#karismarecords — Public Fediverse posts

New #review today: "Back on their 2012 album A Little Bit of Big Bonanza, #BushmansRevenge covered #SonnySharrock’s “As We Used to Sing,” and that gives us a good idea where they get their idea of jazz from. On Ah, les Vaches! they carry on in the same basic vein they’ve been mining for as long as I’ve been aware of them. At one end of the spectrum, they play loose, noisy #jazz in Sharrock’s idiom, and at the other, they drift off into effects-laden atmospheric haze." #ExposeOnline #AvantJazz #KarismaRecords #IsItJazzRecords http://expose.org/index.php/articles/display/bushmans-revenge-ah-les-vaches-2.html

New #review today: "Back on their 2012 album A Little Bit of Big Bonanza, #BushmansRevenge covered #SonnySharrock’s “As We Used to Sing,” and that gives us a good idea where they get their idea of jazz from. On Ah, les Vaches! they carry on in the same basic vein they’ve been mining for as long as I’ve been aware of them. At one end of the spectrum, they play loose, noisy #jazz in Sharrock’s idiom, and at the other, they drift off into effects-laden atmospheric haze." #ExposeOnline #AvantJazz #KarismaRecords #IsItJazzRecords http://expose.org/index.php/articles/display/bushmans-revenge-ah-les-vaches-2.html

New #review today: "Back on their 2012 album A Little Bit of Big Bonanza, #BushmansRevenge covered #SonnySharrock’s “As We Used to Sing,” and that gives us a good idea where they get their idea of jazz from. On Ah, les Vaches! they carry on in the same basic vein they’ve been mining for as long as I’ve been aware of them. At one end of the spectrum, they play loose, noisy #jazz in Sharrock’s idiom, and at the other, they drift off into effects-laden atmospheric haze." #ExposeOnline #AvantJazz #KarismaRecords #IsItJazzRecords http://expose.org/index.php/articles/display/bushmans-revenge-ah-les-vaches-2.html

New #review today: "Back on their 2012 album A Little Bit of Big Bonanza, #BushmansRevenge covered #SonnySharrock’s “As We Used to Sing,” and that gives us a good idea where they get their idea of jazz from. On Ah, les Vaches! they carry on in the same basic vein they’ve been mining for as long as I’ve been aware of them. At one end of the spectrum, they play loose, noisy #jazz in Sharrock’s idiom, and at the other, they drift off into effects-laden atmospheric haze." #ExposeOnline #AvantJazz #KarismaRecords #IsItJazzRecords http://expose.org/index.php/articles/display/bushmans-revenge-ah-les-vaches-2.html

Liminal Sky – All Tomorrow’s Darkness Review

Born of the ashes of former project Messenger, UK post-rock duo Liminal Sky, comprised of Jaime Gomez Arellano…
#NewsBeep #News #Music #2026 #3.5 #AllTomorrow'sDarkness #Årabrot #Beastmilk #Entertainment #Hexvessel #Jun26 #KarismaRecords #Latitudes #LiminalSky #Messenger #PostRock #ProgressiveRock #review #Reviews #UK #UKMetal #UnitedKingdom #WhiteWard
https://www.newsbeep.com/uk/656932/

Born of the ashes of former project Messenger, UK post-rock duo Liminal Sky, comprised of Jaime Gomez Arellano and Daniel Knight—and featuring Mat McNerney (Hexvessel, ex-Beastmilk), Kristoffer Rygg (Ulver), Anders Møller, Karin Park (Årabrot), Daniel O’Sullivan, Lars Horntveth, Alicia Nurho, Tore Ylwizaker, Ole Alexander Halstensgård, and Matt Rozeik—represents the next chapter in Arellano’s and Knight’s creative vision. Occupying a desolate space in the post realm that I haven’t covered in an official capacity since Latitudes dropped Part Island, upcoming debut All Tomorrow’s Darkness struck me in much the same way. Beautiful, inconsolable, tender, and graceful, Liminal Sky tugged at my heartstrings and called to my spirit.

An emotional and loving affair, All Tomorrow’s Darkness owes its gravity and poignancy to primary vocalist and lyricist Mat McNerney, impassioned by the recent loss of his mother. While it’s very clearly heard in McNerney’s vocal delivery across the record, Liminal Sky’s songwriting too reflects that heartbreak with crystalline clarity. Especially in their longer form compositions (“In Some Secret Universe,” “Algebra of Unknowing,” “All Tomorrow’s Darkness”), sweeping arcs and delicate plucked melodies inform the shape of mourning, of catharsis, of release, and of loss that All Tomorrow’s Darkness embodies. Its more energetic cuts (“A Solitary Future,” “Forget Me Not”) don’t disturb that shape, but rather recontextualize it as if to emphasize the unpredictable nature of grieving. As a whole, All Tomorrow’s Darkness represents a highly intelligent, deeply thoughtful, and highly resonant experience that offers its heart to those who would hear it, in the hopes that they would hold it with warmth and understanding.

