Emilie Zoe s THE VERY START is a touching brew of intimate melodies and narrative lyrics, carefully infused in a moving sonic space that enlightens even the smallest accidents that happened in the room these songs were (re)born in.
recorded by Ben Tixhon, Christian Garcia-Gaucher, Emilie Zoé
mixed by Christian Garcia-Gaucher,
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With ‘Ambiance’, Ølten step away from the binary formula, in favor grit, nuance, and ruthlessness. The result is a corporal convulsion, leaving behind chronic cramps, heavy breathing, and a sickening feeling deep down in the gut.
FFO : Cult Of Luna, Russian Circles
comes with a fully printed inner sleeve
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recorded and mixed by Julien Fehlmann at Studio Mécanique in La Chaux-de-Fonds, Switzerland
mastered by Magnus Lindbergat Vrtikl Audio in Bargamossen, Sweden
Powerful, sensitive, introspective. THE WINTER, Edmond Jefferson & Sons’ second album, conveys a deep and instinctive musical intention. Written mainly during winter and recorded on analog tape, the eleven tracks of this opus will take you on a journey into the intimate world of the Biel (swiss) quintet. Oscillating between explosive riffs, dark rock and soft ballads, their music is perfectly harmonized by organic sound textures and a mesmerizing voice.
recorded and mixed by Sirup Gagavil at Yagwud Recordings, Biel/Bienne, 2017
mastered by Adam Gonsalves at Telegraph Audio, Portland, 2017
FFO : The Black Angels, Blues Pills
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Side A contains the very first three tracks written and recorded by Coilguns. It was originally self-released on split with Luc and Louis noise-rock duo KUNZ as a DIY screen printed CD version housed in a PVC food bag in June 2011. In September 2011 it was re-released by Pelagic Records as a nice 3 panels digipack. This is the first time these songs are pressed on wax.
Side B contains two songs written and recorded in Australia in two days while Coilguns’s members were on tour with their former band; german prog-metallers The Ocean Collective. These songs were originally released in August 2012 as a 10” split record with NVRVD on Hummus Records, Dead Dead Dead Music, Savour your Scene, Invektiv Records. This was HUMM000 – the very first release HUMMUS ever put out
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Commuters is the first full-length by the unconventional Swiss trio Coilguns. Within less than 2 years of existence, the band has already released 3 EP’s, played 2 European tours and had the chance to support bands like The Dillinger Escape Plan, Baroness, Norma Jean, Nasum and Black Breath.
Coilguns’ line-up is pretty unique: drummer Luc Hess and guitarist Jona Nido are the only instrumentalists in the band. A massive custom-built pedal board and a well thought-out chain of several amps allows Jona to sound like 2 guitar players and a bass player altogether. Vocalist Louis Jucker completes the lineup.
Commuters was entirely recorded live, every song in one take. To challenge themselves and as a stance against “email albums”, several musicians have been invited to take part in the recording process, including Keijo Niinima of Rotten Sounds / Nasum fame, who came down to Switzerland to lay down guest vocals on one track.
On their debut album, the incorporation of synths and more guitar and bass loops has added more depth to their original punky version of mathcore. Some tracks on the album are featuring up to 5 guitar players at the same time. No overdubs or edits have been made on this record except for the vocals.
Coilguns have been pushing their boundaries to find a unique and most certainly odd sound, and by simplifying their songwriting, they’ve intensified and emphasized their heavyness.
Long time friend Julien Fehlmann was in charge of mixing and mastering the album and his experience and approach to this record was as unconventional as the band’s new songs. The whole record has been approached more like a 70’s rock record than a metal album. What came out is a mix that is different from anything you can hear in modern productions.
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Coilguns Millennials is a violent and over-the-top distorted record, born in a completely saturated scene and produced by four hyperactive fellows, who for obscure reasons decided few years ago not to work a full time boring job but to invest their money, time and mental health in heavy underground music. One can notice they are eventually older now; their hardcore got lazier, fatter and darker. There is even a new tribal feel to it, just like if those guys were still naïvely dreaming of building a parallel society somewhere in a cursed country where deviance and free self expression would matter as much as business skills and communication concepts. Millennials was written and recorded in january 2016 by the band itself, self-engineered on old second hand tapes in a four rooms wood stove heated vacation house, lost right in the middle of the desperate monoculture landscapes of central germany. What came out is a breathless, lo-fi and lo-tuned epileptic record, that roughly questions their own behaviour as partially conscious citizens of a scarily weird and exciting globalized music world.
