Suche:3 elements

After a first volume released in September 2020 on Hard Fist, Argentinian Balam comes with “Chants of Pachamama (Part. 2)”, including a remix by Matias Aguayo.

This time Balam focuses on the experience around the ritual of magic plants that is practiced in the deep South-American rainforest. By mixing modular synth, stromping basslines, haunting vocals and real played percussions produced in his studio “Submarea” in Buenos AIres, he recreates a psychedelic trip from beginning to end.

The opening track “Yagé” is the name for a magic plant that can be found in many places in South America. With a tight djembe, the magician comes with his chants for starting the ceremony just before the bass bursts for a pagan dance. An irresistible lead synth takes the climax higher until the break where the magician enters the void and the psychedelic trip begins.

“El Curandero” – the chaman who leads the ritual – is the second tune of a frenetic organic and modular percussion bass driven dance stomper. Blazing synthesizers create a state of confusion and hallucinations when “el curandero” chants his icaros. The djembes and shakers move behind the heavy bassline while analog ding and dongs go crazy all over.

The second last track “Golfo”, just before the remix, is an instrumental tune, the end of the experience: heavy synthetic percussion, modular ambient sounds, a modal marimba and a very present djembe jamming until it fades in the analog night.

The closing track is a great reinterpretation of “Wakax” from “Chants of Pachamama (Part 1)” by the legend Matias Aguayo. A dark and heavy bass mixed with a tricky use of lots of the original elements makes you wanna twerk all night long.

Static Tensions is the fourth studio album by the American band Kylesa, released in 2009. The artwork and layout was created by John Dyer Baizley of the band Baroness. Static Tensions is a sludge metal album. On the album, Kylesa features a three singer- and two drummer-lineup, which distinguishes the band from all the others. On the album there's a lot of downtuned guitars and different singing styles such as shouting, crooning or croaked singing styles, along with elements from stoner rock, sludge rock, psych-rock and alternative rock.

Kylesa is an American heavy metal band that was formed in Savannah, Georgia. Their music incorporates experimentalism with heavy riffs, drop-tuned guitars and elements of psychedelic rock. The group was established in 2001 by the former members of Damad, with the addition of guitar player Laura Pleasants who is from North Carolina. The band has since undergone line up changes; the remaining original members are Phillip Cope and Laura Pleasants. In 2006, the band added two drummers (Carl McGinley of Unpersons, from Savannah, and Jeff Porter). Eric Hernandez (of Capsule, from Miami) joined in 2008 to replace Porter. The dual drum tracks are often panned strongly to the right and left.

To Walk a Middle Course is the second studio album by American band Kylesa, released in 2005. The album incorporates elements of sludge metal, alternative metal and stoner rock. To Walk A Middle Course features a variety of metal and non-metal influences, including doom metal, stoner rock, punk rock and gothic rock.

Born in Majorca, Marc Melià is a composer/producer, who’s been based in Brussels for over 10 years. First spotted alongside Françoiz Breut, Lonely Drifter Karen or Borja Flames, he released Music for Prophet in 2017. It was issued on Gaspar Claus’s label Les Disques du Festival Permanent, as part of Flavien Berger’s curation.

On that first album, Marc Melià had explored the possibilities of a mythic synth; on Veus, as if sloughing, he applied the process of sound modification to his own voice, until becoming an android. But an android who sings of love and dreams, a sensitive automaton who plays with the tropes of pop music. Through this device, Marc Melià knowingly seeks poetry and beauty within transgenics, in the search of a universe where one can surf though waves of profoundly moving chord patterns, hear voices unconstrained by range limitations, or dance freely, as in zero gravity.

Part of the album has been recorded in Une ferme dans les Vosges, courtesy of Rodolphe Burger. It was recorded with Roméo Poirier, one of the most promising figures of ambient, and the elegant multi-talented Lou Rotzinger. As if progressing in parallel with his own linguistic experience, to add another layer to the sloughing, side A is sung in Catalan, Marc Melià’s mother tongue, and side B in French, his adopted language.

Like an echo to his previous album, Veus opens with an instrumental, “Pulse on a E”, which starts with a sequence created with a single note transposed to its octave, just like “Fata Fou”, the last song on Music for Prophet.

