Buscar:100 records

BLR gets back in the game with a record from Manchester DJ / Producer Sameed. Ode to G is even parts disco and house, with two tracks on the loopy soul side and two sitting more in the orthodox house pocket.

Many Worlds Interpretation is a collection of cosmic Americana for electronics, guitar, and percussion culled from Jon Iverson’s extensive home-studio archive. 1984, Los Osos, California. In a small cinderblock cottage, hand-painted with bright psychedelic flora, Jon Iverson created vibrant new worlds. He spent long days and nights immersed in sound, perfecting home recording on his 8-track reel-to-reel, combining his love for kosmische and Berlin School electronics with an infatuation with ethnographic sounds and expansive guitar music. In a duo with fellow sonic traveler Thomas Walters, Iverson released missives from the studio on a self-titled LP released on country legend Guthrie Thomas’ Eagle Records. That release featured
three electro-acoustic compositions (“Naningo”, “River Fen”, and “Fox Tales”) as well as a gathering of guitar duo tapestries. Many Worlds Interpretation re-imagines those interplanetary works alongside several unreleased compositions that also feature synthesizer, guitar, and percussion, creating a re-visioned album which leans into Iverson’s electronic studio wizardry.

All songs have been carefully transferred from analog tape to high resolution digital, retaining their vintage studio warmth, but mixed and mastered for modern ears and audio systems. The album is pressed at 45rpm, further enhancing the audiophile experience.

Artist Statement

I worked in a Harley Davidson parts warehouse in the summer of 1976 in the San Francisco Bay Area. The goal was to save enough money to buy transportation for college and a Teac 4 track 1/4" reel to reel tape machine. By September there was a rusting monkey-vomit green car in the driveway and shiny new Teac with a Sony condenser microphone in the bedroom. At this point I had been playing guitar for a dozen years and like most children of the sixties, dreamed of joining
a band.

Went to college instead to study business.

But all was not lost. 1978-1979 was spent as Weird Al Yankovic's roommate and we recorded and created enough songs to play shows around San Luis Obispo, California, where we were attending college. Many of those recordings have yet to be heard by the public, including the first performances of My Bologna and many other parodies of pop songs of the day. We sent tapes to Dr. Demento, we auditioned for The Gong Show and were barred from playing at the local college after one memorable performance. Wild times.

I, however, was more intent on working on "serious" music, with albums from Vangelis, Tangerine Dream and Jean Michel Jarre providing inspiration. DJing at the local college radio station and then public radio outlet provided exposure to an endless stream of obscure albums (Sky Records from Germany was a particular favourite). Most of them would never make it to the air, but my buddies and I would pass them around like exotic treasure.

Fast forward a couple more years and I had picked up a Mini-Moog and eventually a Prophet V synthesizer as well as starting a collection of instruments from around the world. The Teac and synths formed the basis for a growing DIY studio that had taken over a modest-size garage (pictured on the cover) that had been converted into a two room cottage in Los Osos, California.

The Teac was eventually joined by a rented Otari 1/2" 8-track and then finally a vintage MCI JH-100 2" 16-track. The compositions on this album were recorded on these three machines between 1982 and 1989. At some point an Apple II computer with Alpha Syntauri sound card and keyboard were added and then later the first personal computer sampling hardware/software kit, the Decillionix DX-1. The DX-1 forms the rhythm track for “Fox Tales” and the Alpha Syntauri was programmed to create the pulsing synth for “Naningo”. “River Fen” was tracked with both the Alpha Syntauri and the Prophet V.

I knew this music wasn't commercial, but didn't care. It was inspiring working with the first computer-based synths and semi-pro gear. Home studios were still rare in the early 80s until the Tascam Portastudio blew the DIY door wide-open. But I was more interested in sound quality so stuck with reels of tape instead of lower fidelity cassettes.

During the time these songs were recorded, I was also collaborating with my good friend and mandolinist, Tom Walters. “River Fen”, “Naningo” and “Fox Tales”, were solo recordings that also ended up on the first Iverson & Walters album, First Collection. The other four pieces on this new LP were never fully finished or released until now.

— Jon Iverson, September 2022

Art Of Primitive Sound is a sensational journey to the origin of Music. In his crucial research chapter on the Paleolithic, Walter Maioli between 1986 and 1991 investigates the soundscape of different geographical, climatic and botanical environments, in which the mystery of the ancient human-nature relationship resides. What emerges is an expanded and unprecedented Paleorganology, with a range of acoustic and natural instruments from all over the World. Rubbing of fossils, animal artefacts, plant elements of all sorts, everything becomes sound and each object opens up forms of imaginary communication, psychic effect and unexplored languages. Whistles, flutes, leaf and shell rattles, rhombuses, horns, bone pipes, slate slabs, bamboo arches, stones, vertebrae, seeds, stalagtites etc...how great can be the Natural Orchestra inherent in the spirit of forests, rivers, caves, seas, swamps or Amazon jungles? Thanks to an interdisciplinary partnership (Anthropology, Archaeology, Botany, Ethnomusicology) of collaborating friends, Maioli directs an Opera of universal character inspired by the archaic essence of sound and infrasonic dimension.

