took place at Ameraycan Studios in Los Angeles from October 1985 to January 1986.

The album was subsequently shelved and Davis went on to record Tutu.

“It was fat grooves, really funky, Miles talking. It was street and funky and dirty. We didn’t go after writing a great jazz song, Miles wanted the street thing; he wanted the chord changes he wanted to play. The basis was to take it to the street like On The Corner, it was Miles taking more chances,” said Hall. Giles added, “Miles kept saying ‘I don’t wanna do my usual stuff. I wanna do something different.’”

32 years after Rubberband was recorded, the original producers, Hall and Giles, teamed up with Davis’ nephew, Vince Wilburn, Jr., to finish and update the title track. In September 2017, they invited the 12-time Grammy-nominee soulful singer Ledisi, appearing courtesy of Verve Label Group, to guest on vocals at the Village Studios in Los Angeles. The sessions, co-produced by Anthony “Mac Nass” Loffman and Arthur Haynes for SmashSound Syndicate, together with the original title track, will be released as a 45rpm vinyl 12” EP on Record Store Day 2018.

The cover artwork is a painting by Davis, courtesy of Miles Davis Properties L.L.C.

Ocean Wisdom


Ocean Wisdom has enjoyed a meteoric rise thus far. Hailed as “the future of UK Hip-Hop” by Complex Magazine with a style described as “Mercurial” by Dummy Magazine, Ocean Wisdom is about to embark on his finest hour to-date as he announces the release of his album ‘Wizville’ via High Focus Records.

Out now, the raw poetic and unfiltered rapper has built an impressive following in his own unique way, away from the tried and tested routes of fellow rappers. Since signing to High Focus Records in 2014, the label that has been spearheading the UK Hip Hop movement for the last 8 years, including ‘Rag’n’Bone Man’s’ first projects that set him firmly on course for superstardom, Ocean Wisdom regularly tips a million streams on tracks uploaded to his Spotify account and his videos uploaded to YouTube have hit over 15 million views making him quite an extraordinary act. His unswayable integrity and confidence towards his music has awarded him with the kudos that it takes to confirm artists such as Dizzee Rascal, Method Man, P Money, Rodney P, Roots Manuva & Chester P and productions from Rude Kid, Pete Cannon, Mystry and more across the 20 impressive records that make up this important offering. Whilst unique blends of genre-merging flows weave in to thought-provoking lyricism to create a tapestry of moods, emotions and sonic nirvana.

Through his versatility and unparalleled lyrical creativity, stage presence and flow, Ocean Wisdom delivers major impressions in each aspect of his artistry, from performing to main-stage crowds of over 10,000 people to dethroning Eminem as the ‘fastest rapper’, after managing to fit an impressive 4.45 words per second into his track ‘Walkin’ compared to Eminem’s 4.31 words per second in ‘Rap God’, as documented by UniLad. This article would go on to become viral, drawing praise for Wizzy as well as being commented on by some of the industry’s forerunners such as The Game, D12 and Akon.

‘Don’, the third track taken from the album, which displays Ocean Wisdom performing his unmatchable double time delivery, has been an immediate hit with the gatekeepers and tastemakers further highlighting both the necessity and the excitement for such a seamless package of music from the rapper. DJ Semtex highlighted it as one of ‘5 Tracks You Need To Know’ on BBC Radio 1Xtra with Mistajam urging listeners to “Do yourself a favour and check him out, he is ridiculous with the bars”. The video premiere for ‘Don’ drops via Complex and goes hand in hand with the release of the pre-order to ‘Wizville’ that is set to see Ocean Wisdom make an unprecedented takeover of the UK Hip Hop scene.

“This album is the culmination of years of dedication to the art of rap. I want to push the boundaries and redefine what it means to be at the top level as a lyricist. Ambition and practise makes perfect and this album will show that…My team and I have been dedicated to the task and we have all delivered, we have bought together legends from all eras and genres around the world and we have left no stone unturned. The levels we have attempted to reach are incomparable to anything prior and it is undoubtedly a significant deviation from any sound previously heard in the UK Hip Hop scene, all that is left now is to share it with the world which we are all very excited to do” – Ocean Wisdom



Sacramento-based mainstays of noise metal WILL HAVEN recently announced their return, and are set to release their sixth full-length album and first for minus HEAD Records, entitled Muerte, out on March 23, 2018. Muerte is available for pre-order now via iTunes, Amazon and Bandcamp, with PledgeMusic bundles and Spotify streaming becoming available very soon.

Today, the band is following up on the successful release of their first single – the six minute-plus epic, “El Sol”, co-written and performed with guest guitarist Stephen Carpenter of Deftones. WILL HAVEN have dropped a second offering, “Winds of Change” – a track that showcases a more familiar side of the band without sacrificing their new stylistic direction. The four-piece wastes no time in conjuring a sonic maelstrom on “Winds of Change”, starting out in a frenzied fit of chaos and slowly cascading into a thumpy, droning, atmospheric down-spiral



After a first demo-album “raW”, the band released an album in 2013 – “Home” and an EP – #InTheEnd in 2016; both releases received wide local and regional acclaim.

In 2016, the band also wrote and performed the original soundtrack to prominent Lebanese director, Philippe Aractingi’s feature film ‘Listen’, which received the Award for Best Soundtrack at the Lebanese Movie Awards 2017.

sandmoon is now releasing a new mini-EP “Beirut-Berlin Session” produced and mixed by renowned producer Victor Van Vugt (Nick Cave, Depeche Mode, PJ Harvey…). A first single, “Shiny Star” is scheduled for release early 2018.



Singer/Songwriter and Faroese near legend Teitur returns with his first single in nearly 5 years, with a song called “Sara”, from his long awaited forthcoming album, “I Want To Be Kind”.The song and soon to be released album, were recorded in the USA in New York, with longtime friend Thomas Bartlett (aka Doveman) producing, who has worked with Sufjan Stevens/Martha Wainwright/Glen Hansard and many others; and it was recorded at the legendary Reservoir Studios (where Bowie/Lou Reed/Nile Rodgers have recorded) in New York, with Patrick Dillet mixing.

