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Jon Porras draws a staggering array of atmospheres out of even the simplest instrumentation. Across his work as one-half of psych-drone duo Barn Owl and his solo releases, Porras welds monoliths and ether into propulsive music that is deeply felt. Arroyo, named for the Spanish word for "stream" in a nod to Porras' heritage as a first generation Colombian?Japanese American, drifts gently from one tributary to the next in unhurried contemplation and euphoria. The portentous weight and abrasive textures of Porras' previous work give way to the trickle of richly detailed acoustic instruments slipping in and out of the fold. On Arroyo, Jon Porras evokes a distinct sense of resplendent anticipation and calm with a fathomless flow and softly gorgeous colors. For Porras, Arroyo became a rumination on simplicity and simple truths, a work of complete immersion and continuous motion where separate elements coalesce into an ever-changing whole. Porras spent the year leading up to 2020 living nomadically across Europe where he was able to soak in a deep appreciation for the effortless beauty of overgrown gardens, the basic principles of classical architecture and a more transient sensibility. The album was written and recorded in a time of even more change for Porras: after the birth of his daughter. Like a stream's steady glide across bedrock that waxes and wanes with each gradual turn, the music of Arroyo exhibits a transportive stillness. The compositions take on a light, gaseous buoyancy as discreet drones swell with measured fluctuations and ripples of piano rest atop the surface. Arroyo borrows harmonic concepts from modal jazz to create a unique sense of ease and endlessness. Each of the four pieces on the album centers around a single suspended chord, a chord most commonly associated with devotional music which embodies a space between harmonic tension and resolution. Porras embellishes that liminality with arrangements that feel less like distinguishable layers of instruments and more like one undulating nebula of sound. In the past decade of Porras' solo work, his music has grown increasingly engaged with elaborate synth textures and detailed processing. With Arroyo, Porras consciously takes a step back from those more intricate compositions and focuses on more organic, unadorned textures and places each sound with the same precision. Stark piano and guitar patiently hover over modest currents of Hammond organ and Yamaha DX7 with the sustain of each chord and phrase acting as a natural guide to the album's subtle rhythm. The four pieces that comprise Arroyo each encompass their own idyllic channel, slowly weaving their way in and out of the album's elegant stir. Porras' reflections on simplified elements take shape in gorgeous arrangements that impart clarity amidst a tranquil mist. Arroyo is an album that unearths splendor in a unified feeling of space, serenity in perpetual renewal

This LP pressing is on Translucent Orange.
Recorded At Inner Ear Studios
Produced By Ian MacKaye
Daniel Higgs vocals Asa Osborne guitar John Chriest bassMitchell Feldstein drums

To celebrate the 45th anniversary of iconic Dutch jazz label Timeless Records, Music On Vinyl is releasing a series that features albums that are part of the Timeless Records legacy and will be released mainly throughout 2022.

Part of this series is Pharoah Sanders’ Moon Child from 1990, which bookended a decade of musical soul searching for Sanders. The acclaimed free jazz player is known to have a raw and abrasive sound, but reinvented himself on this album as a more traditional improviser capable of thoughtful deliberations. Moon Child is a grand old time throughout, and Sanders has never been more eminently sing-along-able as he is on its title track. The record was co-written with Horace Silver, George Gershwin and Abdullah Ibrahim and recorded with William Henderson, Stafford James, Eddie Moore and Cheikh Tidiane Fal

Long overdue pressing of cult band’s most sought after release. Engineered and remastered by Jack Shirly (Deafheaven, Bosse-de-Nage, Oathbreaker). For fans of Have a Nice Life, Xasthur, and Planning For Burial. Entirely remastered and includes a never before heard bonus track!! Mamaleek’s Kurdaitcha is finally back in print! The San Francisco-based duo released their third album of weirdo black metal, Kurdaitcha, on the legendary cult label Enemies List Home Recordings (Have a Nice Life, Giles Corey), and it quickly sold out. For years the LP has been a hard to find collector’s item. Kurdaitcha finds the project in its initial period of creating music influenced by black metal, hip hop, jazz, and spirituals. Founded in 2008 in the Bay Area by two anonymous brothers, Mamaleek has explored a vast sonic territory on the edge of a genre renown for its aversion to change. Their expert utilization of left-field samples and unconventional instrumentation, and their insistent drive to experiment continues to set the band apart from their peers. This pressing of Kurdaitcha has been remastered and features a previously unreleased bonus track with a gold foil stamped jacket. “Mamaleek are the great destroyers.” — Invisible Oranges // “An incredibly rich and rewarding experience.” —Heavy Blog Is Heavy // “Is it good, though? It’s fucking mental. It’s amazing. It’s absolutely horrible. It’s barely listenable at times and yet you can’t turn it off. The music is perfect. Like broken glass is perfect.” —Echoes And Dust // “The group cloaks its music in the kind of warm, hypnotic distortion that defines shoegaze, and underneath that haze is a style that’s conceptually abrasive yet altogether beautiful.” — FORBES

