Ursprünglich wurde Lost Not Forgotten Archives bereits 1997 als internationale Fanclub-Sammlung veröffentlicht: The Making of Falling Into Infinity (1997) dokumentiert im Detail die Entstehung des vierten Studioalbums der Band. Diese Sammlung, die den Fans einen seltenen Einblick in den Entstehungsprozess eines Dream Theater-Albums gewährt, wurde neu gemastert und ist nun als Special Edition CD Digipak, Gatefold black 2LP+CD, Ltd Gatefold dark green 2LP+CD und als Digitales Album erhältlich.
If Es’ debut album for Upset the Rhythm explored the “tension between intent and interpretation”, the London group’s 2023 EP, ‘Fantasy’, constructs a coda for resistance against the distorted gaze. A four-track contact-high anxiety amid fact and facsimile, the new release attempts to define a sound that still resonates in an increasingly confused public theatre, where cerebral dreams manifest in corrupt fascination.
Echoing the legendary Pylon or the later, disco-inspired releases from PIL, tracks like ‘Emergency’ and ‘Unreal’ blend the band’s established disjunctive style of gothic restlessness with brighter, poppy, and danceable tones. These stylistically unwind in transition with the increasingly claustrophobic pieces like ‘Too Late’ and ‘Swallowed Whole’, syncopating a parallel design of the frantic and the fashionable.
Paired with a lyrical intricacy which emits a desire to break the fetish of false representation, ‘Fantasy’ reminds us that worthy punk records, like any manifesto of neurotic suspicion, balance testimonial, speculative-fiction, and social critique. Indebted to the past but pointed sharply to the future, Es deconstruct our modern wreckage of personhood and self-deceit, granting a sense of solidarity inside alienation. Inside ‘Fantasy’ we visualize our own estrangement, and it is only when this mirror fades that we find the tools to fight back.
„ELEMENT OF CRIME hat es immer schon gegeben; bevor sich die Band vor Jahrzehnten gegründet hat, hat man diese Musik wohl schon in sich drin gehört. Lässigkeit mit Herz, Wippen mit Schnauze,
Unangestrengtheit auf die Spitze getrieben, aber niemals schlampig. ELEMENT OF CRIME ist ein Lebensgefühl, ohne das die Welt weder denk- noch aushaltbar wäre. Jetzt also ein neues Album „MORGENS
UM VIER“. Ich bin da neuerdings auch schon immer wach, nicht: noch, wie früher. Wir sind wohl alle bisschen stiller geworden, in den letzten Jahren: „Wir haben keine Lösung, wir haben Lieder“, ja, muss
man zugeben. Und scheint es nicht vielen, als ob gerade der oder die Liebste eine Axt in den Händen hielte? Fast logisch, dass es die Katze ist, die fragt: „Leute, wo soll das enden?“ Die Katze! Hoffe nur,
jemand hat bald eine Antwort darauf. Bis dahin: Mitwippen, mitsummen, mitleiden, sich nicht erwischen lassen.“
Eva Menasse
Nach zwei schwedischen Grammy Awards - zuletzt 2022 für ihr hochgelobtes Studiowerk 'Where the Gloom Becomes Sound', das Platz 12 der deutschen Albumcharts erreichte - sind TRIBULATION nun mit einer neuen EP namens 'Hamartia' zurück. Dies ist ein erster Vorgeschmack auf neue Aufnahmen mit dem neuen Gitarristen Joseph Tholl. Die EP enthält auch eine Coverversion von Blue Öyster Cults 'Vengeance (The Pact)'.'Hamartia' wurde mit Robert Phersson aufgenommen, von Tom Dalgety abgemischt (der zuvor 'Where the Gloom Becomes Sound' abgemischt hat), von Magnus Lindberg gemastert und mit einem Artwork von TRIBULATIONs Gitarrist Adam Zaars versehen.
The duo of Charles McCloud and Roslyn Johnson made only two albums during their career…but those two albums (Everything Must Change and Spirit of the Living God) are among the most collectible records ever made in the gospel genre. In fact, they are so hard to find that we’re still searching for Spirit of the Living God to scan the artwork, but we managed to snag a copy of their 1981 debut Everything Must Change on the obscure Cheri label (though we may have to pass a collection plate to recoup the cost!).
It’ll just take the first track to show you why these records are in such demand; you have never heard such a soulful (check out those harmonies!), slow-burning rendition of that hoary chestnut “Amazing Grace” in your sanctified life! And with able production by keyboardist Julius Brockington, who played with Larry Young and headed up several outfits of his own, Everything Must Change is a crossover album in the best sense of the word, blending the spiritual fervor of gospel with the danceable grooves of soul and—dare we say it?—disco. Don’t miss the Donny Hathaway cover “Someday We’ll All Be Free,” too. Black vinyl release, first ever reissue in any format…limited to 1000 copies!
This album originally came out on vinyl only in Europe, so there is still a lot of pent-up demand for a new LP reissue of this 1991
classic from the Voïvod catalog (especially in Canada, where the
band is worshipped). Produced by Terry Brown of Rush fame, Angel
Rat moved the band further into spacy psychedelic territory with
such tracks as “Golem” and the title track. A mesmerizing, moody head trip of a record. Metallic blue vinyl pressing. Remastered for vinyl by Peter Moore
Jamaican-born trumpeter Dizzy Reece was a fixture of the London jazz scene before moving to New York City in 1959 where he recorded his excellent album Star Bright, a hidden gem in the Blue Note catalog featuring a first-rate hard bop quintet with Hank Mobley on tenor saxophone, Wynton Kelly on piano, Paul Chambers on bass & Art Taylor on drums.
This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.
Archetype is known to many as one of the frontmen from cult classic Granville Sessions, plus a
founding Moose Funk Squad member. Now, after 5 years in the making his debut album, The Zip
Folder LP is ready for release.
Archetype called upon Granville Sessions MPC don Giuseppe 'Zippo' Falcone for a selection of
samples. After some deliberation and delay these were then fully recreated with live instrumentation, played largely by Ed Koral (another Granville alumnus and multi-instrumentalist); plus the help
of Berlin-based sax and trumpet players Christoph and Yannick.
After the excellent and critically acclaimed Tempo in 2021, Dom La Nena is back with a new and fourth solo album entitled Leon, after the sweet nickname of his cello. An instrumental, intimate, haunted and transcendental setting. A declaration of love to his lifelong accomplice, a return to the roots of great sensitivity.
"Hollow crown" ist limitiert auf 1000 weiß-orange marmorierte LPs.
Das dritte Album von ARCHITECTS ist nun endlich wieder auf Vinyl erhältlich - als Teil von Atomic Fire Records neuer "Backfire" Serie. Für Vinylfans von Vinylfans.
John Eliot Gardiner feiert am 20. April 2023 seinen 80. Geburtstag. Parallel zu der 64-CD umfassenden Box werden zudem noch zwei bedeutende Alben auf Vinyl veröffentlicht: Händels Wassermusik und Purcells King Arthur.
Als dieses Album 1980 mit Händels Wassermusik aufgenommen wurde, war das Ensemble English Baroque Soloists erst zwei Jahre zuvor gegründet worden.
John Eliot Gardiner hatte 1964 zunächst den Monteverdi-Chor und 1968 das Monteverdi-Orchester gegründet, das auf modernen Instrumenten spielte.
In den späten 1970er Jahren wechselte das Orchester zu historischen
Instrumenten und wurde zu den English Baroque Soloists.
Das erste Konzert unter dem neuen Namen fand 1977 bei den Innsbrucker Festwochen für Alte Musik statt. Die Wassermusik-Suiten sind eine der ersten Aufnahmen der English Baroque Soloists. Gardiners Ästhetik bestand aus Genauigkeit, instrumentaler Perfektion, Intonation und Dynamik - es ging darum, alle Vorurteile, die es damals über den Barock geben konnte, abzubauen
Nach dreijähriger Abwesenheit meldet sich die Band stärker denn je zurück mit dem neuen Angriff "Showdown".
Dieses Album sprengt alles, was ROTN bisher an musikalischem und künstlerischem Schaffen zu bieten hatte, bei Weitem.
Es vereint in Perfektion alle Elemente, die den Erfolg der Band ausmachen: Abgefahrene Grooves gemischt mit kraftvollen Riffs, unterlegt mit dem bereits bekannten Flow von Vithia, sublimiert durch
Eva-B's epische Soli, und das alles verpackt in ihrem einzigartigen japanischen Shonen-Manga-Universum.
Abgemischt von Johann Meyer (Gojira) und gemastert von Ted Jensen (Sterling Sound), bietet "Showdown" auch eine exzellente Produktion. Die Songs sind so vielschichtig, dass du zum Groove mitspringen, zur Härte headbangen und zu den Hardcore-Breakdowns moshen willst.
Beim Thrash-Riffing zermalmst du dir fast den Nacken, die Refrains singst du reflexartig mit und bei den messerscharfen Soli herrscht Gänsehaut-Alarm.
Wenn es eine Band gibt, die durch ihre Originalität, ihr Universum und ihre Musik hervorsticht, dann sind es zweifellos Rise Of The Northstar.
[j] b5. Rise [???]
Nach dreijähriger Abwesenheit meldet sich die Band stärker denn je zurück mit dem neuen Angriff "Showdown".
Dieses Album sprengt alles, was ROTN bisher an musikalischem und künstlerischem Schaffen zu bieten hatte, bei Weitem.
Es vereint in Perfektion alle Elemente, die den Erfolg der Band ausmachen: Abgefahrene Grooves gemischt mit kraftvollen Riffs, unterlegt mit dem bereits bekannten Flow von Vithia, sublimiert durch
Eva-B's epische Soli, und das alles verpackt in ihrem einzigartigen japanischen Shonen-Manga-Universum.
Abgemischt von Johann Meyer (Gojira) und gemastert von Ted Jensen (Sterling Sound), bietet "Showdown" auch eine exzellente Produktion. Die Songs sind so vielschichtig, dass du zum Groove mitspringen, zur Härte headbangen und zu den Hardcore-Breakdowns moshen willst.
Beim Thrash-Riffing zermalmst du dir fast den Nacken, die Refrains singst du reflexartig mit und bei den messerscharfen Soli herrscht Gänsehaut-Alarm.
Wenn es eine Band gibt, die durch ihre Originalität, ihr Universum und ihre Musik hervorsticht, dann sind es zweifellos Rise Of The Northstar.
[j] b5. Rise [???]
"Gates to Purgatory" ist das Debütalbum der deutschen Heavy-Metal-Band Running Wild, das 1984 veröffentlicht wurde.
Es geht ihrer Piraterie-Thematik voraus und hat hauptsächlich satanisch beeinflusste Texte, enthält aber auch Lieder mit anarchistischen und libertären (im Sinne des europäischen Libertarismus) Themen.
Es war ein Teil von Gerald "Preacher" Warneckes Theologiestudium. Er verließ die Band kurz nach der Veröffentlichung des Albums, um Priester zu werden.
Diese spezielle gelbe Vinyl-Version ist eine limitierte Auflage.
Das zweite Album der Londoner Art-Punk-Band HMLTD wurde mit Gospelchor und 16-köpfigem Streichorchester aufgenommen und hebt Klangexperimente aus dissonanten Free-Jazz-Riffs, Vintage-Soul, englischen Folk-Fusionen und Rockoper auf eine neue Ebene. Angesiedelt als verwirrend-anachronistische Version des mittelalterlichen Englands, durchdrungen von dystopischer Sci-Fi-Fantasie und altenglischer Mythologie, ist es ein Gesamtkunstwerk aus politischer Polemik und einem tief bewegenden, psychologischen Trip.
Das zweite Album der Londoner Art-Punk-Band HMLTD wurde mit Gospelchor und 16-köpfigem Streichorchester aufgenommen und hebt Klangexperimente aus dissonanten Free-Jazz-Riffs, Vintage-Soul, englischen Folk-Fusionen und Rockoper auf eine neue Ebene. Angesiedelt als verwirrend-anachronistische Version des mittelalterlichen Englands, durchdrungen von dystopischer Sci-Fi-Fantasie und altenglischer Mythologie, ist es ein Gesamtkunstwerk aus politischer Polemik und einem tief bewegenden, psychologischen Trip.
NOAs spannendes musikalisches Projekt von 2019 'Letters To Bach' erscheint endlich auch als Vinyl-LP!
Es handelt sich um 12 Instrumentalstücke von Johann Sebastian Bach, zu denen Noa Texte auf Englisch und Hebräisch geschrieben hat. Es geht dabei um so unterschiedliche Themen wie Technologie und Religion, Klimawandel und Feminismus, Euthanasie, den Israelisch-Palästinensischen Konflikt und Beziehungen im Zeitalter von Social Media. Produziert hat niemand Geringeres als der große Quincy Jones.
Die Arrangements für Gitarre kommen von Noas langjährigem musikalischen Wegbegleiter Gil Dor, bekannt als Gitarrist, Komponist und Arrangeur. Die Auftritte des Duos sind ebenso überraschend wie brilliant. Noas Stimme erhebt sich majestätisch und vereint sich spielerisch mit den Klängen von Gils Gitarre. So stellen sie auch Bachs brilliante Polyphonie ins Scheinwerferlicht. Noa und Gil bringen das vielschichtige Original- Repertoire auf Englisch, Hebräisch und Yemenitisch auf ein Album, akzentuiert durch Noas aufregenden Percussionsstil.
Remastered Deluxe-Ausgabe von Braids legendärem Album 'Frame & Canvas' (1998) zum 25-jährigen, ein genredefinierendes Grundnahrungsmittel und laut Rolling Stone US Rang #5 der Top40 Emo-Alben aller Zeiten. Im neuen Mix von Originalproduzent J. Robbins (The Promise Ring, Against Me!). Braids Einfluss auf zahlreiche Bands und DIY-Szenen, die in ihrem Gefolge entstanden sind, ist enorm und unbestritten. Silberfarbenes Vinyl im neuen Packaging mit zusätzlichen Linernotes von jedem einzelnen Bandmitglied.
Coloured Vinyl[34,24 €]
French Montana and Harry Fraud reunited to drop one of 2022’s best rap albums. Now they are kicking off 2023 with the release of a vinyl drop of their critically acclaimed Billboard charting album. Peaking at #46 on the Billboard 200 US Chart, Montega delivers what Rolling Stone calls a “delectable array of nouveau boom-bap samples and introspective rhymes that don’t make any obvious concessions to the mainstream.” Entirely produced by Harry Fraud with features from Babyface Ray, Benny The Butcher, Chinx, Est Gee, Fleurie, Jadakiss, Quavo & Rick Ross.
Der vierfach Grammy-nominierte Multiinstrumentalist, Produzent und Gründungsmitglied von Porcupine Tree veröffentlichte im März 2009 sein gefeiertes Debütalbum.
Das düstere, cineastische und reichhaltig strukturierte Album besteht aus 10 Tracks, die von Balladen und Hymnen bis hin zu industriellen Lärmattacken reichen. Es ist das Ergebnis von zwei Jahren kreativen Schaffens und zahlreichen Aufnahmesessions weltweit in Studios von Mexiko City bis Japan und Israel.
Reissue als Digipak CD oder schwarzes Doppelvinyl im Gatefold Sleeve
Wilsons Solodebütalbum erschien ursprünglich 2009 auf Kscope
mit Tony Levin, Gavin Harrison, Jordan Rudess, Michiyo Yagi, Sand Snowman und Theo Travis
Billie Marten has announced her fourth record Drop Cherries for release on 7 April via Fiction Records. Recorded entirely on tape in Somerset and Wales late last summer, Drop Cherries marks the very first time that Billie Marten has both written and co-produced (with Dom Monks) one of her records; following critically-lauded 2021 album Flora Fauna, Feeding Seahorses by Hand (2019) and Writing of Blues and Yellows (2016).
The gentle music and quiet nostalgia of some of the most exquisitely beautiful poetry ever written flows through Hélène Grimaud’s latest album, a tribute to the Ukrainian composer Valentin Silvestrov. Together with baritone Konstantin Krimmel, winner of the 2018 International Helmut Deutsch Lied Competition, Grimaud presented extracts from Silvestrov’s song-cycle Silent Songs at the Stienitzsee Turbine Hall near Berlin last August, in the presence of the octogenarian composer, who has lived in Berlin as an exile from his war-torn homeland since March 2022.