The song was co-written by Teitur with German singer Judith Holofernes, well known front woman of Rock/Pop band Wir Sind Helden, who were huge in Germany in the period 2002-10. Teitur and Judith were brought together when she started performing live a German version of Teitur’s song “Catherine The Waitress”, re-imagined as “Jonathan Der Kellner”, and Teitur’s manager contacted her to find out the story as to why, and got the two together to see what music might happen. They became fast friends and Teitur went on to co-write and co-produce Judith’s 2017 top 15 German album “Ich Bin Das Chaos”, as well as writing more songs together, of which Teitur’s new single Sara, is one.

Since releasing his last album, Story Music, in 2013, Teitur has, amongst other things, performed at the famous Ted Talk conference in North America, written 8 songs for a new Danish Hymn Book published last year and performed some for the Queen of Denmark; released a Contemporary Classical album “Confessions” with Classical wunderkind Nico Muhly in 2016, together recently selling out the 1400 Capacity Elbphilharmonie in Hamburg…and much more…



The all-female San Francisco trio VIQUEEN (Indie-Rock ala The Runaways, Bikini Kill, L7, Hole) has struck! These baddass rock Chics deliver potent Riot-Rock to power your party and purge your pain! Featuring consistently heavy Riot Rock riffs, clever lyrics and imaginative melodies, this all-lady trio are worthy progeny of prior female Rock and Punk Pioneers. Born and solidified in the Bay Area, these sorceresses each bring distinct styles and cultural influences to the mix, incorporating elements of East Coast Metal, Americana, and the Riotgrrrl movement.

E Smitty and Sound Alive Records


With over ten years in the game here comes Da Muffin Mayng, Fresh Out the Oven. Notably one of the most Underrated Underground rappers. Muffin continues to make that sweet, sensual and out right necessary music. Lots of new music has been in the works so keep a look out for future projects.



SWOLL is the minimal, low-end-heavy electronic project of Matt Dowling, who has played bass for a handful of DC bands over the last decade: Deleted Scenes. the EFFECTS, Paperhaus, Joy Buttons, to name a few.

After the dissolution of Deleted Scenes in 2015, Dowling started working with Benjamin Schurr (Br’er/Blight Records) on a series of sparse, melancholic, yet hook-driven new songs. Utilizing limitations as a compositional tool, the duo focused on a spare sonic palate of old drum machines, bass, baritone guitar and haunting synths. Stylistically, SWOLL marries elements of pop, electro, rock and trap with major emphasis on grooves. Dowling’s falsetto floats atop chugging bass lines as a stark contrast to the dark growling beats, giving the music both an intimate and powerful presence.

The term SWOLL is generally thought of as a pop culture reference to bodybuilders, or “muscle dudes.” It’s a derivative of the word “swollen.” So the muscle dude, who spends 4 hours a day at the gym, and may or may not be on steroids, looks like he’s a swollen version of a normal human being. The swoll dude does this for reasons likely of validation via tangible results. The project SWOLL, led by Matt Dowling, bassist of many DC bands over the last decade (Deleted Scenes, the EFFECTS, Paperhaus, Joy Buttons), is a re-appropriation of the pop culture term. In Dowling’s eyes, we’re all SWOLL in 2017. We’re swoll with e-mail, we’re swoll with social media, we’re swoll with real news, we’re swoll with fake news, we’re swoll with TV, we’re swoll with music, we’re swoll with dating websites……in 2017, we’re all SWOLL as fuck in our own way. SWOLL s/t is an exploration into modern relationships within modern life, and further exploring a certain sadness that exists as a result of being swoll as fuck. When you’re SWOLL, you might look really good in the moment, you may even feel really good in the moment, but ultimately being SWOLL is depressing, as it describes an approach towards an unattainable ideal; a zen state where you love yourself for your abs, or your productivity, or your creativity, AND EVERYONE else does too. That unattainable ideal feels more possible than ever to more people than ever in 2018, but could there be a fundamental misunderstanding of the human experience underlying collective efforts to get SWOLL? Or maybe getting SWOLL as fuck is the way to go in the current context of human experience. But there’s no question that it represents a sea-change in terms of how human beings interact with one another, particularly in relationships and intense collaborations.

On SWOLL s/t Dowling’s song “Stars” is a cover of sorts of Kraftwerk’s “Hall of Mirrors.” In the original version of the song, Kraftwerk sings “Even the greatest stars, discover themselves in the looking glass.” Looking at oneself in the mirror is an interesting concept, which Kraftwerk used in the 70’s to explore a fundamental question about human existence. Of course, the swoll bodybuilder tends to like to look at himself in the mirror. Results. Results. Gotta see them and bask in them. Again, extrapolating to today’s population, selfies happen as often as breathing in the modern world. We not only love to look at ourselves in the mirror, we NOW want others to love us looking at ourselves in the mirror. ““Hall of Mirrors” is possibly my favorite song of all time, and the reason for this is that, its depth of meaning seems to take on even more depth, and yet new, broader meaning, every day since the song was created (awkward sentence). I’m not sure that I can think over another song quite like that. It’s also catchy as hell.” says Dowling. He changes the words slightly to “Even the greatest stars, find themselves in walls built from who they are.” This concept relates to our current swoll-selves cultivating more “stars” than has ever been possible. People with tons of eyes on them…..ACTUALLY MEASURABLE eyes…..Instagram models with 10,000+ followers, 100,000+ followers….what do the numbers mean? Anything? Also, being a star doesn’t break you out of fundamental limitations that human being places upon themselves, or that others place upon them. If you can bench press 400 pounds, are you necessarily better off than if you could only bench 300? And what if you don’t look as good when you bench 400? Is that better or worse? Modern society has answers, but Dowling challenges us to think about how we came to think like this. It’s very linear thinking; linear is a rational ideal….but Dowling argues that life is not at all linear…..but rather that life is very non-linear…..and when you get SWOLL within a non-linear context, shit gets fucked up quickly, particularly with respect to self-perception and others perception of you. It’s kind of depressing, but it’s also kind of comical and ridiculous, to such a degree that maybe we can transcend the depressing features of getting SWOLL.