Nowhere is this intimacy more effectively conjured than in centerpiece “Penance,” featuring Karin Park’s soothing croon. It is a stunning work, reminiscent of White Ward and Latitudes at their softest, but especially sorrowful, almost regretful. There’s a pain to this song which echoes some of the hardest processes that come with mourning the loss of a loved one, and it brings greater substance to its more energetic companion piece, “The Weight of Heaven.” In some strange alchemy, hookiness and subtle bounce fit “The Weight of Heaven” like a glove, almost as if the upshot of weathering the storm is clarity, acceptance, even hope. And yet, existential uncertainty and an ominous foreshadowing persist as undercurrent through songs like “Algebra of Unknowing” and “Oar on the Mooring” to remind the listener that clarity, that acceptance, and that hope is fragile. To further personify this message, All Tomorrow’s Darkness glides gently through all of these movements with a floatiness that belies its forlorn, heavy heart.

As a result of such fluidity, my perception of All Tomorrow’s Darkness’ hour-long expanse warps and shrinks. This, in turn, makes what should be a difficult, emotionally taxing experience remarkably easy to revisit. Its accessibility granted by direct, uncomplicated songwriting also affords a certain approachability that helps open up a listener not only to receive something so deeply steeped in pain and anguish, but also to respond in sympathetic release. That same simple songwriting, while effective and inviting, also results in some lightly recycled instrumental ideas. Across All Tomorrow’s Darkness, melodies, rhythms, and pacing occasionally reach a level of homogeneity and eerie familiarity such that every now and again I lose my place. I imagine that this might be on purpose, perhaps to reinforce an impression of liminal space and limbo that often manifests in the grieving process. If so, I’m not certain that Liminal Sky’s songwriting scaffolded that concept—outside of standout examples in “In Some Secret Universe” and “Algebra of Unknowing”—well enough to have the desired effect. Instead, and especially after multiple spins, it negatively impacts recall and weakens the album’s memorability.

Liminal Sky rekindled something inside me that I had forgotten after years apart from this little corner of the post world. In spite of its slow and soft approach, All Tomorrow’s Darkness strikes the spirit with accuracy and emotional heft. What few minor songwriting weaknesses it displays on occasion constitute an easily overcome obstacle to my appreciation of the experience. If anything, those very flaws help showcase how well-conceived and thoughtfully executed Liminal Sky’s debut is everywhere else. Imperfect, but easy to listen to and devastating to hear, All Tomorrow’s Darkness bears the soul of its creators with a candid vulnerability worth taking to heart.

Rating: Very Good!
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Karisma Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 19th, 2026

Born of the ashes of former project Messenger, UK post-rock duo Liminal Sky, comprised of Jaime Gomez Arellano and Daniel Knight—and featuring Mat McNerney (Hexvessel, ex-Beastmilk), Kristoffer Rygg (Ulver), Anders Møller, Karin Park (Årabrot), Daniel O’Sullivan, Lars Horntveth, Alicia Nurho, Tore Ylwizaker, Ole Alexander Halstensgård, and Matt Rozeik—represents the next chapter in Arellano’s and Knight’s creative vision. Occupying a desolate space in the post realm that I haven’t covered in an official capacity since Latitudes dropped Part Island, upcoming debut All Tomorrow’s Darkness struck me in much the same way. Beautiful, inconsolable, tender, and graceful, Liminal Sky tugged at my heartstrings and called to my spirit.

An emotional and loving affair, All Tomorrow’s Darkness owes its gravity and poignancy to primary vocalist and lyricist Mat McNerney, impassioned by the recent loss of his mother. While it’s very clearly heard in McNerney’s vocal delivery across the record, Liminal Sky’s songwriting too reflects that heartbreak with crystalline clarity. Especially in their longer form compositions (“In Some Secret Universe,” “Algebra of Unknowing,” “All Tomorrow’s Darkness”), sweeping arcs and delicate plucked melodies inform the shape of mourning, of catharsis, of release, and of loss that All Tomorrow’s Darkness embodies. Its more energetic cuts (“A Solitary Future,” “Forget Me Not”) don’t disturb that shape, but rather recontextualize it as if to emphasize the unpredictable nature of grieving. As a whole, All Tomorrow’s Darkness represents a highly intelligent, deeply thoughtful, and highly resonant experience that offers its heart to those who would hear it, in the hopes that they would hold it with warmth and understanding.

