VinylOverDose-Records

Vinyl-Over-Dose Records ia a subsidiary of the unique german Record-label VOD-Records.

As distinct from the mothership, Vinyl-Over-Dose Records focusses on unique and ambitious artists of the indie/alternative-scene.

VinylOverDose-Records is dedicated to artrock and soundtrack-characterised music.

As the mothership, Vinyl-Over-Dose only publishes high quality products (deluxe gatefolds, heavy vinyl)

Imagine the most intensed and emotional movie you have seen and put the music of Atlantis on top. You will be lost in landscapes of sounds, lost in your emotions and feelings. The music is as mystical as the real Atlantis.
ATLANTIS set its artistic fundament in 2006 by dutch mastermind and band-leader Gilson Heitinga with movie-Soundtracks and -Collages. He used heavy breath-taking guitars in his epic emotional compositions.
While the critically aclaimed masterpiece "Carpe Omnium" (released as CD in 2008 on Field-Recordings) still has its focus on epic soundscapes and soundwalls incl. the usage of electronics the 4-Track-follow-up to Carpe Omnium, "San Diablo"  is more "rock orientated" and heavier but still combining  heavy guitars with dirty electronics, still with moments of serenity and athomsphere.
Both works are now released as limited 500 heavy deluxe gatefold Double-Lp with wonderful artwork designed and created by Lorenzo Cercelletta. More Info and music can be listened to at www.myspace.com/atlantissound or in the VOD-Musicbox.

VinylOverDose02: Ira "Visions of a landscape" Lp-2 gatefold lmtd.500

Nennen wir es einfach: Rock. Nicht Post-Rock. Nichts, was in irgendeiner Weise ironisch gebrochen wäre oder sonstwie um die Ecke gedacht. Ira knüpfen an eine Zeit an, als Rock noch eine ernste Angelegenheit war, mit tiefen und existenziellen Gefühlen verbunden. Es geht schlicht um Erhabenheit. Diese Band will überwältigen. Ihre langen, epischen Stücke zwingen den Zuhörer, sich wie in einem Strudel zu verlieren, sich mitreißen zu lassen, hin- und hergerissen zwischen Furcht vor dem Kontrollverlust und dem angenehmen Gefühl, den Boden unter den Füßen zu verlieren.  Doch Ira sind keine virtuosen Selbstdarsteller. Sie ahmen nicht das aufgeblasene Rock-Spektakel der frühen Siebziger nach. Ihr Spiel mit Effekten und Emotionen ist genau kalkuliert, der Breitleinwand-Sound gerinnt nie in Pathos. Nicht Griffbrett-Akrobatik, sondern atmosphärische Dichte zeichnet die Nummern aus, deren große Kunst darin besteht, nie vollgepackt zu sein, sondern so luftig angelegt, dass Raum für freie Assoziationen bleibt. Ira gelingt das Kunststück,  den ausufernden Post-Rock-Sound von Bands wie Mogwai in klassische Rocksongs rückzubinden. Doch es ist nicht mehr der fordernde, geradlinige Rock, der zur geballten Faust anregt – diese langen, lodernden Stücke sind durchsetzt von Melancholie, Zweifel, Brüchigkeit. Und doch gibt es in den Songs, die von Kommunikationslosigkeit und Ohnmacht handeln, auch Referenzen an große Momente der Rockgeschichte. Wer fühlt sich bei Zeilen wie »Is there anyone left laughing? Is there anyone left?« (»Empire in your bag«) nicht an »The Wall« von Pink Floyd erinnert, das vielleicht berühmteste Pubertäts-Album aller Zeiten? Nein, diese Tradition ist weder peinlich noch unzeitgemäß, im Gegenteil: Ira formulieren die Angst, die uns alle umtreibt, und sie tragen bewusst dick auf, damit etwas davon haften bleibt. (Review von Martin Büsser)
www.myspace.com/irarock and the VOD-Musicbox.

Lets just call it: rock. Not post-rock. Nothing that’s somehow ironically twisted or distorted by overthinking. Ira tie into a time when rock used to be serious and connected to deep existencial feelings. Its simply a matter of dignity. This band intends to overwhelm. Their long and epic tracks force the listener to lose himself, to get carried along, torn between the fear of losing control and the pleasant feeling of losing ground. But Ira aren´t virtuous posers. They don´t imitate the pompous rock-spectacle of the early seventies. Their use of effects and emotions is precisely calculated, their wall of sound never coagulates in pathos. The songs are distinguished by atmospheric density instead of  fingerboard acrobatics. The great thing about their songs is that they are not overloaded; instead the arrangements leave space for unlimited associations. Ira succeed in uniting the mogwaiesque floating post-rock-sound with classic rock songs. But it´s not the straight-forward, demanding kind of rock anymore that makes you clench your fist – these epic and blazing tracks are riddled with melancholy, doubt, fragility. And yet, in their songs dealing with lack of communication and unconsciousness (isolation and helplessness), you can also find references to some great moments of rock history. Who doesn’t suddenly recall Pink Floyd’s “The Wall” – probably the all-time most popular album listened to in puberty  -  when listening to the lyrics »Is there anyone left laughing? Is there anyone left?« (»Empire in your bag«)?
No, this tradition is neither embarrassing nor behind the times. Far from it: Ira express the anxiety in us all and they consciously pile it on, so that it sticks.
In 2007 the band earned a huge applause from the audience in a film-theater, after they performed a kind of live-soundtrack for the film »Powaqqatsi« by Godfrey Reggio. Since then it was certain that the epic music of Ira is not just great cinema. It almost calls for a visualization. Therefore Ira are currently working out a live-concept involving the experimental avantgarde films by Walther Ruttmann.
The roots of the band from Konstanz, formed in 2003, can be found in Hardcore and Punk. Their debut-album »The Body And The Soil« (2005) was released on the »Go Kart«-label from New York. On »Visions Of A Landscape« Ira finally found their own unique style and got rid of their hardcore-background. With the helping hands of Producer Tobias Levin (Tocotronic, Jeans Team etc.) and Chris von Rautenkrantz (Blumfeld), two main protagonists of the german musicscene, the band got their unique voluminous sound. In a very intense collaboration with Tobias Levin, Toby Hoffmann found his specific particular vocal-style – passionate, disturbing but not exalted. As a musician, the award-winning writer, Spoken-Word-Artist and Poetry Slammer is also capable of Combining complex lyrics with an adequate sound: at the gateway of dream and reality, poetry and anger Hoffmann succeeds in connecting the big Rock-gesture with the laconical disillusionment of Post-Punk. Black Sabbath meets Ian Curtis – worlds implode.