Suche:al green

Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band’s story, Sonic Youth’s The Walls Have Ears appeared / disappeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité. It’s now issued for the first time officially under the band’s auspices.

The ’85 shows were the second time the band appeared on UK soil, Brits now getting juiced to the mythos of the emerging guitar-slinging American independent underground; an art / punk band from NYC sporting casual attitudes and tees sporting Bruce Springsteen, Madonna, and Prince made some good press copy on top of their bludgeoning stage appearance. Paul Smith of the newly-founded Blast First label acted as an overseas diplomatic envoy for Sonic Youth through their SST years as well as issuing their classic 1988 Daydream Nation outside the USA. However the Smith-produced ‘bootleg’ of their ’85 UK gigs surfaced much to everyone’s surprise, just before EVOL was to be released. It turned out to be a marker of the group’s dissatisfaction that ultimately led to the release’s deletion, and the band and Smith parting ways after Daydream.

In this 2LP set brimming with primitive classics like ‘The Burning Spear,’ ‘Death Valley 69,’ and ‘I’m Insane’ (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board (somewhat a necessity for distraction until the band had a full fledged stage crew to prepare guitars). The first two sides of Walls are massive, cavernous, with newly-drafted drummer Steve Shelley. SY tear it up especially on one trash-fi excerpt of ‘Blood On Brighton Beach’ (actually ‘Making The Nature Scene’) from a legendary outdoor gig November 8th where Thurston Moore, Kim Gordon and Lee Ranaldo’s guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame.

The record’s second slab spotlights an April 1985 at London’s Hammersmith Palais and was one of the final appearances live of Bob Bert on drums, again featuring some molten takes on ‘Brother James,’ ‘Flower’ (listed as ‘The Word (E.V.O.L.)’), and others. This document remains an essential representation of some lean and mean years of the quartet’s throttling march out into the world. (by Brian Turner)

Culled from three 1985 gigs in the UK during a transitional and transcendent time in the band’s story, Sonic Youth’s The Walls Have Ears appeared / disappeared as a 2LP set in 1986, not just a live album but an artful tapestry full of live experimentation with songs, between-song tape segues, darkness, humor and audio verité. It’s now issued for the first time officially under the band’s auspices.

The ’85 shows were the second time the band appeared on UK soil, Brits now getting juiced to the mythos of the emerging guitar-slinging American independent underground; an art / punk band from NYC sporting casual attitudes and tees sporting Bruce Springsteen, Madonna, and Prince made some good press copy on top of their bludgeoning stage appearance. Paul Smith of the newly-founded Blast First label acted as an overseas diplomatic envoy for Sonic Youth through their SST years as well as issuing their classic 1988 Daydream Nation outside the USA. However the Smith-produced ‘bootleg’ of their ’85 UK gigs surfaced much to everyone’s surprise, just before EVOL was to be released. It turned out to be a marker of the group’s dissatisfaction that ultimately led to the release’s deletion, and the band and Smith parting ways after Daydream.

In this 2LP set brimming with primitive classics like ‘The Burning Spear,’ ‘Death Valley 69,’ and ‘I’m Insane’ (uncredited on sleeve), segues and live guitar changes ooze together threaded by Madonna tapes and vocal loops off the board (somewhat a necessity for distraction until the band had a full fledged stage crew to prepare guitars). The first two sides of Walls are massive, cavernous, with newly-drafted drummer Steve Shelley. SY tear it up especially on one trash-fi excerpt of ‘Blood On Brighton Beach’ (actually ‘Making The Nature Scene’) from a legendary outdoor gig November 8th where Thurston Moore, Kim Gordon and Lee Ranaldo’s guitars treble-blast dissonant shockwaves over the black-stoned beach of Quadrophenia fame.

The record’s second slab spotlights an April 1985 at London’s Hammersmith Palais and was one of the final appearances live of Bob Bert on drums, again featuring some molten takes on ‘Brother James,’ ‘Flower’ (listed as ‘The Word (E.V.O.L.)’), and others. This document remains an essential representation of some lean and mean years of the quartet’s throttling march out into the world. (by Brian Turner)

The second solo album by Frank Zappa, Hot Rats (October 1969) is one of the most influential Jazz fusion albums ever. It marked Zappa's first recording project after the dissolution of the original version of The Mothers of Invention. Multi-instrumentalist Ian Underwood is the only member of the Mothers to appear on the album and was the primary musical collaborator.

