Search:a vol i

Steve Gunn and David Moore’s Let the Moon be a Planet is a volume of improvisatory exchanges between classical guitar and piano, and a meeting place where two artists become acquainted through instrumental dialogue without a single expectation distracting them from the joy and open field possibility of collaboration.
A project enveloped by an aura of reciprocity, Let the Moon Be a Planet unfolded from an invitation to connect between two New York-based musicians who admired each other’s work but had never intersected: guitarist and songwriter Steve Gunn, whose solo, duo, and ensemble recordings represent milestones of contemporary guitar- guided material, and pianist and composer David Moore, acclaimed for his minimalist ensemble music as the leader of Bing & Ruth.
The exchange began remotely as Gunn and Moore responded to one another’s solo improvisations, embarking on a synergistic progression of deep listening and connection through musical conversation. “We were both fans of each other’s music and this was a chance to try a different process which was much more open,” says Moore. “It felt like something I needed personally as an artist, to not be so controlling over the final output, and to truly collaborate with somebody else.”
Similarly for Gunn, who was exploring new pastures and passages in classical guitar when the dialogue began, the project was an invitation for pure conversation and exchange, creating space for him to revisit foundational forms with his playing: “I was trying to break out of what I was doing, to have something that just pulled away all the elements of usual structured things.”
Let the Moon Be a Planet intertwines the trajectories of two musicians acclaimed for pushing the boundaries of their instruments, unified by a shift away from what they recall as more “detail- oriented” approaches to composition. Fueled by the magnetism of their call and response exercise, Gunn and Moore set out on a nomadic songwriting venture without an intended destination.
“We didn’t know it was going to be an album,” Gunn explains. “There was never pressure on us to complete or make something. It was interesting to start realizing that this could be an album and to take a step back... to arrive at a project after the fact.”

Bongo Joe Records is pleased to announce the release of Yalla Miku's debut album. It is a new way of combining African, European, electronic, acoustic and electric music and cultures. The project was launched by Cyril Cyril duo, then joined by Simone Aubert and Vincent Bertholet from Hyperculte and three musicians with migrant backgrounds: the Moroccan Anouar Baouna, the Eritrean Samuel Ades and the Algerian Ali Bouchaki.

For its initiators, the idea was not to appropriate a non-European heritage and to interpret it in the company of musicians from these countries. They opted for a more radical approach: to propose a base of compositions on which the migrant musicians then worked with their instruments, which range from the derbouka to the guembri via the krar, the Eritrean lyre.

The album, nourished by these stage performances, was recorded in autumn 2021. The result is full of vibrations, unusual sounds and life experiences. Sung in Arabic, Tigrigna and French, the lyrics glide over throbbing rhythms, borrowing from gnawa, krautrock and electro trance. Their eponymous debut album sounds like a call to travel beyond the barriers of sound, a call to a horizon without a visa.

Das erste Album in voller Länge seit fünf Jahren von den kanadischen Melodic-Metal-Helden Gatekeeper! Eine fesselnde Reise mit acht Songs, die epischen, melodischen Heavy Metal neu definiert! From Western Shores ist messerscharfen in Ausführung und Produktion. Der gefragte Arthur Rizk (Cavalera Conspiracy, Kreator, Sonja) übernahm die Mixaufgaben. Letztendlich verdoppelt sich From Western Shores auf die Elemente, die Gatekeeper zu einem internationalen Metal-Schwergewicht gemacht haben. Die epischen Teile sind epischer und die traurigen Teile - wie die Band unterstreicht - "sad as fuck". Es verstärkt die Vorstellung, dass Gatekeeper ein Schmelztiegel von Stilen ist, anders eben als diverse Protagonisten in der Melodic-Metal-Szene.

Umfangreiche Presse- und Online-PR durch Sure Shot Worx
Reviews / Features / Ratings: Deaf Forever, Rocks, Classic Rock, Eclipsed, Rolling Stone, Visions, Slam Magazine, Rock Tribune, Rock Hard, Legacy, Rock Hard, Rockway, Metal Invader, Loud and Proud u.a.

