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CD
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BB 483CD
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$16.50
PREORDER
RELEASE DATE: 10/24/2025
CV Vision returns with the follow-up to his last opus Im Tal der Stutzer and delivers his sixth studio album Release The Beast -- where he finds the sweet spot between psych rock, Detroit techno, fried synths, black metal and library music. Teaming up again with Swedish drummer Uno Bruniusson, CV Vision switched up the last production approach and opted for a return to previous studio methodologies. "I wanted to get a rougher sound on this record," he says. "I dug out my two broken reel-to-reel tape machines, and patched them together, like Frankenstein. That's what gels everything really -- there's different musical styles, but it's the tape machine that brings it all together, sound-wise." Release The Beast does indeed fly off in several directions over the course of fourteen tracks, and gives listeners an insight into the full spectrum of the CV Vision musical universe. Fuzzed-out backbeats and psych progressions establish the opening tracks, as the sweet harmonies of "RTB" and "The Rhythm" are offset by raw magnetic hiss. "Dungeon Drums I, II, III" draws on acid and early Detroit techno experiments, tapping into the cosmic elements of the Motor City's beatdown grooves (and even mediaeval black metal melodies) to bring out a krautrock twist. The second half of Release The Beast takes another turn with instrumental jams, like "Nikita's Tune" and "It's K-Jazz," that nod towards the psychedelic soul of David Axelrod and Rotary Connection, and the trippy DIY experiments of L.G. Mair, Jr. Closing out the album, CV Vision lays down the bluesy stomper "Town Talk" and distorted motorik workout "The Jam" next to the folky incantation of "Brickwall Symphony" and stacked layers of heavy guitars on "Go Your Way." While Release The Beast is a varied tapestry of sounds and styles, there's a common thread running through it all. The cover art depicts the boarded-up entrance of a Berlin stairwell, surrounded by the burnt-out debris of a long-forgotten party.
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LP
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BB 483LP
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$26.00
PREORDER
RELEASE DATE: 10/24/2025
LP version. CV Vision returns with the follow-up to his last opus Im Tal der Stutzer and delivers his sixth studio album Release The Beast -- where he finds the sweet spot between psych rock, Detroit techno, fried synths, black metal and library music. Teaming up again with Swedish drummer Uno Bruniusson, CV Vision switched up the last production approach and opted for a return to previous studio methodologies. "I wanted to get a rougher sound on this record," he says. "I dug out my two broken reel-to-reel tape machines, and patched them together, like Frankenstein. That's what gels everything really -- there's different musical styles, but it's the tape machine that brings it all together, sound-wise." Release The Beast does indeed fly off in several directions over the course of fourteen tracks, and gives listeners an insight into the full spectrum of the CV Vision musical universe. Fuzzed-out backbeats and psych progressions establish the opening tracks, as the sweet harmonies of "RTB" and "The Rhythm" are offset by raw magnetic hiss. "Dungeon Drums I, II, III" draws on acid and early Detroit techno experiments, tapping into the cosmic elements of the Motor City's beatdown grooves (and even mediaeval black metal melodies) to bring out a krautrock twist. The second half of Release The Beast takes another turn with instrumental jams, like "Nikita's Tune" and "It's K-Jazz," that nod towards the psychedelic soul of David Axelrod and Rotary Connection, and the trippy DIY experiments of L.G. Mair, Jr. Closing out the album, CV Vision lays down the bluesy stomper "Town Talk" and distorted motorik workout "The Jam" next to the folky incantation of "Brickwall Symphony" and stacked layers of heavy guitars on "Go Your Way." While Release The Beast is a varied tapestry of sounds and styles, there's a common thread running through it all. The cover art depicts the boarded-up entrance of a Berlin stairwell, surrounded by the burnt-out debris of a long-forgotten party.