Columbia Records release this very limited (1000 units) edition 12" picture disc of the recent Calvin Harris single, featuring Justin Timberlake, Halsey and Pharrell Williams. Includes extended radio edit + instrumental versions.

The Heko boys are back in control and serve up another certified Summer blooter of an EP from Cristian Sarde.

Re-release Gegründet 1970 von Dieter Moebius und Hans-Joachim Roedelius zählen Cluster zu den einflussreichsten Bands der experimentellen Elektronik- und Ambientmusik in Deutschland. "Cluster 71" war das Debütalbum des Duos und zählt laut dem Musikmagazin "The Wire" zu den "One Hundred Records That Set The World On Fire". "Cluster 71" ist ein Monster: Das Album enthält gerade mal drei (unbetitelte) Stücke und ist schwere Kost für unvorbereitete Ohren. Doch das Album war wegweisend wie kaum ein zweites elektronisches Musikwerk. Cluster waren vorher noch ein Trio und schrieben sich Kluster. Aufgrund musikalischer Differenzen trennten sich Moebius und Roedelius 1970 von Konrad Schnitzler und spielten 1971 im Hamburger Star Musikstudio ihr erstes Album ein. Clusters völlige Abkehr von gebräuchlicher Harmonik und Rhythmik bis hin zu totaler klanglicher Abstraktion, ihr selbstverständlicher Umgang mit Geräuschen, rigorose elektronische Live-Improvisationen und das Bewusstsein, nichts verlieren zu können - das alles kennzeichnet diesen innovativen Aufbruch. Der Begleittext stammt von Asmus Tietchens.

solid white vinyl

For the third release on his own imprint, DTR, VII Circle launches the new split series by teaming up with THAM, on a full split EP.

Following the latest EPs 2020's 'Fearless EP', 2021's Warriors which saw the support from artists like Perc, Paula Temple, Headless Horsemann and Regal just to name a few, VII Circle is with two impactful tracks which are establishing once again his uncompromising sound and exposure to the dark post-punk and heavy music influences he got.

On the other side of the vinyl, THAM shows his genuine and real interpretations of how complex grooves, pounding bass drums and aggressive synths are driving his sound.

With this release, the duo wants to rise a new musical vision and musical compactness that has distinguished them in recent years, making them find their true personal sound.

solid white vinyl

After 11 long years Pohjola reignites it's furnace to bring a new release by a (let's pretend he's) young Serbian producer Lag. Finding a common language in pursuing the unsaid parts of techno, labelboss Rivet aka Grovskopa and Lag turned their long, meme-and-trolling-fueled friendship into a gorgeous-looking record (art by Trudy Creen, additional design work by Dejan Ilic). The music it bears is as offset as it is functional: offering a palette of both straight and broken beats driven by vocal snippets, genre-defying arrangements and, most importantly, scream-inducing club moments. Trust us, we tried them in the wild.

PST and friends - fresh on sued 2022

Debut single for NEW label set up by Savage Pencil (Art), Al From Hell (Printer) and Agitated Records.. primarily to release tasty limited 7” records by awesome new musics.. first release is by Pensylvanian guitar manglers Laurel Canyon, evoking strains of the Stooges via a distinct Pacific Northwest pop filter.. Fluid, Tad, Screaming Trees, Mudhoney etc..are easy points of reference.. but these songs have fire and melody in equal measure and burn their own path, recorded earlier this year with Steve Albini. Punk rock band Laurel Canyon – Nicholas Gillespie, Serg Cereja, and Dylan Loccarini – formed in 2019 when Nick and Serg met through a mutual friend in their hometown of Allentown, Pennsylvania. After connecting over a shared interest in both Arthur Rimbaud and The Stooges, the two began to rehearse together in Serg’s garage. By October 2020, Serg and Nick began composing original songs together as Laurel Canyon. Following their first release, “Two Times Emptiness” b/w “Enemy Lines,” in May 2021, Nick and Serg traded in their characteristic jangle for fuzz pedals and established a relationship with veteran producer Bryce Goggin (Pavement, The Lemonheads) at Trout Recording in Brooklyn. They released their 5-track EP “Victim” digitally on January 14, 2022, rounding out the line-up with bassist Dylan Loccarini. The artist Savage Pencil, who has created artwork for Big Black and Sonic Youth, drew the EP cover. Singles “Daddy’s Honey” and “Eczema” created a buzz online and were featured in Spotify playlists “All New Rock” and “Smells Like Stream Spirit.” Their debut LP, recorded by Bryce Goggin and Steve Albini, will be released in early 2023. More news on that real soon!