Black Vinyl[28,15 €]
French Montana and Harry Fraud reunited to drop one of 2022’s best rap albums. Now they are kicking off 2023 with the release of a vinyl drop of their critically acclaimed Billboard charting album. Peaking at #46 on the Billboard 200 US Chart, Montega delivers what Rolling Stone calls a “delectable array of nouveau boom-bap samples and introspective rhymes that don’t make any obvious concessions to the mainstream.” Entirely produced by Harry Fraud with features from Babyface Ray, Benny The Butcher, Chinx, Est Gee, Fleurie, Jadakiss, Quavo & Rick Ross.
Hailing from Texas, VALENTINO MALTOS is a lifelong musician and renowned saxophonist. Last year he released his debut solo album ‘Analog Future’. We felt this exciting modern music carves out a fresh pathway and warranted a vinyl release. The picks are PROTOTYPE - Valentino’s interpretation of this song serves up breathy vocals from KIIKII STAR, it’s soulful sentiments make it an alluring composition and the saxophone outro is simply stunning!
On the flip JUST LOOK UP is a genre-fusing piece of music with a gospel undercurrent. The message here is unwavering positivity ‘Lift Your Head Up High’ and great vocals courtesy of MARQELL.
Award-winning Vibraphonist Lewis Wright with Matt Brewer (Double-Bass) and Marcus Gilmore (Drums) partnered together in 2019 on their 'The Color of Intention' CD album. We believed that the recordings deserved release on vinyl.
“The Colour of Intention refers to the creative process itself: that in order to express yourself honestly in music, you have to generate clear intentions developed from thoughts and emotions which then colour the work rather than explaining every aspect of it. In the moment of performance, the goal then becomes to put all these previous investigations out of mind and exist in the present. The colour of intention is describing everything except performance; the slower processes of development, reflection and refinement and how they’ll seep, often unpredictably, into everything that ends up being realised. Working with Matt (Brewer) and Marcus (Gilmore) adds the last and most engaging dimension. How they interpret the music, interact and bring their own highly developed languages to bare, creates something that’s both a reflection of my intentions and also infinitely more sophisticated than it’s possible for me to conceive of. I think in this sense, human connection is the greatest element of what it is we do as musicians.” – Lewis Wright
Black Vinyl[17,61 €]
The sun sets over the ranch, a can of beer cracks, and an acoustic guitar
wrangles the day's thoughts and memories into a semblance of orderDuring moments like these, California-born and Nashville-based singer
and songwriter Emily Nenni chronicles her life through delicate songcraft
rife with honky-tonk spirit and spiked with just the right amount of soul
In possession of a deep understanding of music stoked by a lifelong passion and
sharp chops shaped by endless sets in smoky bars and sizzling doublewides, she
asserts herself as the consummate country storyteller on her full- length debut
album, On The Ranch.
Let's get it straight: "This is" is THE album by Ghia. It catches the band at its peak and features 10 songs, including not only their impeccable hit, "What's Your Voodoo?" but a full arsenal of yet unheard, timeless, and soulful music without equal. The songs on the album, which were recorded between 1988 and 1991, could be considered forerunners of the downtempo genre, with one foot in the late 1980s street soul direction but sparkling with touches of synth pop and contemporary jazz-funk. Genre limitations aside, all that Ghia ever wanted to do was create music-good music-and you will hear this in the depth of the compositions.
The album starts with "Keep Your House In Disorder," which has yet again become another classic song from the band's catalog since it was featured as the B-side of the "What's Your Voodoo?" reissue. The song is about a relationship in which the woman has trouble adapting to her boyfriend's turn in life. He tells her to "keep your house in disorder," meaning don't take things too seriously, don't stand still, and you will do better to take the sideroads in life.
"This Is" continues with the downtempo numbers "Crystal Silence" and "Close to You." Both are deep, one-of-a-kind, and previously unissued street soul ballads. On these two tracks, you can still hear the band's roots in jazz-funk. Hence, as a follower of the band's output may have yet recognized, instrumentals of these two tracks can be found on their first LP, "Curaçao Blue." In fact, "Close to You" was one of the band's first compositions. Earlier recordings of the song exist with different singers and different vocals, but it wasn't perfect until Lisa laid down the final version and a choir was added. It's difficult for us to recall any late-80s soul tune as beautiful and intriguing as this one. The final section, which begins with "so much baby we can say," sounds ahead of its time, reminiscent of mid-90s contemporary R&B.
Next up is "Eskimo," an equally brilliant and soulful downtempo composition, but with more focus on synth sounds than the previous tracks. Once more, it showcases the creative lyricism of the song writers, Boberg and Simon, imagining a train ride during a rainy and cold night: "feeling like an Eskimo in an igloo in New York."
Eskimo leads to the aforementioned classic, "What's Your Voodoo?" Originally released in 1991 on the small Mikado label, it was reissued on our label in 2019. We already called this "one of the most wonderful and mystic slow motion synth pop tunes ever recorded"-and we still mean it! Let's face it: this was done before British bands like Massive Attack, Tricky, and Portishead laid the foundation of trip-hop. Dare we call Ghia's music "proto trip-hop"? As a special bonus, the digital version of the LP features a previously unreleased mix of the song, which includes added samples; this should clarify how close Ghia actually was to the sound of the mid-'90s.
"Angel On Your Shoulder" and "L O M E" are two more completely unissued and great tracks from the band's shelved works. Being a bit more uptempo than the rest of the album, they fall between contemporary soul/R&B and synthesized pop music. And of course, another downtempo hit needed to be featured on the album: "You Won't Sleep on My Pillow." It was the original A-side of their single release in 1991, and since then it has been featured on various compilations.
The album concludes with a really strong ballad entitled "I Haven't Got The Power." Here we hear only pianist and keyboardist Lutz Boberg with Lisa Ohm, without further instrumentation. Basically recorded in a live session, this showcases once more the talent and ingenuity within the Ghia project.
Whether you agree or not, "This is" may easily be considered one of the best German late 80s/early 90s soul pop and downtempo albums ever recorded. Cautiously, it may even be submitted as the missing link between mid/late 80s soul by bands such as Sade, and later trip-hop groups like Massive Attack. Let us celebrate Ghia and their music, which had been shelved for more than 30 years but has now finally been released on The Outer Edge.
„Grace“ - Das erste Studioalbum von Angelo Kelly seit über 10 Jahren!
In Angelo Kellys neuem Album „Grace” erlebt man den Musiker so nah und persönlich wie noch nie zuvor.
Denn es ist ein Album mit jenen „Songs ..., die mich zum Teil mein ganzes Leben lang begleitet haben und die mir viel bedeuten”, so der Künstler selbst.
Das Besondere dabei: alle Songs sind “One-Takes” und wurden analog mit einer Bandmaschine aufgenommen und gemischt. Die einzigartige Stimme von Angelo Kelly ist untermalt mit den irish traditionellen Tönen und Melodien des Musikers. Nichts retuschiert oder aufgehübscht, einfach echt und authentisch!
„Es ist einfach die ehrlichste Art, ein Album zu produzieren. Das Album steckt voller Emotionen und ich glaube es wird viele Menschen berühren - und das ist, was Musik ausmacht!”, so Angelo Kelly.
Mit „Grace‘‘ nimmt der Künstler die Zuhörenden mit auf eine intime musikalische Begegnung. Bei den Aufnahmen befanden sich alle Musiker gemeinsam in einem Raum. Dadurch entstand eine Art „LagerfeuerRomantik‘‘ die den Vibe und die Leidenschaft jedes einzelnen Musikers perfekt einfängt.
Das Album „Grace” ist als CD und auf Vinyl erhältlich.
Die schwarze Vinyl Edition löst die ausverkaufte coloured Vinyl ab.
First solo LP by the talented Peruvian artist Betico Salas, lead trumpet player of the great Sonora de Lucho Macedo, one of the best ensembles playing Cuban repertoires in the early '60s. This 1966 album features Alfredo Linares on piano and sonero vocals by Benny del Solar, and combines a mix of guarachas, guanguancó and even cumbias. Betico Salas would later release two more albums and become a legendary trumpet player in Peruvian musical history. First time reissue.- DETAILS: Alfredo Linares on piano and sonero vocals by Benny del Solar stand out on this album. Benny del Solar sings lead vocals on the cumbia of Argentine origin 'Nos vamos a casar'; the Colombian 'Lo que pasa es que la banda está borracha', a continental hit since the early sixties; the guaracha 'A los muchachos de Belén', by Puerto Rican musician Tito Rodríguez; the guaracha 'Ritmo del amor'; the elegant Cuban guaguancó 'Así namá', also well known for Tito Rodríguez's rendition; and the cumbia 'Qué le digo a mi mujer'. Singer, César Gonzales, who would have an extensive career in Peruvian tropical music, sang lead vocals in the guaguancó by the Sonora Matancera 'Lindo Omelenko' and the bolero 'El árbol', a hit for the singer Roberto Ledesma, also recorded that same year by Peruvians Carmita Jiménez, Anamelba, Raul del Mar and Lucho Macedo himself, who decided to sing for his new record label. The mythical singer Johnny Arce, years later known as Mr. Macondo, also appears on the album on the two guarachas: 'La renga', a composition by Esther Forero, known as La novia de Barranquilla; and 'Yo soy candela', a composition by the Colombian Ray Rodríguez. Finally, 'La chola' is a cumbia by Peruvian composer Tomás Benítez; and 'Mambo Jazz' is a version of the descarga 'Yayi's instant mambo', an innovative instrumental track performed by Puerto Rican Willie Rosario, who recorded it in the United States at the start of 1966 with his own orchestra. Betico Salas would later release two more albums and become a legendary trumpet player in Peruvian musical history.
ARIA double-platinum six-piece act, Winston Surfshirt, are releasing their third full-length album, Panna Cotta .
A recipe of collaborative dreams, Panna Cotta sees Winston Surfshirt work with a wish-list of his favourite artists, seeing career-defining partnerships produce 15 tracks of accomplished and star-studded material. As Winston sings and swoons to ideas of love and life, a stand-out lineup of players and musicians step into the Winston universe, including Talib Kweli, Kimbra, Genesis Owusu, Dope Lemon, Young Franco, Ramirez, Devin the Dude, Milan Ring, and more, sending the signature Surfshirt sound into uncharted realms.
Winston says on the forthcoming album: “Panna Cotta is the last dessert on the table, something for everyone to try, a bunch of different ingredients mixed together. I’d say it is my dream album that I wanted to hear Winston Surfshirt make.”
yellow marbled vinyl / full colour sleeve / incl. dl code
VISION proudly presents Icicle's third and final album 'Post'.
"Its been a long time since I announced any music let alone an album. Containing 12 tracks, it comprises modern production with raw 90's inspired tech dnb, some techno hybrids and a little brain-melter here and there. It's been a strange journey, writing it largely during the pandemic and hard to finish in near isolation. But I'm really proud to see it released and for it to be heard!"
White Vinyl
Did you know that miracles happen every day? We don't always see it that way We look at the state of the world and think, "It'll be a miracle if we make it out alive." But miracles are what humans do. We're Earth's most inventive and unpredictable species, when we're allowed to be. Also the most destructive. Miracle-Level is Deerhoof's mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters. Musically, Miracle-Level is vulnerable, brave, and brimming with spicy surprises. Deerhoof's 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg, Manitoba. This is also their first album written entirely in Satomi's native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent.
Hot on the heels of last year’s Mermaids reissue retrospective, Hull’s deep listening house forerunners return: this time revisiting a pair of originals as well as previously unreleased versions.
It’s testament to the depth of feeling that Steve Cobby and David McSherry can conjure, that these tracks sound as potent and impactful as they did when they first came out - and not just for the dance. Throughout their 30+ years, the Yorkshire duo have produced ten albums amid many more collaborations, and transformed the remix into an artform, putting their fingerprints on everyone from Busta Rhymes to The Orb to Radiohead.
This EP collection finds them at the full scope of their powers: from disembodied mood music, to tripped-out dubby beats and raw house sessions for the club. The title track Subtle Body sounds like it drifted in through the window in the middle of a snowy night. Its layered chimes, looped delay feedback and floaty chords (played on a Wurlitzer Electronic Piano that Steve bought from Bill Nelson), mark it out as an enduring piece of ambient music, and a favorite for film-makers, able to soundtrack both haunted memories and afterparty comedowns with finesse. It precedes an unreleased instrumental version of Nightfall from Fila Brazillia’s 2002 album Jump Leads (named Mixmag’s chill album of the year), and as an instrumental, the chunky electro bass and mix of ephemeral tones and bird-like chirrups are brought clearly into focus. The attention to detail is what makes Fila Brazillia’s sound palette so rich, and Nightfall a certified smokers’ anthem.
On the B side, the tempo and temperature rises, and we’re treated to The Light Of Jesus, a favorite from Fila Brazillia’s 1994 debut LP Old Codes: New Chaos. Atop a bumping house groove, the song weaves together smooth organ pads and electrified guitar licks with syrupy bass and gospel-tinged exaltations from Charles Bukowski. The EP rounds out with Room ‘96, a live house jam from Hull’s Room nightclub, and a veritable time capsule back to the halcyon ‘90s rave days, when the lights were still on, everyone was home, and anything seemed possible.
The songs here on Subtle Body might be a window into a time long past, but they remain in the present: and as long as bodies seek pleasure, and dancers want to keep going til sunrise, Fila Brazillia will endure, and soundtrack those moments for us all to get lost in.
Purple Vinyl 2023 Repress
For the inaugural vinyl release of Psycho Bummer, we bring an EP from one of our label founders, DJ Scam (Brandon Ivers). Jungle and drum'n bass was the starting point for us as DJs, friends, and collaborators, so it seemed fitting to begin the story here.
The EP's opener, "Darkside Geezer", is a tribute to the transition point right before hardcore morphed into jungle in 1993. Although producers worked with a small palette of sounds back then, the emotion and freshness they were able to pull out of their limitations remains unrivaled. "Darkside Geezer" imagines an alternate reality of that period, drawing parallels between it and the transitions that 2020 brought us.
"Sodium Pentothal" is the roughest tune on this release, adopting the sonics of modern drum'n bass production, but channeled through the tropes of the music in its early stages. DJs like Sherelle, Tim Reaper, and Coco Bryce played a tremendous role in inspiring us (and keeping us sane) over the last year, so we wanted to stick to the tempo they helped rekindle.
The closer, "Black Swan", focuses on the simplicity of early hardcore and jungle, but breaks away with glassy chimes and a folding, geometric structure. Made with old samplers and tracker software, "Black Swan" was the first track Scam did for this release and it helped set the tone for what followed.
Psycho Bummer loves the feel of weighty vinyl, so we've opted for 180 gram pressings with a brilliant purple color. The album art, created by Canadian artist Ben O'Neil, is printed on a higloss laminant sleeve, which retains the striking colors of the original digital art.
Dirt, das von der Kritik gefeierte und mit 5x Platin ausgezeichnete Studioalbum von Alice In Chains feiert seinen 30. Geburtstag. Das Album enthält einige der größten Hits der Band, darunter "Them Bones", "Would?" und "Rooster", und ist jetzt zum ersten Mal auf Vinyl als 2-LP mit remastertem Audio erhältlich.
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Welshly Arms is an American blues rock band from Cleveland, Ohio, United States. The band has been active since their debut in 2013 with the EP Welcome. The following year, they released a covers EP and in 2015, an album titled Welshly Arms. The band writes, produces, and records all of their material in Cleveland. TV PROMO: “Dangerous” TV sync on Love Island RADIO PROMO: Regional radio plays PRINT PROMO: Classic Rock review, hotlist feature and high hopes feature. Daily Star feature, Fireworks review, HRH magazine feature,
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Grey Marbled Vinyl
The charm of exploration leads to cinematic echoes that fuse rattling break drums and synergetic nuances, creating a sphere of ancestral musical paths in which a poly-form stylistics gives a recognisable imprint to 'Foreshadow', Marco Bruno's new album that embarks on a new sonic exploration and delves into the meanders of research with an abysmal attention to detail, a significant project in the evolution of the artist and his Evighet Records label.
For this release, two veterans such as James Ruskin and Mark Broom, with their alias The Fear Ratio, set in time their experience, masterfully reinterpreting that pivotal feeling of free expression that reigns at the heart of the project.
