Kelly Willis returns after five years with the much-anticipated Translated From Love. Produced by long-time collaborator Chuck Prophet, Translated From Love is Willis' most sonically adventurous album to date. Prophet says of Willis, "She's one of those singers who can make a track come alive. She's got that kind of charisma."

Translated From Love gives nods to five decades of rock, pop and country with `60s girl group drum sounds one minute and strings-drenched C&W angst the next. Its 12 tracks are comprised of originals, intriguing and unexpected covers (including a vintage Vox organ-fueled take on Iggy Pop's "Success" and Adam Green's retro-cool "Teddy Boys") plus collaborations with Prophet, acclaimed singer-songwriter Jules Shear and Kelly's husband, ace country songwriter Bruce Robison.

Magic, as old as humanity itself, is the primordial answer to the threat of losing our own presence in the world, the fear of oblivion. From magic the most fascinating, mysterious and enchanting stories are born, but also the most obscure and fatal ones. The death of magic represents the conjuncture of contradictions, the End of the End and the Beginning of the Beginning, the decay of myths and legends, the brutal overthrow of chaos, the end of the world, as we know it.
Dead Magic: this is the paradox chosen by Anna von Hausswolff to open the doors to disturbance and anxiety. A title that embodies disorientation, an unsettling suggestion of which nothing can be known and that, by choice of the artist, will not be further explained.
Dead Magic, Anna von Hausswolff’s fourth album, was composed in the summer of 2016 in her hometown Gothenburg, Sweden, and recorded the following year in Copenhagen, Denmark. The majority of recordings were done on the 20th century organ at Copenhagen’s Marmorkirken, “the Marble Church”, one of the largest churches in Scandinavia, with a chapel inspired by the majestic St Peter’s Basilica in Rome.
Dead Magic is five songs extending over 47 minutes and 20 seconds: “The Truth, the Glow, the Fall”, “The Mysterious Vanishing of Electra”, “Ugly and Vengeful”, “The Marble Eye” and “Källans återuppståndelse”.
The album sees her joined by Karl Vento (guitar), Joel Fabiansson (guitar), Filip Leyman (synthesizers), Ulrik Ording (drums) and David Sabel (bass), with string arrangements on “The Truth, the Glow, the Fall” and “Källans Återuppståndelse” by Úlfur Hansson. The production of Dead Magic was entrusted to the multifaceted Randall Dunn, known for collaborating with iconic bands such as Sunn O))), Earth and Wolves in the Throne Room (whose recent album Thrice Woven Anna contributed vocals to).
To speak of the music using pre-existing genre tropes is pointless. This is not about gothic rock, pop, drone, dark music or metal, this is music of the spirit and the blood; the feast and the ritual; the baptism and the epitaph; life and its absence in all its poetics; a communion in which one dies and returns to life many times. Dead Magic is a dark crystal that encapsulates the most intimate and extreme human passions, born and grown in a time now passed, dormant, but forever imprinted in grooves on vinyl.
This is an album to remind us that what once existed will eventually be obliterated; that what’s left after a fire will be the heat, the ashes and the smell; that the remains of an absence will be an emptiness… To remind us that from the death of magic, only despair and hope can survive - the two poles, extreme and opposite, constantly and impetuously alternate in the music of Anna von Hausswolff.
For the promotion of Dead Magic, the artist has chosen a poem by the Swedish writer Walter Ljungquist (1900-1974) as the only comment - a suggestion and nothing more, the rest of the magic will be left to the music.
“Take the fate of the human being, a thin pathetic line that contours and encircles an infinite and unknown silence. It is in the this very silence, in an only imagined and unknown centre, that legends are born. Alas! That is why there are no legends in our time. Our time is a time deprived of silence and secrets; in their absence no legends can grow.”