Nowhere is this intimacy more effectively conjured than in centerpiece “Penance,” featuring Karin Park’s soothing croon. It is a stunning work, reminiscent of White Ward and Latitudes at their softest, but especially sorrowful, almost regretful. There’s a pain to this song which echoes some of the hardest processes that come with mourning the loss of a loved one, and it brings greater substance to its more energetic companion piece, “The Weight of Heaven.” In some strange alchemy, hookiness and subtle bounce fit “The Weight of Heaven” like a glove, almost as if the upshot of weathering the storm is clarity, acceptance, even hope. And yet, existential uncertainty and an ominous foreshadowing persist as undercurrent through songs like “Algebra of Unknowing” and “Oar on the Mooring” to remind the listener that clarity, that acceptance, and that hope is fragile. To further personify this message, All Tomorrow’s Darkness glides gently through all of these movements with a floatiness that belies its forlorn, heavy heart.

As a result of such fluidity, my perception of All Tomorrow’s Darkness’ hour-long expanse warps and shrinks. This, in turn, makes what should be a difficult, emotionally taxing experience remarkably easy to revisit. Its accessibility granted by direct, uncomplicated songwriting also affords a certain approachability that helps open up a listener not only to receive something so deeply steeped in pain and anguish, but also to respond in sympathetic release. That same simple songwriting, while effective and inviting, also results in some lightly recycled instrumental ideas. Across All Tomorrow’s Darkness, melodies, rhythms, and pacing occasionally reach a level of homogeneity and eerie familiarity such that every now and again I lose my place. I imagine that this might be on purpose, perhaps to reinforce an impression of liminal space and limbo that often manifests in the grieving process. If so, I’m not certain that Liminal Sky’s songwriting scaffolded that concept—outside of standout examples in “In Some Secret Universe” and “Algebra of Unknowing”—well enough to have the desired effect. Instead, and especially after multiple spins, it negatively impacts recall and weakens the album’s memorability.

Liminal Sky rekindled something inside me that I had forgotten after years apart from this little corner of the post world. In spite of its slow and soft approach, All Tomorrow’s Darkness strikes the spirit with accuracy and emotional heft. What few minor songwriting weaknesses it displays on occasion constitute an easily overcome obstacle to my appreciation of the experience. If anything, those very flaws help showcase how well-conceived and thoughtfully executed Liminal Sky’s debut is everywhere else. Imperfect, but easy to listen to and devastating to hear, All Tomorrow’s Darkness bears the soul of its creators with a candid vulnerability worth taking to heart.

Rating: Very Good!
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Karisma Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 19th, 2026

Born of the ashes of former project Messenger, UK post-rock duo Liminal Sky, comprised of Jaime Gomez Arellano and Daniel Knight—and featuring Mat McNerney (Hexvessel, ex-Beastmilk), Kristoffer Rygg (Ulver), Anders Møller, Karin Park (Årabrot), Daniel O’Sullivan, Lars Horntveth, Alicia Nurho, Tore Ylwizaker, Ole Alexander Halstensgård, and Matt Rozeik—represents the next chapter in Arellano’s and Knight’s creative vision. Occupying a desolate space in the post realm that I haven’t covered in an official capacity since Latitudes dropped Part Island, upcoming debut All Tomorrow’s Darkness struck me in much the same way. Beautiful, inconsolable, tender, and graceful, Liminal Sky tugged at my heartstrings and called to my spirit.

An emotional and loving affair, All Tomorrow’s Darkness owes its gravity and poignancy to primary vocalist and lyricist Mat McNerney, impassioned by the recent loss of his mother. While it’s very clearly heard in McNerney’s vocal delivery across the record, Liminal Sky’s songwriting too reflects that heartbreak with crystalline clarity. Especially in their longer form compositions (“In Some Secret Universe,” “Algebra of Unknowing,” “All Tomorrow’s Darkness”), sweeping arcs and delicate plucked melodies inform the shape of mourning, of catharsis, of release, and of loss that All Tomorrow’s Darkness embodies. Its more energetic cuts (“A Solitary Future,” “Forget Me Not”) don’t disturb that shape, but rather recontextualize it as if to emphasize the unpredictable nature of grieving. As a whole, All Tomorrow’s Darkness represents a highly intelligent, deeply thoughtful, and highly resonant experience that offers its heart to those who would hear it, in the hopes that they would hold it with warmth and understanding.

Nowhere is this intimacy more effectively conjured than in centerpiece “Penance,” featuring Karin Park’s soothing croon. It is a stunning work, reminiscent of White Ward and Latitudes at their softest, but especially sorrowful, almost regretful. There’s a pain to this song which echoes some of the hardest processes that come with mourning the loss of a loved one, and it brings greater substance to its more energetic companion piece, “The Weight of Heaven.” In some strange alchemy, hookiness and subtle bounce fit “The Weight of Heaven” like a glove, almost as if the upshot of weathering the storm is clarity, acceptance, even hope. And yet, existential uncertainty and an ominous foreshadowing persist as undercurrent through songs like “Algebra of Unknowing” and “Oar on the Mooring” to remind the listener that clarity, that acceptance, and that hope is fragile. To further personify this message, All Tomorrow’s Darkness glides gently through all of these movements with a floatiness that belies its forlorn, heavy heart.