All of us carry a piece of where we’re from with us, but these parcels of fallow land often in a uniquely mysterious way become the prey that nourishes our aspirations. Agnès Gayraud a refined thinker by day that transforms into la Féline at night left Tarbes many years ago in search of greener pastures. After making a name for herself with Adieu l’Enfance (2014), Triomphe (2017), and Vie Future (2019), the author and musician has evolved once again. Her latest release Tarbes reinvents the circle of life and challenges our preconceived notions. She welcomes us to her hometown with sweet and clear melodies over the backdrop of an electronic hum, reminiscent of Mark Twain classic Tom Sawyer. Tarbes is no more than a listen away. Physically prevented from returning to her hometown by the viral threat we all know all too well, Agnès found her way back with a small Electone home organ. The constraints of off-peak hours that called for some DIY savvy, slowly but surely, roused her spirit. With a drum machine, a bass and a guitar, she succeeded in making the young girl inside her smile again. With 13 songs and just as many adventures Tarbes is a concept album that tells the story of a young woman’s formative years, as spent in her hometown. The returning hymn doesn’t only imprint nostalgia, it paints the full emotional portrait of a town. Because for Agnès, Tarbes is not just her theater, but her whole world, showing how fiercely protective she is of her hometown in the song Solazur. Under a magnifying glass of emotion, and with the sentimental testimony that is La Panthère des Pyrénées, the artiste shows us the skeletons in our own closets. Tarbes, more than a brief stopover in a rail journey to the coast, broaches issues that touch on abandonment, desertification, aging and redevelopment that many French towns and cities face today. Alexandre Guirkinger’s photographs serve as album art that illustrates this strangely unique singularity. While fine-tuning this collection of stories, in an oh-so-intimate album where solitude rips away the mask of confidence, Agnès found solace in uniting with other spirits. For 3 songs Tarbes, Jeanne d’Albret and Fum, inspired by an Occitan poem of Louisa Paulin (1888-1944), she invited the young voices of Conservatoire Henri Duparc a building she knows intimately, despite never feeling allowed to enter as a child to breathe the energy of their adolescence into this record. She also collaborated with Lyon’s own François Virot to imbue his delicate rhythms into her work, as well as Belgian guitarist Mocke Depret. Lastly, La Féline entrusted the last production stages to her eternal partner in music, Xavier Thiry, with Stéphane “Alf” Briat on the mixing board. The final piece has a complex tranquility, surrounded by non-verbality, with Jeanne d’Albret, Louisa Paulin and the Pyrénées safeguarding Agnes’ secrets. With the calm reassurance of her metamorphoses, La Féline delivers a slice of silence to her town, serving as both her cradle and theater. Tarbes’ Théâtre des Nouveautés is where Agnès Gayraud, La Féline, has decided to present Tarbes to its residents on October 14, 2022. While “nouveautés” evokes newness, this theater is reminiscent of a future which is already outdated, where modernity is only vague and fictional, carrying reminders of French haute-kitsch accordionist Yvette Horner, whose parents were the caretakers of what was then called the Cani Eldorado a bastion of virtue through the 30s, with its lineup of Catholic films. However, by the 60s, it would have become a temple of pornographic cinema. Tarbes, “Les Nouveautés”, end card. In the mid 90s, then 16 years old, Agnès discovered the volatile dust and the ghosts of the past that were hidden in this apostate theater. This phantom bequeathed song the teenager with the gift of her undeniable talent at her first appearance on stage a high school performance of a guitar-laden ballad sung in Spanish, a language her Andalusian mother has infused her with. On October 14, 2022, Agnès returns to the stage, bass in hand and joined by François Virot (drums), Mocke Depret (guitar), Léa Moreau (keyboard) and the Conservatoire de Tarbes singers to perform the album in its entirety