We can’t all fake it ‘til we make it. Or can we? Is being SWOLL good? Or bad? We’re not all vain, right? Everyone is working their ass off on something……but does everyone need to see everyone working their ass off to know it’s true? Dowling doesn’t present any of these realities as either good or bad, but rather just observes it. However, the observation results in a much darker emotion than a bright one.


Thunder Bay/Toronto-based duo Kutch have released their debut single, “Collectable” in advance of their upcoming release, Notionside — available now!

Colin Kutchyera and La+ch (Coleman Hell/Sideways Collective) look under the rock that is “Collectable” to get a closer look at the idea of the “perfect” relationship.

“You know those relationships that make other people say, ‘wow, I want that’?” says Kutchyera. “Those. That’s what we’re pointing to.

“Most people probably start out feeling that way but, as time goes on, the shine wears, people do and say dumb things, and things get tough. Does the fact that it’s not perfect, shiny and new anymore mean the relationship has lost its value and becomes a worthless trinket to throw away?”

In juxtaposition to many coveted collections from real life enthusiasts presiding over their bounties of Coca-Cola memorabilia, stamps, locks, wine, and many many more, Kutch leads listeners down a path of considering how they collect those they love the most.

“The very nature of relationships prevents us from sheltering them or putting them in displays to laud over others,” Kutchyera continues. “A true relationship needs to be used and abused in order to become something people truly will see and envy. Their values don’t appreciate when they sit on a shelf.”

The video — produced by Matt Popowich of Westfort Films — was a true labour of love and test of will to finish. “Filming took place over seven months as we sought out real-life collectors who would be willing to share their collections with us. The video features a variety of these prized collections and contrasts them with scenes straight out of a hoarding house.

“As the video progresses, it wrangles the viewer in to consider on the toxic effect relationship perfection can lead us to, the piles of junk that it can leave us with to cleanup, and ultimately, in the end, how it can be overcome.”

Soldhat Hans


Switzerland-based sextet Soldat Hans began their career as an instrumental noise band playing solely improvised sets. The turning point happened around 2013 when they settled to write some material for their first album “Dress Rehearsal”, which was released in November 2014. Taking their name from the old fairytale “Des Teufels russiger Bruder” by the brothers Grimm, the sound of Soldat Hans somehow echoed the desolate feeling of this very tale, also making reference to others like Mahler and Schubert. “Dress Rehearsal” was an adventurous journey crossing disparate musical genres like doom, post-rock, drone and dark jazz.

After playing numerous gigs in support of their debut album the Swiss group now returns with their sophomore album, “Es Taut”. A three song album spanning 54 minutes, “Es Taut” was recorded in Winterthur by Philip Harrison, who also recorded the band’s debut, and mastered by Magnus Lindberg in Stockholm. The album sees the band following the same trajectory explored on “Dress Rehearsal”, merging elements of doom, post-rock, drone and dark jazz to craft music that sounds utterly depressing, haunting and enigmatic and yet extremely engaging.

AVEC and Peer Kusiv


Peer Kusiv has remixed AVEC’s latest single ‘Bones’, set for release on 23rd February via Earcandy Recordings. The German producer has remixed the likes of Robin Schulz and Michael Jackson and racked up over 17 million Youtube views, receiving support from channels such as ElectroPosé, The Vibe Guide and Heed The Sound as well as publications such as Thump and Earmilk. AVEC has captivated over 450 thousand monthly listeners on Spotify, released recent remixes by electronic producers Alex Schulz, HOUT and Nora Medin and received support from major Youtube channels Mr Revillz, The Vibe Guide and Chill Your Mind as well as tastemakers Noisey, Paste Mag, Music Week and Data Transmission.

Writing music is how 22-year old vocalist and musician AVEC keeps the wolf from her door – often reflecting on personal life experiences and weaving her life’s narrative . After the release of her 2015 EP Heartbeats, AVEC has bridged the gap between writing heartfelt lyrics and experimenting with textural sounds. For AVEC, lyrics are the key component to writing music, and language is a place of retreat – which leaves additional room for interpretation. Distancing herself from negative life experiences, AVEC simultaneously shares her own creative story through the powerful portrayal of human life and emotions through her music. AVEC has graced the stages of Reeperbahn Festival 2016 with the likes of Biffy Clyro and Get Well Soon, Vilar de Mouros Festival in Portugal with Primal Scream, Morcheeba and The Dandy Warhols, and opened for Zucchero at Burg Clam in her native Austria.

Kusiv has remixed the heartfelt track, adding ambient electronic elements and accentuations in all the right places. This intriguing remix allows the listener the placid, breezy experience of the original track, washed in ambient-techno. A superbly crafted and consistent sound palette, this highly immersive composition leaves a lasting impression.

Mae Krell

On the surface Mae Krell looks like your average teenager. They wear their hair occasionally pink and sport a band T-shirt whenever they can. They hang out at rock shows and love watching Post Malone’s early acoustic videos on Youtube. However, Mae posses a stark ability that is only apparent once you hear their songs. The 18 year-old songwriter touches on the most vulnerable parts of growing up in 2018. “I don’t want to be portrayed as too put together. I’m still working on myself. I’m constantly changing and growing and falling apart and coming back together.”

Today, Mae Krell is excited to finally share the premiere of their debut EP Anabasis, out everywhere. Krell reveals their inner demons with such finesse and honestly that the lead single “Monsters” picked up over 230K streams on Spotify without any promotion or previous releases. It came at a cost, as Mae spent a year following the release of “Monsters” at a treatment facility in Utah battling addiction. The debut EP Anabasis is the story of a New York City teen sharing their journey through love, crisis, success and failure.

Photo Credit: Francesca Strapko

Martha Ffion


Irish-born, and now Glasgow based singer-songwriter Martha Ffion has announced her eagerly anticipated debut LP entitled ‘Sunday Best’ which is released 9th March 2018 on Turnstile Music. ‘Sunday Best’ is by far her most adventurous and accomplished work to-date, the lush instrumentation bringing her detailed lyrical vision to life through a series of gleaming guitar-pop songs that drift between soft-centered balladry and something altogether more cutting and forceful.