As a result of such fluidity, my perception of All Tomorrow’s Darkness’ hour-long expanse warps and shrinks. This, in turn, makes what should be a difficult, emotionally taxing experience remarkably easy to revisit. Its accessibility granted by direct, uncomplicated songwriting also affords a certain approachability that helps open up a listener not only to receive something so deeply steeped in pain and anguish, but also to respond in sympathetic release. That same simple songwriting, while effective and inviting, also results in some lightly recycled instrumental ideas. Across All Tomorrow’s Darkness, melodies, rhythms, and pacing occasionally reach a level of homogeneity and eerie familiarity such that every now and again I lose my place. I imagine that this might be on purpose, perhaps to reinforce an impression of liminal space and limbo that often manifests in the grieving process. If so, I’m not certain that Liminal Sky’s songwriting scaffolded that concept—outside of standout examples in “In Some Secret Universe” and “Algebra of Unknowing”—well enough to have the desired effect. Instead, and especially after multiple spins, it negatively impacts recall and weakens the album’s memorability.

Liminal Sky rekindled something inside me that I had forgotten after years apart from this little corner of the post world. In spite of its slow and soft approach, All Tomorrow’s Darkness strikes the spirit with accuracy and emotional heft. What few minor songwriting weaknesses it displays on occasion constitute an easily overcome obstacle to my appreciation of the experience. If anything, those very flaws help showcase how well-conceived and thoughtfully executed Liminal Sky’s debut is everywhere else. Imperfect, but easy to listen to and devastating to hear, All Tomorrow’s Darkness bears the soul of its creators with a candid vulnerability worth taking to heart.

Rating: Very Good!
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Karisma Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 19th, 2026

Born of the ashes of former project Messenger, UK post-rock duo Liminal Sky, comprised of Jaime Gomez Arellano and Daniel Knight—and featuring Mat McNerney (Hexvessel, ex-Beastmilk), Kristoffer Rygg (Ulver), Anders Møller, Karin Park (Årabrot), Daniel O’Sullivan, Lars Horntveth, Alicia Nurho, Tore Ylwizaker, Ole Alexander Halstensgård, and Matt Rozeik—represents the next chapter in Arellano’s and Knight’s creative vision. Occupying a desolate space in the post realm that I haven’t covered in an official capacity since Latitudes dropped Part Island, upcoming debut All Tomorrow’s Darkness struck me in much the same way. Beautiful, inconsolable, tender, and graceful, Liminal Sky tugged at my heartstrings and called to my spirit.

An emotional and loving affair, All Tomorrow’s Darkness owes its gravity and poignancy to primary vocalist and lyricist Mat McNerney, impassioned by the recent loss of his mother. While it’s very clearly heard in McNerney’s vocal delivery across the record, Liminal Sky’s songwriting too reflects that heartbreak with crystalline clarity. Especially in their longer form compositions (“In Some Secret Universe,” “Algebra of Unknowing,” “All Tomorrow’s Darkness”), sweeping arcs and delicate plucked melodies inform the shape of mourning, of catharsis, of release, and of loss that All Tomorrow’s Darkness embodies. Its more energetic cuts (“A Solitary Future,” “Forget Me Not”) don’t disturb that shape, but rather recontextualize it as if to emphasize the unpredictable nature of grieving. As a whole, All Tomorrow’s Darkness represents a highly intelligent, deeply thoughtful, and highly resonant experience that offers its heart to those who would hear it, in the hopes that they would hold it with warmth and understanding.

Nowhere is this intimacy more effectively conjured than in centerpiece “Penance,” featuring Karin Park’s soothing croon. It is a stunning work, reminiscent of White Ward and Latitudes at their softest, but especially sorrowful, almost regretful. There’s a pain to this song which echoes some of the hardest processes that come with mourning the loss of a loved one, and it brings greater substance to its more energetic companion piece, “The Weight of Heaven.” In some strange alchemy, hookiness and subtle bounce fit “The Weight of Heaven” like a glove, almost as if the upshot of weathering the storm is clarity, acceptance, even hope. And yet, existential uncertainty and an ominous foreshadowing persist as undercurrent through songs like “Algebra of Unknowing” and “Oar on the Mooring” to remind the listener that clarity, that acceptance, and that hope is fragile. To further personify this message, All Tomorrow’s Darkness glides gently through all of these movements with a floatiness that belies its forlorn, heavy heart.