Other featured musicians include bassists Max Bennett and Shuggie Otis; drummers John Guerin, Paul Humphrey and Ron Selico; and electric violinists Don "Sugarcane" Harris and Jean-Luc Ponty. The first Frank Zappa album recorded on 16-track equipment, Hot Rats was included in the book 1001 Albums You Must Hear Before You Die, and was given a rating of 4½ stars in Al/Music, with Steve Huey stating that "few albums originating on the rock side of jazz-rock fusion flowed so freely between both sides of the equation, or achieved such unwavering excitement and energy". The model on the cover is Miss Christine, from the group GTO's.

What happens when a four-headed human drum computer meets a classical trained vilonist turned beatmaker to spend time in the studio? A beautiful lily blossoms. At least this was the case when Bokoya and FloFilz entered Atelier 21 in Aachen (a Produzentengalerie für globale Kunst) for a musical encounter with no goals set. The music that was born out of these sessions is simply amazing and we are more than happy to release them as an album under the name “Yurika” - which is a Japanese name that means “beautiful lily”.

The artwork was created by Jens Roth & Jeremias Diekmann who are responsible for almost all Bokoya artworks yet. The 19-track strong instrumental album includes one vocal track featuring Japanese singer Kan Sano.

FloFilz is one of Europe's most acclaimed Jazzbeat-producers with four albums on MPM under his belt. His last album “Close Distance” came out in 2022 an featured artists Alfa Mist, Blue Lab Beats, Jerome Thomas and Summers Sons. FloFilz is a classical trained musician who not only plays the TR 404 but also violin.

Bokoya describe themselves as a four-headed human drum machine that play improvised beat music. You can call it jazz if you like (all four members are graduated jazz musicians ) but be ready to stumble over some Dilla, Kraut Rock, Ambient or Dub in the mix. In 2022 Bokoya released their second album Hausensession on MPM , followed by a collabo album with Cologne-based producer Ginanni Brezzo (Jakarta Records) called „Minari“.

Green Vinyl

A bass rumble seems to rearrange your organs like a spiritual doctor, fast techno kicks and a funky as hell percussion line emerge - it's the lucky 13th release on Lisbon's Para?so, this time by local mainstays Shcuro and Vil - the first, label co-founder, the second a longtime friend and impeccable DJ with a range that runs from dubstep to the hardest strains of techno and beyond. The opener track 'Rumble The Funk' evolves with infectious stabs and cut-up vocal and our legs can't seem to stand still. The groove continues on with the A2 'Recoil', a soulful, dubby, relentless ode to techno that feels authentic and purposeful. Emotional tones find their way in via a mysterious, melodic string, introduced in the breakdown. Dubbed out motifs, delay + feedback strokes make a welcome return on the appropriately titled 'Chime Dub' that opens the B side of the record: skippy rhythmic layers and a warm bassline complete the picture, string flourishes give us glimpses of radiant dancefloor revelations. On the B2 the duo's opener track gets the remix treatment by another exciting duo: Blasha & Allatt, who are the women behind the iconic queer techno raves Meat Free. They flip the original's melody into a rapid, dreamy affair, conveying an optimism that perfectly wraps up this solid record by continuing the celebration of collaborative work.