Although the title seems to reference an iconic 80s synth, “DX7” is actually about the seven days of the week. It is a love song, about the temperamental oscillations which make every morning the blank canvas of an unpredictable story. Wednesday, I hate you, Sunday, I love you. With few words and a lot of emotion, a synthetic voice is trying to grow more human each day.

“Dent de Serra” deals with the weight of memory on our relationships, but also with the way we revisit them constantly in order to integrate souvenirs within present relationships. Suddenly, the song stops and enters a new dimension, everything is different, as if what had just happened was now forgotten forever.

Oxytocin (“Oxitocines” in Catalan) is said to be the hormone of love. This song deals in a playful way with the duality between science and faith, between rational and magic, when it comes to sentimental relationships. Love is a universal theme, it is everywhere in the world, and love songs have been written for a very long time. But this particular love song is an ode to an aspect of love that has been less sung about: biology, which makes it possible to feel like you’re floating in space when you fall in love.

“Les étoiles” is a trio with Flavien Berger and Pi Ja Ma. The song is about attraction. What attracts humans to each other, but also the inevitable gravitational attraction. The song is also about accidents, magic moments that take us outside of our daily lives and give us the possibility to imagine a sidereal, infinite love.

“A propos d’une chanson” was born after Marc Melià had dreamed he had written the most beautiful song he’d ever created. When he woke up, he realized that song was actually O Superman by Laurie Anderson.

Aside from these songs, Marc Melià offers a few breaks, instrumental but no less narrative.

“Final d’hivern” conjures these quiet moments between two intense events; sleeping at night between two days; the calm that settles in after a hard winter, right before spring properly starts.

Using a musical language that clearly references Ryuichi Sakamoto, “Romain”, with its theme based on a melancholic chord pattern, could be the soundtrack to a 1970s movie lost in time. Little by little, elements that seem to come from a completely different context find their place, while turning the initial mood into something strange and unexpected.

Finally, “Retorn”, which finishes the album, is a reprise of the theme of “DX7”.

From the chords that make up a song, to the days that make up our lives, existence is but a cycle, and Veus is an exploration of them. Marc Melià keeps on drifting on his personal path, between homage to the past and visions of the future.

Clive Nolan is a British musician, composer and producer who has played a prominent role in the recent development of progressive and symphonic rock. He has been a regular keyboard player in bands such as Pendragon, Arena, Shadowland, Strangers on a Train and Caamora. He is the lyricist and composer of numerous rock albums and musicals, including the Arena catalogue, a monumental rock opera "She" and two Victorian inspired Steampunk musicals, "Alchemy" and "King's Ransom". 'Song of the Wildlands' by Clive Nolan's is a secular oratorio with elements of rock, progressive rock, folk and classical music. The story is based on one of the oldest English poems "Beowulf", which is an account of life and heroic deeds by the mighty warrior protecting the land from the vicious monsters. The album was recorded during the 2020 pandemic and features vocalists and instrumentalists from the UK and Norway playing a variety of rock and Nordic folk instruments, as well as a 200-voice choir recorded distantly by singers from all over the world singing in Old English (Anglo-Saxon). 'Song of the Wildlands' is the biggest music venture from Clive Nolan so far.

Making her stage debut in April 2019 and selling out her first
headline show at London’s prestigious Southbank Centre less
than a year later, A.A. Williams hit the ground running. Similarly,
the acclaim for her performances and her music has been
unanimous from the start. After one self-titled EP and a
collaboration with Japanese post-rockers MONO, the Londonbased singer songwriter signed to Bella Union and released her
stunning debut album, ‘Forever Blue’, in July 2020.
 That Southbank show would prove to be the last time she would
take to the stage for a long while as the world struggled to cope
with unforeseen and extreme challenges. Never a musician to sit
still, the classically trained multi-instrumentalist focused her
creativity on arranging - firstly, by stripping back to the most
delicate bones on her ‘Songs from Isolation’ covers record and
now with a complete reimagining of her own material as the four
songs from her debut EP become ‘arco’.
 Not many musicians have the ability - or indeed bravery - to
rework a collection of their own full band ‘rock’ songs into a stringand-voice arrangement. A.A. Williams, however, is not like many
musicians and the minimalism of Arvo Pärt and Gorecki has long
since sat beside Vaughan Williams' folk-inspired classical work as
important influences on her music. Indeed, the intention with the
EP was for Williams to challenge herself by not retaining guitars
and drums, meaning ‘arco’ had to be truly reimagined with a full
string ensemble.
 As Williams describes it: “The main focus of the arrangements is
trying to maintain the authenticity of the original songs that, whilst
embodying some of the more familiar elements of the full-band
settings, draws focus on the voice.”
 Conducting the ensemble of string musicians in the studio, A.A.
Williams has evolved her own compositions with new
instrumentation and arrangements, encapsulating the singular
vision of a unique artist.
 12” pressed on 140g ‘Galaxy White Purple’ vinyl with signed
12”x12” print and digital download code.