Other Joe is the pseudonym of producer, mastering engineer, and label-head Joe Buchan, an individual with a penchant for free-wheeling experimentation and genre-crossing musical tastes. Drawing upon a wide array of sounds that pay homage to his love of both the beautiful and the abrasive, Joe devours indiscriminately whatever sounds might cross his path, the result giving birth to the unique musical journey that is listening to an Other Joe record. After a few years spent playing in bands and releasing small bodies of work under different monikers, Joe released what many listeners know as his breakout record, Alien Haze, a beautiful collection of recordings that oscillate from collages of field recording and found sound, sublime balearic-era saxophone symphonies, and introspective neo-classical psychedelia. His latest work, blessing from th eheart (typo intentional), expands on Other Joe’s love for blending field recording and acoustic instruments with electronic processing. Beginning by reviewing the catalogue of creative notes he had archived since the release of Alien Haze in March 2019, Joe picked apart voice memos, Logic projects, iPhone videos and whatever else he could lay hands on. Says Joe, “looking over it all at once, the musical ideas I had been attracted to over the past eight or nine months started to make a bit more sense - I could see that there were instruments I was liking, or chord progressions that I kept coming back to, structures and forms that I had found engrossing. Sort of like putting together a jigsaw puzzle that I had made without realising.”

Spencer Miles Abraham Allen, wie er mit vollen Namen heißt, stammt aus Rochester im State New York. Schon mit seinem Mittelnamen Miles, natürlich angelehnt an den großen Miles Davis, gaben seine Eltern ihm eine Musikkarriere gleich mit in die Wiege. Während die künstlerische Laufbahn langsam ins Laufen kam, blieben diese dennoch skeptisch. Als Spencer. das College nämlich für die Musik verließ, um an seiner Karriere zu arbeiten, waren seine Eltern alles andere als glücklich darüber. Er gab ihnen das Versprechen, wenn es mit der Musik nicht klappen sollte, binnen eines Jahres zurück im Hörsaal zu sein. Zu diesem Zeitpunkt hatte er dann aber ein paar Millionen Streams bei Spotify und einen Plattenvertrag bei 4AD in der Tasche - sein Platz im College bleibt wohl vorerst leer und auch seine Eltern können wieder ruhig schlafen. Von Fader und Pitchfork als einer der Acts für 2021 proklamiert, kann Spencer. selbstbewusst vorausschauen. Mit seiner Single "Automatic" hatte er 2019 bereits einen kleinen Underground-Hit gelandet…