WRWTFWW Records is overjoyed to announce Ar Ais Arís, the third album by Irish producer Gareth Quinn Redmond, following his amazing Satoshi Ashikawa-inspired Laistigh Den Ghleo released in 2019 and this year’s ambient-meets-Irish-traditional-music soundscape Umcheol. The 8-track LP comes as a limited edition of 500 copies worldwide with an artwork by Dublin artist Barry Gibbons and liner notes from Gareth Quinn Redmond himself. It is available in digital format as well.
Ar Ais Arís is Gareth Quinn Redmond’s fortuitous love affair with the art of tape loops - a practice he discovered while performing with Ross Chaney and Myles O’Reilly in late November 2020. Fascinated, he spent months experimenting with the technique: "By cracking open the shell of a cassette, cutting the tape and splicing the ends together, I created repeating sound loops of varying lengths. After reassembling and slotting the cassette into the Tascam Portastudio, I recorded and played back the sounds of the tape loop. These sounds were then manipulated using the pitch wheel to make subtle and warbly inflections to the recordings. This is achieved by speeding up or slowing down the playback speed of the tape, which offers dynamic contrasts in both mood and texture."
The result is 8 deliciously enchanting minimalistic tape loops creating a very rare kind of daydreaming environmental music full of accidental miracles and dusty soothing backdrops. It’s a very very very pleasant listening experience inspiring a feeling of enveloping warmth and gentle coziness, with an uncanny touch of spellbinding magic. Press play.
Gareth Quinn Redmond’s previous albums, Laistigh Den Ghleo, an ode to the work of Satoshi Ashikawa, and Umcheol, mixing ambient with traditional Irish music instruments, are still available on WRWTFWW Records - perfect occasion to complete the collection!
Languid yacht-soul from the mind of LA native AJ
Greene and his Greenflow collective. Originally issued as a QCA-custom job in 1977, the group’s lone album appeared after years of
performing their brand of Sausalito-friendly, seafood AOR up and down the West Coast.
The LP’s standout track is ‘I Got’Cha’, with
Greene’s sister Eleanor providing innocent “doodoo-doo-doo-doo”s around funky keys, muted trombone, and come-hither whispers.
YIAN” (燕), means swallow in Chinese, and is part of “Siew Yian,” the name given to Chua by her parents to preserve her connection with her Chinese heritage. Just as the migratory songbird lives between places, so did Chua, the artist living in the in-between of the English, Malaysian and Chinese cultures that make up her heritage. In the absence of Mandarin as a mother tongue, music became a way to express the parts of herself that couldn’t be described in words; “YIAN” emerged as a way to heal.
A deeply introspective and fully realized vessel of creative expression (Chua self-produced and engineered eight of the ten tracks), “YIAN” emerges as less an album than a worldview, a commitment to learning and uncovering one’s own selfhood honed over Chua’s lifelong reconciliation with her own personal history and identity.
Damage and Their Slices” is a collaborative album NVST and Theo Muller, in which they invite the listeners to a deep dive into an esoteric universe where dark magic meets political revolt.
The Swiss artist NVST shouts, preaches, stirs up and questions the consciences of his audience with a deluge of words about this sick society, the capitalist infection and the abuse of power. In tune with this mantra of georgeorwellian rhetoric, the music by Frenchman Théo Muller turns the malaise of the content into form: paranormal psychedelia, arcane dub, industrial ectoplasms, esoteric ambient and paranormal drones. In short: a friction of electronic sounds that Kraftwerk, years ago, unwittingly defined as metal on metal. Live, this call to action to necromancy and revolution takes on an amphibious, organic, almost cathartic and revealing form.
Michael Schenker, ein künstlerisch rastloser Mensch, der sich und seine Musik immer neu definiert. Ein
Ausnahmemusiker voller schöpferischer Kraft, Dynamik und Ideen. Mit „Rock Machine“ erscheint nun ein
Best of Album, welches Studio- und Liveaufnahmen beinhaltet sowie eine stattliche Anzahl von Gastmusikern (Don Airey, Gary Barden, Francis Buchholz, Wayne Findlay, Chris Glen, Neil Murray, Simon Phillips,
Herman Rarebell, Elliott ’Dean’ Rubinson, Chris Slade) vorweisen kann. Jetzt als strikt limitierte LP in
schwarzer Vinyl-Farbe erhältlich.
Michael Schenker - einer der besten Gitarristen der Rock-Welt - veröffentlicht mit „Ride On My Way“ ein geniales Album, das ausschließlich im Vinyl-Format erscheint. Mit Hits wie Lights Out, Fallen Angel und Doctor Doctor gibt es hier den typisch fetzigen Schenker-Sound. Unterstützt wird er dabei von Gastmusikern wie Pete Way (ex-UFO), Chris Slade (ex-AC/DC) und Herman Rarebell (ex-Scorpions).
Rock & Roll pur!
Jetzt auch als Picture Disc!
Eco Coloured Edition
Elena Tonra ist zwar keine passionierte Schwimmerin, aber der Sound auf dem neuen Daughter Album "Stereo Mind Game" klingt wie ein Ozean, in den man eintauchen möchte. Das dritte Album der britischen Band, gleichzeitig das erste Studioalbum seit sieben Jahren, setzt sich damit auseinander, was es bedeutet, von geliebten Menschen und auch von sich selbst getrennt zu sein - ein komplexes Thema. Daughter, das Trio bestehend aus Elena Tonra, Igor Haefeli und Remi Aguilella - wurde 2010 gegründet. Nach der Veröffentlichung von zwei Studioalben, "If You Leave" (2013) und "Not to Disappear" (2016), und dem Videospiel-Soundtrack Music "From Before the Storm" (2017), beschlossen sie, eine Auszeit voneinander zu nehmen. Kurz zuvor jammten sie allerdings noch gemeinsam in Los Angeles, zwischen einer Support-Tour für The National und ihren ersten Headline-Shows in Südamerika. Hier begann die Arbeit am neuen Album. Danach herrschte erst einmal Stille - als Band und untereinander. In den nächsten Jahren, in denen die Mitglieder an ihren eigenen Projekten arbeiteten, darunter auch Tonras Soloplatte als Ex:Re, trafen sich Daughter gelegentlich zum gemeinsamen Schreiben in Studios in London, Portland und San Diego, wo Haefeli 2019 für sechs Monate lebte. Die zentrale romantische Figur der Platte ist jemand, den Tonra dort kennengelernt hat, als sie aus London zu Besuch kam. Sie teilten eine bedeutende Verbindung, aber sie wusste, dass der Atlantik zwischen ihnen liegt. Daughter begann 2021 konkret mit den Aufnahmen für die zwölf Songs des Albums. Haefeli, der in Bristol lebt, traf sich mit Tonra in den Middle Farm Studios in Devon. Aguilella, der in Portland, Oregon, lebt, nahm seine Schlagzeugparts im Bocce Studio in Vancouver, Washington, auf. Haefeli produzierte eine Reihe der Songs, während Tonra "Junkmail" produzierte. Den Rest haben sie gemeinsam produziert. Die Sehnsucht, physische Entfernungen zu überwinden, ein Gefühl, das sich während der Pandemie noch verstärkt hat, ist in viele dieser Stücke eingeflossen. Auf "Wish I Could Cross the Sea" hören wir Sprachnotizen von Tonras junger Nichte und ihrem Neffen, die in Italien leben. "(Missed Calls)" enthält eine weitere Sprachnotiz, in der ein Freund einen Traum beschreibt. Gefüttert mit einigen modularen Effekten, klingt er geisterhaft eindringlich. Diese Nachrichten, Versuche einer Verbindung von geliebten Menschen, die man nicht sehen kann, "können einen aus dem Brunnen ziehen", sagt Tonra - aber nur, wenn man den Hörer abnimmt. Wenn man andere hereinlässt, kann Schönheit entstehen. Tiefes Gefühl kommt von den Bögen des 12 Ensemble, dem in London ansässigen Streichorchester, das bei vielen Stücken des Albums zu hören ist. Die von Haefeli und Tonra arrangierten und von Josephine Stephenson orchestrierten Stücke wurden, passenderweise, im The Pool aufgenommen, einem Raum in Bermondsey im Süden Londons, der eine ehemalige Badeanstalt war. Ein Blechbläserquartett verleiht auch "Neptune" und "To Rage" eine wohlig klangliche Wärme. Während Daughters frühere Arbeiten ihre Kraft in ihrer entwaffneten und emotionalen Ehrlichkeit fanden, handelt "Stereo Mind Game" von gegensätzlichen Gefühlen. "Es geht darum, nicht in absoluten Kategorien zu arbeiten", sagt Haefeli. Nach mehr als einem Jahrzehnt, in dem sie die dunkelsten Emotionen darstellten, haben Daughter ihr bisher optimistischstes und ein fast schon strahlendes Album aufgenommen.
A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.
Frankfurt's celebrated producer, Philip Lauer returns to Especial, this time teaming up with Berlin based vocalist Dena for a special collaboration, covering Julie Stapleton's soulful House classic with a modern interpretation across a number of versions (vinyl and digital).
After the success of the Hotel Lauer EP on Especial way back in 2016, Lauer has continued his ascendency with albums for Permanent Vacation and Running Back, as well as releasing a string of sure-fire, dancefloor friendly EPs for the likes of Cin Cin, Futureboogie and Skatebard's Digitalo Enterprises.
Born and raised in Bulgaria, before making the move the music mecca of Berlin, Denitza Todorova has a carved a path with her electronic, dance pop stylings across releases for the likes of K7 and Kitsune Music. First appearing on Make It Stay from Lauer's last album, it jumped out as the perfect partnership to bring the raw, soulful and uplifting sounds of the cult V4 Visions label up to date. Founded by Alex Palmer, the label was part of the UK's early 90s club sound, releasing street soul, deep house and more, in Where's Your Love Gone, Palmer and 18-year-old writer/vocalist Julie Stapleton hit on the perfect marriage of Lovers Rock and Street Soul yearning with the haunting sounds of US House. Presented as a new take on the classic, but with utmost respect, the EP starts with the Club Mix, a Larry Heard bassline joins a marimba melody, lifting Dena's vocals of youth's lost love and pain. This is followed by the Demo Mix, a warm, beautiful string laden original take that Lauer and the label felt had to be included.
DJ Slyngshot is welcomed to provide a deep, tech remix. A name to watch via his releases on his YAPPIN label and recent EP for Workshop, his remix is an analogue twist of hypnotic, raw dub techno percussion and counter breaks builds as string and piano join. The EP ends in the Synthapella, as bongos, cowbell and whistle are added to create a drifting Balearic version for late summer nights and dawn that highlight Dena's vocals in a 'sunrise' light.
Platform 23 again explores to the dense voids, this time with a touch of the funk, with a reissue of Dutch experimentalists De Fabriek and two tracks from their "Music For" cassette series, this time calling all Hippies.
Featuring both original and reinterpretations from modern-day heads, Dunkeltier and Khidja, this double-pack is something of an oddity, showcasing the bands' expansive range, moving away from the noise, drone and industrial soundscape releases they had become known for and crafting here, free flowing, groovy longform jams.
Active since the late 70s to today, De Fabriek (The Factory) have never considered themselves a real band - being also a label too - with an evolving and irregular line up centred around Richard van Dellen, they present their music and output as a kind of work-union.
With literally four decades and dozens of releases across all formats, 1988's cassette release, 'Music For Hippies', has become something of a cult curio, with the long improvisational tracks, Lullabye and Coming Down eschewing the rougher, industrial experience for something completely different.
In opener Lullabye, we go full leftfield P-Funk meets Motorik undertones. An incessant beat is laid from the start and doesn't cease for over 10 minutes, while spoken vocals call closer to the Krautrock realms of Can and hark to Liebezeit's stylised grooving best.
Analog, echo washed, with touches of glam and wrapped in simple effects pedal work, the secrets are passed to Dresden / Berlin inhabitant Dunkeltier aka Sneaker DJ aka Thomas Smorek. His darker moniker, appearing on obscure edits for Macadam Mambo and the much-missed Bahnsteig 23, his 'Hey Robot' mix adds bass, percussion, strings and synth to remold Lullabye into a late night, red light, basement denzien. This is followed by an additional, bonus reimagining, creating an all-new time piece, an ear worm of the best kind with Tik Tok Goes The Clock.
The second slab presents in Come Down, a more resembling De Fabriek werk. Edited to fit, the darkness is entered as snapshot vocal quips, oscillations and synthesised mutations are laid over a lazy, relentless ostinato rhythm where cymbals crash on the bar. Inviting, calling, De Fabriek's aptly titled downer is in fact, a joyous journey.
To complete, label affiliates, Khidja take a break from finalising their debut album to unfold their 'Psychebabble Mix', a dozen plus minutes of warped, twisted, cassette machinations that suck the listener further along the trip. Added bass propels their edit suddenly to a new direction, a hook for mind and for the open willed, the body. De Fabriek's "coming down lullabye" arriving on vinyl for the first time, with a twist and shake, calling deeper to acceptance.
Emotional Rescue is delighted to debut a first. Rather than a straight reissue of an (obscure) classic or a collection of music by an artist or label, here presented is a compilation of various artists centered around a sound and movement reggae-tinged music and how it influenced and spread from the Caribbean and diaspora.
Drawn from the off kilter digging of archivist, DJ and collector Bruno (perfectliv.es), Nowhere Like Here is not a follow up, but a sideways accompaniment, to his recent and already cult like 'Perfect Motion' collection of left field pop and new wave, recently self-released with Flo Dill (NTS).
This is a special release to celebrate the label's 10th year and beyond, offering a treasure trove of lo-fi and often pop inspired reggae cuts, mixing heartfelt Lovers Rocks style paeans and quirky private press oddities, all guaranteed to 'make-a-move and tap', these are, in the main ridiculously rare or impossible to find alternative bombs, that are just as sound system rocking and massive bass line quaking showcases of the enduring legacy of this Jamaican music phenomenon.
As with much of the early 80s period, the music community was in the throes of a Do-It-Yourself cultural renaissance as small labels, where crazy limited, one off White Labels Onlys came and went. Songs like Avalanche 's 'Your Love is Such a Good Thing 'or Warp Speed's 'Take It To The Night' were part of the claiming the means of production in to their own hands, pressing up the records and self-distributing. This raw, naive exuberance can be heard in the songs themselves. This is not reggae or Lovers as known, but something more expressive. Musical, simply produced, but with intelligible and uplifting optimism that is just superlatively catchy.
While Paul Thompson's 'Can I Take You Home' and Ras Ibuna's 'Black Beauty' are more straight-ahead Lover's style cuts, there is the parallel dance pop private pressing vibrations of the two Keith Robinson songs and Majority's 'Caroline' included all part of a thread; a joining the dots that Nowhere Like Here is at its most basic, a warmth the whole album exudes.
This is not a Lovers Rock Hits of some, but a left-of-center versioning, spread across Double Pack and cut loud for DJ play, fitting the ethos of Emotional Rescue by presenting something most will not have heard before and all the better for it.
Pink Vinyl
Die Wahl-New-Yorkerin Yaeji hat sich in den letzten Jahren als Produzentin, Sängerin und DJ mit ihren introspektiven Dance-Floor-Hymnen eine ganz eigene Nische geschaffen. Nach der Veröffentlichung ihrer Debüt-EPs, sowie den Singles "Raingurl" und "Drink I"m Sippin On" in 2017, war sie auf Charli XCXs 2019er Album "Charli" zu hören, remixte Songs für Dua Lipa oder Robyn, kollaborierte mit dem Seouler-Künstler OHHYUK, verkaufte weltweite Headline-Touren aus und eröffnete ihren eigenen Lifestyle Webstore JI-MART. Ihr Sound und ihre Einflüsse sind dabei so vielschichtig wie ihre Herkunft. Geboren im Jahr 1993 in New York reicht ihr Stammbaum von Seoul über Tokyo bis nach Atlanta - Einflüsse die sich in ihrer Musik in Form von koreanischem Indie-Rock und Electronica, 2000er Hip-Hop, sowie Leftfield Bass und Techno wiederfinden. Mit ihrem 2020er Mixtape "WHAT WE DREW“ schärfte Yaeji noch mal ihre Vision als Musikerin, die kreativ losgelöst von Sprachen Genre-Grenzen zu sprengen vermag - kein Wunder, dass sie daraufhin von Pitchfork 2022 zu einer der "25 Artists Shaping the Future of Music" ernannt wurde. Die nahe Zukunft wird sie ebenfalls prägen. Schließlich erscheint am 7. April nun endlich das Debütalbum "With A Hammer" bei XL Recordings. Entstanden innerhalb von zwei Jahren in New York, Seoul und London kurz nach der Veröffentlichung des Mixtapes und während den Lockdowns ist es eine Ode an die Erforschung ihrer selbst, setzte sie sich doch dabei mit ihren eigenen Emotionen auseinander - besonders mit ihrer eigenen, in ihr brodelnden Wut. Während sie textlich zwischen englisch und koreanisch springt, nutzt sie erstmals auch Live-Instrumente, sei es in Form von einem Ensemble an Musikern oder auch zum ersten Mal sie selbst an der Gitarre. "With A Hammer" beinhaltet darüber hinaus auch Features der Produzenten und engen Verbündeten K Wata und Enayet, sowie Gast-Vocals der Londonerin Loraine James und von Nourished by Time aus Baltimore.