The Smile veröffentlichen ihr mit großer Spannung erwartetes Debütalbum "A Light For Attracting Attention" am 13. Mai 2022 digital auf XL Recordings. Die Vinyl- und CD-Veröffentlichung folgt am 17.06. Die 13 Tracks des Albums wurden von Nigel Godrich produziert sowie gemischt und von Bob Ludwig abschließend gemastert. Die Songs werden von Streichern des London Contemporary Orchestra und einer kompletten Bläsersektion zeitgenössischer britischer Jazzmusiker wie Byron Wallen, Theon und Nathaniel Cross, Chelsea Carmichael, Robert Stillman und Jason Yarde begleitet. Die Band, bestehend aus Thom Yorke und Jonny Greenwood von Radiohead und Tom Skinner von Sons of Kemet, hat bereits die Singles "You Will Never Work in Television Again", "The Smoke" und "Skrting On The Surface" veröffentlicht. "The Smoke" wurde außerdem als Dub-Remix des legendären Reggae-Produzenten Dennis Bovell veröffentlicht. Die letzte Single "Pana-vision" von The Smile wurde bereits am 3. April veröffentlicht und lief im Finale der BBC-Serie "Peaky Blinders". Das animierte Video zu Pana-vision zeigt Artworks des Radiohead-Künstlers Stanley Donwood sowie Thom Yorke. Die brandneue Single "Free In The Knowledge" erscheint heute parallel zur Albumankündigung. Das Video zum Song entstand unter Regie von Leo Leigh. Der Song wurde erstmals im Dezember 2021 von Thom Yorke im Rahmen der "Letters Live"-Veranstaltung in der Londoner Royal Albert Hall aufgeführt - dem ersten Auftritt von Thom Yorke seit Beginn der Pandemie. Bei der Vorstellung des Songs widmete er ihn allen britischen Musikerkollegen. Im Januar spielten The Smile drei aufeinanderfolgende ausverkaufte Liveshows innerhalb von 24 Stunden in London. Diese Shows wurden gleichzeitig per Livestream an ein weltweites Publikum übertragen. Die Band beginnt ihre Europatournee Mitte Mai 2022 und wird am 20.05 in Berlin im Tempodrom spielen.

Waxwork Records is proud to release THE EXORCIST: BELIEVER Original Motion Picture Sound- track by David Wingo & Amman Abbasi.

THE EXORCIST: BELIEVER is a 2023 supernatural horror movie directed by David Gordon Green. The film is the sixth installment in The Exorcist franchise

and serves as a sequel to The Exorcist (1973).The film features a number of original tracks. Most notably, the film contains Japanese language covers of

"Stayin' Alive" by Bee Gees and "Holding Out for a Hero" by Bonnie Tyler. Composer Dominic Lewis noted that the film's soundtrack represents "all vibe and no technique".



Waxwork Records is proud to release THE EXOR- CIST: BELIEVER as a deluxe double LP featuring 180 gram Black & White swirl colored vinyl, heavyweight gatefold packaging,

a four-page booklet featuring an exclusive interview with director David Gordon Green and composers David Wingo and Am- man Abbasi, layout and design by Matt Needle, and more.

"Jimmie Green Color"-Vinyl. Der in einem Kellerstudio am Zusammenfluss von Mississippi und Missouri arbeitende Pipeline-Mann Howard Neal und sein passend benanntes Shoestring-Label waren die Antwort von Alton, Illinois, auf eine Frage, die niemand stellte. Die Singles von The James Family, Jimmie Green, Pete & Cheez und Carletta Sue, die in winzigen Auflagen gepresst und kaum außerhalb der Postleitzahl 62002 vertrieben wurden, sind Paradebeispiele für kosmische Midwestern-Disco auf der Suche nach einem Durchbruch. Diese schwergewichtige 10-Song-LP im Klappcover enthält ein Essay und Bilder, die diesen reinen Ausdruck von Kleinstadt-Soul vervollständigen.

toechter is an all-female trio operating from Berlin. toechter’s 2nd full-length album »Epic Wonder« sees its classically trained members blend elaborate string arrangements with ethereal indie pop and delicate rhythms. Katrine Grarup Elbo, Lisa Marie Vogel and Marie-Claire Schlameus exclusively use analogue sound sources (such as violin, viola, cello, and their voices), which were then electronically processed.

Named after the Greek god of the wind, toechters 2022 album »Zephyr« exhaled deeply with concurrently invigorating and confusing sounds. »Epic Wonder«, their second album, was created in the spring and summer of 2023. Playing with forms and contours, the music sounds like the awakening of something new. One seems to be listening to an ongoing conversation, an exchange about what music could be, where it wants to go and how it contributes to our view of life. It all rests on a simple premise:

»Every sound you hear in our universe comes from us. The string trio is the core of toechter, the starting point of all our work.«

Those looking for new worlds of sound can find them in the work of this classically- trained musicians. Whether they add voices or percussive instruments, sample the sounds, or manipulate them electronically; ultimately they are exploring the string trio's place in a world shaped by the digital.

»Prelude« opens the album, seemingly a conversation, yet not only between humans. We catch the word ›love‹ which soon morphs into pure sound images, while a violin theme tentatively takes over. Is it the dawning of a new day? The chorus of sound transforms into a fascinating rhythmic figure, creating a club-like experience that fades out in delicate structures. A perpetual transformation.