T. Gowdy has kept up a productive albeit mostly virtual pace since the release of Therapy With Colour (his third full-length album and first for Constellation) which dropped just as things were locking down back in spring 2020: performances at numerous festivals including MUTEK Montréal, Node Festival and NEW NOW; audiovisual pieces exhibited at various European galleries and events; a track and video for Constellation's Corona Borealis Longplay Singles Series; sound design for the documentary Atalaya by filmmaker Emma Roufs. Gowdy now returns with Miracles, his second full-length for Constellation, which draws on source materials originally performed in 2018 for an unreleased audio/visual project based around surveillance footage_a precursor to videocapped, monitor-based horizons that soon took on new meanings. Re-immersing himself in those recordings, Gowdy disassembles and deploys them as raw source material for new experiments with vactrols, noise gates and analog-to-digital triggering and aliasing, the original recordings juxtaposed anew amidst their successive textural and rhythmic treatments. Gowdy keeps this re-composition process stripped down, elemental and purposive, guided by an ascetic Aufhebung: synthesis as sublation_subjecting a temporal material/theme to analysis and transformation, reintegrating to form a whole that overcomes what it preserves without erasure, reshaping and intrinsically carrying its origins forward. Where Therapy With Colour was strictly and rigorously a set of stereo live performances, Miracles fuses iterative_though still spartan_layers of performance. "Therapy With Colour was about healing through self-hypnosis; Miracles is about forging a future with memory through subjection to trigger mechanisms" notes Gowdy. The result is a captivating collection of minimal IDM and oscillated electronics from the Montréal/Berlin producer, working primarily in a 120-140 BPM zone of tonal percussion and corrugated pulse. Gowdy's sensibility and sound palette gets deeper and dirtier, summoning new pathways of alluvial flicker and abraded euphoria. As the album progresses, low-pass gate vactrols coalesce into a clear and vital theme, conveying immanence through woody timbres at times reminiscent of the Shinrin-yoku aesthetic (Japanese `forest bathing'), though always with a grainy transcendence rather than invoking any clean pure sheen. Gowdy consistently heats and heightens the presence of each component in the mix, balancing different elements in democratic compression/distortion, attaining an unornamental and earnest form of mantric-industrial majesty. Miracles is live, corporeal, activated electronic music of the highest caliber, deployed with monastic and meditative focus.

Third Eye Blind 'Our Bande Apart', produced by Stephan Jenkins and Colin
Holbrook is their follow up to 'Screamer' and the first release since
lockdown
Recorded in Eagle Rock, Los Angeles with guest Ryan Olson of Poliça and
Marijuana Death Squad adding his unique, overall weirdness to the song. The
albums' first single "Box of Bones concerns itself with the ambivalence and
stakes of relationships under pressure," says Stephan Jenkins. The song is from
the band's first recording session since before lockdown and "is the most fun
we've ever had in the studio," he adds. "You can hear the exuberance we have
playing together in the same room again." With it comes a video celebrating
creativity and connection with artists Joseph Arthur & UnCuttArt, directed by
David Wexler (Motorcycle Drive By, TriBeCa Film Festival 2020) and inspired by
Marina Abramovi 263;'s legendary art installation, The Artist Is Present.
The following track "Again" features Bethany Cosentino of Best Coast trading
vocals with Stephan Jenkins on a song that is reminiscent of a travelogue from
days gone by.

"This Is What It Feels Like’ is the latest 12-track project from ethereal singer/songwriter, Gracie Abrams.
Since making her debut with “Mean It” in October 2019, Gracie Abrams has emerged as one of the most compelling songwriters of her generation, earning the admiration of such likeminded artists as Lorde, Billie Eilish, and Olivia Rodrigo. A consummate songwriter who names Joni Mitchell as her most formative influence, she penned her first song at the age of eight, then went on to amass a devoted following on the strength of her emotionally intimate lyrics and DIY sensibilities. She is praised her “painfully honest tales of heartbreak draped in delicate melodies that carry much more intrigue than the usual run-of-the-mill singer-songwriter."

Motown Collected brings together the biggest names in the rich history of this legendary label. From very early singles to the artists that made Motown a household name for decades to come and the cross-over pop success of the late 70's and 80's. Featuring legendary artists like Marvin Gaye, Stevie Wonder, The Supremes, Jackson Five, Smokey Robinson and The Commodores, as well as gems from the likes of Marv Johnson, Barrett Strong, The Marvelettes and Tom Clay and pop superstars Rick James, Michael Jackson, Diana Ross, Lionel Richie and Debarge: just a selection of the 33 incredible tracks featured on Motown Collected.

Renowned agent and jazz pioneer Wim Wigt founded Timeless Records in 1975. This Dutch record label has specialized in bebop, although it also did a sub-series of releases of Dixieland, Swing and Classical recordings. As of today, Timeless Records has, together with its three sub-labels, released over 900 albums. Notable releases include Dizzy Gillespie Meets Phil Woods Quintet, McCoy Tyner's Bon Voyage, Lou Donaldson's Forgotten Man, Eastern Rebellion and albums by the George Adams-Don Pullen Quartet, Chet Baker, Bill Evans, Art Blakey's Jazz Messengers and many more.