It‘s perhaps true to say that our relationship with music is steered solely by connection. Sometimes that‘s a very direct thing; the words we sing along to relatable to our own desires and experiences. Occasionally, however, it manifests itself in other ways, a captivation drawn from something we can‘t conveniently place or pigeon-hole; songs and sentiments we watch from afar, trying to find a way inside.

Martha Ffion‘s work has always flourished within the latter of these two paths. While her Irish roots and current home city of Glasgow have undoubtedly informed her work, so many of her songs resonate all the more for feeling wildly devoid of time and place, an alluring cast of characters drifting in and out of focus, each one examining Ffion‘s own thoughts on what it means to be “good” in a society that has such determined expectations.

Initially breaking through with a ’postcard single‘ on Scotland‘s flourishing Lost Map label, Ffion‘s reputation soared with last year‘s ’Trip‘ EP, a swooning five-track collection that was released by Turnstile Music (Cate Le Bon, Gruff Rhys, Charlotte Church, Emmy the Great etc.) and championed by Gold Flake Paint for its “beautifully melodic sway”.

Written entirely in Glasgow since her move from a distinct Catholic upbringing in small-town Ireland, and recorded with her full live band by Jamie Savage at Glasgow‘s Chem 19 Studio (King Creosote, The Twilight Sad, Emma Pollock).

Ffion‘s debut album, ’Sunday Best‘, spans the first songs she properly wrote to her most recent compositions, and is by far her most adventurous and accomplished work to-date, the lush instrumentation bringing her detailed lyrical vision to life through a series of gleaming guitar-pop songs that drift between soft-centred balladry and something altogether more cutting and forceful.

Opening track ’Missing You‘, with its glass of milk and “half smoked pack of Lucky Strike” plunges the listener in to 1950s American suburbia, all dimly lit rooms and crushing quietude; the previously-heard ’No Applause‘remains a glowing stand-out, its crunchy guitars and radiant hooks as captivating as ever before, while ’Record Sleeves‘ feels like a more personal snap-shot of Ffion‘s own life; talk of “burning diaries” and the devil painted on record sleevestypical of her enchanting eye-for-detail that plays out as a variety of cryptically vague melodramas; soft, sultry, and scintillating.

Recalling the work of Sharon Van Etten and Jenny Lewis, while still sounding thrillingly distinct, ’Sunday Best‘ is a formidable coming-of-age record, and one that stands as a truly accomplished debut.

Mask of Prospero


The newly established “Symmetric Records”, a record label run by busy musician and producer Bob Katsionis has just announced the beginning of its collaboration with Athens-based Modern Atmospheric Progressive Metallers MASK OF PROSPERO!

Their debut album will be released on March 11 alongside a live performance of the band in Athens and it will be available as a Digipak and also in the form of an Icon-Disc, a pioneering format which brings the experience of listening to an album in every iOS/Android based device!

“We are really happy for our collaboration with Symmetric Records, not only because we know and trust Bob (to whom we also trusted the production of our album), but also because we want to be one of the first bands to release their music as an Icon-Disc! In addition to that, there is a notable transparency in financial agreements between us and Bob and we also know that he will do the best possible for us, without false promises. We are looking forward to the release date!”, says the band.

Bob states that “Mask of Prospero is a band that I really wanted to include in my label’s roster. They are thirsty to create and passionate to work. They are also nice guys and I really prefer working with and helping such musicians to collaborating with a band that may sell more, but I can’t get along with. Their debut album is something that hasn’t been heard before in our country and I will do whatever I can to make this album as successful as possible”.

This is the first video from album created by Philip Lycostratis who is responsible also for video clip of Bob Katsioni’s “Dark Matter”:


Krager 2-X5

Up and coming future-bass artist DRUGZZ is set to release his debut single ‘Someone Other Than Me’ via Super Serious on the 2nd March, mastered by Joe LaPorta of Sterling Sound Studio (David Bowie, Imagine Dragons, Grizzly Bear, The WEEKND, Armin Van Buuren, X Ambassadors, Foofighters, The Killers) and produced by Robbie Gardunio (Siglia, Bohnes, Eyho). Having previously worked with Spinnin Deep’s De Hofnar and Ziggy Alberts (Y.V.E 48) the Nashville-based artist has produced a sterling debut, and has been likened to the sounds of a crossover between Louis The Child and Simple Plan.

Born from the slums of upscale suburbia, Sam Krager began his childhood without much of a chance. Coming from a loving family of 6, he always felt insufficient and looked over. He became depressed early on in life because his three brothers always kicked his ass on Xbox. Ultimately getting the best of himself, Sam never learned that life was meant to be enjoyed, thus leading him to live vicariously through the artist known as DRUGZZ: “I spent the last 6 years of my life starting and running a fresh salsa company called Uncle Kragers. I was working 70 hours in a kitchen chopping fucking cilantro while all my friends were outside going on vacations and playing sold out shows. Our company did very well, but I ended up hating my life. Inspiration comes in many ways – sometimes through cilantro stained hands.” he says.

A collector of vintage drum gear, DRUGZZ is inspired by rhythm, and sitting at a drum set is crucial for his writing process. He used an old Rogers drum set to make samples for the record, adding in the swirling synth sounds of the innovative Moog Sub Phatty. Citing influences such as Blink-182, The Chemical Brothers, Lupe Fiasco, Copeland, The National, Death Cab for Cutie.

10 O’Clock Chemical

10OCLOCKCHEM-2646 lo res

“Babylon Is Fallen is about the unveiling of illusion and the birth of skepticism, especially in the current climate we coined the term ‘fake news’. It’s a cry for liberty in the midst of our activities being increasingly surveyed, our speech policed and a call to revolt against the mundane order I believe has been put there by a much higher, darker source of power.”

About ‘Babylon Is Fallen’

‘Babylon is Fallen’ is a slick foray into cutting-edge synth pop. The thematic conception of the song occurred to singer Rhys, who, at 23 years old has been writing songs in his bedroom for many years while also having a background in social activism. Describing their sound as ‘Gritpop’, the group have here created jagged and danceable electro-pop that directly expresses the edgy uncertainty of contemporary life. ‘Babylon is Fallen’ is about the cultural malaise that has led to a culture that it’s easy to be cynical of. With production by electronica wizard Matt Johnson (best known for his work on Jamiroquai’s latest album Automaton) and mixed by Adrian Bushby (Muse, Foo Fighters, etc) it’s as slick a debut single as any band could hope for. Restless funk elements, slippery bass grooves and a lysergic dance outro make for a profound and danceable exploration of the current and troubling state of our international media neuroses.