According to toechter, »Epic Wonder« is all about making connections. Connections between people, animals, plants, fungi, rocks, soils, oceans, ice caps, stars, and planets. One imagines oneself in a folk-pop song of the 60s, or even blown around by Morricone's desert wind:

»The world as we see it is in desperate need for a deeper understanding; for compassion, for empathy. We have to understand that we are all part of the same organism. Epic Wonder is a dream, a wish, a longing for kinship between all species that share the world - all that is alive.«

The acoustic throbbing and knocking in »Sea Of Serenity« makes you think of encounters with mythical creatures or planetary oceanography; and out of the mechanically clacking groove of »Shift Souls« a gentle, but steady movement awakens with voices that seem to sound from the depths of the sea. Everything is in flux, floating in and out of dimensions and elements.

The album ends with »Mercury«, spherically elegant and almost science fiction-like. Here, a pizzicato melody leads us back to the baroque, simultaneously representing a detail of intertwined sonic worlds, while the steady, housy baseline develops its driving theme.

»Creating the music for the album, we allowed ourselves to waft away with the aspiration that connections are possible. Sometimes dwelling on subtle, yet marveling phenomena like the evening fog covering a valley on Midsummer, sometimes on grandiose splendors like the genesis of mountains or the birth of a child - letting interactions and encounters with other beings float through the musical universe as drips of emotional perceptivity.«

For the visual manifestation of »Epic Wonder«, toechter has engaged with Finish up-and-coming lens-based artist Aino Kontinen. Her work will grace both the cover art of the album and accompany the first single and video as an ephemeral tale in motion.

You’d think a guy like Butch Walker (producer/ writer for such artists as Pink, Fall Out Boy, Avril Lavigne, Weezer, Green Day, Katy Perry, and Taylor Swift) wouldn’t be particularly unlucky in love, but on Readysexgo the torture never stops, as Butch recounts one failed affair after another in exquisitely painful detail. All set to Marvelous 3’s never less than hooky power pop/glam metal stylings, often placed in seamless segues from one song to another...Readysexgo is the catchy soundtrack to the love life of a hopeless but somewhat embittered romantic. We worked with the band to create a special Expanded Edition for the album’s first-ever vinyl release at music retail, adding the non-LP side “Fastboat” plus two covers from the album sessions, one of Naked Eyes’ “Always Something There to Remind Me,” and one of Steely Dan’s “Reelin’ in the Years,” which ended up in the Jim Carrey flick Me, Myself and Irene. And after looking at the red, white, and blue artwork (faithfully reproduced here on a gatefold album jacket with lyrics), we figured if you blend those all together, you get purple, so purple vinyl it is for this 2-LP set!

Prelude by Deodato, released 1 February 2024, includes the following tracks: " Carly & Carole", " Prelude to the Afternoon of a Faun" and more.

This version of Prelude comes as a 1xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Insert(s).

The vinyl is pressed as a marble, yellow & green disc.

Der in einem Kellerstudio am Zusammenfluss von Mississippi und Missouri arbeitende Pipeline-Mann Howard Neal und sein passend benanntes Shoestring-Label waren die Antwort von Alton, Illinois, auf eine Frage, die niemand stellte. Die Singles von The James Family, Jimmie Green, Pete & Cheez und Carletta Sue, die in winzigen Auflagen gepresst und kaum außerhalb der Postleitzahl 62002 vertrieben wurden, sind Paradebeispiele für kosmische Midwestern-Disco auf der Suche nach einem Durchbruch. Diese schwergewichtige 10-Song-LP im Klappcover enthält ein Essay und Bilder, die diesen reinen Ausdruck von Kleinstadt-Soul vervollständigen.

New 5-track EP The Raven by Austin's MAGNET SCHOOL in February 2024! Magnet School formed in 2004 in Austin, TX With a distinct sonic alternative rock style that stands alone in a sea of underground music, their unique tunings and approach to songwriting have earned them a place in Texas & Worldwide as a class act. Chosen as a Buzz-catcher Band by Spin Magazine in 07' for their amazing debut "Tonight!", toured the UK/Europe 08', & toured Japan in 2018.