Heels & Souls Recordings’ fifth reissue sees them reach across the Atlantic to Vancouver, pressing up Pilgrims Of The Mind’s 'What’s Your Shrine?' for the first time ever on vinyl, 25 years since its CD-only release on Map Music. A departure from the label’s previous releases, the LP is a beautiful smorgasbord of styles - progressive house, downtempo, ambient, tech house and trance all nestle together, a wiggling journey of sonic delight from the mind of Stéphane Novak.
Turn the dial back to ‘97 and Vancouver's underground had a distinctive buzz to its rumblings, an amalgamation of scenes and styles gave rise to a cohort of producers that were unconstrained by genre, offering up a heady mix of sounds to expand the mind. ‘Welcome To Lotus Land’ the key 1996 compilation on Robert Shea’s seminal Map Music, championed much of this output including two cuts from POTM. Stéphane then released his first and only full-length album, ‘What’s Your Shrine?’ on the same label the following year.
Picking out choice moments from an album as considered and complete as this is tough. Those horizontally inclined will be drawn to the ambient dwellings of ‘Sandcastle’ & ‘Following the Sofuto Kuriimo’, tracks like ‘Nothing Can Pull Us Apart’ and ‘L’Amour? Encore?!’ are perfectly suited to warming up limbs on the dancefloor, ‘My Baby Likes Rum’ and ‘Loosejaw’ prime for one in full swing. Yet to pick individual tracks misses the stunning sum of its parts that this 70+ minute cruise is, surely one of the finest albums from the American West Coast during its halcyon days of the ‘90s.
Digging deep in his vaults, Stéphane managed to uncover the original unmastered DATs that have been given a fresh mastering by Justin Drake at the Bakehouse Studios. This beautiful, double-disc gatefold comes complete with liner notes from Ciel, words from Stéphane himself, plus never-before-seen photography - the complete package this music always deserved.
Denver producer and visual artist John T. Hastings aka RUMTUM returns to Bastard Jazz for his second album on the label, "Arcadian Daze". The album is a contemplative drive down a nostalgic highway, reflecting on a period of his late adolescence growing up in Ohio, spending time at Arcadia Beach on Lake Erie and discovering the likes DJ Shadow, Madlib, Fila Brazilla, early Four Tet, the original Ninja Tune roster and more. Revisiting these coming of age memories, John purchased an older MPC 2000XL and set out to musically capture the excitement of putting his first nascent loops together, inspired by this pivotal era of electronic music that has since birthed movements like such as Lo-Fi/Chillhop, Vaporwave, LA's mid-2000s Beat Scene / Low End Theory, etc.
The end result of "Arcadian Daze" is indeed filled with that nostalgic spirit paying homage to those aforementioned sounds, but also presents a forward thinking musical palate that's very much grounded in RUMTUM's sensibilities as a producer and time spent learning to program new & vintage outboard gear. The album moves away from the warm, dreamy sounds of last year's "Isles in Indigo" LP, and touches more into a mystical, pensive vibe with elements of darkness and light.
Alex Albrecht returns in 2023 to Analogue Attic with 'Coles Ridge'.
The album is built on the foundation of field recordings that Alex has captured during his travels, specifically the Dandenong Ranges in Melbourne's east.
Ranging from hypnotic downtempo grooves to deep house, Coles Ridge features Alex's signature sound, characterised by its use of warm, analog textures, and lush atmospheres, mixed with intricate piano melodies and tonal themes.
Following his debut 12” “Human”, Armonics teleports back to the Slow Motion mothership with his debut mini-album: Nuovi Orizzonti. Dreamy, lo-fi fuzz emanates from cassette tape and vintage circuit boards to synthetic travel music that will jettison you into outer space. Strap in. Tune out.
‘When There’s Love Around’ is GRAMMY Awardwinning artist Kiefer’s second album for Stones Throw.
For the first time, Kiefer is joined by a full band, including Sam Wilkes, Carlos Niño, DJ Harrison (Butcher Brown) and many more. Release to be supported with extensive global PR / radio campaigns and national and international touring.
For fans of Kamaal Williams, Kamasi Washington, Blue Lab Beats, Sam Wilkes, Moses Boyd, Yussef Dayes.
Kiefer is one of LA jazz’s most exciting new artists, with a broad international fanbase. Previous press and radio highlights include 6
Music, Radio 1 / 1Xtra, Radio 2, Pitchfork, Mojo, FACT, Mixmag, Drowned in Sound. Double vinyl cut at 45rpm for top audiophile
quality. Bonus track ‘thinking of you’ exclusive to vinyl release. (Not available on digital format.) Available to independent retailers on blue and yellow coloured vinyl. Headline European tour in February 2022.
The Bluebeaters landmark debut album from 1999 receives a first-ever vinyl release. Featuring band's hits like Cher's "Believe" or Black's "Wonderful Life" all cooked in a strictly mid 60s Jamaican Blue Beat & Rock Steady style. Gatefold 2LP clear vinyl with printed inserts, limited to 500 copies, instant collector's item.
Record Kicks in collaboration with Universal Music Italy presents the release of The Bluebeaters seminal debut LP "The Album" for the first time ever on wax on a limited edition clear vinyl double LP on March 31. Way before the vinyl comeback of the 2010s, "The Album" was released in 1999 on CD and on two limited edition promo 12"s that are now very in-demand in the scene on V2 Records. "The Album" marked a generation of Soul, Rock Steady and Reggae fans in Italy selling over 40.000 physical copies and now 24 years after its original release, it gets published on full vinyl.
Fronted by "The King" Giuliano Palma on vocals backed with members of cult Italian bands of the 90s such as "Casino Royale", "Africa Unite" and "Fratelli di Soledad", The Bluebeaters' analog recordings finally find the vinyl format they deserve. On the album's track list you can find Jamaican music classics such as "World's Fair" from the Skatalites, Joe Higgs' "There's a Reward" or Bob Marley's "Coming In From The Cold" mixed with hits such as Cher's "Believe", Black's "Wonderful Life" or even 1978 "See You Tonite" by Gene Simmons from The Kiss that perfectly sound as if they were recorded by Clement "Coxsone" Dodd at Studio1 in Kingston in 1966.
The Bluebeaters are not newcomers on Record Kicks, the Milan label released their "Everybody Knows" album in 2015. Top Italian musicians in love with vintage Jamaican ska and reggae and blessed by Ken Booth, during the last 25 years of their career they headlined festivals like Rototom Sunsplash and International Ska Fest in London. Among their fans, they count the likes of Gaz Mayall, David Rodigan and the legendary late lamented Lloyd Knibb (The Skatalites).
The reissue of The BB's "The Album" is part of Record Kicks' 2023 initiatives to celebrate its 20th anniversary. Side by side with similar imprints like Daptone, Big Crown, Colemine or Timmion Records, under its motto "The explosive sound from Today's scene", Milan-based record label and music publishing Record Kicks, has been pitching the contemporary funk & soul scene since 2003. With over 250 physical releases under the belt, the label has released bands from all over the globe and earned support of VIP fans such as rap superstars Jay-Z, Tyler The Creator and Dr. Dre, who sampled the label's catalogue.
Melanie Martinez is set to release her new album ‘Portals on March 31st, with the first track off the album, ‘DEATH’ set to release alongside the official music video on March 17th.
Melanie Martinez's creative drive and talents have always distinguished her from other musicians. Her compelling music and visual art have created a rabid global fanbase with over 8.4 million followers on Instagram, 11.4 million subscribers on YouTube, 6.3 billion global streams, and 2.4 billion official YouTube views. After releasing her platinum-certified 2015 debut album, Cry Baby—which reached No. 1 on Billboard's alternative albums chart and has amassed over 3.5 billion streams worldwide —she conceived and directed a video for each song on the album. These mini-movies traced the traumas and insecurities experienced by the album's character, Cry Baby. As of 2020, every song on Cry Baby is RIAA certified Gold or higher, including the 2X Platinum “Dollhouse” and the Platinum “Pity Party,” “Carousel,” “Mad Hatter,” and “Soap.”
Melanie’s sophomore album and film, K-12, is another ambitious triumph with debuts at #3 on the Billboard 200 Chart, #1 on the Billboard Alternative Album Chart, #1 on the Billboard Soundtrack Chart, and a nomination for “Top Soundtrack” at the 2020 Billboard Music Awards. K-12's music is a vibrant and singular melting pot of low-key hip-hop, soulful pop and indie-leaning electro. K-12's universe is an expansion of the one introduced in Cry Baby. Using lyrics rich with metaphor, songs address the struggle to find a place to belong—including within friendships, the physical world and romantically—even when fitting into society feels like an uphill battle. Since releasing her K-12 album last September, Melanie has released 13 new music videos from the project which have now garnered over 100 million views collectively.
Nearly five years on from their acclaimed debut, Bennett Wilson Poole reveal the follow up. It's been a long time coming, but...
That eponymous first album was only ever intended as a one-off collaborative project — a serendipitous series of events which began with a late evening session where the trio wrote ‘Hate Won't Win’. A response to the murder of MP Jo Cox, it was something of a fresh take on Crosby Stills Nash and Young’s classic protest song ‘Ohio’. The release saw Bennett Wilson Poole embraced by the Americana community, playing live on the Andrew Marr show and crowned as ‘UK Artist of the Year’ at the 2019 UK Americana Awards, in front of a watching crowd including Graham Nash himself.
The new album came together in similar fashion; Robin (Bennett) and Danny (Wilson) started writing new songs late into the night whilst on tour to promote the first record — a tour which unfolded from a three-night residency in a London pub into a year-long odyssey culminating in a headline show in Hall One at King’s Place — and before they knew it, there were enough songs to begin recording an unplanned second album.
Where the first record drank deep from 70s US west coast folk-rock, the second has been heavily spiked with 1960s British psychedelia, even featuring a cover by legendary counterculture artist John Hurford (whose credits include 60s artwork for Oz Magazine and International Times).*
Tony Poole’s meticulous and inspired production has spun Robin and Danny’s fresh batch of songs into a delicate web of musical delight. Fans of the ‘spot the reference’ game Tony started on the first record won’t be disappointed this time either, as there are plenty more to be found here.
As with the first album, the lyrics don’t shy away from current affairs – by the end of that year of touring, the band were already playing “I Wanna Love You (But I Can’t Right Now)”, reflecting on the state of US politics, yet optimistic that the problems are only temporary.
Many of the tracks on the new album feature live rhythm section Fin Kenny (drums) and Joe Bennett (bass) for the first time on a BWP record.
The title of the album comes from the lyrics of ‘Help Me See My Way’, the first single, a prayer for strength in difficult times, the trippy animated video for which was originally issued during lockdown. The dreamy positivity of the line "I saw a star behind your eyes" is tempered with the plea "don't let it die away", a message which feels as important as ever two years on.
All three collaborators have had critical acclaim in their own right. Danny Wilson’s credentials go back to his days in Grand Drive with brother Julian, and his consistent high calibre output with his Champions of the World led them to sweeping the board at the first UK Americana Awards with Album, Artist and Song of the year awards richly deserved; Tony Poole’s Starry Eyed and Laughing were hailed as “the English Byrds” on the back of their two CBS-released albums in the mid-seventies and he has since built an enviable reputation as producer and engineer; Robin Bennett has been relentlessly turning out timeless songs from his Oxfordshire base in bands from Goldrush to The Dreaming Spires
METALLIC SILVER VINYL[31,72 €]
- 2023 Edition - Pressed on Clear Red Wax - LP housed in an expanded Stoughton tip-on gatefold jacket - Includes fold-out poster, sticker and insert, along with a download card for full album, non-album single B-side "The Cowboy Song" and an unedited October 1978 BBC audio interview with John Lydon // Reissue of the pioneering group's debut album First Issue. In 1976 Johnny Rotten and the Sex Pistols set the agenda for punk's year zero with 'Anarchy In The UK', a song that summed up the spirit, sound and attitude of the band in one shocking package. Two years later, the Sex Pistols were in tatters, but Rotten was as unsentimental as you'd hope. He reverted to his real name - John Lydon - and set about forming a band whose very identity kicked against press and media manipulation. Featuring bassist Jah Wobble, drummer Jim Walker and guitarist Keith Levene, his new group were Public Image Limited. The public image would be limited. PiL were a very distinct prospect from the Pistols, founded with a greater thought for rhythm, and with a sound that turned the page from snarling punk to a more experimental sound fusing rock, dance, folk, ballet, pop and dub. But that's not to say Lydon's new outfit lacked vitriol. 'Public Image' hits out against the notorious British tabloid press, who never gave Lydon an easy ride, and against his own Sex Pistols public image - "You only saw me for the clothes I wore". The debut single (and the album that followed) operated as a theme song and a manifesto: "_my entrance/My own creation/My grand finale/My goodbye," as the lyrics had it. It is, essentially, the sound of four people letting loose in a studio - and not caring what anyone else thought. The album was never officially released in the USA back in the day, its sound considered too un-commercial by major-labels for an American release. First Issue has been lovingly reproduced from the original UK 1978 release and this special reissue also comes with a clutch of post-punk era treasures. The 2023 LP edition includes an expanded gatefold jacket, an archive replica fold-out poster, a PiL sticker, insert, and Download Card for the album, the archival BBC interview, and "The Cowboy Song." All of which were approved and coordinated with John Lydon and his personal management.
We are very pleased here at RE:WARM Records to announce our first release of 2023 and our first full artist album from none other than David Kitt as he brings us his first album since July 2021. The Genre-bending Irish musician and producer has announced his ninth studio album ‘Idiot Check’ to be released on 31 March 2023 via RE:WARM. A unique and sincere songwriter with an expert ability to meld inspirations, eras and sounds, Kitt’s music glimmers with a sense of timelessness well-earned after over twenty years immersed in music.
Produced and recorded by Kitt himself using his “Breaking Bad mobile studio set-up”, the album was written between 2016 and 2022 in Dublin, Paris and eventually the remote town of Ballinskelligs in south-west Kerry, where the artist moved during the pandemic and has stayed ever since. Blending acoustic and electronic elements with expert precision, the record showcases both the diverse circumstances of its inception and Kitt’s personal breadth as a songwriter and producer. From the fuzzy, lo-fi “Wishing Well” fluttering with a gentle sense of magnetism, to the infectious and upbeat “Not So Soon”, and jovial, traditional folk cut “Balances”, “Idiot Check” is an evergreen album as experimental as it is ageless.
