|
|
|
|
viewing 1 To 9 of 9 items
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
TWOGTL 130CD
|
$19.00
PREORDER
RELEASE DATE: 6/13/2025
The guitars are out, and the knives are drawn. To the galloping rhythm of a world spiraling out of control, The Young Gods take aim and strike with renewed power. From the very first second of Appear Disappear, the six-string tears through space, baring its fangs in an electric howl. The trio has returned to its most aggressive fundamentals, to its art of sonic warfare -- never superfluous when war is everywhere. Rarely has a Young Gods album been so deeply infused with its era-one of military conflicts, mass surveillance, and intimate dramas. Since their inception in 1985, the band has pioneered musical landscapes that dared to fuse the raw urgency of rock with the power of electronics. Appear Disappear captures that beating heart. The Young Gods honor their own history as much as their lifelong influences, from psychedelic rock to postpunk, from the swirling "Intertidal" to the industrial rolls of "Systemized." In both its themes and intensity, it plunges into the heart of the trap, into "the brain of the monster." But it is not impossible to confront it. Appear Disappear is a reflection on human involvement in the world's problems and its ability to take a stand. Propelled skyward by the electro pulse of Cesare Pizzi (sampling, electronics) and the pounding drums of Bernard Trontin, "Mes yeux de tous" unfolds the same dizzying question: "How do we avoid being swallowed by the 'cloud' we ourselves feed?" The bass undulates and sways, like a silent revolt spreading through the streets. But Appear Disappear is also -- and above all -- a record about love. A collective chant, created in jam sessions by a trio more united than ever, and an ode from Franz Treichler to his wife Heleen, who passed away in 2023. Love is shouted, it overturns everything. "Blue Me Away" reserves the album's most beautiful explosions, its rawest bursts of sound.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP+CD
|
|
TWOGTL 130LP
|
$30.50
PREORDER
RELEASE DATE: 6/13/2025
LP + CD version. The guitars are out, and the knives are drawn. To the galloping rhythm of a world spiraling out of control, The Young Gods take aim and strike with renewed power. From the very first second of Appear Disappear, the six-string tears through space, baring its fangs in an electric howl. The trio has returned to its most aggressive fundamentals, to its art of sonic warfare -- never superfluous when war is everywhere. Rarely has a Young Gods album been so deeply infused with its era-one of military conflicts, mass surveillance, and intimate dramas. Since their inception in 1985, the band has pioneered musical landscapes that dared to fuse the raw urgency of rock with the power of electronics. Appear Disappear captures that beating heart. The Young Gods honor their own history as much as their lifelong influences, from psychedelic rock to postpunk, from the swirling "Intertidal" to the industrial rolls of "Systemized." In both its themes and intensity, it plunges into the heart of the trap, into "the brain of the monster." But it is not impossible to confront it. Appear Disappear is a reflection on human involvement in the world's problems and its ability to take a stand. Propelled skyward by the electro pulse of Cesare Pizzi (sampling, electronics) and the pounding drums of Bernard Trontin, "Mes yeux de tous" unfolds the same dizzying question: "How do we avoid being swallowed by the 'cloud' we ourselves feed?" The bass undulates and sways, like a silent revolt spreading through the streets. But Appear Disappear is also -- and above all -- a record about love. A collective chant, created in jam sessions by a trio more united than ever, and an ode from Franz Treichler to his wife Heleen, who passed away in 2023. Love is shouted, it overturns everything. "Blue Me Away" reserves the album's most beautiful explosions, its rawest bursts of sound.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP+CD
|
|
TWOGTL 130-12LP
|
$33.00
PREORDER
RELEASE DATE: 6/13/2025
LP + CD version. Color vinyl. The guitars are out, and the knives are drawn. To the galloping rhythm of a world spiraling out of control, The Young Gods take aim and strike with renewed power. From the very first second of Appear Disappear, the six-string tears through space, baring its fangs in an electric howl. The trio has returned to its most aggressive fundamentals, to its art of sonic warfare -- never superfluous when war is everywhere. Rarely has a Young Gods album been so deeply infused with its era-one of military conflicts, mass surveillance, and intimate dramas. Since their inception in 1985, the band has pioneered musical landscapes that dared to fuse the raw urgency of rock with the power of electronics. Appear Disappear captures that beating heart. The Young Gods honor their own history as much as their lifelong influences, from psychedelic rock to postpunk, from the swirling "Intertidal" to the industrial rolls of "Systemized." In both its themes and intensity, it plunges into the heart of the trap, into "the brain of the monster." But it is not impossible to confront it. Appear Disappear is a reflection on human involvement in the world's problems and its ability to take a stand. Propelled skyward by the electro pulse of Cesare Pizzi (sampling, electronics) and the pounding drums of Bernard Trontin, "Mes yeux de tous" unfolds the same dizzying question: "How do we avoid being swallowed by the 'cloud' we ourselves feed?" The bass undulates and sways, like a silent revolt spreading through the streets. But Appear Disappear is also -- and above all -- a record about love. A collective chant, created in jam sessions by a trio more united than ever, and an ode from Franz Treichler to his wife Heleen, who passed away in 2023. Love is shouted, it overturns everything. "Blue Me Away" reserves the album's most beautiful explosions, its rawest bursts of sound.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP+CD