Ectoplasm Girl Nadine Byrne returns with her first solo album in 4 years, a woozy, unnerving and dreamlike soundworld somewhere between Laurie Anderson, James Ferraro and Ryan Trecartin. Huge recommendation...
Ectoplasm Girls’ Nadine Byrne lures listeners into woozy mental states on Dreaming Remembering, her soundtrack to a short film of the same name, providing a solo follow-up to A Different Gesture: Collected Soundtracks 2011-2012, and her first outing since Ectoplasm Girls’ New Feeling Come [2016], which were both issued by Joachim Nordwall’s ever-incredible iDEAL Recordings.
One of three Stockholm-based Byrne sisters along with Tanya, her partner in Ectoplasm Girls, and Ambra, who has recently provided EG’s live visuals, Nadine operates at the intersection of intuitive sonic and visual arts. Where Ectoplasm Girls tend to a bewitched sort of industrial experimentation, Nadine’s personal work is defined in terms of its relative, mutable electronic sleight of hand, with vocals handled by the mysterious Sarah Kim.
As the title connotes, Dreaming Remembering is about intimate reflection and the space between awareness and uncertainty of recollection. In that noumenal gooch, Nadine works an incredible freeform, uncluttered sound best resembling the illusive nature of dreams and their elusive memory. In her mind and out of her machines, they feel out a spectrum ranging from mirage-like vignettes like Atlas thru to curdled proto-techno buzzes and grubby drone intonations with wickedly possessed vocals.
Extracted from the visuals the material here has a cumulative effect that mesmerises and unsettles throughout the album, bringing us out at the other end in a way that feels like we’ve just walked out of a darkened cinema into dusk, with the strange effect of the preceding visuals and a story you can’t untangle still lingering like a pleasurably strange mental fug that’s hard to shake or decipher.

Extremely quiet and violently loud, slowly rising only to moments later bear down on the listener with a wall of distorted sounds. This is the essence of ‘elephant’, the new album by Swedish composer and musician Dag Rosenqvist. ‘elephant’ consists of six tracks, all connected to each other in one way or another. Shards of tracks re-appear in other tracks. Structures, sounds, chord progressions and melodies are revisited and rearranged. Repetition as a means of holding on to something that is already lost. ‘elephant’ is an album built on contrasts. It is an album filled with noise and fury, with distant echoes and subtle vibrations. It is a blind force that can both crush you and embrace you with its fragility.
"There are no answers. There are no road maps for mourning. Loosing someone is an individual experience for which there is no guidebook. Slowly you learn to live with it, and slowly time takes away the crippling panic and the feeling that things will never be ok again, but it never goes away. It’s there when you’re out grocery shopping and it’s there when you ride your bike to work. It is that part of you that’s missing, that will always be missing from now on. And you don’t talk about it because there’s nothing more to say. Your mourning year is over, you get on with your life and you learn to live with it. Whatever that means". – Dag Rosenqvist, Gothenburg April 2016.
Dag Rosenqvist is a Swedish composer and musician currently residing in Gothenburg. Using a wide array of acoustic and electric instruments as a foundation for his compositions, and relying mainly on analogue equipment, Dag has managed to create his own musical landscape. Elements of drone, improvisation, noise and lo-fi aesthetics are all filtered through a skewed, melodic pop sensibility, resulting in something highly personal. Since 2005 Dag Rosenqvist has released 30 albums, EP’s and cassette tapes in different constellations, the main one beingJasper TX that was put to rest 2012. Other constellations include From The Mouth of The Sun, de la Mancha and The Silence Set. He has also collaborated with Machinefabriek, Mike Weis and Simon Scott and released albums on Miasmah, Fang Bomb, Experimedia and Kning Disk and more.

Mastered by Taylor Deupree (
)
Cello by Aaron Martin (on track 5)
Saxophone by Lisen Rylander Löve (on track 5)

瑞典歌特金属乐队Beseech第六张全长专辑

◎ 乘坐翻覆跳躍的Synth-Pop流光，踏上歡快悲傷相互輝映的壯麗旅程
◎ 當代首席另類樂團Sigur Ros與M83指名巡迴搭檔，瑞典絕美靈性女聲Maria Linden主導之第二張專輯
Chiaroscuro，義大利語「光—暗」之意。任何熟悉瑞典樂團I Break Horses的樂迷對於這個意象絕對全然不陌生，他們總能創造出一個極度黑暗的空間，同時又漫射七彩光束，一不留神就會迷失在其中。時而快樂得無法自拔，時而悲傷到萬劫不復，但就在這種忽明忽暗之間，活著才具有了實感。在2011年的首張專輯《Hearts》之後，I Break Horses刻意擺脫My Bloody Valentine與Cocteau Twins交乘的夢幻瞪鞋氛圍，向電子路線大步前進，如同新生代的M83。在女主唱Maria Linden一手主導創作與後製之下，I Break Horses成為飄浮於現實生活萬哩之外的科幻奇境，凍結、斑駁、剝落，像是在說冬天的寒冷不會有極限。