Circassian-Turkish Producer Sine Buyuka debuts new solo project Sinemis with lush, graceful album ‘Dua’, gently combining the ancestral Sufi music of her homeland with sophisticated techno-inflected ambient. Dua’s life began with a life-threatening illness. “I started feeling unwell last year and no one could figure out the reason,” Sine writes. “It was a scary time, not knowing and trying to manage symptoms while they slowly worsened. In late 2021, while I was visiting my family in Turkey during the Christmas break, I was taken into A&E. After more tests, I had a diagnosis and had surgery in January.” Following this, within the healing process - highly emotional as well as physical - Sine was drawn to the traditional Sufi music of Turkey and the Middle East. Ritualistic music to accompany ancient sema ceremonies, in which whirling dervishes enter a transcendental consciousness through ecstatic movement and repetition. With this influence at heart, Sine began work on ‘Dua’, with a newly-formed artist name to signify new, unfamiliar music from a celebrated electronic producer. For her, the album marks a significant step in her recovery. But it is also a potent marriage of contemporary and ancestral trancestates, interweaving sci-fi synthesis and floor shaking bass tones with mystic imagery, textures and timbres. A meditative, spiritual balm that melds field recordings, found sounds, ambient soundscapes, electronics and acoustic instrumentation to celebrate life and survival in challenging circumstances. The breathy, cinematic tones of album opener ‘Dua’ hover and shiver in preparatory stasis as broken-machine punctuation begins to dot rhythmically through the space. A yearning, repeated vocal sample - a living, beating heart inside the machine - characterises a crucial theme for the album: the marriage of digital instrumentation with the analogue, the human and the organic. Later, ‘Elegy’ reflects its title with heartbreaking chordal shifts and glitching birdsong, conjuring a sound world somewhere between KMRU and Max Richter. Key track ‘Gazel’ moves in glacial slo-mo, like whirling dervishes frozen in time at the peak of their trance. Euphoric ceremony made haunting and poignant without losing a mote of power…Across the album, the timbres of Sufi ritual are often captured by the otherworldly presence of the historic ney flute, said to be as old as the Holy Books. “Sufi music can be created using several different instruments but the ney flute is at the heart of it. The sounds emanating from this fascinating instrument kept capturing my imagination,” Sine tells us. Working both with samples and with Turkish musician Omar Faruk Tekbilek, Sine achieves a rare balance of reverence and recontextualisation for such a time-honoured instrument, here performed by a lifelong student of its intricacies and mysteries. In Sinemis’ hands, the processing and sonic treatment of the ney even sometimes renders it indistinguishable from Dua’s synthesis and sound-design
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.
Over the past 20 years, The New Pornographers have proven themselves one of the most excellent bands in indie rock. The group's ninth album and first for Merge establishes them alongside modern luminaries like Yo La Tengo and Superchunk when it comes to their ability to evolve while still retaining what made them so special in the first place. A dazzling and intriguing collection of songs, "Continue as a Guest" finds bandleader A.C. Newman and his compatriots Neko Case, Kathryn Calder, John Collins, Todd Fancey, and Joe Seiders exploring fresh territory and shattering the barriers of their collective comfort zone. Newman began work on "Continue as a Guest" after the band had finished touring behind 2019's "In the Morse Code of Brake Lights". Themes of isolation and collapse bleed into this album, as Newman tackles the ambivalence of day-to-day life during the COVID-19 pandemic. But Newman says that the album's title track also addresses the concerns that come with being in a band for so long. "The idea of continuing as a guest felt apropos to the times," he explains. "Feeling out of place in culture, in society, being in a band that has been around for so long_not feeling like a part of any zeitgeist, but happy to be separate and living your simple life, your long fade-out. Living in a secluded place in an isolated time, it felt like a positive form of acceptance: find your own little nowhere, find some space to fall apart, continue as a guest." Newman discovered new vocal approaches within his own talent. There are new and rich tones to Newman's voice throughout Continue as a Guest, from his dusky lower register over "Angelcover" to his slippery slide over the glimmering synths of "Firework in the Falling Snow," to bold tones he embraces on the soaring "Bottle Episodes." Another sonic change comes courtesy of saxophonist Zach Djanikian, whose tenor and bass luxuriate all over Continue as a Guest's alluring chassis, especially on the menacing build of "Pontius Pilate's Home Movies." Along with Newman's usual collaborators, several songwriters contribute. The bursting opener and first single "Really Really Light" is a co-write with Dan Bejar (Destroyer, the New Pornographers). Then there's "Firework in the Falling Snow," a collaboration with Sadie Dupuis of Speedy Ortiz and Sad13. Even as Newman embraces a collaborative spirit more than ever, his new album is a testament to his ability to discover new artistic sides of himself. "Continue as a Guest" sounds like a thrilling path forward for The New Pornographers, with songs that generate a contagious feeling of excitement for the future as well.
Ltd. Green & Blue Vinyl
Over the past 20 years, The New Pornographers have proven themselves one of the most excellent bands in indie rock. The group's ninth album and first for Merge establishes them alongside modern luminaries like Yo La Tengo and Superchunk when it comes to their ability to evolve while still retaining what made them so special in the first place. A dazzling and intriguing collection of songs, "Continue as a Guest" finds bandleader A.C. Newman and his compatriots Neko Case, Kathryn Calder, John Collins, Todd Fancey, and Joe Seiders exploring fresh territory and shattering the barriers of their collective comfort zone. Newman began work on "Continue as a Guest" after the band had finished touring behind 2019's "In the Morse Code of Brake Lights". Themes of isolation and collapse bleed into this album, as Newman tackles the ambivalence of day-to-day life during the COVID-19 pandemic. But Newman says that the album's title track also addresses the concerns that come with being in a band for so long. "The idea of continuing as a guest felt apropos to the times," he explains. "Feeling out of place in culture, in society, being in a band that has been around for so long_not feeling like a part of any zeitgeist, but happy to be separate and living your simple life, your long fade-out. Living in a secluded place in an isolated time, it felt like a positive form of acceptance: find your own little nowhere, find some space to fall apart, continue as a guest." Newman discovered new vocal approaches within his own talent. There are new and rich tones to Newman's voice throughout Continue as a Guest, from his dusky lower register over "Angelcover" to his slippery slide over the glimmering synths of "Firework in the Falling Snow," to bold tones he embraces on the soaring "Bottle Episodes." Another sonic change comes courtesy of saxophonist Zach Djanikian, whose tenor and bass luxuriate all over Continue as a Guest's alluring chassis, especially on the menacing build of "Pontius Pilate's Home Movies." Along with Newman's usual collaborators, several songwriters contribute. The bursting opener and first single "Really Really Light" is a co-write with Dan Bejar (Destroyer, the New Pornographers). Then there's "Firework in the Falling Snow," a collaboration with Sadie Dupuis of Speedy Ortiz and Sad13. Even as Newman embraces a collaborative spirit more than ever, his new album is a testament to his ability to discover new artistic sides of himself. "Continue as a Guest" sounds like a thrilling path forward for The New Pornographers, with songs that generate a contagious feeling of excitement for the future as well.
Für viele Musiker ist der Schritt aus dem Kollektiv ein riskantes Manöver: Wie nämlich nehmen Band und Publikum die Entscheidung auf? Hendrik Otremba, Sänger der Gruppe Messer, stellt nun sein Soloalbum vor. Er hat es Riskantes Manöver genannt - aber nicht aus dem genannten Grund. Längst hat er sich als eigenständiger Künstler etabliert, hat als Maler, Autor und Performer stets auch zur Identität von Messer beigetragen, die gerade obendrein an einem neuen Album arbeiten - dieses Soloalbum kündet also nicht von Zwist. Wenn etwas verblüfft, dann vielleicht eher, dass Otremba nicht erneut in ein neues Medium aufbricht, sondern dorthin zurückgeht, wo alles anfing: zu den eigenen Songs, die bisher im Verborgenen lagen. Riskantes Manöver ist dabei kein Aufguss des Bekannten, aus Ennui oder Eitelkeit. Viel eher tritt der Songwriter Hendrik Otremba an die Öffentlichkeit, der sich parallel zu Messer entwickelt hat. In den vergangenen zwölf Jahren nimmt er Demos auf, experimentiert, geht intuitiv vor und findet zu einer eigenen Sprache, aus der er nun mit zwei engen Freunden ein Album ausgearbeitet hat: Multi-Instrumentalist Alan Kassab, ein Schulfreund Otrembas, und Kadavar-Schlagzeuger Christoph 'Tiger" Bartelt, schon Produzent des Messer-Debuts. Gemeinsam nähern sie sich den Demos wie einem Skript und schaffen so eine Art auditiven Autorenfilm. Im Zentrum steht eine kreative Vision, die von virtuosen Technikern und begnadeten Darstellern umgesetzt wird - neben der Kern-Crew gehören dazu Stella Sommer, Alex Zhang Hungtai (Ex-Dirty Beaches), der Otremba überhaupt erst dazu inspirierte, ein eigenes Album zu schreiben), Gregor Schwellenbach, Friedrich Paravicini, Dominik Otremba (aka Performance) - aber auch Tochter Hedi und mehr als ein Dutzend weitere Kreative zwischen Indie-Adel, Hochkultur-Bagage und Jugendfreunden. Doch nicht nur durch sein Casting-Gespür und weitere direktive Entscheidungen überzeugt Otremba, sondern vor allem mit Musik, die durch ihre Weite und einen eigensinnigen erzählerischen Ansatz gar filmisch wirkt: Als zarter Chansonier schleicht Otremba durch die Streicherschluchten von New York II, geifert als Apokalyptiker in Nektar Nektar vor Blastbeat und heulendem Saxofon, findet in der sinophilen Klavierballade Bargfeld aber auch zu Ruhe und Intimität. Brachialen Proto-Industrial und dröhnenden Goth meistert Otremba ebenso wie epischen Pop oder Großstadt-Country; hier öffnet ein Musik-Enthusiast sein vielseitiges Portfolio, in dem er als Sänger und Performer zugleich eine neue Bandbreite entwickelt. In sein Rollen-Inventar führt Otremba zudem die Figur "66 ein, ein "Zeuge des zivilisatorischen Niedergangs" und eine Art Erzählstimme, durch deren Perspektive wir auf das von Katastrophen und Verlassenheit geprägte Geschehen des Albums blicken. Otremba tritt als "66 maskiert auf, zu sehen etwa auf dem Cover der Riskantes Manöver Doppel-10-Inch. Was die Bandagen bedeuten, bleibt unklar - ein weiterer, rätselhafter Eintrag in Otrembas Privatmythologie, bestehend aus Namen, Zeichen, Bildern, die sich durch sein gesamtes Werk erstrecken. Riskantes Manöver öffnet darin nicht nur eine neue Facette, der Titel fasst zugleich das Ethos eines Arbeitens zusammen, "das nicht auf Relevanz oder Erfolg gepolt ist". Gerade, wenn dabei immer wieder Gegensätze vereint werden müssen, die an dem Menschen dahinter zerren: "Das riskante Manöver ist mit den Widersprüchen zu leben und sie im eigenen Schaffen stattfinden zu lassen. Lust und kreative Ambition als was Positives zu begreifen in einer Situation, wo das, was ich sehe, eigentlich für das Gegenteil spricht, abgründig, negativ, dämonisch ist." In diesem Sinne ist hier ein Monolith von einem Album geschaffen, der sich zugleich machtvoll und zart aufstemmt, wie es im Untertitel der Platte heißt: "gegen die Verachtung der Gegenwarth"! - Sebastian Berlich
MC/Lyricist Raw Poetic (aka Jason Moore) announces Space Beyond The Solar System, his new album out December 9th on 22nd Century Sound, and presents its lead single, “A Mile In My Head,” featuring legendary saxophonist Archie Shepp. Although Space Beyond The Solar System could be considered a concept album by its outcome, its inception started from a string of experiments between Moore and frequent collaborator/producer Damu the Fudgemunk. These initial sessions had no specific direction but became the catalyst for what would become a prolific wave of Raw Poetic projects; five of which have been released since 2020.
It was these initial sessions and the demos they produced that convinced Shepp—who is also Raw Poetic’s uncle—to record what would eventually become 2020’s Ocean Bridges, a collaborative album from Raw, Damu, and Shepp, praised by The FADER as “modern masterpiece at the intersection of rap and jazz.” The trio’s collaboration continues on Space Beyond The Solar System, which boasts three tracks featuring the jazz legend, including today’s “A Mile In My Head,” a sprawling and thought-provoking album stand-out.
At two hours, absorbing Space Beyond in its entirety may be overwhelming for most, especially in the present day, but Raw and Damu are very aware of this. With a total of over 40-plus years of experience between the vocalist and producer, the two of them went down memory lane taking every influence and experience in their personal histories to extract ingredients for a groundbreaking statement. Space Beyond The Solar System is their most comprehensive environment to date.
The creation of Space Beyond sparked a conversation between Raw and Damu about their creative chemistry, with Raw likening their direction to a “space beyond the solar system.” His comment was a eureka moment for the two artists, giving their wandering efforts a sense of definition that was needed. “I think we’ve been exploring music beyond our limits for a few years,” says Raw Poetic. “It’s hard to tell where we’ll land, but we are constantly pushing our way out of the norm. Hence the title, ‘Space Beyond the Solar System.’ It’s just to say, this is new territory for us. Where the sky was once the limit, now it’s just the start.”
Three-time Grammy Award nominee, songwriter, actor and model Natalie Imbruglia released Male back in 2015 as her fifth studio album. The album is a collection of famous songs by male artists, including Cat Stevens, Damien Rice, Tom Petty, Pete Townsend, and Zac Brown amongst others. The album is produced by Billy Mann, who has also worked with Pink, John Legend, Celine Dion, Martina McBride, and Sting.
The album features the single "Instant Crush", which was her first single in six years and was originally recorded by Daft Punk and Julian Casablancas (The Strokes).
Male is available as a limited edition of 1500 individually numbered copies on translucent magenta coloured vinyl and includes a 4-page booklet.
Colour Vinyl[31,89 €]
“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release.
With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra).
Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future.
Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s.
The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.
If in 2020 you are missing the hallucinogenic content in Eden Ahbez, it amazingly makes up for that deficiency with simple chords, expansive arrangements, and lyrics about travel, relaxation, free love, and spirituality. Thus creating the standard of psychedelic music. Eden Ahbez’s songs weren’t only fantasy and his personal philosophy was the real thing that he lived.
reviews:
“This carefully and extensively researched compilation culls covers by top notch mainstream artists juxtaposed with unreleased Eden recordings. What might sound like a mixed bag is actually more like a chronological, musical non-fiction novel about Eden Ahbez. While Eden was writing hundreds of songs and performing live and making recordings in various styles, his songs were also being picked up by popular artists like Nat King Cole and Eartha Kitt who recorded with a more polished mainstream style. There are also some early rock n roll style recordings here. Eden’s professionally recordings often end up as Novelty Pop records such as “Child of Nature” and “The Clam Man” but if you read between the lines and listen to the lyrics it is pretty eye-opening that he is singing about Eastern-religion-style and pre-hippie philosophies about being at one with the planet Earth.
All of this is explained in the lengthy liner notes inside the lp along with a few choice photos that establish Eden as a founding father of Southern California mystic/psychedelic music.” – Tiki_News
“Eden Ahbez’s life philosophy was summed up in the lyrics of his most famous song, “Nature Boy,” a 1948 hit for Nat King Cole: the song describes a “strange enchanted boy” who wanders the world in search of truth. “The greatest thing you’ll ever learn,” he concludes, “is to love and be loved in return.” Ahbez was a pre-cursor of California’s beatniks and hippies, and an exalted icon of ex-otica via his rare 1960 album Eden’s Island. Beyond “Nature Boy” and Eden’s Island, though, there were nu-merous lesser-known Ahbez record-ings. Ahbez biographer Brian Chidester has been doing an exemplary job of archiving and documenting that catalog of work. The Exotic World of Eden Ahbez (reviewed in UT#38) appeared a few years ago, gathering together 14 Ahbez-related rarities” – Ugly Things
The next album release on Goldie's fast-rising, boutique label Fallen Tree 1Hundred, The Day Out of Time by The Degrees is the Acid Jazz/Soul and Trip Hop long-player from drum and bass man of the moment Break, alsongside singer songwriter isha Campbell, heavily inspired by their home town of Bristol.
The album follows a year of lead-in singles nicely supported by Mary Anne Hobbs, Huey Morgan on BBC Radio 6Music, Mi-Soul, Solar and playlisted on the legendary Jazz FM.
Apparel Music Review:
Perhaps it's nostalgia for that wonderful time when making music was more challenging, at times laborious, and the more tiring was the process that led to the creation the more the final product acquired value, but this album brings you back to those times, without sounding outdated.