Shall Not Fade is cultivating a tight family of producers for the Time Is Now imprint, showcasing some of the freshest garage and breaks - London based DJ Yosh is well-established within that family now, returning for his second EP of 2021.

Like the last,expect killer cuts of breakbeat madness, built for the darkest clubs and the wildest nights. Tactics EP opens with the rough and ready "Strike Back", harsh percussion and screeching rave stabs that make the heart race and sets the tone for the record. Returning to a more classic sound on "Just Like That", Yosh smatters syncopated samples with UKG elements to create a throbbing dance track.

"Drifted" catches the listener off-guard - chilled out pads that give way suddenly to layers of breaks that make for a dark and dirty jungle breakdown, pushing at breakneck speed into "Hypnotise Me", a rolling tool inflected with garage-esque melodies. EP closer "Gen 1" feels like the wind-down of a rave, stuttering breaks and echoed vocals slowing to a sweaty, satisfied end.

Hey!Tonal was the first album by Hey!Tonal, a project helmed by the
guitarists, multi-instrumentalists and sound designers Mitch Cheney
(Rumah Sakit, Sweep the Leg Johnny) and Alan Mills (Chiisai-oto).
Released in 2009 French label Africantape on CD only it has now been remastered by Carl Saff and pressed to vinyl for the first time. 2LP white vinyl, gatefold sleeve with poster and aluminium outer sleeve.
Cheney initially conceived it as a project to be named “Drummers’ Perspectives”, and that working title sums up its ethos. He became inspired to write
melodies based on the drumbeat being the starting point of the composition.
A fortunate meeting with Alan Mills meant collaborator was now involved with
this rhythmic and melodic building blocks.
The basic concept for their compositional process stemmed from Cheney’s experience with television editing.
They manipulated all the catalogued sounds as if they were visual elements.
The result of this unusual approach is a striking record, full of delicate incongruities hidden in the music; happy accidents were meticulously given purpose
during mixing, malleable drums and guitars intertwined with a myriad of improvised and shaped sounds.
The overall impression is of some oblique explanation to an unsolved mystery
and should be manna from heaven to anyone who dug the first Battles EP’s.

British producer Patrick Tipler spent his formative years immersed in psychedelia as a bassist and guitarist in various bands and groups. The arrival of synthesizers –along with his move to Bristol– radically changed his vision of sound and impacted on his musical direction with the force of an asteroid. This shockwave subsequently saw the birth of Delay Grounds.

After releasing the outstanding 'Onomatopoeia' Pressure Dome, 2020 and 'Upcycling' Tropopause, 2021, Delay Grounds’ output has made it clear for all to see that Tipler’s sound design skills are second to none, and with just two releases to his name he has already transformed himself into an artist to watch very closely.

Today Patrick joins the Lapsus crew to present 'Genus', a five track EP that he says "is my most personal release to date, something I've always carried inside and wanted to produce, but had never managed to articulate before". On 'Genus', Delay Grounds preserves the essence of his sound but takes things a step further, with a form ofmaximalist electronica, sprouting powerful torrents of high-pitched and ruff-as-rock avant-techno, glitches and mutant sound elements, combined with sweet and delicate melodies in the purest IDM style. Polishing is provided by sound engineer Nick Earle, with whom Patrick has recorded and remarkably treated a kit of "deconstructed drums" especially for the occasion.

‘Genus’ is 30 minutes of astral travelling, an experience perhaps analogous to what we would feel if we opened a vault, containing music from a lost civilization.