As a result of such fluidity, my perception of All Tomorrow’s Darkness’ hour-long expanse warps and shrinks. This, in turn, makes what should be a difficult, emotionally taxing experience remarkably easy to revisit. Its accessibility granted by direct, uncomplicated songwriting also affords a certain approachability that helps open up a listener not only to receive something so deeply steeped in pain and anguish, but also to respond in sympathetic release. That same simple songwriting, while effective and inviting, also results in some lightly recycled instrumental ideas. Across All Tomorrow’s Darkness, melodies, rhythms, and pacing occasionally reach a level of homogeneity and eerie familiarity such that every now and again I lose my place. I imagine that this might be on purpose, perhaps to reinforce an impression of liminal space and limbo that often manifests in the grieving process. If so, I’m not certain that Liminal Sky’s songwriting scaffolded that concept—outside of standout examples in “In Some Secret Universe” and “Algebra of Unknowing”—well enough to have the desired effect. Instead, and especially after multiple spins, it negatively impacts recall and weakens the album’s memorability.

Liminal Sky rekindled something inside me that I had forgotten after years apart from this little corner of the post world. In spite of its slow and soft approach, All Tomorrow’s Darkness strikes the spirit with accuracy and emotional heft. What few minor songwriting weaknesses it displays on occasion constitute an easily overcome obstacle to my appreciation of the experience. If anything, those very flaws help showcase how well-conceived and thoughtfully executed Liminal Sky’s debut is everywhere else. Imperfect, but easy to listen to and devastating to hear, All Tomorrow’s Darkness bears the soul of its creators with a candid vulnerability worth taking to heart.

Rating: Very Good!
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Karisma Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 19th, 2026

Lars Fredrik Frøislie – Quattro Racconti
(#SymphonicRock #ProgRock / #KarismaRecords)
by @oranje1986

Es ist vertrautes Material, das in ein völlig anderes Licht taucht und dabei eindrucksvoll zeigt, wie wandelbar und vielschichtig progressiver Rock sein kann. Der entscheidende Faktor liegt in der Zusammenarbeit mit Stefano „Lupo“ Galifi, dessen italienischer Gesang den vier Stücken – den „Racconti“, also Erzählungen – eine neue narrative und emotionale Ebene verleiht.

https://vinyl-keks.eu/lars-fredrik-froislie-quattro-racconti/

Lars Fredrik Frøislie – Quattro Racconti
(#SymphonicRock #ProgRock / #KarismaRecords)
by @oranje1986

Es ist vertrautes Material, das in ein völlig anderes Licht taucht und dabei eindrucksvoll zeigt, wie wandelbar und vielschichtig progressiver Rock sein kann. Der entscheidende Faktor liegt in der Zusammenarbeit mit Stefano „Lupo“ Galifi, dessen italienischer Gesang den vier Stücken – den „Racconti“, also Erzählungen – eine neue narrative und emotionale Ebene verleiht.

https://vinyl-keks.eu/lars-fredrik-froislie-quattro-racconti/

New #review: "As of early 2026, #Agusa has released seven studio and two live albums going back to 2014, but it’s only with the reissue of their debut on #KarismaRecords that I’m hearing them. Högtid presents five tracks of great instrumental #ProgressiveRock that certainly calls to mind the classic 70s era, but is played with such skill and imagination that it doesn’t sound dated." #ExposeOnline http://expose.org/index.php/articles/display/agusa-hogtid-2.html

New #review: "As of early 2026, #Agusa has released seven studio and two live albums going back to 2014, but it’s only with the reissue of their debut on #KarismaRecords that I’m hearing them. Högtid presents five tracks of great instrumental #ProgressiveRock that certainly calls to mind the classic 70s era, but is played with such skill and imagination that it doesn’t sound dated." #ExposeOnline http://expose.org/index.php/articles/display/agusa-hogtid-2.html

New #review: "As of early 2026, #Agusa has released seven studio and two live albums going back to 2014, but it’s only with the reissue of their debut on #KarismaRecords that I’m hearing them. Högtid presents five tracks of great instrumental #ProgressiveRock that certainly calls to mind the classic 70s era, but is played with such skill and imagination that it doesn’t sound dated." #ExposeOnline http://expose.org/index.php/articles/display/agusa-hogtid-2.html

White Willow – Terminal Twilight
(Prog Rock / Karisma Records)
by Marcel

Fazit: „Terminal Twilight“ von #WhiteWillow ist auch in der remastered Version eine Ohrenweide. Die Lieder sind Geschichten, sowohl textlich als auch musikalisch, nein eher kompositorisch, und sehr unterhaltsam, wenn auch auf eine düstere Art und Weise. 