We know how much work goes into a record of this kind and, even if today's music world runs fast, presenting hundreds of thousands of releases a day, it is important to remember that records can still be timeless. Well, this is the first thing I thought while listening to this LP for the first time: it is timeless. It sounding ageless is perhaps ascribable to the fact that it recalls that famous sound coming from South-West England in the late 90s/early 00 but, having that musical wave had such an impact and therefore created a sonic standard, it can easily be revived and revisited in a current key without sounding obsolete. In addition, this album is full of different influences coming from R&B, Soul, Hip-Hop which, over the years, have grown and developed to become the daily bread of many listeners who have refined their taste with time, and can now perfectly incorporate the multiple sound stimuli coming from it, as 'The Day Out Of Time' satisfies every type of taste
Al Green Explores Your Mind is the eighth album by soul singer Al Green. Unlike previous Al Green albums, this album featured the U.S. #7 hit "Sha-La-La (Make Me Happy)", and contains the original version of "Take Me to the River", a song which went to #26 on the Billboard chart when covered by Talking Heads in 1978. In 2004, the song "Take Me to the River" was ranked number 117 on Rolling Stone magazine's list of the 500 greatest songs of all time. The album was his fifth consecutive album to claim #1 on the Soul Albums chart, and peaked at #15 on the Pop Albums chart.
180g clear vinyl. This is for Indies only. Milan/London experimental band Throw Down Bones are returning with their new album 'Three' on February 24th. A towering body of work that feels both apocalyptic and jubilant, 'Three' is Throw Down Bones' eagerly-awaited return following 2018's 'Two' and the tragic passing of founding member Dave Cocks in a motorcycle accident in 2019. Choosing to continue the band in honour of Cocks, in February 2020, surviving co-founder Francesco Vanni returned to London's New River Studios with long-term collaborator and producer James Aparicio (Spiritualized, Nick Cave) and a new band in tow, made up of bassist Marion Andrau and drummer Raphael Mura. Working in the studio with the new band for the first time, several hours of improvised recordings were captured over the course of those early New River sessions, which were then expanded and pieced together between Aparicio in London and Vanni in Milan. Ready to lacerate eardrums and send into a trance once more, the result is a 9-track album spanning feedback-blasted industrial psychedelia, heavy electronics, krautrock and dark ambient. Overcoming huge psychological and practical difficulties, 'Three' is a powerful and moving record in more ways than one - a post-industrial triumph that's at once hedonistic, cathartic and poignant. Describing 'Three' and its intentions, Vanni says: "This album tries to reverse the usual band-listener interaction. We hold no truth and we're not willing to serve any universal answers to anything. Instead, we question the listener who, according to their experiences and sensitivity, will find a reply for themselves. That's the role of instrumental music and why we love it so much. It brings the listener to the centre of the project, giving them an active role in translating music into meaning. Every single note in this album is dedicated to our brother Dave Cocks."
Svart Records to release new album by rising stars of eclectic heavy rock, Messa on the 11th of March 2022. Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next. New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation.
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." Calibrating their focus to connect with a spectrum of inner and external emotional realities, the duo found their way into a world where the most subtle of gestures can eternally flow. Let the Moon be a Planet is an ode to experimentation over outcome; it holds a candle light to the corners of introspection and captures the patterns that flicker within. Cast across the compositions of the album is a gritty, filmic grain _ a quality that emerged partially from recording "without the greatest microphones" or their usual studio environments. For both artists, this lo-fi sensitivity felt integral to the record and its production, and they worked closely with engineer Nick Principe to preserve its otherworldly haze in the final mixes. Across the record's eight compositions, the rippling impulses of Gunn and Moore's inner worlds converge in the spirit of two strangers wandering the same path, engaged in a daydream state of natural back and forth. Melodic tableaux arise, drift and disperse across serene open spaces, painted in earthy hues of nylon string and balmy, undulating keys _ side by side, the duo converse in tessellating motifs and gestures of lucid introspection, cultivated by a shared desire for intuitive play. "This project was such a simple idea," says Gunn. "It got down to the very core of where I am or where I was, and where I'm trying to be as a musician. Making this record became a very beneficial ritual for me, almost a meditative process." As Moore recalls, "Our only motivation for making these tracks was that it felt good to make them and there was nothing else behind it_ I don't know that I've ever made a record that came about so naturally." While Let the Moon Be a Planet was envisioned through a deeply collaborative process, it uncovered a path for Gunn and Moore to respectively return home as musicians. Imbued with the forces of interconnection and balance, the record is an exploration of creative synergy while following the currents of inner experience _ of looking outwards to arrive at one's natural self. Steve Gunn and David Moore's Let the Moon Be a Planet will be released March 31, 2023 in LP, CD, and digital editions. The album represents the first volume of Reflections, a new series of contemporary collaborations orchestrated by RVNG Intl. A portion of the proceeds from this release will benefit St. John's Bread and Life, whose mission is to respect the dignity and rights of all persons by ensuring access to healthy, nutritious food and comprehensive human services resulting in self-sufficiency and stability.
The first thing that grabs you about Altin Gün"s new album is the energy. With Ask, the Amsterdam-based sextet turn away from the electronic, synth-drenched sound of their 2021 albums, Alem and Yol. While those two, created at home during the pandemic, paid homage to the electronic pop of the 80s and early 90s, Ask, marks an exuberant return to the 70s Anatolian folk-rock sound that characterised Altin Gün"s first two albums, On (2018) and Gece (2019). But there"s development here too. Ask is the closest the band have come so far to capturing the infectious energy of their live performances. "It"s definitely connecting more with a live sound - almost like a live album," says bassist Jasper Verhulst. "We, as a band, just going into a rehearsal space together and creating music together instead of demoing at home." "We didn"t record it like we did the last album," agrees vocalist Merve Dasdemir. "We basically produced that one at home because of the pandemic. Now we"ve gone back to recording live on tape." How many more worlds do Altin Gün visit in this joyful expedition? "Rakiya Su Katamam" is glowering space rock as though Gong had taken a stopover on the Bosphorus. "Canim Oy" is a psychedelic freak-beat stomper from a world where Istanbul"s Kadiköy district was the Carnaby Street of the east. "Güzelligin On Para Etmez" is a dreamy acid-folk anthem. And the finale, "Doktor Civanim," is an irresistible slice of sci-fi disco camp with lava-lamp synth squiggles that wouldn"t sound out of place next to Baris Manço"s "Ben Bilirim." Fresh yet timeless. Rooted in antiquity yet yearning for heavenly futures. Ask wants to take you places. All you have to do is strap yourself in
The new album! One of reggae's emerging masters of Reggae / Dancehall & Dubwise production, Alborosie has honed his craft through the creaton of six studio albums (five for Greensleeves). Along the way, he has become the biggest selling European roots reggae artist. His latest album, "Freedom & Fyah" demonstrates his production skill and depth of feel with strong contemporary and authentic reggae jams. All tracks are produced by Alborosie, with most of the songs mixed by the high renown James "Bonzai" Caruso. Featured guests include Ky-Mani Marley on the ballad and first single/video "Life To Me" and Protoje, who have been just voted as best international artist by the Riddim magazine readers, on the track "Strolling" and reggae legends, the Roots Radics band with Flabba Holt on the track "Everything" feat. Pupa Avril. Stand out tracks include "Poser" (which has chalked up already over 1 million YouTube views) and "Rocky Road" which is up to 500K views. "Freedom & Fyah" is availlable as CD-digipak with additional 12-page booklet with printed lyrics and also as LP-vinyl edition.
There's no denying the power of the drum. It's primal, it cuts across borders and most importantly, it makes you want to move. Ghetto Kumbé don't just understand that_they celebrate it, and it's why the tambor was at the heart of the Bogotá-based trio's 2020 self-titled debut album. Rooted in mysticism and the Afro-Caribbean rhythms they'd grown up with all their lives, the critically acclaimed LP thrillingly updated the traditional Latin template, folding in elements of modern hip-hop, house and bass music while also delivering a transportive Afro-futurist vision. On Clubbing Remixes, that vision has been further amplified, as Ghetto Kumbé_who were already one of Colombia's most prominent alternative acts_have now gone fully global; enlisting an all-star roster of artists from four different continents, they've put together a fresh version of their debut album that's been specifically geared to the world's diverse slate of dancefloors. As the title implies, the new LP is meant for the club, which is why Ghetto Kumbé have turned to Latin music heavyweights like Trooko_a multiple Grammy winner whose resume includes work with Lin-Manuel Miranda and Residente_and Monte (a.k.a. Bomba Estéreo founder Simón Mejía), along with top-shelf DJs like Nickodemus and Uproot Andy, two NYC artists who've spent decades championing Afro-Latin rhythms. True to the LP's global spirit, the record also includes reworks from batida maestro DJ Firmeza, fellow Afro-Portuguese outfit Studio Bros and Parisian house groovers Les Enfants Sauvages, plus genre-blurring remixes from sonically adventurous Colombians Montoya (himself another ZZK artist) and Cero39. Even the artwork on Clubbing Remixes is a remix, as Ghetto Kumbé have tapped Uganda's Denzel Muhumuza to transform the cover of their debut album into a new, explicitly Afro-futuristic illustration. Depicting a strong Black face and glowing neon fauna beneath a sparkling moonlit sky, the fantastical image speaks to both the ritual magic and Afro-indebted heritage of Ghetto Kumbé's music, and thanks to Clubbing Remixes, the group's passionate, drum-fueled sounds will soon be blasting out of sound systems around the globe.
Standard Black Vinyl LP w/ Foil stamped jacket, printed inner sleeves + DL card. Legendary Tacoma, Washington mathcore/hardcore/metal band Botch's debut full-length American Nervoso was originally recorded in 1998, eventually becoming one of the most ground-breaking records during a pivotal shift in heavy music. Now, the band's debut album is set to be re-issued on Sargent House 25 years after its original release. The album features white-hot guitar action, scathing vocals, sweet bass moves, and torrential drums, smashing existing precepts of hardcore and redefining both the word and the music for a generation of kids and grizzled vets alike. Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time. Their final show was June 15, 2002, the same day as the release of their final EP, An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup. Over 20 years since they played their final show, Botch are reuniting for select dates in the Pacific Northwest in February 2023. 25th anniversary re-issue of Botch's critically lauded debut album. Botch have their first live performances in over 20 years for early 2023. Botch have been included on "Most Influential lists" by outlets like Decibel, Rock Sound, Alternative Press, A.V. club + more
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.
After the experience of Camizole, Dominique Grimaud began a new (and different) adventure in 1979 with Monique Alba. Alongside Gilbert Artman (Urban Sax), Guigou Chenevier (Etron Fou Leloublan), Jean-Pierre Grasset (Verto) and Cyril Lefebvre (Maajun), Vidéo-Aventures is composed of instrumentals capable of reconciliating Captain Beefheart, Henry Cow, Suicide and... John Barry. All with the backing of Rock In Opposition, which enabled this Musiques pour garçons et filles to become known worldwide.
“Let us enter your hearts”: is the request made by Vidéo-Aventures, and how can we refuse? Especially as Musiques pour garçons et filles, recorded by Dominique Grimaud and Monique Alba fifty years ago along with handpicked colleagues, is as fresh as ever.
1979: having improvised a huge amount (and how!) with Camizole, Grimaud tried his hand at composition and studio recording with Alba. Their first instrument was the AKS synthetiser, with which the duo recorded the instrumental tracks that were then offered to their comrades Guigou Chenevier (Etron Fou Leloublan), Gilbert Artman (Lard Free, Urban Sax), Jean-Pierre Grasset (Verto) and Cyril Lefebvre (Maajun).
At the end of the year, they all came into the studio for a week to record the eight tracks of this mini- album that Chris Cutler would issue a few months later on his label, Recommended. In France it was the beginning of the agitation around Rock In Opposition, to such a point that Musiques pour Garçons et Filles would rise to second place in the NME independent Charts. And this is hardly surprising...
For these instrumental miniatures (here with the bonus of rare archives, some of which are previously unpublished) are uncontrollable: electronics augmented by lap-steel guitar (“Tina”), cunning pop (“Zazou sur la piste”), mechanic sound (“Une vie modern”), street piano (« French Kiss »), disturbing atmospheres (“La ballade des cardiaques”) or something like a TV theme tune capable of adjusting all the colours (“Telstar”)... With such promising ingredients, why stop Vidéo-Aventures from entering?
Mit einer Mischung aus zeitgenössischem AOR, melodischem Rock und Djent präsentieren BLACK ORCHID EMPIRE einen progressiven Sound, der ebenso ausgefeilt wie technisch, ebenso frisch wie vertraut und ebenso melodisch wie knallhart ist. Seit ihrem Debüt im Jahr 2016 ist das Londoner Trio auf dem aufsteigenden Ast, da sie den aktiven Rockmarkt in Großbritannien aufmischen. Mit "Tempus Veritas" ist die Band nun bereit, die nächste Stufe zu erreichen. Vom Konzept her ist das Album eine Sammlung von Geschichten, die nach fesselnden imaginären Erzählungen suchen, die in der Geschichte, wie wir sie kennen, versteckt sind. Wenn der Vorgänger "Semaphore" ein Sci-Fi-Album war, ist dies ein Hi-Fi-Album.
Mit einer Mischung aus zeitgenössischem AOR, melodischem Rock und Djent präsentieren BLACK ORCHID EMPIRE einen progressiven Sound, der ebenso ausgefeilt wie technisch, ebenso frisch wie vertraut und ebenso melodisch wie knallhart ist. Seit ihrem Debüt im Jahr 2016 ist das Londoner Trio auf dem aufsteigenden Ast, da sie den aktiven Rockmarkt in Großbritannien aufmischen. Mit "Tempus Veritas" ist die Band nun bereit, die nächste Stufe zu erreichen. Vom Konzept her ist das Album eine Sammlung von Geschichten, die nach fesselnden imaginären Erzählungen suchen, die in der Geschichte, wie wir sie kennen, versteckt sind. Wenn der Vorgänger "Semaphore" ein Sci-Fi-Album war, ist dies ein Hi-Fi-Album.
Red Vinyl
ASSASSINS did what many bands do: they grabbed a moment out of the air and slammed it onto tape machines and hard drives with relentlessness, cunning, and an attitude.
It was in Chicago, mid 2000’s, and though there was energy in the music scene, it wasn’t coalescing into anything you could use as a heading in the musical encyclopedia. Drag City, Thrill Jockey, Bloodshot, Tortoise, Andrew Bird, 90 Day Men – amazing labels and bands, but discrete and siloed and separated by boundaries that weren’t very real.
In the midst of that complicated morass, ASSASSINS generated a collection of songs that became the album YOU WILL CHANGED US. And it did.
There was confidence built into the fabric of the project: 5 members, 2 singers, massive synced video walls and samples streaming from laptops swirling in three dimensions around the stage. They could go from subtle atmospheric moments to a gargantuan wall of sound instantly. It was hard to do- months in cold practice rooms troubleshooting sections of songs or reworking synthesizer patches put the band through a self-imposed boot camp. And it brought them together as a sort of hive-mind focused on one thing: that these songs could connect. They could cut through the noise and share a state of mind with other human beings.
And it worked. Those early shows were mind bending. It was fun, loud, drunken, and rewarding- that time together, before the record deal, before the tragic let down of being traded and gobbled up by the major label system. The years after that got more difficult, more complicated, more human.
Leading us here: the musical journey of the Assassins has ended. With the up-coming release of their second and final album THE YEAR THAT NEVER CAME, we finally get to hear, and feel, the final statements of their inspiring chemistry.
In July of 2021, founding member, songwriter and singer Joe Cassidy unexpectedly passed away. THE YEAR THAT NEVER CAME is the culmination and end point of a collaboration that started in the early 2000’s with a chance meeting and excited conversation with Aaron Miller at a gig in Chicago. Quickly joined by David Golitko on keyboards, Merritt Lear on vocals and guitar, and Alex Kemp on bass.
It was Miller who saw Joe Cassidy’s song writing in a new context. Cassidy had been known for his beautiful, post- pop inflected BUTTERFLY CHILD, a thoughtful, regal project where Joe’s emotions could soar. Miller saw a different context for that voice- not dreamy, but immediate, not just hopeful, but demanding. He took Joe’s open hand and suggested that it could be a fist, raised in the air, with a crowd of other people doing the same.
At the time of his death legendary composer and songwriter Jimmy Webb (who wrote such hits as ‘Wichita Lineman and MacArthur Park) said Joe ‘was a creative and generous producer but, more importantly, he was a creative and generous friend.’
With the release of THE YEAR THAT NEVER CAME, this band, this relentless creative force, has to finally relent. No one in the band could see a future ASSASSINS that doesn’t include Cassidy. So in one last act of will, for the love of their friend, they did the rigorous work of finishing the songs that they had started together for the second album.