Repress

Finnish sound scientist Aleksi Perälä presents 'Paradox', a double EP landing 15 th of December on . Using a microtonal tuning method known as Colundi - with which his work is now synonymous - he guides us through a ritualistic journey of ten formidable tracks.
Glistening scales cascade over peculiar tones. Aleksi Perälä explores the powers of an alternative tuning system in dance-floor structures, tapping into the veiled potential of his sound palette with stunning physical consequences.
Saccharine and mysterious, 'Paradox' channels elements of Electro, Techno and Italo, ultimately achieving a transcendental form of its own.

The Spessart with its presence of extended woodlands is widely known for its legends, ghost stories and fairytales. Thus, the tale of Snow White may have originated in the Spessart heartlands, with the town of Lohr pushing forward a substantial case for being the home and inspiration for the main characters and elements like the magic mirror. Now let us return to innocence: Spessartraeuber Johannes Albert goes beatless for the first time over this 8 tracker. You may hear the rhythm of nature. Crystal clear bell sounds sit next to warm pads, bird song and even his own voice add to the peaceful piece. Heavenly strings approach guilt free piano sounds while blameless digital choirs whistle along. Music for dreams basically. File under New Age. Are you in?

Saxophonist Wendell Harrison has lived by a standard philosophy for his 50-plus-year career: One must have complete self-autonomy. Both his music and business dealings reflect this. Besides being a legend on the Detroit jazz scene and mentoring up-and-coming musicians through his non-profit organization Rebirth Inc., he co-founded the Tribe Records label in the 1970s, which produced a magazine and many classic albums.

Harrison is continuing Tribe’s legacy—this time around with a group of rising jazz musicians from the Motor City such as drummer Louis M. Jones III, trumpeter Trunino Lowe, and guitarist Jacob Schwantz—on his new recording Get Up Off Your Knees.

There’s a lot to digest here because the original compositions encompass R&B, soul, spoken word, and “world” music, all seen through the lens of jazz. Harrison tends to weave elements of African music into many of his compositions. On “Siera” and “Samoulén Khalé Yi,” both written by vocalist and bassist Pathe Jassi, he pays tribute to Guinea-Bissau and Senegalese culture. “Educators” also has African nuances in its hardcore drumming and Harrison’s sublime blowing on bass clarinet and clarinet.

Any discriminating jazz listener will be consumed by Get Up Off Your Knees, but it seems Harrison’s primary purpose for making this album is to encourage the current generation to put education first and build social awareness. On the title track, vocalist Miche Braden pushes the self-determination angle, which is again highlighted on “Revolution,” a reimagined take on Gil Scott-Heron’s “The Revolution Will Not Be Televised” delivered with an adherence to contemporary events by the poet Rev. Mbiyu Chui. By Veronica Johnson from Jazz Times.

"Produced by Jonathan Wilson (Conor Oberst, Roger Waters, Father John Misty) and recorded at Nashville’s Sound Emporium Studios, Renewal solidifies Strings’ position as a singular artist—one who honors the history of the music that inspires him, while continually pushing it forward. With the record’s sixteen tracks, Strings shares a more personal and honest perspective through his songwriting, while incorporating his wide range of influences with elements of bluegrass, classic rock, metal, psychedelic music and more.
Reflecting on the album, Strings shares, “A lot of people call us a bluegrass band and I don’t even know if that’s what we are anymore. You’ve got to let the song do its thing. So that’s what I try to do—write songs and let them come out however they do. I listen to it now and it’s emotional. I’ve always doubted myself, and I still do, but this album makes me think, ‘Hey, you’re doing all right, kid. You just need to keep going.’”"