Käuflich erwerben könnt ihr die Platte bei eurem Local Dealer oder auch beispielsweise direkt beim Label. #KarismaRecords

https://vinyl-keks.eu/white-willow-terminal-twilight/

#vinyl #review #music

White Willow – Terminal Twilight
(Prog Rock / Karisma Records)
by Marcel

Fazit: „Terminal Twilight“ von #WhiteWillow ist auch in der remastered Version eine Ohrenweide. Die Lieder sind Geschichten, sowohl textlich als auch musikalisch, nein eher kompositorisch, und sehr unterhaltsam, wenn auch auf eine düstere Art und Weise. 

Käuflich erwerben könnt ihr die Platte bei eurem Local Dealer oder auch beispielsweise direkt beim Label. #KarismaRecords

https://vinyl-keks.eu/white-willow-terminal-twilight/

#vinyl #review #music

White Willow – Terminal Twilight
(Prog Rock / Karisma Records)
by Marcel

Fazit: „Terminal Twilight“ von #WhiteWillow ist auch in der remastered Version eine Ohrenweide. Die Lieder sind Geschichten, sowohl textlich als auch musikalisch, nein eher kompositorisch, und sehr unterhaltsam, wenn auch auf eine düstere Art und Weise. 

Käuflich erwerben könnt ihr die Platte bei eurem Local Dealer oder auch beispielsweise direkt beim Label. #KarismaRecords

https://vinyl-keks.eu/white-willow-terminal-twilight/

#vinyl #review #music

Recensie: Airbag – Dysphoria (Live In The Netherlands) ★★★★
https://writteninmusic.com/albumrecensie/airbag-dysphoria-live-in-the-netherlands/

#Music #Rock #Airbag #Karismarecords #KarismaRecords

Recensie: Airbag – Dysphoria (Live In The Netherlands) ★★★★
https://writteninmusic.com/albumrecensie/airbag-dysphoria-live-in-the-netherlands/

#Music #Rock #Airbag #Karismarecords #KarismaRecords

New #review today: "#MagicPie is now up to their sixth album, and once again, it’s a tasty set of music that’s infused with a lot of the sounds of classic 70s rock that doesn’t sound nostalgic. Of course, nostalgia is in the eye of the beholder, but there are enough modern touches in Maestro to lift it out of retro fetishism." #ExposeOnline #ProgressiveRock #KarismaRecords http://expose.org/index.php/articles/display/magic-pie-maestro-2.html

New #review today: "#MagicPie is now up to their sixth album, and once again, it’s a tasty set of music that’s infused with a lot of the sounds of classic 70s rock that doesn’t sound nostalgic. Of course, nostalgia is in the eye of the beholder, but there are enough modern touches in Maestro to lift it out of retro fetishism." #ExposeOnline #ProgressiveRock #KarismaRecords http://expose.org/index.php/articles/display/magic-pie-maestro-2.html

New #review today: "#MagicPie is now up to their sixth album, and once again, it’s a tasty set of music that’s infused with a lot of the sounds of classic 70s rock that doesn’t sound nostalgic. Of course, nostalgia is in the eye of the beholder, but there are enough modern touches in Maestro to lift it out of retro fetishism." #ExposeOnline #ProgressiveRock #KarismaRecords http://expose.org/index.php/articles/display/magic-pie-maestro-2.html

New #review today: "#MagicPie is now up to their sixth album, and once again, it’s a tasty set of music that’s infused with a lot of the sounds of classic 70s rock that doesn’t sound nostalgic. Of course, nostalgia is in the eye of the beholder, but there are enough modern touches in Maestro to lift it out of retro fetishism." #ExposeOnline #ProgressiveRock #KarismaRecords http://expose.org/index.php/articles/display/magic-pie-maestro-2.html

Magic Pie – Maestro
(Symphonic Rock, Prog-Rock / Karisma Records)
by Stephan

Das Album bestätigt die Handschrift von Magic Pie und bietet eine abwechslungsreiche Hörerfahrung, die sowohl eingefleischte Prog-Fans als auch ein breiteres Publikum ansprechen kann.

https://vinyl-keks.eu/magic-pie-maestro/

#review #vinyl #magicpie #karismarecords

Bjørn Riis – Fimbulvinter
(Progressive Rock / Karisma Records)
by Maik Lenze

Persönlich mag ich die Länge der einzelnen Tracks sehr. Ausgenommen des Intros pendeln sie zwischen 6:30 und fast 11 Minuten. Ein echter Traum für Hörer*innen, die sich darauf einlassen möchten. Die Songs sind auch in sich selbst abwechslungsreich und überraschen durch unerwartete Tempowechsel oder den Einsatz neuer Instrumente.