Amsterdam based Mausovic Dance Band make madcap music intent on expanding musical universes. Powered by elastic rhythms and some potent dub wizardry, the five-piece are synonymous with flipping global music traditions and creating new, sound-system stylised, synth powered, dance-floor experiments. Whilst their 2019 debut album on Soundway Records offered a frenetic mix, imbued by the Colombian champeta, Ghanaian highlife and spaced out disco, their new forthcoming album Buckaroo Bank, set for release on Swiss label Bongo Joe Records, feeds off the industrial sounds of New York City, post punk and early electronic explorers. At the very centre of the project is the dub, the Mauskovic echo chamber, guided by their universal hero Lee Scratch Perry and made possible by their studio friend Kasper Frenkel who provided the tools this new Mauscovic riddim philosophy. A proper family band (4 of them are related), and fronted by Nico Mauscovic who is also part of Zamrock touring band W.I.T.C.H., the group have released various singles since their debut album including on Berlin label Dekmantel and most recently, on experimental Swiss label Bongo Joe, their perfect home for brand new album Buckaroo Bank.

After a recent 7" single release, Bongo Joe Records follow the debut album from Nyati Mayi & The Astral Synth Transmitters. Nyati Mayi, a Belgo-Congolese multi-instrumentalist, singer and improv dancer has joined up with DJ & producer Sofa Elsewhere. After a performance at this year"s BBC Radio 3 After Dark Festival the duo have a busy live summer in Europe including a show a the Best Kept Secret Festival. Early support from Worldwide FM, Late Junction and AfroBase.

The unstoppable, irresistible rhythms and melodies of Antibalas have influenced scores of artists across rock, hip hop, afrobeat and beyond.

Born in a Brooklyn warehouse in 1997, 12 piece ensemble Antibalas is credited with introducing Afrobeat to a wider global audience, influencing countless musicians and developing a live show that is the stuff of legend. Members of Antibalas served as musical directors and the house band in the Broadway hit FELA! and penned original music for the show. Members have also recently collaborated/performed with Iron and Wine, Sharon Jones & The Dap-Kings, Mark Ronson, TV on the Radio and The Roots.

On the heels of the hit musical FELA!, Antibalas ended up reuniting with former member and producer Gabriel Roth, who was at the helm for their first three albums. This self-titled album was their first on Daptone Records.

The unstoppable, irresistible rhythms and melodies of Antibalas have influenced scores of artists across rock, hip hop, afrobeat and beyond.

Born in a Brooklyn warehouse in 1997, 12 piece ensemble Antibalas is credited with introducing Afrobeat to a wider global audience, influencing countless musicians and developing a live show that is the stuff of legend. Members of Antibalas served as musical directors and the house band in the Broadway hit FELA! and penned original music for the show. Members have also recently collaborated/performed with Iron and Wine, Sharon Jones & The Dap-Kings, Mark Ronson, TV on the Radio and The Roots.

On the heels of the hit musical FELA!, Antibalas ended up reuniting with former member and producer Gabriel Roth, who was at the helm for their first three albums. This self-titled album was their first on Daptone Records.

1976 planten ex-Yardbirds-Sänger Keith Relf und seine Schwester Jane, Jim McCarty, Louis Cennamo und John Hawken, die ursprüngliche Besetzung der Band Renaissance, eine Wiedervereinigung. Doch der damalige Sänger und Gitarrist Keith Relf verstarb, bevor das Projekt in dieser Form umgesetzt werden konnte. In der Folge übernahm Jim McCarty, die akustische Gitarre und einen Teil des Gesangs. Schlagzeuger der neuen Band wurde Eddie McNeill, dazu kam noch John Knightsbridge an der Gitarre. Da die Band Renaissance jedoch in komplett anderer Besetzung fortbestand, musste ein anderer Name gewählt werden. Die ursprünglichen Renaissance waren nun Illusion. Illusion veröffentlichten 1977 und 1978 zwei sehr schöne Alben auf Island Records. Sie werden nun erstmalig als LP wiederveröffentlicht.
Das Mastering von den original Tapes wurde im renommierten AIR Studio von Paul Samwell-Smith (für 'Illusion') bzw. Phil Kinrade überwacht. Beide Alben kommen mit teilweise Spotlack im Artwork sowie bedruckten Inner Sleeves!