Sammi Rae Murciano

Screen Shot 2018-01-12 at 4.19.15 PM

The brilliantly cinematic new video produced and directed by Nick Terrana shows her struggle as it weaves between depictions of Murciano both as a young girl to now, in her teens, as she struggles with being a victim of bullies and how it affects her self-esteem.

“The line in the song ‘living everyday not knowing what was going to happen or be’ shows everything I’ve gone through getting up each and every day.” says the singer. But having been bullied gave her inspiration to help others that are going through the same thing. “There are many stories you hear about people being bullied and how they resort to harmful and drastic measures which could lead to dangerous outcomes.” But Murciano had the perfect outlet to channel her own pain, saying “I had my singing to turn to and it’s only made me stronger. As a way to escape from the feelings of being hurt, bullied, and hated on, I started writing in my journal…which turned into a source for songs that told my story.” The song, recorded at The Loft Sound Studio with recording artist and winner of MTV’s “Making The Band 4” Donnie Klang and Artist/Engineer Matthew LaPorte, the incredible production value help further highlight its powerful message.

The three song EP “The Story” includes “Reflection” along with “Back to Me” – about wanting to move forward and finding the strength to trust and love again, and “Never Letting Go” – a track she says she wants “to inspire others” continuing “no one should let anyone stop them from doing what they love”. The final track also sums up the feelings that connect through the whole EP in a sense, one of the lyrics being “Take the risk or the chance to lose it all, let the burning desire go” which she expresses as “meaning you should always take a chance and do what you are passionate about each and every day.”


NHOAH_120_RedSkies Rmxs

Berlin-based electronic artist NHOAH shares latest remix EP, ‘120 Red Skies zu Remixen’ on 23rd February via R.O.T respectolerate Records, featuring remixes by Pixelord, Mieko Suzuki and Peter Zirbs, as well another version of the original recorded in French. This follows the success of ‘Abstellgleis zu Remixen’ containing breathtaking remixes by UK acid-house architects 808 State and London-based IDM pioneer µ-Ziq, NHOAH shows no sign of slowing down. “Abstellgleis zu Remixen” has since received support from respectable publications such as Resident Advisor, PopMatters, BBC Radio 6 Music’s Nemone as well as being included in The Quietus’ Albums Of The Month.

Alexey Devyanin aka Pixelord is a cyber-futurism experimental electronic artist currently based in Russia. Among integrating an array of different genres and emotions into his music such as Future Bass, Grime, Footwork and Garage, Pixelord has garnered over 1.5 million plays between Soundcloud and YouTube, and has received substantial support from tastemaker publications such as Vice’s THUMP, Mixmag, Pitchfork, Clash Mag, Exclaim!, XLR8R, Nest HQ and Data Transmission. Influenced by like-minded artists, Aphex Twin, The Tuss, Mike Slott, and Faulty DL, Pixelord also holds an award for Best Electronic Music Project in Moscow 2015, awarded by 16 Tonns club, and has been making waves across his hometown by performing at the first ever Boiler Room session hosted in Russia.

Berlin-based Mieko Suzuki is a Japanese DJ, producer and sound artist. Her experimental DJ sets weave together elements of deep-house or tech-house, atmospheric textures and compressed beats to encapsulate her heavily-processed, effect-drenched material in real time. Utilizing feedback loops, field recordings, and many other sounds during live sets. Mieko has also received support from Vice’s music channel Noisey on her music and performance pieces.

Multi-instrumentalist and electronic producer Peter Zirbs has been an important part of the Viennese rave and techno scene since the ‘90s; releasing music under various pseudonyms, composing scores to a range of experimental films, as well as producing and remixing for various artists, including his internationally-acclaimed experimental remix for the British avant-garde composer Christopher James Chaplin.

NHOAH, a skilled producer, engineer and drummer in his own right, boasts a back catalogue which includes work alongside the producers of The Eurythmics, Depeche Mode, and Bronski Beat’s Larry Steinbachek. His previous album Tangowerk was nominated for the German Record Critics’ Award Preis der deutschen Schallplattenkritik. His extensive list of achievements includes work with Jayne County and Romy Haag, arranging and composing for David Hasselhoff, as well as contributing to material by contemporary French rock-star M. His own band Peacock Palace, whose song ‘Like A Snake’ sold more than 2 million copies, was the first German band to have their video on heavy rotation on MTV London. Alongside this, his work writing and producing for German pop-rock band MIA, earned him several Gold awards.

In NHOAH’s original mix of ‘120 Red Skies’, Berlin’s resonance is seemingly echoic. The track, lifted from NHOAH’s dazzling upcoming LP West-Berlin, reverberates juxtaposed ideas within the album, both experimental in places yet mechanical in others. Pixelord’s remix of ‘120 Red Skies’ is an atmospheric escape from bustling cityscapes and winter’s numbing clasp; complete with concrete percussion, a brilliant aura of kaleidoscopic synthesizer bliss, and distanced, yet lingering vocal samples producing a hypnotic, undulating effect. NHOAH’s own Ohweh remix is an club-ready response to the original track’s complex nature, almost double in length, this version features wispy electronics, cascading arpeggios and vibrant beats. Peter Zirbs takes it to another level – this energy-fueled remix is sure to move bodies – it’s backed with energetic beats and immersive drive. The experimental take on the original produced by Mieko Suzuki is a pulsating, lucid dream; swelling synths and pounding bass drums sit atop blistering ambience and thrilling soundscapes. Also included in this package is French version of ‘120 Red Skies’.

Pixelord says about his input on ‘120 Red Skies’, “When remixing a track that I like it’s really challenging not to make it worse, but make it ‘pixelorded’, like a different vision on the same idea and mood. This time I think i got the right thing with this remix, I found exactly what I wanted, it’s like a part 2 or some sort of the tune story goes on in a different genre. Anyway, I like it’s lyrical vocals and I hope people will get some chills listening to both remix and original”.