To celebrate the legacy of Wim Wigt's Timeless Records, Music On Vinyl is releasing a 45th anniversary jazz series. The series features albums that are part of the Timeless Records legacy and will be released throughout 2021/2022. To kick off this series, Pharoah Sanders' Africa is released on the 19th of November 2021.

Pharoah Sanders possesses one of the most distinctive tenor saxophone sounds in jazz, which has earned him royal status amongst free jazz players, critics and collectors. Harmonically rich and heavy with overtones, his sound can be as raw and abrasive as it is possible for a saxophonist to produce. His 1987 album Africa is soulful but also searching for a strong groove at the same time. The album is recorded with John Hicks, Curtis Lundy and Idris Muhammad and was an explicit tribute to his late mentor John Coltrane, another giant of jazz.

Africa by Pharoah Sanders is available on black vinyl. The album includes an insert with upcoming Timeless Records titles from the Timeless Records 45th Anniversary Jazz series. The sleeve contains liner notes by Kevin Whitehead.

dutch sound artist albert van abbe now joins the raster family, with an unexpected collaboration with founder olaf bender aka byetone titled DUAL. having spent time working side by side in ’s-hertogenbosch at the willem twee studio, the result of their collaboration is both smooth and haptic, rounding out as an expressive camaraderie between the two veteran producers. jovial and innocent, DUAL alludes to the experimental research process of finding common ground. fully embracing the haphazard richness of live recordings, the result is a remarkable fusion of contrasting outputs; intricate collaborative efforts and byproducts woven together with an eager indifference towards expectation. the artists embrace a skewed navigation through pronounced highlights, intricate lulls and moments of temporal stasis, intermittently punctuated as a means of intentionally avoiding notions of rigid perfection. with ‘real-time’ approach directing DUAL’s creation, the pair effectively shies away from any meticulous planning, and the music runs free and negates any rigid parameters one might have expected. quirky titles exude the collaged form of the release, and underline its innocent charm. as a whole, DUAL focuses on the creative process and fully engages listeners with its own dialogue, though it is very outspoken, at times even abrasive.

Rudolf Abramov hit all Optimo Music's buttons at once. Drums, energy, songs, instrumentals, super production, Post Punk echoing, dance floor destroying, home listening friendly, and completely unique.

Who are they and what are they about? Read on...

Rudolf Abramov is a duo based in Berlin. They seem to open a door to unexpected musical encounters. It's an almost impossible task to sum up their sound in a comprehensible way, but in their own words their music is 'a response to a seemingly endless conflict about disgust, acceptance and love.' Since the duo likes to invite other musicians and fellow humans to add to their pieces, this often creates another layer to their unexpected musical encounters.

"Losing Perspective" is the result of a journey that began with a week-long recording session outside the city. Back in Berlin the skeletons of the track gradually grew in flesh, experience and emotion, describing this time in a vibrant and ever-changing city; a city where the faded colours sometimes seem more appealing than the unifying glow of the new.

In order to preserve for ourselves the conflicting colours in their fantastic disharmony, we have therefore watched the pieces change rather than moving them in a particular direction. The result is a number of tracks with different facets that derive from different moods and voices, indulging in diversity.

At the end of this process, we look back at this colourful collage and connect our own very personal history with it and both resolve in harmony. When asking the cat from our studio’s courtyard for example, she said that "Losing Perspective" was about stray tomcats who have lost their old home port to a newfangled establishment wandering randomly through the days in search of songbirds, distraction and rest. And we feel like she kinda has a point there.

Judee Sill was an American singer and songwriter. She released two albums and partially completed a third album before her death in 1979. Sill encountered Graham Nash and David Crosby and toured with them for a time as their opening act, a year before the release of her debut album. She was hired by the Turtles to write songs, on which a few of them appeared on her debut album, such as 'Lady-O'. Two of Sill's biggest influences were Bach and Ray Charles.

Judee Sill's eponymous debut album of the same name was originally released in late 1971. Backing musicians include John Beck and Jim Pons from the Leaves. The majority of the album was produced by Henry Lewy, noted for his work with Joni Mitchell throughout the 70s. Graham Nash handled the duties for the single 'Jesus Was a Cross Maker' with his production designed to aim for radio airplay before the release of the album. Judee Sill featured Sill's voice in multiple overdubs, often in a four-part chorale or fugue. The songs are delivered in an acoustic style on guitar and, for 'Jesus was a Cross Maker' and 'Enchanted Sky Machines,' on piano. The songs on the album feature elements of folk, country, and gospel, but also strong classical influences.