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While Dirty Sound Magnet’s previous album Western Lies was a sarcastic, unrestrained critique of the shortcomings of our western civilization, Transgenic focuses on individual behaviors within it. Drowned in this world of advanced technology and hyper-consumerism, individuals struggle to discover their inner self or communicate with each other. The album lays out a disturbing view of the present and the near future, with the significance of Social Media, and increasingly alarming ecological issues giving shape to an Orwellian dystopia.
The egocentric practices inherent to Social Media are mocked by Stavros’ insolent lyrics and tone. The drama and loneliness of “Modern Man” is highlighted across Transgenic, with emotional issues and personal experiences completing the lyrical content. Musically, The album draws on the last 50 years of Pop Culture, with some touches of traditional folk music, but as a whole, Transgenic is true Rock.
Production-wise, the band plays with light and shade and introduces the terms “Organic” and “Transgenic” as musical concepts. When delving into the organic realm, the sound is warmer, and the recording techniques used are vintage.
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Always driven by a need of constant evolution, RORCAL is back with an ambitious and inhabited 5th album. Entitled Muladona and integrally based on the novel of the same name published in 2016 by the writer Eric Stener Carlson, this new work evolves through shorter, less progressive titles as deployed on Creon, while preserving the melodic depth and attention to detail that made the interest of this album. The undeniable black metal influences are here joined by drone / doom incursions that give this new creation a much more narrative aspect and thus helps to capture the horrifying essence of the novel from which it is directly inspired. The album was made in close collaboration with Carlson who lent his voice to foster a total immersion in the story of the Muladona, functioning as a degenerate sound companion to this rich & epic work of horror. Recorded fully live during three rainy days in spring 2019, Muladona marks a fascinating new chapter and shows a group in full possession of its means and destiny.
FFO: Coral, Acme, Bremen Northcore
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Coilguns’ self-sufficient riffing engine ticks like a swiss watch. Right in the middle of their Millennials tour, the band has gathered enough time and life points to craft their loudest record to date. Locked all by themselves in a studio for a month – without a single note written prior to setting up their gear – they have put together an urgent and challenging suite of unpolished bursts. Watchwinders sums up the sheer pleasure of doing things the unusual way. These 12 songs are raw as noise and messy as punk though carefully organized in a daring and flawless sequence. Excessively low-tuned guitars, gnarly synths and eccentric vocals are carried away by Luc Hess obsessive drumbeats. The whole functions as a complex and utopian mechanism of perpetual motion, an urgent and clever serie of sketches of how to merge good ideas into a fascinating mess.
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Louis Jucker was invited to play 15 shows in five nights at the Cully Jazz Festival (CH), a festival taking place in the whole city of Cully. Gigi and Nico – owners of the vault called “THBBC” (standing for “Thousand Blue Bottles Club”) – decided to give Louis Jucker the residency which had seen The Young Gods, Raphaël Calpini or Simon Gerber Trio in the previous years. Louis invited all his bands and friends and recorded all 15 shows. He selected and mixed 18 tracks and released this live album in the shape of a beautiful, lo-fi and touching 2xLP.
recorded live at THBBC, Cully Jazz Festival, 13,14,19,20,21.04.2018 by David Ashby & Gaspar Pahud
Mixed on Revox tapes by Louis Jucker
Mastering by Cyril Meysson
01 – Gravels [Louis Jucker & Charlie Bernath] – Guidelines
02 – Gravels [Louis Jucker & Charlie Bernath] – First Episode
03 – Louis Jucker & Dragos Tara – We will touch Down
04 – We lived a mountain
05 – Speech
06 – Louis Jucker & Luc Hess & Jona Nido – A Simple Song
07 – Louis Jucker & Donatien Thiévent – Interlude
08 – Coilguns – Blackboxing
09 – Louis Jucker & Louis Schild – Musik aus Uthlank 1/2
10 – The Evil Owl
11 – Kunz – Chengdu
12 – Merry Dancers
13 – Louis Jucker & Meysson/Loubatière – Growing Patience
14 – Navette [Louis Jucker & Io Baur] – Bateau Mouche
15 – Navette [Louis Jucker & Io Baur] – Mono Hobo
16 – Louis Jucker & Noyades – Replique V.2
17 – Prune Carmen Diaz & Louis Jucker – Foggy Mountains
18 – Louis Jucker & Louis Schild – Musik aus Uthlank 2/2
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This Charming Man Records is an independent record label from Muenster/Germany.
We work with Cargo Records Germany, Sonic Rendevouz (NL/BE), Day After, Cobraside (US), Code 7 (UK), Season Of Mist (FR) and Green Hell Records as our distribution/wholesale partners.
feel free to get in contact for wholesalerates
cheers
TCM
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