This June marks the beginning of a series of albums and EP’s recorded at the studio in the confines of the lauded Parisian Hotel Costes, inaugurating the scheduled releases is ’12 Days A Week’, a new album from the duo behind the project, Masomenos.
‘’After more than fifteen volumes of the Hôtel Costes’ infamous compilation series, selected and mixed by Stephane Pompougnac, there remained a huge demand to deliver new releases. The hotel chose instead to grow its musical presence over streaming platforms, accepting an invitation to become a curator for Apple music, where they release monthly playlists curated by the Studio HC team in collaboration with Watch Your Music.
During this time and a planned expansion of the hotel, a music production studio was introduced, hidden in the maze of the soon to be bigger Costes. STUDIO HC is run by the Masomenos team who have a long history of collaboration with the hotel in various forms and over the past two years have invited and worked with both classical and jazz musicians at, Masomenos merged into different entities to become merely a conductor, unearthing a wide array of different bands, and creating an intriguing yet warm, acoustic and electronic, downtempo/ambient sound for STUDIO HC. As a result the label is due to present seven albums and eight EPS to be released across the next two years from those involved in this endeavor.’’
Here ’12 Days A Week’ sees Masomenos, composed of Joan Costes and Adrien De Maublanc, deliver a modern tribute to the downtempo aesthetic of the revered compilation series, delivering a wide array of ethereal moods, textured atmospherics, organic drum grooves and avant garde jazz influences.
The duo have a long history of collaboration with the Hotel, having headed up a previous series focusing on a more minimal oriented sound with releases from Glacial, Seuil and themselves with their ‘Costes presents Bon Voyage’ project.
Here though ’12 Days A Week’ definitely marks a new era in the Masomenos Sound and the beginning of an exciting few years worth of music to come…
Molly (Rex Club): Beautiful !
Varoslav (Rue De Plaisance): nice! perfect music for my monthly show on rinse france. good vibes!
Alejandro Mosso (Hivern Discs, Meander, Third Ear): beautiful music!!! Congrats
Demi (Deeper Substance): full support…thank you for these and cannot wait for the rest to follow
Ryan Crosson (Visionquest): LOOOOOOVE!
Julietta (Sushitech / Harry Klein Records): Lovely!
Peter Kruder (Kruder & Dorfmeister / K7): Great sounds ! Thanks !
Reboot (Cadenza, Cocoon): Superb music! love it
Stillhead (Traum, Med School, Here & Now): Some wonderful sound design in here!
Michael Serafini (WNUR, Gramophone Records Chicago): Beautiful Album! Reminds me slightly of Aqua Bassino or Saint Germain. Great work
Fifth horror punk manifesto The Dixie Dead is certainly not stingy when it comes to good old-fashioned ghost stories: this time the maestro used celluloid classics such as „Poltergeist“ and „Hands of the Ripper“ for inspiration. Massive metal riffs and industrial undertones deliver the eerie soundtrack for those grim tales.
Out Now (Beatport Exclusive since April 26):
Forteba – Pictograms
Download from iTunes
Out Now – incl. all classic releases from Carl Cox, Thomas Schumacher, Blake Baxter, Tube & Berger, Lützenkirchen, DJ Madskillz, Alex Flatner & more
Tom Wax presents AWeX – The Ultimate Future
Out Now – incl. Tracks fro Florian Meindl, Black Lotus, Porteix, Quentin Ravn, AVGUSTO & many more
Various Artists – FLASH Back 10
VISIONS OF ATLANTIS take you to a world of myths, tales and the long forgotten seas: With a unique mixture of symphonic metal and power metal, paired with a fantastic female/male vocal duo, the Austrian quintet has been enchanting the metal world since 2000.
Now the band releases their very first live album: THE DEEP & THE DARK LIVE @ SYMPHONIC METAL NIGHTS proves that Visions Of Atlantis are at the top of their genre when it comes to atmosphere and live skills. With focus on songs of the latest studio album THE DEEP & THE DARK (2018), this live opus pushes the mystical adventure of VISIONS OF ATLANTIS to another level – powerful and perfectly executed.
Reinvention and continuity – OOMPH! have been synonymous with self-renewal, pioneer spirit and carefree creativity for almost three decades. The Germans have been raised on EBM, rock and new wave, accidentally started a new subgenre in the 90s (the so-called Neue Deutsche Härte that influenced Rammstein and many more) and were crossover when crossover wasn`t even born. Many years later legions of fans with varied musical backgrounds are hooked and the band is no stranger to the highest chart positions – Dero, Flux and Crap were awarded their first gold record for Wahrheit oder Pflicht in 2004. The trio is now ready to release its thirteenth longplayer Ritual that is poised to catch the listener offguard, „Our most aggressive, heaviest and darkest album in a while“, singer Dero states truthfully. The fuming and pounding triumvirate ‘Tausend Mann und ein Befehl‘, ‘Achtung! Achtung!‘ and ‘Kein Liebeslied‘ delivers the goods in stomping old school fashion, but after a breathless start it`s time for the über-catchy ‘Europa‘ (feat. Chris Harms / Lord Of The Lost) and the dancefloor monster ‘Im Namen des Vaters‘. Batshit insane electro tune ‘TRRR – FCKN – HTLR‘ curiously marks the only tongue-in-cheek entry on the otherwise rather stern Ritual that tackles politics, war and abuse. Eloquent, controversial, erratic and inescapable – OOMPH! came up with a stunning and mature masterpiece that makes peace with the band`s past and sets new impulses.