|
|
TWOGTL 129LP
|
Swiss rock band The Young Gods present the vinyl reissue of their acclaimed acoustic studio album Knock on Wood. Originally released in 2008, this album presents a captivating departure from the band's signature electronic sound. The reissue was remastered from the original 96kHz/24- bit files. With Knock on Wood (The Acoustic Sessions) the band offers acoustic renditions of some of their most beloved tracks including "Gasoline Man" and "Skinflowers," alongside stunning reinterpretations of classics by other artists. The tracklist features "Ghost Rider" by Suicide and "Freedom" by Richie Havens. This unique project was recorded with acoustic guitars and percussions, bringing a raw and intimate energy to the music. For this occasion, The Young Gods expanded their lineup, welcoming Geneva-based guitarist Vincent Hänni, whose contributions added depth and texture to the acoustic arrangements. Hänni's collaboration extended beyond the project, as he remained with the band until 2011. Now, with remastered audio sourced from the original high-resolution 96kHz/24-bit files, fans can experience these performances in unparalleled clarity. The rich sound quality combined with the immersive warmth of vinyl, makes this reissue a must-have for collectors and newcomers alike. Rediscover the acoustic brilliance of The Young Gods and celebrate the artistry of this timeless album.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP+CD
|
|
TWOGTL 101LP
|
2024 restock. The Young Gods release a record with Two Gentlemen, Play Terry Riley In C. Needless to say this is a fertile meeting between two monuments who have helped shape the cutting-edge music of the last few decades. Terry Riley, born in 1935, is the cornerstone on which a considerable number of artists have relied to liberate their relationship to the process and methods of creation. In the same way, The Young Gods revolutionized, from the second half of the 1980s, their relationship with rock music by converting guitars into samplers. Composed and premiered in 1964, In C is a major piece in the contemporary music repertoire of the second half of the 20th century, and a pivotal moment in its history. The score for In C is reduced to 53 musical phrases, which each musician must repeat in the order in which they appear, as many times as he or she wishes; the instrumentation is not specified; the impetus for the performance is not given by an orchestral direction, but by the musicians listening to one another. A perfectly open work, In C was the first work to offer a successful synthesis of repetition and variation. The Young Gods first approached In C in 2019 at the invitation of Benedikt Hayoz, director of the Landwehr wind orchestra in Freiburg -- this resulted in a performance of the work with 85 musicians. Other approaches were made with Ensemble Batida, a Geneva-based contemporary music collective, with the dance company Alias, and with the documentary filmmaker Peter Mettler, for his film Petropolis. In this album, The Young Gods offer a new interpretation of In C, as a trio and with their own sound vocabulary -- electronic instruments, drums, and guitars. They have chosen to follow the score and Terry Riley's indications, while allowing for some additional freedom, for example in terms of managing the sound intensity -- which evolves, in several long cycles, from almost silence to eruption and back again. They have also chosen to maintain a constant tempo throughout the live performance by building up a hypnotic flow and a continuous musical presence that meanders and oscillates in perpetually changing rings and atmospheres that transform in a perfectly fluid manner. By developing through a series of crescendos and decrescendos, by playing on the repeated addition and removal of musical phrases, by working sensitively on the sound quality (timbre, grain, alterations) of its elements, the piece aligns a series of ascents, ecstatic plateaus and lulls that give the work as a whole all the characteristics of a living form. Double LP version includes CD.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
TWOGTL 081LP
|
The Young Gods's classic debut album to be reissued on vinyl including a previously unreleased John Peel Session. Released in April 1987 on Organik and Wax Trax! Records, this sample-based record produced by Roli Mosimann is much more than an album, it is a phenomenon - a musical revolution which appears as a milestone in the alternative music scene. Hailed by international critics, The Young Gods received a unique attention from the British music press: "A firestorm, a total, catastrophic sweep across the scattered fragments of rock history and rock dilapidation, The Young Gods used sampling not out of some nostalgic sense of mischief but to whip up everything into a hurricane of charcoal. The ultimate in technology to release the most determinedly savage sound of the year. We repeat this is the future." --Melody Maker, Best Album of 1987. Remastered from the original recordings.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
TWOGTL 068LP
|