A beautiful combination of piano, strings, electronics and Ondes Martenot" Hannah Peel, BBC Radio3 "Fusing modern classical and ambient electronic, Missing Island is the highlight of the year in its class. Never predictable, never mundane - a special album."
Louder than War "What is the Missing Island? Snowdrops dances around the title, touching on multiple themes: the elements, the unconscious, the search for meaning and revelation. In the end, the missing island is open to interpretation: the piece that could complete us, if only we could find it." A Closer Listen. France chamber collective Snowdrops return to Injazero Records for their third album Missing Island, a musical fresco in seven pieces, a naturalist painting that exists between contemporary classical, post-folk and electro-acoustic music. Missing Island is the sequel to the highly acclaimed Volutes (2020), and again sees multi-instrumentalists Christine Ott and Mathieu Gabry joined by violist Anne-Irène Kempf on most tracks. This new chapter in the natural history of Snowdrops is lent an earthier texture by the hand-pumped organ, performed by Christine Ott.

Gargantuan volcanoes erupting with primal force, fountains of molten lava bursting sky high and massive boulders hurtling capriciously through the air. These potent and violently alluring images in the documentary series The Living Planet captivated Raoul Björkenheim's imagination in 1986. The search for a band name had come to an end. -”I was mesmerised. The name Krakatau sounded like a drum fill to me”. After studying at the Helsinki Conservatory for a year and the Berklee College of Music in Boston for three, Björkenheim relocated to Finland where he played in bands with Jone Takamäki, Antti Hytti and Tom Nekljudow, and later went on to work with composer and drummer Edward “Eetu” Vesala (1945-1999). His always original and highly demanding Sound & Fury workshops were a pivotal hotbed in the local improvised music scene, but after four years of Vesala's strict leadership Björkenheim felt a need to leave Sound & Fury behind and direct all of his attention towards Krakatau. The lineup on the first album “Ritual” consisted of reed virtuosos Jorma Tapio and Tapani Rinne, the bassist Sampo Lassila and two drummers, Michel Lambert and Heikki “Lefty” Lehto. “Krakatau’s debut album was very challenging to make, as I felt that it might be my one and only chance to record my own music, so I wanted it to be as intense and effective as possible”, says Björkenheim, “I was lucky enough to work with an incredibly talented cast of musicians. I can still listen to the album and feel satisfied that it really works. The first guitar solo illustrates what was to become my modus operandi: to try and play the electric guitar in unexpected ways.” Svart Records will release an expanded double LP version of Krakatau’s Ritual. Limited to 500 copies and due out on March 24th, the album contains an album’s worth of previously unheard material recorded in 1987 in Studio Helsinki and at the Finnish Broadcasting Corporation studio.

Es weihnachtet sehr in Rocky Beach: Auf der Suche nach den passenden Geschenken geraten die drei ??? in einen neuen Fall in 24 Kapiteln.Beim Einkaufsbummel im Kaufhaus Garcy's werden Justus, Peter und Bob Zeugen eines Überfalls. Kein geringerer als der Weihnachtsmann des Garcy´s wird angegriffen. Jemand hat es auf den Sack voller Geschenke abgesehen ... und dieser jemand ist ausgerechnet als Weihnachtself verkleidet. Die drei ??? heften sich an die Fersen des Diebes und finden heraus, auf welches Weihnachtsgeschenk es der Elf abgesehen hat ...Sprecher:innen & MitwirkendeErzähler Axel MilbergJustus Jonas, Erster Detektiv Oliver RohrbeckPeter Shaw, Zweiter Detektiv Jens WawrczeckBob Andrews, Recherchen und Archiv Andreas FröhlichTante Mathilda Karin LienewegOnkel Titus Erik SchäfflerSanta Claus Claus WilckeFotograf Stephan SchadSandy Angela StresemannMutter Pamela PuntiMr. Puckle Christian RudolfMrs. Hatchett Petra KleinertMatty Yoshua Rudolf 1.Security Patrick Berg2.Security Philipp Stumpp3.Security Max König4.Security Tony Curting Pater Achim Schülke Engel Theresa Underberg1.Polizist Patrick Baehr2.Polizist Alexander Mettin3.Polizist Douglas WelbatAngestellte Katrin DeckerLarry Jan LangerLuke Bigelow Harald EffenbergMolly Regine LamsterEmmett Reinhold KammererDurchsage Andrea LüdkeKrankenschwester Scarlett LubowskiMann Helge HalvéBandenchef Lars SchmidtkeBuch und Effekte: André MinningerRedaktion: Maike MüllerRegie und Produktion: Heikedine KörtingTitelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Constantin Stahlberg, Jens-Peter Morgenstern und Thomas KörtingCover-Illustration: Andreas RuchDesign: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von Marco Sonnleitner, erschienen im Kosmos Verlag, Stuttgart. © 2021Mit freundlicher Genehmigung der Universität Michigan. Based on characters created by Robert Arthur.Die drei ??? © 2022 Franckh-Kosmos Verlags-GmbH & Co. KG(P) & © 2022 EUROPA a division of Sony Music Entertainment GmbH