Following his work with Swedish label Comorbid Records, Stockholm native Bård Ericson aka boerd has signed with Anjunadeep to release his latest mini-album, ‘Static’, on April 6th

An accomplished musician, Bård’s boerd project aims to reflect his own personal emotions and atmosphere. With a deft and delicate approach to composition, his music draws you in whilst shutting out the outside world.

Cutting his teeth from age 15 in the world of chiptune (composing via the means of 16-bit videogame consoles), Bård quickly developed a taste for creating abstract music. And after a handful of EPs and live shows across Europe, he transitioned focus towards music that he felt better expressed his own place in the world. Enter ‘boerd’.

With influences ranging from Burial, Bibio and even Aphex Twin, the 26-year-old has developed a style that pushes the boundaries of atmospheric electronica with stunning attention to detail. Building his sound from samples he records himself, Ericson conjures a euphoric mix of subtle soundscapes that simultaneously breathe and play in awe.

More than an insular producer, Bård takes influence from his career playing double bass with the Swedish Royal Opera, Swedish Radio Symphony and the Royal Philharmonic Orchestras. His experience as a player in a significantly larger ensemble gives his music a unique vision and his arrangements a focus not easily realized by the typical bedroom producer.

His first work since signing with Anjunadeep, ‘Static’ is compiled of six meticulously crafted tracks. Amongst the release’s many highlights are the two vocal-led singles ‘Blind’ and ‘Void’. The former sees Bård debut his own vocals while on the latter the producer teams up with friend and fellow professional musician and producer, Ellen Arkbro.

Speaking of the release, Bård explains, “’Förgängligt’ is a Swedish word that best translates to ‘transient’. For me, the songs on ‘Static’ are about this feeling – about relationships that never happened, about the ones that did happen but faded away, about both hard times and nice moments in my life that I’ve almost forgotten. Sometimes it feels like I’m stuck in a static blur of memories. The sounds and melodies in ‘Static’ makes the memories come alive a little bit, and I hope other people will have the same feeling.”

Launched in London in 2005, Anjunadeep has evolved into one of electronic music’s leading labels with almost 350 singles under its belt along with a string of iTunes #1 Dance / Electronic albums from artists such as Dusky, Lane 8, Cubicolor and Moon Boots. The label has also built an ever-increasing reputation for touring and hosting festival stages around the world all the while picking up a steady stream of coverage from publications like the New York Times and Wall Street Journal, as well as leading industry press such as Pitchfork and Resident Advisor.

‘Static’ is set for release Friday 6th April 2018 via Anjunadeep.

SC Mira

Canadian death-pop quintet Sc Mira release new video along with single ‘Give It Up’, which just premiered over on Indie 88.

The band again collaborated with animator/director Matea Radic: “For me, this video was about not knowing how to let go of the demons that haunt us and the feeling of being trapped within ourselves.”

“Give it Up” with its haunting chorus is Sc Mira’s first new musical sign in the new year and the first song of their new EP ‘Drug Warm Coma’. Singer-songwriter and lead guitarist Sadye Cage about the new song: “It’s about someone who doesn’t take a conventional path in life, and the judgments thrown their way. It’s the sound of fighting back.”



German singer-songwriter/dark-folk artist known as PRAG 83 will be releasing his new record, Fragments of Silence, on March 9th on Nordvis Records.

If you’re unfamiliar, PRAG 83 is a project masterminded by mysterious, multi-instrumentalist Herr K., whose music is inspired by the literary works of Franz Kafka. He released his previous album, Metamorphoses, in 2016. Late last year he released a haunting new single rooted in dark ambience with stunning vocals called “Roads.”

Andy Cook

Andy Cook - Modern Man

What’s a man, anyway? It’s the central question at the heart of Minnesota-based songwriter Andy Cook’s new EP Modern Man—a 22-minute indie-rock/Americana ride that stokes twinges of nostalgia with jangly guitars, articulate synth lines, and driving percussion.

The EP follows Cook digging into life in this hyper-digital age as the music harkens back to classic American songwriters. Modern Man takes a hard look at the present in its lyric-driven, sonically-rich landscape. “We’re living in a wicked world, where nobody believes anything they’ve heard…just a picture of a pretty face, with lonely eyes and a made-up grace,” we hear over a bouncing guitar line in the lead track “Swirl”—a song reminiscent of Real Estate or Kurt Vile, and that oscillates between pessimism of social media-curated life, and optimism that we can be happy in our own shoes.

These observations are less criticism than they are experience, from the point of view of an artist who is finding his own voice and a comfort in presenting this music without trying to be something he’s not. Cook has long felt like someone who almost fits in, but not quite—stuck between who he wants to be, the pressures and images surrounding us daily, and the desire to be “in” while still being individual.

“These songs might mean something totally different to listeners than they do to me – but they mean something, and that’s what matters most,” Cook says. In this way, Modern Man is at once personal and made for peers in modern society. “I’m writing about experiences we live every day. There’s a kid inside of us and a mirror in front, and we need to ask them both questions if we’re going to figure out who we want to be.” After all, what’s a man, anyway?

Stay tuned for more from Andy Cook and be sure to follow him on his social outlets detailed below. Modern Man is out April 13th and is the fifth release from Good Eye Records.

The Noolands


The Noolands are a rock & roll band that writes and records music for their best friends. Emerging from Barrie, ON Canada, this energetic and charming foursome proves that being an independent artist is all about bringing people together.

Their collection of music combines many genres of rock, from alternative to progressive, blues to funk. Recently The Noolands have been working with Cash box magazine to promote the release of their new single Loosey Goosey off their upcoming EP “Us on a Bus”. The single comes out March 23rd and the EP is being release April 27th. As well as releasing music videos and live studio sessions throughout the coming months

Tony Njoku


“I moved in the middle of winter. The first thing I noticed was how much calmer London was than Lagos, and how orderly everything was. But most of all, I didn’t have to fight at school anymore. At least not as much.”