Assassin’s obsession with the notion of time, from YOU WILL CHANGED US to THE YEAR THAT NEVER CAME, flows from the most natural question we all have to ask ourselves: what do I do now? Because: how we react today to life’s unpredictability - that is the tomorrow we build for ourselves.
Das dritte Album von Filter, The Amalgamut, wurde 2002 veröffentlicht und knüpfte an den Erfolg ihres Platin-Albums Title of Record von 1999 an. Das Album brachte Klassiker wie ”Where Do We Go from
Here” und ”American Cliché” hervor. Das Album hatte einen anfänglichen Erfolg und stieg auf Platz 32 der Billboard 200 Charts ein.
Das dritte Studioalbum von Filter, The Amalgamut, ist zur Feier des 20-jährigen Jubiläums des Titels zum ersten Mal auf Vinyl erhältlich. Nach dem Erfolg des Platin-Albums Title of Record aus dem Jahr
1999 brachte The Amalgamut aus dem Jahr 2002 die Fan-Favoriten ”Where Do We Go from Here” und ”American Cliché” hervor. Die Vinyl-Edition ist ein 2-LP-Set in einer Klapphülle mit bedruckten
Innenhüllen.
Winston Surfshirt's album Sponge Cake is a critically acclaimed and highly anticipated body of work that showcases the Australian singer-songwriter's unique blend of soul, funk, and hip-hop. The album, which was released in 2017, has been widely praised for its catchy hooks, intricate production, and thought-provoking lyrics. Now, fans of Winston Surfshirt and vinyl enthusiasts alike can purchase a physical copy of Sponge Cake on vinyl. Whether you're a longtime fan or discovering Winston Surfshirt for the first time, Sponge Cake on vinyl is an album you won't want to miss.
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
The undisputed kings of garage rock are back! It’s been 22 years since the last Headcoats album, but now Billy, Bruce, and Johnny return with a brand-new studio album!
Recorded last year at Ranscombe Studios in Rochester. Billy, Bruce, and Johnny kindly answered some pertinent questions…You got back together recently as Thee Headcoats Sect to make the ‘Tribute to Don Craine’ EP. What was it like working with each other again after all this time? BILLY: It was 'fab' and 'gear.' BRUCE: The weirdest thing for me was how weird it wasn't.
It was like time compressed, but to the 'good old days', early on. I was wary that it 'wouldn't be like Thee Headcoats', but it was. JOHNNY: I'm with Bruce and Billy on that one. I think we were all surprised how it all just worked. If I remember correctly, we kicked off role playing like we detested each other. Then we got started and well, you can hear the result.
What were the first songs you ran through when you got in the studio? BILLY: That’s a very good question. No idea. BRUCE: I can't remember. They all sound the same to me. JOHNNY: Bill had stuff on his phone that went “KSSHHCCCKSSHHHH”! So, we did that first. You’ve also paid tribute to Don with a track on the Irregularis album – ‘Oh Leader We Do Dig Thee’.
He was, along with the other members of Downliners Sect, a big inspiration to Thee Headcoats. When did you first become aware of his music and what was he like to work with? BRUCE: We were given (or possibly lent) a reissue of the Sect's first LP around 1977, marketed as 'Punk From The Vaults', which certainly floated our boats and definitely popped our corks, due to the somewhat aggressive yet carefree nature of the tunes and sound in general. Ollie, our old bassist, found an ad in a trade magazine for them with a contact number for a Michael O'Donnell, which I excitedly called almost immediately.
T'was none other than Don his'self and we managed to convince him into venturing down to Rochester to record some tunes with us which became the first Headcoat Sect EP. We were fairly starstruck and presented him with a brand new 'dearstalker' (or 'Headcoat', as they were now known). He was very accommodating and a great laugh and spent the evening with us, regaling us with tales of yore. I recorded a lot of it on cassette, which I may still have somewhere. Gawd bless Don
Featuring “Christine F,” “Nostalgia” and “All Is Lost.” First Time Available on Vinyl since 2017. Surf Curse has over 8 million monthly listeners on Spofity. Expanding on the signature surf/garage rock sounds from their debut album Buds, Surf Curse emerge on Nothing Yet retaining the same infectious formula, but with more wisdom and finesse. Trading the angst for self-reflection, and sprinkling in flourishes of synthesizer and other slick production choices, the sophomore album sees the band truly finding their voice as songwriters and instrumentalists. Upbeat tracks like The Strange and the Kind will deliver the same wistful heart pounding choruses Surf Curse fans love, while album closer Falling Apart is new territory for the band. Forgoing drums for a sparse guitar ballad with backing harmonies and haunting synth pads, it’s a hint of the versatility the group would come to display on future projects.
Liverpool-born drummer Aynsley Dunbar was one of the most respected musicians on the international rock scene of the late ‘60s. His work with trailblazers such as John Mayall, David Bowie, Lou Reed and Frank Zappa, with whom he had a lengthy association, have assured his place in history. But Dunbar also laid down a marker as a bandleader in his own right. His debut album, Doctor Dunbar’s Prescription was a confident set of electric blues that was full of snappy tunes and high energy riffing. Recorded in 1971, Blue Whale is considerably more experimental, though. It is really a case of Dunbar drifting towards a hybrid of progressive rock and pyschedelia not far removed from Zappa’s surreally comic, bitingly sardonic world. And indeed the cover of his seminal ‘Willie The Pimp’ is one of the highlights of the set. Accompanied by excellent rhythm section players and soloists such as guitarists Ivan Zagni and Roger Sutton, bassist Peter Friedberg, pianist-organist Tommy Eyre, and vocalist Paul Williams, Dunbar hit a creative peak here that is emphatically maintained elsewhere on the album, which has mostly long pieces full of notable light and shade. This newly re-mastered version of Blue Whale puts one of the highpoints of Aynsley Dunbar’s illustrious career back under the spotlight. He was rightly inducted into the Rock & Roll Hall Of Fame in 2017 and there could be no more fitting example of his achievement than an album that sounds impressively fresh 50 years after it was made.
'Mighty Joe Moon' the 1994 sophomore effort by Grant Lee Buffalo found the band hitting their artistic stride with their distinctive Americana/Alternative rock fusion and the evocative, wide screen song writing of singer and guitarist Grant Lee Phillips. The beautiful alternative rock hit 'Mockingbirds' brought the band, and this album, their biggest exposure and success. From all out rock assaults like 'Lone Star Song' to somber and highly personal numbers such as 'Happiness' and 'Honey Don't Think' the album is a highlight of the era and the best record the band ever made. Reissued on 180 gram vinyl from Plain Recordings.
Celebrating 20 years since the original release, Tosca are proud to present this remastered version of cult classic album Dehli 9. Carefully reworked by Bo Kondren at Calyx Mastering in Berlin, this 2023 master purposely avoids any modern hi-fi tricks and techniques and is committed to the sound of the early 2000"s, creating an improved authenticity of the original album.
Repress!
Silver Sleeve 2012 Version
This special edition 2LP package comes housed in an a silver jacket featuring DOOM’s infamous metal mask icon embossed on it.
Each record is pressed on black vinyl. An absolute must have for the DOOM completist. The long awaited reissue of DOOM's first solo gem, Operation: Doomsday. Remastered from the original Fondle 'Em 1999 issue. Side A is listed as "Side Zero". Side B is "Side One". And so forth. Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After KMD (his first group)’s 1994 sophomore album Bl_ck B_st_rds was shelved by Elektra in 1994 and his blood brother Subroc (one half of the sibling rap duo) passed away, surviving frontman Zev Love X mutated into the MC Avenger known as MF DOOM and the Rap world is better for it. This 19-cut deep album is ridiculously dope, in a bizarro Ol’ Dirty Bastard kind of way. Doom sounds either high or drunk on most of the tracks, his self-produced beats are gritty, and his rhyme styles are almost indecipherable. On arguably the best track, “Rhymes Like Dimes,” Doom weaves some pointed lyrics through his abstract wordplay, spitting ‘only in America could you find a way to earn a healthy buck / And still keep your attitude on self-destruct.’ Who You Think I Am? features DOOM‘s crew M.onster I.sland C.zars, while on “?” he trades hot verses with former Columbia artist Kurious Jorge. Doom’s avant-garde ghetto-rhyme philosophies take even more intentionally weird twists on “Tick, Tick...” where he and guest MC MF Grimm’s flows warble over a rhythm track whose tempo speeds up and slows down continually. The comic-book themed skits, will help take you deep into the mind of an MC who is as otherworldly as they come. And in today’s bland commercial Rap universe, Operation Doomsday’s left-of-center beats and rhymes are the perfect remedy.
(2022 REISSUE)
"...some of the most delightful electronica to arise in Britain since Aphex Twin, the Black Dog and Global Communication." - Bethan Cole, The Sunday Times
"...electronica rarely comes as intriguing and atmospheric and laden with weirdly unshakable tunes" - Alexis Petridis, The Guardian
The first in a complete series of Ghost Box re-issues, starts with the 2004 EP Farmer’s Angle by Belbury Poly. The very first release for label co-founder Jim Jupp was joyfully naïve yet oddly sinister electronica. It very much set out Ghost Box’s stall with its strong roots in library music, TV soundtracks, folk and psychedelia.
Farmer’s Angle is issued on 7inch vinyl, CD and all digital channels. Packaged in the original sleeve art by Julian House that was to establish the label’s strong visual identity. Drawing influences from library music albums and Penguin books of the 60s and 70s with a classic British modernist aesthetic, House’s work for Ghost Box predated the eventually ubiquitous use of paperback book visuals in popular commercial graphic design. Farmer’s Angle was included in an Electronic Sound magazine feature, A History of Electronic Music in 75 Records.
Belbury Poly
Jim Jupp has released EPs, singles and seven albums on Ghost Box under the name of Belbury Poly. He is also a member of The Belbury Circle along with Cate Brooks (of The Advisory Circle) and occasional collaborator, John Foxx. In 2019 he co-wrote and produced the music and spoken word album Chanctonbury Rings with Justin Hopper and Sharron Kraus. He has recorded library tracks for KPM, BMG and Lo-Editions. He has remixed tracks for several artists including John Foxx and Bill Ryder-Jones (The Coral) and co-written a song with Paul Weller for his 2020 album On Sunset.
Still rooted in these early influences and with a consistent and strong visual identity, the label has developed over the years and now has a more international roster with a broader range of musical styles. But each new release continues to be a unique fit into the label’s distinctive parallel universe.
LTD CRYSTAL CLEAR EDITION
Electronic pop quartet Ladytron announce their highly anticipated seventh studio album "Time"s Arrow". Crystalline melodies enveloped in icy textures and rippling arpeggios, shoegaze, disco, and industrial sounds that combine in their signature electro pop style. Forming in Liverpool in the late 90s, Ladytron"s debut album "604" was released a year ahead of 2002"s "Light & Magic in 2005 - "a quantum leap record" said Pitchfork. The group were lauded as leaders of the new electro pop and electroclash scenes then flourishing, and "Light & Magic" went on to be influential, for both independent and mainstream electronic pop music which followed.
Bastard Jargon, a pounding, physical, hot-blooded third album by South African artist Nakhane, which sounds like grit sprayed over shiny pop. Written over 18 months in Lisbon, Ghent, Oxfordshire, London and Hastings, “It’s an existential sex album,” says the artist. “Almost every song on it has some kind of wink towards sex. It’s not necessarily a seductive, come to me, bedroom eyes kind of sex - it’s much more inquisitive, psychological sex. When I wrote ‘You Will Not Die’ it was at the end of my relationship with Christianity, and then when I wrote ‘Bastard Jargon’ I’d moved to London and I threw myself into just wanting to feel good.”
To realise this lustful vision, Nakhane recruited Nile Rodgers as executive producer, having first met the Chic legend at the BBC doing Later With Jools Holland. Rodgers plays on the second track ‘Tell Me Your Politik’, and co-produced 5 others.
Gwendydd aus Sofia, Bulgarien, erobern die Extrem-Metalszene im Sturm. Die Female-Fronted-Band ist eine der sich am schnellsten entwickelnden Bands in der Szene. Die Band hat bereits ein Album veröffentlicht, das in Fachzeitschriften wie dem Rock Hard oder dem Metal Hammer auf großes Interesse gestoßen ist. Gwendydds zweites Album "Censored" ist der nächste Meilenstein in der Geschichte der Band und ein echter und brutaler Soundtrack verschiedener Realitäten, Hoffnungen und Träumen. Da sich die Welt nach langer Zeit wieder zu öffnen beginnt, wird die Band als Support-Act mit Dark Tranquillity und Ensiferum auf Tour gehen.
Tape
Did you know that miracles happen every day? We don't always see it that way We look at the state of the world and think, "It'll be a miracle if we make it out alive." But miracles are what humans do. We're Earth's most inventive and unpredictable species, when we're allowed to be. Also the most destructive. Miracle-Level is Deerhoof's mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters. Musically, Miracle-Level is vulnerable, brave, and brimming with spicy surprises. Deerhoof's 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg, Manitoba. This is also their first album written entirely in Satomi's native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent.
• Bob Thiele is one of the great producers. For his work with John Coltrane alone, where he gave free reign to the saxophone great's wildest musical visions including “A Love Supreme”, ignoring the usual cost consciousness of a major label, he deserves to be lauded. In addition to this, his eight years at Impulse! saw him recording seminal works by scores of musicians including late-blooming masterpieces by Duke Ellington and Johnny Hodges, and a whole wave of 'new thing' jazzers such as Archie Shepp and Pharoah Sanders. He didn't stop there and when he launched his own label, Flying Dutchman in 1969, he continued to innovate and record music that reflected its times, but that also resonates down through the ages. It is to Flying Dutchman that we are paying tribute on this compilation.
• Gil Scott-Heron's recordings for the label ran to three records, which sold well but not spectacularly at the time. They have since taken on a resonance that makes the album "Pieces Of A Man" in particular one of the most important recordings of the last century, and its opening track 'The Revolution Will Not Be Televised' an anthem. Pianist Lonnie Liston Smith had been on Thiele's final important Impulse! Recording, Pharoah Sanders’ "Karma", and continued to appear on Flying Dutchman, first as a sideman and then as a leader. His 1975 album "Expansions" was the perfect encapsulation of his 'cosmic jazz' and the title track is a moment of near perfection which has become one of the foundation pieces of modern dance music.
• Flying Dutchman's other great discoveries are here. Vocalist Leon Thomas found a new route for jazz vocals in the early 70s, which made him a star and earned him a place in Santana. Gato Barbieri became one of the major saxophone stars of the era, after Thiele enabled him to meld his free jazz leanings to the rhythms of South America. The label also made important recordings with Tom Scott (featured on Thiele's own 'Head Start'), Ornette Coleman and Oliver Nelson, whilst interesting records appeared by Esther Marrow, Harold Alexander and many more.
• This is Flying Dutchman is a considered tribute to the label, and features in depth and fully illustrated sleeve notes. In the year when Bob Thiele's son is gearing up to release the first new music on the label since 1976, it is an apt and timely reminder of the power of the music.
J. Alberts “config” EP for Couldn’t Care More is one more step into his very own microcosm of electronic music wizadry: There is the flickering groove of “Armor”, myriads of cut-up sonic pieces morphed into a glorious track somewhere next to Techno and House and there’s the distorted quiet beauty of slowly breathing “config4”, ambientesque but filled with tension like Huerco S does it. There are the holographic breakbeats of “config5”, with voice samples and synth stabs melted in New Yorks fiercest heat and there’s the sped-up ambient groove of ghostly “config2”. The last track “Court” sums it up, a breathless groove mutation topped by spheric keyboard sounds. J. Albert gets it all together and he does it with a quite uncanny certainty. A different level.
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Concerto Pour Détraqués" was ranked 52nd best French rock album by Rolling Stones magazine in 2010.
Eleven tracks like so many vitriolic pictures of a sick society: rape, extreme right-wing, psychiatric confinement, security paranoia, alcoholism and all the other crap that the future seems to hold. Loran and François express more than ever their rage and their refusal of the adult world in a recital with three chords: more aggressive guitars, more incisive lyrics and voices while an armada of chorus members and a saxophone come to heckle or underline this darkness.
"Concerto Pour Détraqués" is the band's reference album, with a string of hymns to insubordination and freedom: Petit Agité, Vivre Libre ou Mourir, Les Rebelles, Porcherie, Hélène et le Sang...