This eponymous Sony Classical debut album is a creative melting pot of different styles of classical music. The album features new compositions contributed by British composer and pianist Alexis Ffrench, Dutch neo classical pianist Annelie, French pianist/composer Alban Claudin, Oscar winning British composer Rachel Portman, British Cellist/composer Julian Lloyd Webber and American film composer Jacob Shea. Additionally the album features original compositions by Clara Schumann and Amy Beach as well as several unique new arrangements of some of the most famous classical melodies by Pjotr Tchaikovsky, Eric Satie and Frédéric Chopin. Specialist promo/marketing activity. 180gm vinyl and CD.

Abrakadabra The success and acclaim of You Can’t Kill My Rock N’ Roll inspired the band significantly and writing for the next record enthusiastically started whilst out on tour. Connecting with so many fans, old and new has helped to influence the shape and sound of the new record, with Adde commenting that the new album “feels like the record we should have released after the Black album”. Abracadabra will be released worldwide on March 25 - 2022, containing 10 hard hitting songs exploding with riffs, attitude, intensity and that magical feeling you get when work is over and the weekend is here. This is an album for the fans and best shared with great friends, cold beers and very loud speakers!! Recorded in 2020 and early 2021 at both Österlyckan and Bombastik in Musikens Hus - Gothenburg, the decision was made early on to once again work with Johan Reiven, who was responsible for production duties on the bands ‘Black Album’. Adde states “Working with Johan was like stepping back in time, there’s a shared intensity and commitment to excel that collectively drives us and ultimately brings out the best in us all… I am 100% happy with the result”. This shared intensity can be heard on every one of the tracks from the defiantly rebellious “Dream in Red” through to the bar soaked philosophy of “One For All” and the thundering powerhouse that is “Catch Me If You Can”. Abracadabra is uncomplicated, Rock N’ Roll escapism and entertainment at its best… sprinkled with a little bit of magick for good measure --

Abrakadabra The success and acclaim of You Can’t Kill My Rock N’ Roll inspired the band significantly and writing for the next record enthusiastically started whilst out on tour. Connecting with so many fans, old and new has helped to influence the shape and sound of the new record, with Adde commenting that the new album “feels like the record we should have released after the Black album”. Abracadabra will be released worldwide on March 25 - 2022, containing 10 hard hitting songs exploding with riffs, attitude, intensity and that magical feeling you get when work is over and the weekend is here. This is an album for the fans and best shared with great friends, cold beers and very loud speakers!! Recorded in 2020 and early 2021 at both Österlyckan and Bombastik in Musikens Hus - Gothenburg, the decision was made early on to once again work with Johan Reiven, who was responsible for production duties on the bands ‘Black Album’. Adde states “Working with Johan was like stepping back in time, there’s a shared intensity and commitment to excel that collectively drives us and ultimately brings out the best in us all… I am 100% happy with the result”. This shared intensity can be heard on every one of the tracks from the defiantly rebellious “Dream in Red” through to the bar soaked philosophy of “One For All” and the thundering powerhouse that is “Catch Me If You Can”. Abracadabra is uncomplicated, Rock N’ Roll escapism and entertainment at its best… sprinkled with a little bit of magick for good measure --

Screen Time is a series of instrumental guitar pieces recorded during the summer of 2020 as the world confronted the pandemic shutdown and as the people of good conscious stood up against the oppression of racist police oppression and murder. How much screen time does a parent allow a child? How much screen time does a child need to realise a world which has the means to coexist as a community in shared exchange?
The cover image of Screen Time is of a youngster curled into a book, the pages vibratory with text radiating through the skin, blood and bone – an aspect entirely missing from digital media, though the actuality of transparency in our daily lives through streaming etc we can only hope leads to the awareness of fairness.
Screen Time is in reflection to dream time, a state of meditation, hypnagogia and pillow talk.

