Hior Chronik - Blind Heaven - VINYL LP

The very first on Frontier Records in March 1980 was an EP by FLYBOYS, a power pop/punk band that began in 1977 with singer/songwriter John Curry and Jim InchTrashInch Decker from THE CROWD (and tangentially, Jay from THE SIMPLETONES, who would later sign to Posh Boy.) FLYBOYS gigged all over the southland, paying their dues opening for every national and local punk band from Huntington Beach to Hollywood. They were anything but typical punks - they wore day-glo clothes and Cuban heels and the songs were maddeningly catchy. Catchy hooks and John Curry's bleached-blonde, spikey pompadour were the bands trademarks. Their first was the ultra-rare Square City/Crayon World 45. Frontier's Lisa Fancher interviewed FLYBOYS for the LA Herald Examiner as she was a super fan, and got the notion to record an EP with the band. The process started in 1979 at Leon Russell's studio in North Hollywood CA, Jim Mankey from the original SPARKS engineered (and Johnette Napolitano from CONCRETE BLONDE was the receptionist!) the record. It took way too long to record and by the time Frontier finally released it, the band decided to call it quits. The EP was released to decent fanfare and gradually became a record collector favorite. Fast forward to 2024, FLYBOYS' bass player and sometime singer/songwriter Scott Lasken was leaving Los Angeles and discovered a reel of five unreleased, unheard (and not even remembered) FLYBOYS demos in his closet! Two songs- InchLive for TodayInch and InchEvery DayInch - did not appear on the Frontier EP but three of the demos do, but all are faster and looser due to the songs being so new and recorded for the first time. What a find that was! FLYBOYS The Complete Flyboys 1978-1980 consists of the Frontier EP, the Square City 45 and five unheard, previously unreleased demos and will gain a whole new respect and enthusiasm for the band that they have deserv

Seductive and cinematic soundscapes between ambient, drone and indie-neoclassical music these are the best words to describe Hior Chronik's style. A style that captures ears and soul, bringing you into an imaginary world, arousing emotions, making the mind wander to distant places. This is the goal of the Greek musician, now living half of the year in Athens and the other half in Berlin. You can hear it in his new record InchOut Of The DustInch, produced by himself, mixed by John Vallasis and mastered by Francesco Donadello at Calyx Studio, Berlin.InchI tried to combine ambient and drone sounds with strings and piano following a harmonic directionInch, Chronik explains. InchI wanted to make a soundtrack for a movie that was never shotInch. The mood is melancholic, but not only that InchThere's a dark side, but I made it run parallel with bright soft melodiesInch, Chronik continues. And on the topic of his music influences InchIt's hard to specify what exactly they were, but I think I'm close to Max Richter and in some ways to Arvo Part. Besides that, true inspirationa division of !K7 Musiccomes from my life experiences, even the small little things books, films, people I meet, travels. And being close to nature I would say that's the base of everythingInch.After three solo records and two in collaboration with Arovane, Chronik is now ready to launch his new work InchOut of The DustInch. InchThe title is a political quote about how we can fight against the crisis, but also against the existential anguish of surviving. A movement of no fear and the beginning of a new lifeInch, he explains. On how he developed the songs, he says InchI recorded piano, trumpet and strings in their analogic sound, then I used effects as I always do for the ambient and drone soundsInch.InchOut Of The DustInch shows a personal and unique style that brings Hior Chronik's music to a wider

After a long silence New Zealand bestial death metal horde Exaltation finally unveil their first proper full-length offering, InchUnder Blind ReasoningInch, after a demo tape had surfaced back in 2017 amongst generalized obscurity. Indeed what we find on this debut offering is something distant from the lo-fi quality of the promising but under-produced demo, and sees the band tap instead into a realm of vehemence and aural destruction of unseen magnitude and terror. Feral, enveloping, monumental and sprawling in it's unrelenting wrath, InchUnder Blind ReasoningInch sees the obscure New Zealand death-bringers whip the sum of their influences (Immolation, Morbid Angel, Incantation, Deicide, Blasphemy) into a coercive realm of shell shocking torment and rise from the depths of obscurity like a cataclysmic weapon of mass-destruction. The album's dense and multidimensional recording quality (courtesy of engineers Raj Singarajah and Cam Sinclair along by mastering from Luke Finlay of Primal Mastering) has yielded a death metal beast of truly unsettling proportions. Every instrument and the utter violence with which it is wielded appears on full display, as the listener is helplessly left annihilated, blow after to blow, to witness the band's tight, savage and merciless performance and technical proficiency literally maul down the fabric of reality piece by piece. These are death metal songs from a realm of perpetual darkness that bare a load of death and ruin of unprecedented traits. Songs of boundless terror and oblivion that evoke eons of darkness and an immanent and oppressive presage of complete inevitability as the music roars out of the speakers with ominous grimness and near-weaponized violence. All hail the realm of darkness and death conceived by Exaltation, one where the death metal craft is reborn as a feral ungovernable force to inflict merciless ruin unto this