red marbled vinyl

Crisp beats open a serene, relaxing track in Celestial Beings. Smooth synth work fades in and the dreamy atmosphere builds and smoothly carries the listener along for a blissful ride, which Aural Imbalance fans will be well accustomed to.

Washing in with a lush pad-work intro, light analogue breaks creep in gradually over a deep brooding bassline, setting the tone for a delightful pad-laden journey through time and space.

Smooth glorious pads & light hi-hats welcome exquisite beat-work using the classic Circles break, a collage of delicate samples lightly adding to the ambient tone of the track.

Another treat for the ears with Caladan Shores, Aural Imbalance conjuring serene atmospheric vibes with graceful, elegant pads and synths complemented by that classic understated 808 bassline.

Words by Chris Hayes (Spatial / Red Mist)

“Elemental 7 has cast a looming shadow of influence over almost all electronic music since it was made” - Boomkat. Chris & Cosey’s Elemental 7 – available here for the first time in 40 years - is the soundtrack to the film of the same name (on Cabaret Voltaire’s Doublevision video imprint) that saw the duo working once more with John Lacey – Lacey had previously worked with Cosey in COUM Transmissions and introduced Chris Carter to the collective. The album’s highlight and one of their best loved songs, ‘Dancing Ghosts’, sounds as fresh and relevant today as it must have on its original release.

Fans of Analogic acid techno will love this one... That very Drop Bass style label invites this time one of the Subcom artist discoveries for a Full first Mini Album... vinyl only and A-class production. Needed !

--Following on from his stunning ’Transience’ track release on the Limbs Volume 2 compilation, we are pleased to announce the Debut 12” from Angus Mills on Moonshoe. Combining venturous yet precise sound design and atmospherics with club sensibilities. Crisp, colourful and contemplative cuts unbound by genre but nuzzled right in between the sound system and home listener.

Back in print, note new price. San Diego's own The Sure Fire Soul Ensemble’s sophomore LP on Colemine Records! Cinematic soul is the order of the day from this west coast group. Covering a lot of soulful territory here: deep funk, soul jazz, breakbeats, and more!

Kosaya Gora a new indie project from acclaimed electronic producer/singer Kedr Livanskiy and experimental producer/visual artist Flaty, have announced their first full-length album Kosogor today. Kosaya Gora is an entirely new sonic direction for them both. The debut is a multilingual foray into guitar-based folk, haunting dream pop, and moody synth, underpinned by Livanskiy"s signature hypnotic vocals.

140G

- Limited Edition auf 2023 Stück weltweit, handnummeriert zum 10-jährigen Jubiläum! Die 2LP erscheint im transparenten Vinyl (crystal clear), die Bonus 7inch im schwarzen Vinyl inkl. Gatefold Sleeve!

2013 verblüffte DJ Koze die Menschheit mit seinem zeitlosen Meisterwerk `Amygdala´, einem Album voller psychedelischer Strahlkraft, Tiefe und magischen Klangwelten, in denen es auch nach 10 Jahren Dauerschleife immer noch neue Nuancen zu entdecken gibt. Dieses Jubiläum feiern wir nun mit einer gnadenlos limitierten Coloured Vinyl Edition. Schnell Warenkorb Patsche Patsche machen!