Thurston Moore born 1958, moved to NYC 1976, started Sonic Youth 1980, edited the fanzines KILLER, Sonic Death, and Ecstatic Peace Poetry Journal, started Ecstatic Peace records + tapes label, senior editor of Ecstatic Peace Library, and Flowers & Cream, edited books at Rizzoli and Abrams, on faculty at the Naropa University summer writing program since 2011, published through various imprints, worked collaboratively with Yoko Ono, Merce Cunningham, Cecil Taylor, Rhys Chatham, Lydia Lunch, John Zorn, Takehisa Kosugi and Glenn Branca, composed music for films by Olivier Assayas, Gus Van Sant, and Allison Anders, records and tours both solo, with various ensembles and with his own band, resides everywhere.
Mastered by Lasse Marhaug for Southern Lord.

Previous album released on Dead Oceans. Previous album was a collaboration with Brian Eno. Past press coverage from Pitchfork, SPIN, The Guardian, Drowned in Sound, Dusted, The Quietus, and many more. Since the release of his last album 2017’s Finding Shore, a collaboration with Brian Eno pianist and singer-songwriter Tom Rogerson’s life has undergone a number of dramatic transformations. While writing his new album Retreat to Bliss, Rogerson had a child, lost a parent, and received his own diagnosis of a rare form of blood cancer. The new decade brought him from Berlin to the Suffolk of his childhood, composing profound pieces of minimal songwriting in the church next to his parents’ home. Rogerson studied composition at the Royal Academy of Music under mentors like Harrison Birtwistle, and he made his live debut as an improvising pianist in 2002, before releasing an improvised record with Reid Anderson (Bad Plus) and Mike Lewis (Happy Apple, Bon Iver) in 2004. He formed the band Three Trapped Tigers in 2007, expertly blending elements of electronic, jazz and noise rock into a cohesive whole. The band earned a reputation for innovative live shows and went on to perform and collaborate with artists like Brian Eno, Deftones, and the Dillinger Escape Plan. It was working with Eno, another Suffolk native, that eventually led Rogerson back to his roots and back to a place where he could write Retreat to Bliss, his solo debut album. “All my life, the piano has been my constant companion, my confessor, my best friend, and my worst enemy,” Rogerson explains. “I’ve always written music on and for the piano, but it felt too personal, too private to release.” Indeed, listening to Retreat to Bliss feels almost like eavesdropping, as though you’re crouched in the belfry of a Suffolk church, bearing witness to a form of musical bloodletting. For the first time in his noteworthy career, Rogerson has combined masterful piano playing and subtle electronics with the texture of his own voice, an attempt to express deeply private emotions that were difficult to articulate using instrumental music alone. “The last few years have brought some struggle, some joy, and a lot of change. My response has been to retreat to what I trust the most: the piano, my voice, and the landscape I grew up in. That’s how the album got its title, and how I came to be ready finally to release a solo record.” The eleven tracks that make up Retreat to Bliss were recorded by Leo Abrahams (Brian Eno, David Byrne, Grace Jones) over the course of just a few days, a process that emphasized spontaneity and the artist’s own commitment to improvisation. Secular yet devotional, intensely personal yet profound, the experience of listening to Retreat to Bliss seems to evade characterization. It’s physical and emotional, a glimpse into the mind of an artist who has chosen exposure over withdrawal, who uses his command of the piano to chart an unflinching path forward, never looking back. UK press campaign by Someone Great. Press Quotes "A meeting of minds that is full of rewarding surprises, challenging and surprising one another, and their listeners, with music that feels alive and wondrous…” Pitchfork // "Both mournful and dazzlingly optimistic, a taste of the conflict found so ofen in nature and reflected so elegantly across the course of the record.” The Line of Best Fit // "Many avant-garde instrumental albums exist to craf a mood; Rogerson and Eno merge these moods, sounds and themes together efortlessly and radiantly on Finding Shore” Exclaim // Track List 01 Descent 02 Oath 03 Buried Deep 04 Toumani 05 Drone Finder part 2 06 Chant 07 Rapture 1 08 Open Out Span Wide View 09 A Clearing 10 Retreat To 11 Coda

Reissue of Rudimentary Peni’s stunning debut 12-song 7”. Recorded in 1981 at Street Level Studios and originally released on their own Outer Himalayan label. From the first track Rudimentary Peni pull you in and aurally assault your ears. It’s abrasive, sharp with supreme musicianship. They created a perfect, demented universe of twisted, poetic and needle in the red punk that has never been bettered. This reissue comes with a fold out replica sleeve with the iconic Blinko foetus artwork and booklet.