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LP
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BB 432LP
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LP version. "Taking inspiration from deep in the mediaeval mists of times long past, CV Vision comes riding over the hills like a knight to the rescue, and his new album Im Tal Der Stutzer is packed full of galloping drums, feudal prog riffs and poetic lyrics harking back to a golden age. You might've caught CV Vision in Berlin, either on stage or behind the mixer at some of his favorite clubs like Arkaoda, Heiners or O Tannenbaum. He could be accompanied by synths, or drum kit, or even full band -- channeling his love of Bo Hansson and Claude Larson, or Soft Machine and Picchio dal Pozzo. Always heavy on the backbeat, the songs awash with heady synths and expansive psych inversions. For this record, CV Vision recruited two wayfaring collaborators in the form of songwriter and musician Martha Rose, and drummer Uno Bruniusson. They started the project at the dawn of the Covid outbreak, and it quickly became a coping mechanism against the lockdown. During those months of uncertainty, the collaboration blossomed into a sanctuary of psychedelic prog, acid folk, and warped feudal weirdness, a refuge built on layered synth lines and reel-to-reel delays. Im Tal Der Stutzer invites you into its kaleidoscopic reality from the get-go -- from the pulsating swing of 'Die Frommen Wanderer' and frenetic synth arpeggios of 'Die Nachricht Schneller als der Wind', to the misty-eyed folk of 'Lichtermond'. The whole record is punctuated with field recordings of ironmongers and cowherds and campfires, adding to the theatre. It's a testament to the wide-ranging world that CV Vision has created, that he can at once invoke the 'Hildebrandslied' while sounding like a library record that DJ Shadow might've sampled. In CV Vision verse, it all makes perfect sense." --Max Cole
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CD
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BB 432CD
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"Taking inspiration from deep in the mediaeval mists of times long past, CV Vision comes riding over the hills like a knight to the rescue, and his new album Im Tal Der Stutzer is packed full of galloping drums, feudal prog riffs and poetic lyrics harking back to a golden age. You might've caught CV Vision in Berlin, either on stage or behind the mixer at some of his favorite clubs like Arkaoda, Heiners or O Tannenbaum. He could be accompanied by synths, or drum kit, or even full band -- channeling his love of Bo Hansson and Claude Larson, or Soft Machine and Picchio dal Pozzo. Always heavy on the backbeat, the songs awash with heady synths and expansive psych inversions. For this record, CV Vision recruited two wayfaring collaborators in the form of songwriter and musician Martha Rose, and drummer Uno Bruniusson. They started the project at the dawn of the Covid outbreak, and it quickly became a coping mechanism against the lockdown. During those months of uncertainty, the collaboration blossomed into a sanctuary of psychedelic prog, acid folk, and warped feudal weirdness, a refuge built on layered synth lines and reel-to-reel delays. Im Tal Der Stutzer invites you into its kaleidoscopic reality from the get-go -- from the pulsating swing of 'Die Frommen Wanderer' and frenetic synth arpeggios of 'Die Nachricht Schneller als der Wind', to the misty-eyed folk of 'Lichtermond'. The whole record is punctuated with field recordings of ironmongers and cowherds and campfires, adding to the theatre. It's a testament to the wide-ranging world that CV Vision has created, that he can at once invoke the 'Hildebrandslied' while sounding like a library record that DJ Shadow might've sampled. In CV Vision verse, it all makes perfect sense." --Max Cole
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LP
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GBR 036LP
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If Shelter swam through the serene side of the library experience on Profondeur 4000 (2018), CV Vision blasts off in the opposite direction, riding an explosion of funk breaks and frazzled synths into the event horizon on his retro-futurist opus Insolita. As contemporary life accelerates way past peak-weird, CV Vision leans into uncertainty and leaves Earth in the rear-view. Strung out on Simulacron-3, World On A Wire and Omaggio Ad Einstein, the Berlin-based musician imagines his own Brave New World, an alternate eXistenZ in a secret simulation. Using the space age obsession of the Italian libraries as a launch pad, Dennis Schulze slathers a sonic storyboard with ferocious percussion, psychedelic fuzz and the pastoral electronics of Germany's Kosmische movement. But this is less Can, more uncanny -- and Schulze perfectly renders the cognitive estrangement of a simulated reality through his adventurous production. The monolithic live drums, recorded in a Neukölln garage on a battered Soviet kit are smeared with tape hiss, compressed to death and fired through LFOs, re-materializing on record in impossible scale. Time slips out of joint under the wow and flutter of the reel-to-reel, drum computers add digital interference to organic rhythms and the unfaltering slew of the 303 lends the hallucinatory thrill of the club sound system to an already psychedelic affair. As Schulze's imagination runs free, you're taken through epic space battles and narrow escapes, moments of reflection and affection and a final resolution, all expressed through a dexterous control of movement and mood. For every explosion of break-fueled adrenaline, there's a cruise into cryo-chamber music and holodeck exotica. For each neck-snapping blast of acid funk, there's a zero-gravity lullaby waiting just around the corner. So put isolation on ice and surrender to the strange, this is a trip you don't want to end.
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