Affekt Recordings has its base in Frosinone, Italy and has been ran by Alex Dolby since 2012 culminating a passion for raw, hypnotic techno. The label’s back catalogue of music has seen artists such as Pär Grindvik, Alex Bau, Mental Resonance, VSK and MTD make contributions.
The latest release compiles fresh works from label head Alex Dolby himself for his fourth artist album entitled “Fault System” having released music on labels outside of his own like Emmanuel’s ARTS, DJ Emerson’s Micro.fon as well as Shinedoe and 2000 and One’s Intacto imprint, his educated sound is much loved around the world.
A love for analogue sounds, rough textures, and tough rhythms play a huge part in the album’s dystopian aesthetic that is as functional for club weaponry as it is a collection of abstract cuts for electronic music lovers.
Easing in gently with “Intro Signal” Alex experiments with a sparse sound design element before moving into the up-tempo Detroit influenced drones of “The Day After”. Following this things heat up with “Standard Process” being a manic monster, and “Modern Pascal” introduces a style switch up to a two step beat. Title track “Fault System” is a throbbing sonic trip and “The Afghan Express” is a blistering techno ride.
“Wild Yard (Reprise Mix)” sees a special release of a new edit that was originally supported by Ben Klock. The eighth track “Lunatic Boost” pushes a raw and broken beat, whilst “Chord Memories” injects vibrant energy once again, then closes proceedings is the jazzy style break of “Outro Signal”.
This album is a powerful statement of intent from a veteran producer that wishes to make a mark with another accomplished selection after being active in the scene for over 15 years.
“I start my career in 1991, I was 18 years old in France , I was playing commercial music, funk, disco, 80’s, euro dance, rock, pop, groove & RnB, and then I discover electronic music, first was trance music and few years after it was house music and from house music came deephouse. It was a kind of revelation.
In 2001 I start composing. It took me years to create something good and nice.
I released few tracks in different labels but the consecration was in 2016 when I sign my first album «Time lapse» on my favorite label of all time: Plastic City!
And now this is my 3rd album and this one is much more better than the two others . It’s the album of maturity.
because I give a lot of myself on this album…”
Matthieu’s Album is now available for Download & Streaming
Formed in Chicago, IL in 1988, The Smashing Pumpkins released their heralded debut album Gish in 1991 and found mainstream success with 1993’s 4x multi-platinum Siamese Dream and 1995’s 10x multi-platinum Mellon Collie and the Infinite Sadness.
Following the release of Adore, Machina/The Machines of God, and Machina II/The Friends & Enemies of Modern Music, the group’s original lineup disbanded in 2000. Singer/guitarist Billy Corgan reformed the group in 2005, enlisting various collaborators for Zeitgeist, Teargarden by Kaleidyscope, Oceania, and Monuments to an Elegy. In June of 2018, The Smashing Pumpkins released their new single “Solara” ahead of their monumental Shiny And Oh So Bright Tour. The track was the first song in over 18 years to feature founding members Billy Corgan, James Iha, and Jimmy Chamberlin, alongside longtime guitarist Jeff Schroeder and offered the first glimpse of music from the newly reformed lineup.
In September of 2018, the band formally announced their forthcoming 10th studio album SHINY AND OH SO BRIGHT, VOL. 1 / LP: NO PAST. NO FUTURE. NO SUN.and shared its second single “Silvery Sometimes (Ghosts)”. Recorded at Shangri La Studios with legendary producer Rick Rubin, LP is due for release on November 16th, 2018 via Martha’s Music under license to Napalm Records. With over 30 million albums sold to date, the GRAMMY®, MTV VMA, and American Music Award winning band remains one of the most influential bands in history.
1. Knights of Malta
2. Silvery Sometimes (Ghosts)
6. Marchin’ On
7. With Sympathy
8. Seek And You Shall Destroy
* selected Territories distributed by digedo (World -AD, -AM, -AO, -AT, -CA, – CH, – DE, – DK, – FI, – GB, -IE, -IS, -NO, – SE, – US )
Beyond The Black – energetic, straight forward, uncompromising, symphonic metal.
Where others still lose themselves in colorful descriptions, this band has already set its next course and is heading with full force right into the “Heart Of The Hurricane”. The title of the third album is metaphorically where Beyond The Black feel they are – and 2018 is going to be the year in which this charismatic outfit based around Jennifer Haben explores what they describe as ‘the stylistic limitations of extremes: where on the one hand the screws of hardness are tightened again by several turns; and on the other hand a previously unprecedented catchiness dominates the pieces’.
Beyond The Black continue with their unerring sense of gripping melodies, mixed up with pulverizing blast beats, rousing neck breaker riffs, epic keyboard passages, and elaborately arranged strings and choral settings. From the atmospheric gloomy heaviness (“Through The Mirror”, “My God Is Dead”), the band spans the stylistic arc of their distinctive Metal-meets-Medieval sound (“Scream For Me”, “Song For The Godless”) to the bittersweet acoustic ballad “Breeze”. Together, the huge mix of elf-like vocals and deep-set growls create a bombastic widescreen production – from the heart into the fingers or “from the heart into the vocal chords”, as singer Jennifer says.