1976 planten ex-Yardbirds-Sänger Keith Relf und seine Schwester Jane, Jim McCarty, Louis Cennamo und John Hawken, die ursprüngliche Besetzung der Band Renaissance, eine Wiedervereinigung. Doch der damalige Sänger und Gitarrist Keith Relf verstarb, bevor das Projekt in dieser Form umgesetzt werden konnte. In der Folge übernahm Jim McCarty, die akustische Gitarre und einen Teil des Gesangs. Schlagzeuger der neuen Band wurde Eddie McNeill, dazu kam noch John Knightsbridge an der Gitarre. Da die Band Renaissance jedoch in komplett anderer Besetzung fortbestand, musste ein anderer Name gewählt werden. Die ursprünglichen Renaissance waren nun Illusion. Illusion veröffentlichte 1977 und 1978 zwei sehr schöne Alben auf Island Records. Sie werden nun erstmalig als LP wiederveröffentlicht.
Das Mastering von den original Tapes wurde im renommierten AIR Studio von Paul Samwell-Smith (für 'Illusion') bzw. Phil Kinrade überwacht. Beide Alben kommen mit teilweise Spotlack im Artwork sowie bedruckten Inner Sleeves!

Repress

The Vinyl Manual is the 21st century companion for anyone who is bringing their vinyl music collection back to life or discovering the joys of vinyl for the first time. With chapters on turntables and audio kit, it is a step-by-step guide to getting the most from your vinyl collection and understanding the technology behind it. We explain how vinyl delivers the unique sound so loved by audio enthusiasts and its evolution over 100 years, from the 78s of the late 19th century to today's advanced electronic formats.
As well as expert insight into setting up your system correctly and guides to choosing the right hardware for your music, the Haynes experts take you behind the scenes of the vinyl industry, including the super-clubs of the 1970s, 1980s and 1990s. We tell you the best way to build and curate your collection, from dance to rock to classical, and provide tips from the world's most respected professionals. Whether you are collecting, recording or just playing, the Vinyl Manual is the essential companion for any vinyl enthusiast.

Tall Black Guy chases his extraordinary 2021-released collab LP, Of Process and Progression alongside emcee Ozay Moore, with the long awaited instrumental version. The record is a celebration of hip-hop and its many influences, especially jazz, funk, soul, and R&B. And now that it’s available in instrumental form, listeners can fully dive into and unpack the layers, samples, and sounds comprising the release.

In speaking about his approach to the album’s production, TBG explains the process as follows: "When myself and Ozay decided to come together to make OP&P, we really wanted to make it to where there were no skips. And the production had to be top notch.” He goes on to say that he didn’t want to just sample, but instead add live instrumentation and collaborations with other musicians to craft the sound they wanted.

“I wanted to make sure Ozay had a lot of space to get his point across in the songs he was coming up with,” TBG says. And while you can certainly hear that space in these instrumentals, they stand on their own as stunning odes to hip-hop and the genres that birthed it. This album is also brimming with musical Easter eggs on each song, particularly on repeated listens as the layers begin to unravel themselves to your ears.

There is so much to love and discover within the instrumentals of OP&P, and for fans of TBG’s past work, it exists as another triumph in what’s becoming one of hip-hop’s most thrilling discographies.

Ein neuer Anstrich gefällig? Das schwedische Melodic Metal Quintett Metalite präsentiert euch ihr Meisterwerk “A Virtual World” als neue und limitierte Clear Orange Vinyl.

Produziert und gemischt von Sam Pura (The Story So Far, Hundredth), ist DEATHWESTERN ein klanglicher Hauch frischer Wüstenluft aus der Sin City Las Vegas. Das Album widersetzt sich dem Trend der 80er-Jahre-Thrash-Worship-Produktionen und liefert einen Sound, der nichts weniger als klassisch ist. Es ist druckvoll, schwer und absolut stampfend. Tracks wie 'Relic of Damnation', 'Ulcer' und 'Moonlight Torture' (mit einem Gastauftritt von Integrity-Mastermind Dwid Hellion) umarmen Hardcore, Old School Death Metal und Thrash mit lyrischem Blutrausch und reueloser Hingabe. 'Ich liebe riesige Schlagzeugproduktionen aus den 80ern', sagt Folsom, 'zu wissen, dass ich die fieseste, härteste Musik schreiben konnte und Thomas Pridgen (Mars Volta, Trash Talk) zurückkommen würde, um die Drums einzuspielen, gab mir den zusätzlichen Schub, um es auf die nächste Ebene zu bringen.' DEATHWESTERN erscheint am 25.11.2022 und ist auf schwarzem 180-Gramm-Vinyl mit 4-seitigem Booklet im LP-Format und DIN A2-Poster erhältlich. Eine limitierte CD-Version kommt in einem 4-Panel-PocketPack mit Top-Opening (Mini-Vinyl-Look) und 16-seitigem Booklet. Natürlich wird das DEATHWESTERN auch als digitales Album erhältlich sein.