Pink & Green Pinwheel Vinyl. Celebrate the 10 Year Anniversary of Pity Sex' breakthrough debut full-length record Feast of Love with this commemorative anniversary edition LP. This reissue features the album in full along with three bonus tracks: 'Euclid,' 'Acid Reflux' and a cover of Pixies' classic 'Gigantic.' The anniversary edition also features a gatefold jacket previously unavailable in the United States and an updated lyric sheet.Walking the razor's edge between overdriven navel gazing bliss and perfect pop sensibility, Ann Arbor's Pity Sex have crafted a breathtaking debut LP in 'Feast of Love' that's both awesomely beautiful and deftly evocative. Massive, harmonically distorted guitars and airy dual male/female vocals are hallmarks of Feast of Love, all drenched in warm, dreamy reverb. Most impressive however, is how the band utilizes pop conventions - both vocal and instrumental melody, and a strong and pounding rhythm section - while delving deep into the ethereal power of textured soundscapes. Guitars fuzz and flange, weaving between distinct, identifiable parts and simple brushes of colored noise. The voices similarly drift between carrying delicate melodies and delivering evocative feeling. Calling on the infectious, hooky inclinations of the Pixies, dreary melodies of the Breeders and sonic mass of My Bloody Valentine, Pity Sex's Feast of Love twists and churns with these beautiful yet fleeting vignettes captured in sound.

Fay Hallam is a hugely respected Hammond organist, singer and songwriter.She first came to
prominence in Wolverhampton Mod-popsters, Makin' Time, in the early 1980's, along with a Martin Blunt.
She and Martin, along with drummer John Brookes, then went on to form The Gift Horses, which were the
embryonic beginnings of The Charlatans, which Martin and John then went on to form. Fay’s next project
was as the vocalist and organist in the now legendary, Prime Movers, including the 'Earth Church' LP,
which was hailed by the now-defunct Sounds Music Weekly, as LP of the year. Since then, Fay has gone
on to make over 10 albums, as Phaze, The Fay Hallam Trinity, and then as a solo artist

Thom Yorke, Jonny Greenwood und Tom Skinner aka The Smile kündigen heute ihr brandneues Album „Wall Of Eyes“ an, das am 26. Januar 2024 bei XL Recordings erscheinen wird. Zugleich veröffentlicht die Band den Titelsong des Albums samt Musikvideo, bei dem Paul Thomas Anderson Regie führte. Das neue Album, das zwischen Oxford und den Abbey Road Studios aufgenommen und von Sam Petts-Davies produziert sowie abgemischt wurde, enthält zudem Streicherarrangements des London Contemporary Orchestra.
Das neue Album „Wall Of Eyes“ von The Smile ist der Nachfolger des gefeierten Debütalbums „A Light For Attracting Attention“ aus dem Jahr 2022.

As with Directstep (recorded one week previously), this album was recorded, and originally only released, in Japan. It was one of Hancock's most successful albums in Japan, perhaps because it was entirely solo piano.

Hancock tackles jazz standards such as "My Funny Valentine", "On Green Dolphin Street" and "Some Day My Prince Will Come" while also performing four original compositions.

Ajay Saggar is BHAJAN BHOY. Since his debut album was released in June 2020 (“Bless Bless”) he has been receiving critical acclaim for his recorded output and his live shows. His second album “Shanti Shanti Shanti” was initially released on a limited edition cassette in November 2022 on his own Wormer Bros. Records. However, when respected label honchos at Cardinal Fuzz (UK) and Feeding Tube Records (USA) heard it, they insisted that this mighty album deserved a vinyl release. This album is part of a triptych. The other two albums in this series (“To Love Is To Love Vols.1+2”) were released in March 2023 to universal acclaim, with publications such as Mojo and Uncut and the Wire heaping praise on the two albums. "Another fine release by Dutch musician Ajay Saggar. His basic thrust is modern psychedelia, minted from radio snippets, dubby reverb flapping, elegant guitar washing, electronic drones interwoven with flashes of mock jaw harp or sploshy drums, and a generally stoned atmosphere. And the concept is spectrally sound!" (Byron Coley / the Wire magazine...January 2023) The songs on this album are varied stylistically. Combining psych, drones, minimalism, free jazz, electronic music and dub in this work, this is another album's worth of musical joy and wonder for all to enjoy.