Der besondere Charakter jedes von Prokofieffs Violinkonzerten scheint in seiner Entstehungszeit begründet zu sein:
Das erste, nervös und ikonoklastisch, fiel mit der Russischen Revolution zusammen; das zweite, nüchterner und lyrischer, stammt aus dem Jahr 1935, als Prokofieff eine endgültige Rückkehr in sein Heimatland vorbereitete.
Die beiden Konzerte wurden im Abstand von neunzehn Jahren geschrieben - ein Zeitraum, der fast vollständig mit den Jahren übereinstimmt, die Prokofieff im "Exil" verbrachte, zunächst in den USA und dann in Frankreich.

Nr. 1 komponierte er kurz vor seiner Abreise aus Russland, Nr. 2 nur wenige Monate vor seiner Rückkehr in die Sowjetunion. Es ist daher kaum verwunderlich, dass sich die beiden Werke so stark voneinander unterscheiden. Perlman entschied sich für die Einspielung dieser beiden Konzerte mit Gennady Rozhdestvensky, dessen Erfahrung mit diesem Repertoire er zweifellos für unübertroffen hielt.

Nun erscheinen diese Einspielungen auf LP.

Inspired by three movies of avantgarde cinematographer Maya Deren (At Land, Ritual in Transfigured Time and A study in Choreography for Camera), Francesca Bono (vocalist, performer, founder of Ofeliadorme and member of the Donnacirco collective) and Vittoria Burattini (percussionist, multi-faceted drummer and member of influential Italian avant-rock band Massimo Volume) created a dense hypnotic transfixing collection of songs based upon the sole use of the Juno 60 synthesizer and the organic linear pulsating sound of a drum kit.

These apparent limitations set the scene for an incredibly rich and rewarding voyage that immediately establishes a strong identity that oscillates between circular dream soundscapes and psychedelic rhythmic architectures. Bono / Burattini excels in threading magical images where objects transform without warning (Your House Is A Ghost) and collapse into kosmische grooves (La Trama Del Desiderio) or when humming electronics mold into temporal dimensions (Sogno Nel Vigneto). Burattini’s astonishing use of the drum kit and her mallet driven timbre produce space and tension (Dinner Illusion) perfectly complementing Bono’s synthesized realm made of nuance and reflection (Dancing Demons). One of the album’s key elements is the sparse use of Bono’s singing, an intricate mix of measured phrasing, breathing, spiral structures and extrasensorial-like choirs that seem to reference the rich Italian tradition of cosmic jazz, library music and the unmatched work of the RAI engineers in the 70s working with Gruppo Di Improvvisazione Nuova Consonanza, Morricone, Daniela Casa. The driving Can-like pulse of Le Ossa shows force and flow while Stella’s haunting piano recreates a futuristic horror-movie OST.

Suono In Un Tempo Trasfigurato is beautifully recorded and mixed by Italian composer Stefano Pilia, a perfect match for Bono / Burattini’s sonic explorations and for a record that intersects experimental wave, alien grooves, contemporary electronics and futuristic sci-fi. Their blend of analog electronics and organic pulses place them in a time out of joint where dancing remains the one constant ritual.

Soul Revolution, das neueste Album der Rocker von Fire From The Gods aus Austin, wurde von Erik Ron (Godsmack, Motionless In White, Panic! At The Disco) produziert und gemischt. Die CD und die Vinyl-Veröffentlichung in mehreren Varianten vereinen meisterhaft die Gefühle von Inspiration und Aggression mit dem Gefühl der Seelensuche. Für manche Künstler ist das Musikmachen keine Wahl, es wird von etwas angetrieben, das größer ist als sie selbst. Dies trifft zweifellos auf Fire From The Gods zu, die sich den Slogan "In Us We Trust" auf die Fahne geschrieben haben, was bedeutet, dass "wir, das Volk", für den Wandel verantwortlich sind; ein vereinigendes Statement, um zu verhindern, dass die Gesellschaft dem wachsenden Unbehagen erliegt, das durch seelenraubende Technologie, spaltende Politik und Umweltzerstörung hervorgerufen wird.