SHY, LOW are true masters of the exquisite craft of stark contrasts and broad dynamics, from delicate crescendos to the grandiose power of the riff_ a craft that lies at the heart of every outstanding instrumental rock record. The Richmond, Virginia based four-piece has made an absolutely incredible and epic album brimming with creativity, groove, heaviness and truly outstanding songwriting- a record that is intricate and mature, yet gloriously anthemic at the same time. The fantastic cinematic and (surprisingly, so) entirely self-produced first music video for the track ,Helioentropy", premiered at Roadburn Redux this year, was only a tastemaker for the 5th studio album and Pelagic debut, Snake Behind The Sun. Recorded, mixed and produced at Vudu Studios in Long Island, NY by Mike Watts (The Dillinger Escape Plan, GlassJaw, Hopesfall, Tides of Man), the album pulls from elements from previous eras of the band, but also pushes into new territory. The result is a slicker, more modern, layered and 3-dimensional sound. The album title is a metaphor for the notion that darkness and negativity can remain hidden even among seemingly positive forces and positive beings in one's life. As a matter of fact, the snake crawled out from behind the sun, while the band was in the studio recording the album: ,By week 3, there were talks of NY state locking down due to the rapid rise in Covid cases; with one day left before the lock down was alleged to go into effect, it became a mad dash to finish tracking the record so we could book it home to Richmond, Virginia", says bass player Drew Storcks. Though entirely instrumental, reducing the band's contemporary sound to the term ,post-rock" wouldn't do this record justice: there is much more to it than lengthy dramatic build-ups and bittersweet melodies played by delay-drenched guitars. Snake Behind the Sun is an astounding and immensely diverse record that will appeal to fans sitting on all ends of the broad spectrum of modern heavy rock music. Limited 2LP red single colour edition! FOR FANS OF PG.LOST, THIS WILL DESTROY YOU, CASPIAN, AND SO I WATCH YOU FROM AFAR, RUSSIAN CIRCLES, THRICE

"Ever try to escape your bedroom, but feel like you're still asleep? Ever try to wake up, but find yourself back in the dream? Ever try to take off your mask, but another one pops up beneath it? Ever try to consult your inner self, but inside your skin is merely a rotting corpse? Ever feel like every path you take is just another mobius strip leading you back to where you first began? Congratulations, welcome to the Psychocastle." – Taraka

Since the breakup of the legendary underground cult duo Prince Rama, former frontwoman Taraka has thrown herself headlong into the dark existential world of her “inner teenager," merging bastard elements of outsider-psych, post-edenic grunge, kaleidoscopic punk and post-adolescent angst to create her debut solo album.

Nantais by adoption, the Australian Will Guthrie is a discreet star of the international scene of free, experimental and improvised music; over the past fteen years, he has developed an open and personal approach to drums and percussion, skillfully blurring the lines between his brilliant jazz upbringing, his passion for traditional musics, and his inexhaustible interest in experimental and noise creation, with a pronounced taste for a physical and raw approach to sound. With thousands of performances and some fty albums to his credit, the Australian regularly dispenses his vibratory art solo or alongside the best of improvisation; From Oren Ambarchi to Roscoe Mitchell via Jérôme Noetinger, Anthony Pateras, David Maranha, Ava Mendoza, Jean-Luc Guionnet, Keith Rowe or even Mark Fell. In recent months Guthrie has performed with Tunisian singer Ghassen Chiba, toured as part of “All Around”, a performance with Danish dancer choreographer Mette Ingvarsten and founded the Ensemble Nist-Nah, a gamelan orchestra, in the company of eight other percussionists, out of which Black Truf e published an album, with a second on the way. He also found the time to put in shape a second volume of “People Pleaser”, a discographic act between an autographical assessment, the parenthesis and the musical UFO. A singular exercise in Guthrie's discography, “People Pleaser”, a series initiated in 2017, sees the Australian partially put down his drumsticks and wear a producer cap for a result offering a resolutely singular perspective of / on his work with a very personal dimension. On the rst volume, with a cover signed Stephen O'Malley sets the tone by diverting the chamaré Warhol infulenced visual of the album “Unit Structures” by Cecil Taylor. The portrait of the free jazz pianist has been replaced by passport photos of Guthrie. The result is a diversion into a fairly “Pop” aesthetic whose musical content works in a fairly similar way. Four years later, the cover art's undertones are slightly darker and Guthrie hasn't aged a bit on his new passport photo. The twelve tracks of this second “People Pleaser” combine and arrange eld recordings, heady loops, twists, musical quotes stuck on bedside records, recorded moments captured during travels, ghosty voices from low- lands, a police interview tape and imagined exotic sounds ... Guthrie could walk us for hours on his hard drive like looking at a photo album but he chose to build pieces based on this very personal sound material, much like a mixtape, with special care given to how sounds articulate, overlap and collide. He thus invites his heroes and his friends to join him in skilfully chiseled and nely edited imaginary jams. The rst to take pleasure in this “People Pleaser” is undoubtedly its author as some of his nds are enjoyably playful; we are there embarked in an addictive sound patchwork at high speed where a Balinese Squarepusher is propelled via a defective cathode ray tube in a temple where the happy marriage of the saxophone and the gong is celebrated before this too short respite is interrupted by a sustained hip hop rhythm. The multiplicity and variety of sources give the whole a very pop format and the way in which Guthrie combines sounds, textures, rhythms and vocal elements quickly takes on a narrative dimension and poses this exercise between hip hop and a very personal plunderphonic, evoking as much J Dilla or RZA as the irreverent inventiveness of People Like Us or Wobbly. Will Guthrie has never been in as good company as on a solo album, he also lists on the cover the list of friends, heroes, members of his family and countries who inspired him and to whom he pays homage / collage on this new disc; An aesthetic exercise apart in his discography, both in nitely personal and self-centered and resolutely turned towards what animates him, the aptly named “People Pleaser” reveals the music DNA of the Australian and can be listened to on repeat.