"After a cancelled flight I found myself stranded at the Tokyo airport overnight. Between my interrupted bench naps the surroundings found their way into my dreams, particularly the big banners in the departure hall stating: 2020. Not aware that they were announcing upcoming Olympic games, my imagination wandered. 2020,
a leap year. The year of the rat, the election. Perfect vision. The year of hindsight. The repetition, the ritual
of the superstitious. A spell cast on the approaching future; not yet there, but close enough to be seen with full clarity. The year itself seems to draw a circle around its followers, as to protect anyone who dares enter.
And it all begins on a late-Capitalist night…"
Twenty-Twenty is Molly Nilsson’s 8th album; the latest opus of an artist in a constant state of development and strength. Twenty-Twenty is about emerging from the husk of your old self, about binning the chrysalis and daring to stand up both to power, and also to your own limits. In 2018, we see the climate changing, democracy crumbling, inequality and injustice erupting. 2020 examines the near future, seeking out clarity, reflection, renewal and opportunity. It contains anthems so tall as to induce vertigo, leaving the taste of Euro Dance in your mouth, albeit without a four on the floor beat. Here, the pop auteur is haunted by the late Prince, channelling Courtney Love and Lou Reed, anger and love.
Recorded as ever in her own Lighthouse Studios and co-released with her imprint Dark Skies Association, the record is consistent in strategy and approach to past releases, yet on 2020 Nilsson pushes the limits of what can be said in the scope of a pop song even further. Despite working with used keyboard sounds that evoke memories of a distorted past, the sound is distinctly contemporary. The record drifts between playful punk methods and hi-fi ideas, strikingly clear through the fuzz of a surrounding world painted with reverb.
Rather than gracefully dissecting, 2020 rips apart personal neuroses and insecurities, looking for the roots of issues and the equation that, when solved, will produce the future. “I don’t care if the world is through, every night is new,” 2020 erupts with fist-in-the-air empowerment, a realization that if we’re all alone down here, we can still make it. Every Night Is New is a personal and societal manifesto, a slogan comprising the different layers that make this record Molly Nilsson’s most personal, evocative and emotionally packed in years. First single Serious Flowers is a naked confessional trance hit stripped of its beat. Centred around broken trust and friendship, Nilsson sings over suspenseful synth strings with a vocal delivery so inexact and honest, its vulnerability seems almost unaware of itself. Although very much in the vein of Nilsson’s production style on her recent albums, Days of Dust, accomplishes escape and breaks free from the past. There’s a carpe diem immediacy to this fast-paced Rock Song that belies Nilsson’s near-iconic self-contained delivery: “Like I had just been saved from a burning building of desire, I got back up and I ran right into the fire.” It’s so immediate, and speaks so perfectly about the nature of desire, that you wonder how you’d never thought about it like that before.

4 is Swedish Psychedelic Rock group Dungen's fifth album. The 2008 album by Dungen (Swedish: "the grove", pronounced roughly "DOONG-un") a Swedish Rock band based in Stockholm. Often classified as Psychedelic Rock, Dungen is also influenced by Swedish (and other) Folk music, Classic Rock, Progressive Rock and Indie Rock. 10 tracks.

My debut album as Weatherday. It's recorded in my bedroom mostly, but also in a rehearsal space, a cabin in the mountains very far away from where I live, the bog very near from where I live and in the city during the hour everyone slept.
Making this has been a wild ride and finally, it's done! Thanks for listening and I hope you like it☆
credits
released April 29, 2019
I'd like to thank the people who listened to my demos and gave feedback on them, Remo 2 & DIYcord.
Especially I want to thank Saga, Polly, Ellie, Jejune and Tam - you were all truly essential to this album and it getting finished.
Honorable mention to the hands-free mic attached to my headphones which I recorded this album on
Performance/producing/mixing/artwork/etc. was done by me