TRUST's XY recombination series is back with a second volume of cutting-edge sonic fictions: Electro legends Ultradyne join techno avantgardists Peder Mannerfelt, Second Storey, and Alex Cortex in remixing classic TRUST tracks by Microthol, Clatterbox, and /DL/MS/.

"Coming Home - 40 YEARS MAJOR TOM" feiert 40 Jahre "Fehler Im System" und "Major Tom (völliglosgelöst)" und das prägende musikalische Werk des Peter Schilling und erscheint am 24.03. zum
internationalen Jubiläum.

Die 2CD-Version von "Coming Home" enthält insgesamt 40 Tracks - 20 englische, 20 deutsche. Darunter finden sich remasterte Versionen der großen Hits aus 40 Jahren wie "Major Tom (völlig losgelöst)" , "Die Wüste Lebt" oder " Terra Titanic? sowie - in beiden Sprachen - je
vier neue Songs .
Erstmals für Schillings große Fan-Base in Südamerika wurde "Major Tom" zudem auf Spanisch eingesungen (Mayor Tom (? Vuelve a casa)), ferner kann man sich auf beeindruckende neue Orchester-Versionen dieses Welthits freuen. Die Songs DNA ( "(Into Your ") DNA"), Ozean "(Oceans Eyes)" und Nach innen sehen ("Starting with myself") erscheinen erstmals auf Englisch und wurden für "Coming Home" neu aufgenommen.

Diverse Songs sind hier überdies zum ersten Mal überhaupt auf CD erhältlich. Abgerundet wird die Sammlung von einem 24-seitigen Booklet mit neuen Fotos und Liner Notes .

Le Motel and Bruce Wijn met at school, during a school art trip to Munich. They went separate ways for a long time.

Hailing from Brussels, Le Motel's world is a vortex of sight and sound that takes in the many and varied corners of the planet. As a music producer and film composer his versatility has taken him to festivals and clubs in every direction as naturally as he has ventured out to the less accessible areas of the globe as a field recordist. It's somewhere in between these spaces that Le Motel operates, gathering unique experiences and sounds to channel through his studio.

Bruce Wijn is a Brussels-based guitarist who played in several postrock kind projects such as Sound Film, 52 Commercial Road, or more shoegaze Lazy Sin. These collaborations gave him the opportunity to perform in various locations in Belgium, France, England, and the USA. As a musician, his focus has always been attracted by progressively built rhythmic melodies, which would eventually turn into long reverberated or distorted swells, or the otherway round.

All these experiences brought them both to the idea of scoring movies with different yet similar approaches.

That's how their first collaboration happened as Le Motel was working on the soundtrack of the movie Binti, and invited Bruce Wijn for the track Exode, in 2018. Since then, they've been working on other scoring projects, such as the feature film 'Aller Retour' more recently.

Alongside the movie scoring activities another audiovisual live project was born, in collaboration with Antoine de Schuyter and his mesmerizing images.

This one is more focusing on tape textures, field recordings and glitchy effects in order to build atmospheric tracks that they decided to bring together in a first E.P. 'MAAR'.

'MAAR' is elaborated as a soundtrack for an imaginary journey between cold seas and volcanoes explorations.

From the first echoing sounds of playing kids on the shoreside in the opening track 'La Perche' Le Motel & Bruce Wijn let you slide in a technicolor dreamworld, reverbing slowly innocent childhood memories into a chilled, out of range, future.

'MAAR' dives deep into a kaleidoscopic microcosmos watching Nautilus playing hide and seek with 'Captain Ahab' floating on sonic breaking waves, while seagulls gently spread their wings flying through the breezy and misty clouds of Blankenberge.

Lava vulcanica slowly melts in the sad euphorica of the cold North Sea, crystallizing sounds only Le Motel and Bruce Wijn can deliver.