https://vinyl-keks.eu/bjorn-riis-fimbulvinter/

#bjornriis #vinyl #review #karismarecords

Bjørn Riis – Fimbulvinter
(Progressive Rock / Karisma Records)
by Maik Lenze

Persönlich mag ich die Länge der einzelnen Tracks sehr. Ausgenommen des Intros pendeln sie zwischen 6:30 und fast 11 Minuten. Ein echter Traum für Hörer*innen, die sich darauf einlassen möchten. Die Songs sind auch in sich selbst abwechslungsreich und überraschen durch unerwartete Tempowechsel oder den Einsatz neuer Instrumente.

https://vinyl-keks.eu/bjorn-riis-fimbulvinter/

#bjornriis #vinyl #review #karismarecords

New #review today: "While #Oak's previous album The Quiet Rebellion of Compromise dealt with suicide and featured introspective music heavily influenced by Steven Wilson and #PorcupineTree, their new album The Third Sleep, takes the band into slightly brighter territory." #ExposeOnline #ProgressiveRock #KarismaRecords http://expose.org/index.php/articles/display/oak-the-third-sleep-6.html

New #review today: "While #Oak's previous album The Quiet Rebellion of Compromise dealt with suicide and featured introspective music heavily influenced by Steven Wilson and #PorcupineTree, their new album The Third Sleep, takes the band into slightly brighter territory." #ExposeOnline #ProgressiveRock #KarismaRecords http://expose.org/index.php/articles/display/oak-the-third-sleep-6.html

New #review today: "While #Oak's previous album The Quiet Rebellion of Compromise dealt with suicide and featured introspective music heavily influenced by Steven Wilson and #PorcupineTree, their new album The Third Sleep, takes the band into slightly brighter territory." #ExposeOnline #ProgressiveRock #KarismaRecords http://expose.org/index.php/articles/display/oak-the-third-sleep-6.html

New #review today: "While #Oak's previous album The Quiet Rebellion of Compromise dealt with suicide and featured introspective music heavily influenced by Steven Wilson and #PorcupineTree, their new album The Third Sleep, takes the band into slightly brighter territory." #ExposeOnline #ProgressiveRock #KarismaRecords http://expose.org/index.php/articles/display/oak-the-third-sleep-6.html

Recensie: Bjørn Riis- Fimbulvinter (EN) ★★★★½
https://writteninmusic.com/albumrecensie/bjorn-riis-fimbulvinter-en/

#Music #Rock #BjørnRiis #Karismarecords #PlasticHead

Recensie: Bjørn Riis- Fimbulvinter (EN) ★★★★½
https://writteninmusic.com/albumrecensie/bjorn-riis-fimbulvinter-en/

#Music #Rock #BjørnRiis #Karismarecords #PlasticHead

Recensie: Bjørn Riis- Fimbulvinter (EN) ★★★★½
https://writteninmusic.com/albumrecensie/bjorn-riis-fimbulvinter-en/

#Music #Rock #BjørnRiis #Karismarecords #PlasticHead

Recensie: Bjørn Riis – Fimbulvinter ★★★★½
https://writteninmusic.com/albumrecensie/bjorn-riis-fimbulvinter/

#Music #Rock #BjørnRiis #Karismarecords #PlasticHead

Recensie: Bjørn Riis – Fimbulvinter ★★★★½
https://writteninmusic.com/albumrecensie/bjorn-riis-fimbulvinter/

#Music #Rock #BjørnRiis #Karismarecords #PlasticHead

Recensie: Bjørn Riis – Fimbulvinter ★★★★½
https://writteninmusic.com/albumrecensie/bjorn-riis-fimbulvinter/

#Music #Rock #BjørnRiis #Karismarecords #PlasticHead

Recensie: OAK – False Memory Archive ★★★★½
https://writteninmusic.com/albumrecensie/oak-false-memory-archive/

#Music # #OAK #Karismarecords #PlasticHead

Recensie: OAK – False Memory Archive ★★★★½
https://writteninmusic.com/albumrecensie/oak-false-memory-archive/

#Music # #OAK #Karismarecords #PlasticHead

Recensie: OAK – False Memory Archive ★★★★½
https://writteninmusic.com/albumrecensie/oak-false-memory-archive/

#Music # #OAK #Karismarecords #PlasticHead

Recensie: OAK – The Third Sleep ★★★★½
https://writteninmusic.com/albumrecensie/oak-the-third-sleep/

#Music #Alternative #OAK #Karismarecords #KarismaRecords

#NewRelease: #Tusmørke - En pakt med naturen. First live album from Norwegian #ProgressiveRock masters out 9 May 2025 on #KarismaRecords https://tusm-rke.bandcamp.com/album/en-pakt-med-naturen