The elite boarding schools of Lagos were dominated by the frustrated offspring of politicians and tycoons, and governed by tyrannous Christian fanatics. Kids there grow up fast. Tony Njoku was no different.

Between the abuse, both mental and physical, meted out in the name of religion, and the almost daily battle to defend himself in an institution where student violence was endemic, sometimes weaponised, by the time Njoku was transferred to school in London at 14 his experiences had taken their toll. He had become someone he was not.

“Back then, for us it was fight-or-flight. So ever since i’ve had to unlearn harmful habits I picked up along the way. When I moved school I continued to fake a macho persona, but as I realised what was important to me, that faded away. Moving to London felt like a second lease of life.”

Before coming to London, Njoku’s first attempt at making music, at the tender age of 12, was a foray into hip hop. The genre felt counterintuitive. In the capital, it wasn’t long before he found his own voice.

“[In Lagos ] I was in a toxically masculine and homophobic environment, and as a boy anything other than that was beaten out of you. Literally. So when it came time to express myself I immediately hid behind aggression and smart wordplay. The music I was really drawn to, however. was far more feminine. Bjork, for example, But removed from that environment I became less rigid in my definition of what it means to be a man” recounts the softly spoken 23-year-old.

“You can even sense it in the last two hiphop albums I made when I was 16: a marked shift in the content of the music, and in my lyrics. I was becoming more comfortable with my vulnerability.”

Slowly but surely, rapping gave way to singing and experimentation. Fast forward 7 years and Njoku in his current musical iteration is a firm fixture on London’s underground art scene. After debut album ‘In Greyscale’ (2016) was met with universal acclaim, Tony went on to win the 2016 Green Man Rising competition with a performance that Huw Stephens and festival organiser Fiona Stewart declared the highlight of the weekend. A headline tour was to follow, leading to a series of notable support slots with such avant luminaries as Rival Consoles and Anna Von Hausswolf.

Since he first put his hand to experimentalism, just three years ago, Njoku has emerged as the real deal, in that, like all greats – Eno or Wire, latter-day geniuses Bjork and Laurel Halo – he has the uncanny ability to convert the ideas and aesthetics of high art into sonic form, and expand on the meaning. Many of Tony’s favourite artists are given new life on his upcoming, second album ‘H.P.A.C.’

In ‘Remain Calm’s’ lyrical micro-statement and crudely sharded synth-sound can be detected Suprematism’s ‘zero degree’ proto-abstractionist art. In an appropriate follow up from ‘Drifting Off In A Care Powered Balloon” the cosmic pavilions, synthetic horizons and social utopianism of Olafur Eliasson’s work is coded into the song’s starry arpeggios and flinty modulations.

Njoku’s new album ‘H.P.A.C’. is due for release 27th April 2018 via Silent Kid Records.

Sex of Insects


Russian duo Sex Of Insects are set to release a remix package titled Not This Song Again on 9th March via Ylotana Music. The package includes the original track, and remixes by DJ Koze and Depeche Mode & Placebo collaborator Sid Le Rock and Moscow-based electronic producer Dave Pad. The Canadian-born, now Berlin-based indie-electronic producer Sidney Sheldon Thompson aka Sid Le Rock has achieved success with a career spanning over 16 years to date with 6 LPs and well over 50 singles already under his belt. London-based Ajunadeep (Dusky, Vincenzo and Michael Cassette) alumni Dave Pad, Russian DJ and producer who may very well be Moscow’s best kept secret – with numerous releases and remixes in his back catalogue, he has most notably collaborated with fellow Russian deep-house producer Anjei, with their track ‘Cantec De Leagane’ being featured on the iTunes #1 Dance compilation ‘Anjunadeep 08’ late last year. An original remix created by Sex Of Insects’ own chief Anatoly Ylotana himself is also available in this package. Last year, Sex Of Insects presented their previous release with Sid Le Rock at Moscow’s Swan Lake, the event inevitably caught the attention of both artist’s loyal supporters.

Anatoly Ylotana considers himself a shoegaze musician. Head of the Ylotana Project, an initiative set up to support and collaborate with like-minded musicians, he has a string of remixes in his wake, and as Sex Of Insects, he recently shared the stage with ALT-J as their opening act in Moscow.

Sex Of Insects was formed in 2016, and combines the talents of Anatoly Ylotana (guitar) Alexandra Bartashevich (vocals) and Roman Korablove (Rhythm). After the success of their recent releases ‘I’m Full Remixes,’ ‘I Can Hear The Light Remixes’, ‘I Can Hear The Acid Remixes’ and ‘All I Have A Know Remixes’, which have collectively racked up nearly 60 thousand plays on Soundcloud and has garnered the attention of tastemaker publications CLASH Magazine, Data Transmission, Konbini and Indie Shuffle as well as Youtube channels Deep Mix Nation and Madorasindahouse. Sex Of Insects then went on to share stages with the likes of SURGEON, Lady Starlight, Hardware-Live, Gary Beck, Sterac aka Steve Rachmad, Shxcxchcxsh- Live, Black Asteroid, and µ-Ziq as well as RONE and Parra For Cuva.

Their bespoke sound is inspired by acts such as Frank Zappa, Led Zeppelin, Black Sabbath and more recently Underworld, Daft Punk and Danny Tenaglia and created using looper technology, effects and layered guitars, with almost a complete absence of synthesisers.

Sex Of Insects’ ‘Not This Song Again’ kicks off with ethereal, effect-drenched guitars before exploding into a percussive, vigorous beat. Delays swim and swirl against Alexandra Bartashevich’s powerfully haunting vocal work, providing more atmosphere than the earth itself. Sid Le Rock’s remix is an explorative deep-house rendition equipped with a steady, bouncing beat as pulsating, rhythmic basslines sit atop dense, layered vocals. Dave Pad takes the track to another level – a dancefloor-ready, yet ambient working of the original complete with driving basslines and ghostly vibrated synthesizers. Sex Of Insects’ own Anatoly Ylotana concludes the package with his own experimental remix; thick, deep basslines, chopped-up vocal techniques and lively, awakening drums to capture the essence and energy of the original form.