Repressed. The Young Gods' 2007 album, Super Ready / Fragmenté is finally released on vinyl. The twelve compositions of Super Ready / Fragmenté are of a pure sonic power. From the nasty rock song "I'm The Drug" or "Freeze", to the abstract "C'est quoi c'est ça", the playful "El Magnifico", the psychedelic and moving "Stay With Us", "Super Ready / Fragmenté" (nine minutes of sound journey and pivotal track on the album), The Young Gods have delivered a great album inhabited by Franz Treichler's clearer, warmer and more powerful voice. That being said, words are, as always, of paramount importance to the Gods. With the political and poetic "About Time", the group rises up against fear as a market value. Fear is a very current signature of today's world, recalls Franz Treichler. How many politicians get elected by selling fear by the kilo? Or describes, in detail, the relationship between the couple and the imaginary "Everythere". Super Ready / Fragmenté is one of those major albums that, behind a palpable sense of urgency and insecurity, is revealed and discovered through poisonous, disturbing and passionate listening. Artwork by IchetKar.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP+CD
|
|
TWOGTL 073LP
|
Double LP version. Includes CD. Under Franz Treichler's wings, huge, breathtaking panoramas unfurl like beautiful dreamscapes on the edge of sleep, a weightless dream that is both comforting and blackened with darkness. A return to known land, whose topography has been modified by time and age is what comprises the matrix of Data Mirage Tangram, the new Young Gods album. Eight years without a studio album; it was about time they followed up on Everybody Knows (2010) and addressed the period of "artistic confusion" -- in Treichler's own words -- that followed Al Comet's departure and replacement with original god Cesare Pizzi. The subsequent tour brought a breath of fresh air to the trio, revitalized by this return to their roots. Rock and electro avant-gardists are not known for their backward-looking attitude. Still, thirty years of uninterrupted activity, could only strengthen the gods' will to write a new chapter. Data Mirage Tangram was born in a basement amidst people. Treichler (lyrics, guitar, electronics), Pizzi (sampling, electronics), and Bernard Trontin (drums, percussion) accepted Cully Jazz's invitation to set up on the stage of the THBBC wine cellar for an open laboratory for the duration of the festival. "The audience came and went. We didn't feel obliged to present a finished product. It was really stimulating." At the end of the residence, the seven tracks of the album existed but their curves still needed to be shaped. The band incorporated the songs into their live repertoire, fine-tuning them for three years into their final structure, captured in Franz Treichler's studios and mixed on the console of English record producer Alan Moulder (Nine Inch Nails). The result is to be savored as a major album by The Young Gods and an addition to their multiple experiences as well as their shared DNA. Each track exists for itself while creating a coherent ensemble, a united journey in seven unique steps. In this digital world, which the gods explore like visionaries, the music breathes and breaks free, undulating on the string of a guitar that once again takes centre stage. How would one sum up the Young Gods' history? "A long road," says Treichler. A road that unfurls and stretches out to the horizon and its mirages.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TWOGTL 073CD
|
Under Franz Treichler's wings, huge, breathtaking panoramas unfurl like beautiful dreamscapes on the edge of sleep, a weightless dream that is both comforting and blackened with darkness. A return to known land, whose topography has been modified by time and age is what comprises the matrix of Data Mirage Tangram, the new Young Gods album. Eight years without a studio album; it was about time they followed up on Everybody Knows (2010) and addressed the period of "artistic confusion" -- in Treichler's own words -- that followed Al Comet's departure and replacement with original god Cesare Pizzi. The subsequent tour brought a breath of fresh air to the trio, revitalized by this return to their roots. Rock and electro avant-gardists are not known for their backward-looking attitude. Still, thirty years of uninterrupted activity, could only strengthen the gods' will to write a new chapter. Data Mirage Tangram was born in a basement amidst people. Treichler (lyrics, guitar, electronics), Pizzi (sampling, electronics), and Bernard Trontin (drums, percussion) accepted Cully Jazz's invitation to set up on the stage of the THBBC wine cellar for an open laboratory for the duration of the festival. "The audience came and went. We didn't feel obliged to present a finished product. It was really stimulating." At the end of the residence, the seven tracks of the album existed but their curves still needed to be shaped. The band incorporated the songs into their live repertoire, fine-tuning them for three years into their final structure, captured in Franz Treichler's studios and mixed on the console of English record producer Alan Moulder (Nine Inch Nails). The result is to be savored as a major album by The Young Gods and an addition to their multiple experiences as well as their shared DNA. Each track exists for itself while creating a coherent ensemble, a united journey in seven unique steps. In this digital world, which the gods explore like visionaries, the music breathes and breaks free, undulating on the string of a guitar that once again takes centre stage. How would one sum up the Young Gods' history? "A long road," says Treichler. A road that unfurls and stretches out to the horizon and its mirages.
|
|
|
|