#NewRelease: #Tusmørke - En pakt med naturen. First live album from Norwegian #ProgressiveRock masters out 9 May 2025 on #KarismaRecords https://tusm-rke.bandcamp.com/album/en-pakt-med-naturen

#NewRelease: #Tusmørke - En pakt med naturen. First live album from Norwegian #ProgressiveRock masters out 9 May 2025 on #KarismaRecords https://tusm-rke.bandcamp.com/album/en-pakt-med-naturen

#NewRelease: #Tusmørke - En pakt med naturen. First live album from Norwegian #ProgressiveRock masters out 9 May 2025 on #KarismaRecords https://tusm-rke.bandcamp.com/album/en-pakt-med-naturen

#NewRelease: #LarsFredrikFrøislie - Gamle Mester out 9 May 2024 on #KarismaRecords top shelf #ProgressiveRock https://larsfredrikfroislie.bandcamp.com/album/gamle-mester

#NewRelease: #LarsFredrikFrøislie - Gamle Mester out 9 May 2024 on #KarismaRecords top shelf #ProgressiveRock https://larsfredrikfroislie.bandcamp.com/album/gamle-mester

#NewRelease: #LarsFredrikFrøislie - Gamle Mester out 9 May 2024 on #KarismaRecords top shelf #ProgressiveRock https://larsfredrikfroislie.bandcamp.com/album/gamle-mester

#NewRelease: #LarsFredrikFrøislie - Gamle Mester out 9 May 2024 on #KarismaRecords top shelf #ProgressiveRock https://larsfredrikfroislie.bandcamp.com/album/gamle-mester

#NewRelease #MagicPie - Maestro out 16 May 2025 on #KarismaRecords https://magicpie.bandcamp.com/album/maestro

#NewRelease #MagicPie - Maestro out 16 May 2025 on #KarismaRecords https://magicpie.bandcamp.com/album/maestro

#NewRelease #MagicPie - Maestro out 16 May 2025 on #KarismaRecords https://magicpie.bandcamp.com/album/maestro

#NewRelease #MagicPie - Maestro out 16 May 2025 on #KarismaRecords https://magicpie.bandcamp.com/album/maestro

#newRelease: #Oak - The Third Sleep out 25 April 2025 on #KarismaRecords https://www.youtube.com/watch?v=qugdw8-DujA

#newRelease: #Oak - The Third Sleep out 25 April 2025 on #KarismaRecords https://www.youtube.com/watch?v=qugdw8-DujA

#newRelease: #Oak - The Third Sleep out 25 April 2025 on #KarismaRecords https://www.youtube.com/watch?v=qugdw8-DujA

#newRelease: #Oak - The Third Sleep out 25 April 2025 on #KarismaRecords https://www.youtube.com/watch?v=qugdw8-DujA

New #review today: "#TheVerge, a new Norwegian #JazzRock quartet, met at school and performed their first concerts in 2019. The band consists of Emil Storløkken Åse on guitar, Aksel Rønning from #CosmicSwingOrchestra on saxophone and flute, Alf Høines from #Caramel11 on electric bass, and Ingvald André Vassbø from #Kanaan, #FullEarth, and #Motorpsycho on drums." #ExposeOnline #KarismaRecords http://expose.org/index.php/articles/display/the-verge-the-verge-6.html

New #review today: "#TheVerge, a new Norwegian #JazzRock quartet, met at school and performed their first concerts in 2019. The band consists of Emil Storløkken Åse on guitar, Aksel Rønning from #CosmicSwingOrchestra on saxophone and flute, Alf Høines from #Caramel11 on electric bass, and Ingvald André Vassbø from #Kanaan, #FullEarth, and #Motorpsycho on drums." #ExposeOnline #KarismaRecords http://expose.org/index.php/articles/display/the-verge-the-verge-6.html

New #review today: "#TheVerge, a new Norwegian #JazzRock quartet, met at school and performed their first concerts in 2019. The band consists of Emil Storløkken Åse on guitar, Aksel Rønning from #CosmicSwingOrchestra on saxophone and flute, Alf Høines from #Caramel11 on electric bass, and Ingvald André Vassbø from #Kanaan, #FullEarth, and #Motorpsycho on drums." #ExposeOnline #KarismaRecords http://expose.org/index.php/articles/display/the-verge-the-verge-6.html

New #review today: "#TheVerge, a new Norwegian #JazzRock quartet, met at school and performed their first concerts in 2019. The band consists of Emil Storløkken Åse on guitar, Aksel Rønning from #CosmicSwingOrchestra on saxophone and flute, Alf Høines from #Caramel11 on electric bass, and Ingvald André Vassbø from #Kanaan, #FullEarth, and #Motorpsycho on drums." #ExposeOnline #KarismaRecords http://expose.org/index.php/articles/display/the-verge-the-verge-6.html