Silver Wilson


Latest single ‘Let You Go’ from indie pop band Silver Wilson is bound to turn heads and excite ears. Their attention to detail along with feel good riffs and catchy melodies give this band a great push into the modern world of what a band like this should sound like. This track proves that you don’t have to sacrifice the desire to party when writing an emotive song! ‘Let You Go’ is a perfect soundtrack to the dawn of spring and sets up for a future summer pop anthem just around the corner.

Young Leeds/Nottingham 3-piece Silver Wilson started life in late 2015 and using fresh ideas they began making superb indie music with an original twist. Incorporating new technology with a mix of indie of guitars, bass, and drums, the band have organically built a loyal following for their summery danceable guitar-indie-pop.

Previous single ‘I’ll Be There” has turned many heads by gaining over 140,000 streams online which has lead them to support other up and coming bands such as Cassia, Redfaces, Heir and Thumpers.

The guys are playing a live date below

MAR 14 – Outlya + The Tin Pigeons & Silver Wilson

Oporto, Leeds



After Rhizome (2009) and Vortex (2017) classic Prog trio Mouth release their new album Floating on March 21 via boutique label Tonzonen Records.

Today we share the second single Distance with you. Originally Distance was planned as the first track, or exposition, of the Vortex symphony. Lyrically, the departure into a new world (the vortex) is discussed.

Mouth were formed in Cologne, Germany in 2000 as a trio, comprised of Christian Koller (vocals, guitars, occasional keyboards), Gerald Kirsch (bass) and Nick Mavridis (drums, backing vocals, keyboards). Indeed, their style is often cited as a mixture of ‘retro prog’, Krautrock, hard rock, psyche and glam rock – all together it fuses into a unique spleen often underlined with dystopian themes.

After Rhizome (2009, BluNoise Records) and Vortex (2017, BluNoise Records) the trio releases their new album Floating on Tonzonen Records. Floating sounds very different to the previous album Vortex. It’s a bit like the “downside up” or the sarcastic happy contrast to the vortex world.

Floating (reprise) is the opening track and it was also the hidden track on Vortex. It perfectly fits as a bridge to connect both albums. Also the themes are still connected to the loose vortex narrative. Madbeth and Reversed are ironic songs about mad leaders. Distance was basically intended to open the Vortex album and O.T.B.Field is also referring to March Of The Clopes and Into The Light from the Vortex album. The instrumentals (Homagotago / Sunrise / Sunset) are basically Krautrock inspired jams picking up the spirit of the old days.



Norwegian progressive folk rock four-piece Tusmørke return with a new album entitled Fjernsyn i Farver on May 4th, out via Karisma Records. The band has teamed up with The Prog Sphere for an exclusive premiere of the title song.

The band comments on the track: “It’s like Tusmørke; you get it or you don’t. This track is probably Tusmørke at its most (Norwegian) new wavy, with a healthy dose of psychedelia, sci-fi and semantics.”

27 Gone Too Soon


Brian Jones, Janis Joplin, Jim Morrison and Jimi Hendrix all died at the age of 27 between 1969 and 1971. At the time, the coincidence gave rise to some comment, but it was not until the death of Kurt Cobain, about two and a half decades later, that the idea of a ’27 Club’ began to catch on in public perception, reignited again with the death of Amy Winehouse in 2011.

This group represent just a few of the many well-known singers and musicians who died at that age, and this film looks at the phenomenon and tries to understand why these particular stars are so mythologised and celebrated – and why indeed their lives ended when they did.

Through rare and unseen footage transcending the viewer on a near quantum leap into the period of each artist’s life and death, along with discerning interviews with musicians, ranging from Gary Numan to Olly Alexander from Years & Years, critics and music industry insiders as well as medical and psychiatric experts, the film investigates the lives, music, and artistry of these lost icons, who have forever been frozen in time at the age of 27.

As Kurt Cobain quoted a Neil Young song lyric in his suicide note in 1994, he told the world, “It’s better to burn out than to fade away”. He may have meant it only cynically or satirically, but regardless, his death was tragically upon us. However, In today’s world where drug addiction and mental health issues are continually on the rise and are now the focus of much media and government attention, this documentary is sure to propel further debate as it offers further insight into the world of popular music and it’s many pitfalls.

‘27 Gone Too Soon’ will be screened at Regent Street Cinema on Monday 26th March and releasing same day on DVD and Digital HD.

Hallow Point


St. Louis-based modern heavy metal group HALLOW POINT recently announced their upcoming U.S. tour, kicking off tomorrow in their hometown at The Firebird. The tour will hit several southeastern and midwestern cities, coming to an end in Louisville, KY on March 24 at Brewskee’s. Each show will feature different support artists. See below for all confirmed tour dates and visit each venue’s website for tickets and show information.

In celebration of the upcoming tour, HALLOW POINT is thrilled to reveal their intense new music video for the melodic metal anthem, “Blistering”, cut from their latest Andrew Wade-produced (A Day To Remember, The Ghost Inside, Miss May I, Neck Deep) EP, Beyond Our Name, out now.

Guitarist Bill Brynda says, “Filming this music video was an absolute blast! We had the pleasure of working with director Josiah Moore for the first time, who is a true professional on every level. With this video, we wanted to communicate the positive message that life has its difficult and trying moments, but there are always ways to heal and move forward.”

HALLOW POINT are determined to make their mark, infusing modern day melodic hooks with progressions reminiscent of current metal heavyweights such as Metallica and Trivium. Their aforementioned EP, Beyond Our Name, can be streamed via Spotify, or purchased via Square Up and iTunes.

Dead End Finland


Dead End Finland released the first single called Lifelong Tragedy, from their forthcoming fourth album, that will be released on 2019 via Inverse Records.

The band comments:
“Our fourth album will be musically the most diverse album we have made so far. The first single reflects the more epic, slower and calmer side of the album”.

Dead End Finland is a melodic metal band from Helsinki, Finland. The band was formed in 2008 and they are known from their massive sound and topnotch production.


Leave a Reply

You must be logged in to post a comment.

Music Emissions music community
Music Emissions
Rate, Recommend, Review

© 1999 - 2013 Music Emissions
Acceptable Use | Privacy Policy | Built by Scanland Development
Facebook | Twitter