Imagine Andrew Weatherall producing Pere Ubu. The 7” Taki Chrome / Strummer Maxxx single by Pink Skull released on Höga Nord Rekords give a hint of how such a collaboration would sound. Mid seventies kraut rock á la “Neu 75” meet leftfield and sophisticated punk. The record has an organic warmth to it yet the excessive use of electronics: most instruments on the tracks are synthesizers and drum machines – all Moog, Korg and whatnot.

In the warmth of the Pink Skull-sound you suddenly get a wash of cold, hard rain from all directions. These elements of surprise create edges in the round soundscape and brings chaos to the mix. This is of course all part of Julian Grefes (founder of Pink Skull) plan.

Pink Skull propels you out of the quarantine like a shiny metal free bird released from its rusty cage.

What makes a being ? What tends to be, always, and yet remains never achieved ? Jonnnah puts on this set of imagination many parts, many pieces, many elements. In this ninth release on Worst Records, the Lyon based musician gathers all the impressions defining this nebula. « Mental & Physical » is a collection above all things. We talk about a collection of influences. Industrialized trip-hop, dubstep for concrete spaces, new-age-infused ambient daydreams, links are hazy but incarnate. A constant rotation, between extasy and uneasy meditation, shapes this mass of artefacts that seems almost involuntary as they dig so deep into instinctiveness. At the root of this first magmatic opus lies a years long work in progress, a sonic research, the attempt to make live this body of vapour which is the music in becoming. It's a listening with no answer, but the pulse is vivid and vital.

SUB PLATES Vol 5!! - SUB PLATES is back and in the original format that made it such collectable item when it launched back in the day! 2 x 10 inch vinyl replicating the dubplate style acetates. And picking up from where it left off with Vol 5 like it's never been away!

First up is the return of Suburban Base recording artist Cool Hand Flex, who had music featured on the first generation SUBPLATES! The track here 'Get Down' is a piece of uncovered treasure that has been rediscovered having sat on DAT master in storage since around 1994 and never been released. Exclusively held on dubplate by Randell, Hype, and Flex himself, it is finally getting a release as part of this special package.

Next up we introduce brand new music from brand new Suburban Base recording artist Sound Shifter collaborating with the legend Marvellous Cain on the beautiful 'Light Source One', a rolling piece of DnB which manages to keep classic elements of production whilst at the same time delivering stunningly fresh Drum & Bass.

Subbase veterans Sophisticated Bad Boyz open record 2 with the DJ Phantasy VIP '94 Dubplate version of 'Feel The Magic', only held on Dub Plate by a very select few, and appeared only once on the D&B selection album 3 (The Dub Plate Selection) with very limited vinyl of that cut as 5 tracks per side, now for the first time ever you can get this stunningly remastered dubplate cut on a side all by itself sounding truly amazing.

Flipped with another much sought after classic dubplate special 'Intelone' by Asend was a Kool FM only VIP Dubplate around the time Asend aka Dead Dred hosted his show on the Midlands version of the infamous pirate radio station, it made only one appearance on a 1996 Kool FM dubplate special project and has been hard to find ever since. Remastered and sounding incredible!

4 amazing tracks on one highly collectible EP including unreleased tracks and limited dubplates, stunning value from SUBURBAN BASE RECORDS once again, in stock and ready to ship!