The band's name alone evokes the epic of alternative rock: rebellious and committed.
Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.
From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.
The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.
Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.
The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.
Als "Mr. Isaacs" 1977 erstmals als LP-Vinyl erschien, war der Grundstein für die internationale Karriere zum Superstar des Reggae gelegt. Unter der Federführung von Produzent Ossie Hibbert und seinen Musikerkollegen von den Revolutionaries wurde der Interpret Gregory Isaacs zum Markenzeichen im Albumformat! - Mit einigen seiner größten Songs wie "Set The Captives Free", "Slave Master" (im Kultfilm "Rockers" prominent vertreten), "Storm" (der Riddim kommt in über 75 Versionen zum Einsatz), "Smile", "Get Ready" (Reggae-Cover des Rare Earth Hits), kommt der Longplayer dieser Tage als Kevin Metcalfe Remaster als 9-Track Originalalbum in einer Fan-Edition mit Sleeve Notes und bedruckter Innenhülle inklusive großformatiger Fotos.
Among the most important full-length album works from one of reggae’s greatest singers, "Mr. Isaacs" shows the great Gregory Isaacs in the prime of his career in 1976/1977. Better known for his love songs, Isaacs was equally adept at cultural themes. The tracks "Set The Captives Free" and "Slave Master" are among the most popular in his catalogue, the latter immortalized on film in the movie 'Rockers'. The track "Storm" became an early favourite in the dancehall, its rhythm track (aka the Storm riddim) is re-imagined no fewer than 75 times over the last 40 years. Gregory Isaacs love of Rocksteady shines in his cover of the Silvertones’ "Smile", and his soulful side comes through on a cover of The Temptations’ "Get Ready". The breadth of material on "Mr. Isaacs" is the hallmark of a reggae classic!
Further facts and collector's info:
- The album was one of the first titles ever distributed by VP Records, "Mr. Isaacs" reissue coincides with the label’s 40th anniversary celebrations.
- This pressing features the earliest known cover art and producer Ossie Hibbert’s original Earthquake labels, as found on the pre-release edition.
- "Mr. Isaacs (Remastered)" comes with a printed inner sleeve featuring extended liner notes by Harry Hawke plus a great artist photo on the other side
When Ella Fitzgerald began recording her series of albums devoted to the work of
America’s greatest song writers, she elevated the art of Jazz singing into a new
dimension while celebrating a unique musical heritage bequeathed to the world of
popular music. Norman Granz encouraged the bold decision to record five albums all
featuring the extraordinary output of songs composed by the brothers George and Ira
Gershwin during the Golden Age of popular song. Gershwin show tunes had long been
a staple diet for bandleaders, pop-vocalists and star-instrumentalists eager to perform
such exhilarating material as Strike Up The Band, Oh, Lady Be Good!, S’Wonderful and
I Got Rhythm. But there was also a gamut of ballads and romantic dance themes
needing to be interpreted with greater sensitivity. Ella was more than capable of
focusing on lyrics and caressing melodies of songs like Someone To Watch Over Me, A
Foggy Day and Embraceable You. They are among the 53 Gershwin classics she
recorded over an eight month period in 1959 and now featured in this superb collection.
Magna Pia, a.k.a seasoned producer, DJ, and composer Hüseyin Evirgen, announces his second full-length album, ‘QUT’, arriving on Inland’s Counterchange label in March on double vinyl.
After 2 steamrolling EPs of club tracks on the label - now entering its tenth year of action - Magna Pia presents his most complete and advanced body of work to date, weaving a dense narrative of drone, figurative synthesis, bass-heavy electronica, and abstract techno.
Over eight tracks each referencing his rich cultural and musical background, we are treated to a unique overview of a producer at the crest of his art. The word ‘Qut’ is an ancient positive affirmation, in one short word encompassing all that is scared, pure and good. The Old Turkic term meaning not only ‘good fortune’ and ‘joy’, but in shamanic circles, the ‘wonder of the heavens’, permeates the roots of Evirgen’s multi-heritage history.
That Evirgen expresses his interpretation of this central theme through the marriage of bewitching melodies with atonal, experimental and rumbling electronics is a conscious comment on the distortions and mutations of our Modern Era. We now exist in the digital age of the Technosphere for better or worse, and must seek beauty where-ever possible.
The opening ‘Prologue’ invites the listener into a futuristic yet organic sound world, where lush stereo processing goes hand in hand with rumbling bass and subtly detuned drone languages. From the echoes of traditional Uyghur folk music, translated via synthesizers into a glistening slow-diving opus (‘Qizil’), to churning dub-techno adorned with a symphony of evolving sine-waves (‘Venus M’), Evirgen then deploys ‘X’ - a haunting experimental piece composed predominantly with his voice and electronic processing.
The interweaving synth lines of ‘Gudanna’ pierce the fog with a radiant and transcendent club-techno bounce before the ode to the ancient Bronze Age goddess ‘Astarte’ unfolds its snare-driven broken-beat formations. The title track ‘Qut’ embodies by far the heaviest club track of the album, in a deadly, stripped-back moment of future-techno hypnotism. Dancing flames of purple-tongued synthesis are held (just) in line by a wonderfully tough throb of drums.
With his ‘Epilogue’, Magna Pia allows the spectral ideas and concepts laid out across the LP to connect and travel full circle, confirming our suspicions that this could be one of the most coherent and exciting works to emerge in the brave new field of introspective, and sensitive techno-electronic language.
London Brew is a reimagining of Miles Davis’ legendary album Bitches Brew. Produced by Martin Terefe and Downtown Music UK Limited, the record reflects an emotional journey of the times, having been recorded during the pandemic after many months of isolation and the inability to collaborate in person. Recorded in December 2020 at Church Studios in London, the recording session brings together UK jazz artists, Nubya Garcia, Shabaka Hutchings, Theon Cross, Dave Okumu, Benji B, Tom Skinner and more. Producer Martin Terefe describes, “Sometimes the music is uncomfortable, other times it's familiar and joyous and other times it's like deep meditation.” This album will be a 2-LP set.
Dave Okumu: Guitar
Martin Terefe: Guitar, Electronics
Nubya Garcia: Tenor Sax, Flute
Benji B: Decks, sonic feed and re-cycling
Dan See: Drums, Percussion
Nick Ramm: Piano, Synthesizers
Nikolaj Torp Larsen: Synthesizers, Melodica
Raven Bush: Violin, Electronics
Shabaka Hutchings: Tenor Sax, Clarinet, Flute, Kalimba
Theon Cross: Tuba
Tom Herbert: Electric bass, Double Bass
Tom Skinner: Drums, Percussion
Ambassade’s 2019 ‘Duistre Kamers’ album was a huge favourite here at Optimo Music towers so we jumped at the chance to release the follow up; ‘The Fool’.
Following hot in the heels of the acclaimed ‘Young Birds / Palette’ 12” on Optimo Music, ‘The Fool’ is destined to be another Cold Wave, Synth, New Industrial, Experimental …whatever you want to call it …classic. We asked Ambassade to tell us a bit about the album – Born from several years of research and contemplation on the human mind ‘The Fool’ can be understood as a reflection to the dark energies – natural, political, human and otherwise – that are released when it comes to religion, greed and power.
Historically, some rulers have used religion to legitimise their power. We were also inspired by wanting to examine what negative impact religion can have from the fact that it’s always dominated by men.
This was pursued by exploring a wide range of diverse and unusual types of instruments that took on a new approach of tonal expression, with the use of detuned choral and voice samples, droned tape loops and DIY metal and found percussion. It’s from these diverse sources that the process of creativity keeps persistently mutating. This process was focused through the enigmatic electronic and percussion composition from the band which alternates between foreground and background for the haunting vocal performances.
French electronic producer Blutch is back with another supremely trippy EP “Condate” on home label Astropolis Records, featuring a remix from Azo.
This Brittany native has a broad, borderless sound that mixes up electronica, breakbeat, house and IDM with stirring emotional undercurrents that range from nostalgia to melancholy. Last year he served up his superb ‘Terre Promise’ album on the label, and once again, it combined a raft of different sounds on one majestic record. He again shows off his ability to layer captivating melodies over compelling rhythms on this fresh new EP which extends his LP released last year with a more dancefloor suite. "Condate" is the original name of the city of Rennes in Brittany, France, where he lives. A city he loves passionately. The tracks featured in this EP are mainly taken from his live act "Terre Promise". The cover artwork also comes from the audiovisual live act: a motion design work made by Romain Navier, mixing landscapes from Brittany and hallucinated 3D creations, dressing Blutch's stage with a fabulous work around the album's theme. These tracks represent the more festive part of the live show, just as Blutch's love for Rennes is also linked to its festive character.
First single ‘Condate’ is a physical cut driven by a slick breakbeat. Melodic rain falls down the face of the track as booming bass roots you to the dance floor, and once again, the whole track is doused in heavenly synth work and subtle waves of euphoria.
‘Condate’ is a perfectly impactful EP, both physically and emotionally. The EP drops on the 24th March (vinyl/digital).
A reissue of Nikolaus Utermöhlen’s »Karlsbad« album, originally released in 1989. Utermöhlen was a founding member of Die Tödliche Doris and this is his sole solo release. A collection of 23 witty oddball compositions for clarinet, accordion, percussion, recorder, violin, guitar, organ. It definitely has a Doris dose but even more so it shines for its totally singular mélange of tribal dada chamber folk, dilettante dissonant poetry, hard to compare with anything else. A slice of flamboyant wellness.
The recordings of this album were made for the "Georgette Meunier" film by Tania Stöcklin and Cyrille Rey-Coquais. Issued from the original master tapes and includes the 8 page booklet with engravings from the Karlsbad spa era.
DIE MITGLIEDER VON CRAZY HORSE KÜNDIGEN "ALL ROADS LEAD HOME" AN, EINE MUSIKALISCHE REISE FÜR DIE HEUTIGE ZEIT
Mitwirkende: Ralph Molina, Billy Talbot, Nils Lofgren
& Neil Young
ALL ROADS LEAD HOME ist ein Album, das gleichermaßen aus purer Inspiration und der veränderten gesellschaftlichen Situation heraus
entstanden ist: Während der Pandemie nahmen Molina, Talbot und Lofgren in regelmäßigen Abständen neue Songs auf, jeweils mit anderen Musikern und an wechselnden Orten - so, wie es die
pandemischen Bedingungen zuließen. Anders als sonst, konnten sie nicht im Trio mit Neil Young arbeiten, was Herausforderung und Chance zugleich war, denn so mussten die Musiker zwangsläufig
schauen, wohin die neuen individuellen Konfigurationen führen würden. Sie führten, wie so vieles in der Zeit, zunächst einmal: nach Hause.
Dort, wo sich für uns alle das soziale Leben der Zeit abspielte. Die drei Crazy-Horse-Mitglieder nahmen jeweils drei Songs getrennt voneinander und mit unterschiedlichen Musikern auf. Und schauten dann, wie sie all das zu einem wundersamen Konsens unvergesslicher Musik zusammenfügen konnten. Das Kunststück gelang. Ein Album wie dieses hat man von der Band noch nie gehört.
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.”
The axolotl is a species of salamander native to Mexico, living in a state of larva and having the capacity to regenerate damaged organs. This brief introduction doesn’t tell us if the axolotl sings. But, for the one that concerns us here: yes indeed.
In Paris, at the end of the 1970s, Etienne Brunet and Marc Dufourd would improvise regularly, inspired by some other saxophone-guitar duos: Claude Bernard-Raymond Boni firstly, then Evan Parker-Derek Bailey. When Jacques Oger (a saxophonist whom Brunet had met at a workshop given by Steve Lacy at the Châteauvallon festival in 1977) joined the duo Brunet-Dufourd, Axolotl was born.
Iconoclastic, the trio was bound to please Jac Berrocal, and he proposed to record their first album on the label ‘D’avantage’. In spring 1981 three days were just enough for Oger (tenor and barytone saxophones), Brunet (alto saxophone, bass clarinet and ‘things’) and Dufourd (electric guitar) to complete Axolotl, the first album by a group which would record ... two.
If there was a collective of iconoclasts, the trio would be there with some relatives: Alterations, Fred Frith, John Zorn, the ROVA Saxophone Quartet... and then because we mention a collective, Axolotl steps (considerably) beyond the domain of free improvisation to lean towards jazz (“Illusion”, “Paris, froissé”), No Wave (“Ombre pilée”, “Trottoirs défunts”), contemporary (“Oreiller”, “D’autres seuls”), and even what we could call ... acid fun (“Dehors”).
Above all, Axolotl wanted to really get to grips with sound via an expression as direct as it was liberating, as can be heard on “Ozone, flocon, torsion”, producing a noise that, even today pierces the brain. All we can hope is that now, thanks to this wonderful reissue, listeners will be able, like the axolotl, of regeneration.
The rock supergroup Beck, Bogert & Appice was formed in
1972 by Jeff Beck, evolving from the Jeff Beck Group. In addition to Beck, the trio consisted of bassist Tim Bogert and drummer Carmine Appice, who had previously played together in Vanilla Fudge and Cactus. They only released one studio album, Beck, Bogert & Appice, which came out in 1973 and features a mix of (hard) rock, blues and funk. The album contains Beck’s version of “Superstition”, written by Stevie Wonder. It was produced by Don Nix, who is one of the more obscure figures in Southern soul and rock and has worked with Freddie King and Furry Lewis amongst others.
To celebrate its 50th anniversary, Beck, Bogert & Appice is available as a limited edition of 1500 individually numbered copies on translucent red coloured vinyl.
Toots Thielemans was a jazz harmonica virtuoso from Belgium. Together with pianist Karel Boehlee, bassplayer Hein Van De Geyn and Hans van Oosterhout on drums Toots recorded, as the European Quartet, the album 90 in
2012. The album features two compositions from Antonio Carlos Jobim, “Wave” and “One Note Samba”, “Dat Mistige Rooie Beest” from Rogier van Otterloo, “In Your Own Sweet Way” from Dave Brubeck and 7 more tracks.
90 is available as a limited edition of 500 individually numbered copies on white coloured vinyl.
Neuauflage des Debütalbums der amerikanischen Experimental-Rock-Band Tomahawk von 2001.
Das Album wurde nach einem Treffen zwischen Sänger Mike Patton und Gitarrist Duane Denison aufgenommen. An dem Album waren Mitglieder von Faith No More, The Jesus Lizard, Helmet und Melvins beteiligt.
- Ltd. Col. LP: (Opaque Brown Vinyl)
The New Death Cult veröffentlichen ihr mit Spannung erwartetes zweites Album 'Super Natural'! Als brillanter Crossover zwischen Biffy Clyro, A Perfect Circle und Queens of the Stone Age bezeichnet, treibt die norwegische Band Alternative Rock in eine Vorwärtsrichtung und mischt einen eklektischen 90er-Vibe mit modernem Alternative Rock. Ihr mit Spannung erwartetes zweites Album wurde bei Ocean Sound Recordings in Giske, Norwegen, aufgenommen.
Auf dem Label Indie Recordings das schon Kvelertak groß gemacht hat.
Vinyl Only Release!
Cruachan, irische Folk Metal-Pioniere mit einer 30-jährigen Erfolgskarriere, die sie auf die größten Metal-Festivals der Welt führte, veröffentlichen ihr neues Album auf Schwedens Despotz Records und heimsen direkt erste Lobeshymnen ein.
- 'From the uplifting excitement and energy of track one, The Living, this album grabs your heart and mind then drags them on a fantastic journey through haunting and foreboding stories put to sublimely beautiful folk and aggressive metal, constantly interweaving until we reach... The Dead.' - Jon Campling / Actor (Harry Potter, Final Fantasy)
- 'Now they return to find themselves as part of a folk metal scene that has rocketed in popularity to finally achieve the success that their influence on the genre merits.' - Terrorizer (UK)
Cruachan, irische Folk Metal-Pioniere mit einer 30-jährigen Erfolgskarriere, die sie auf die größten Metal-Festivals der Welt führte, veröffentlichen ihr neues Album auf Schwedens Despotz Records und heimsen direkt erste Lobeshymnen ein.
- 'From the uplifting excitement and energy of track one, The Living, this album grabs your heart and mind then drags them on a fantastic journey through haunting and foreboding stories put to sublimely beautiful folk and aggressive metal, constantly interweaving until we reach... The Dead.' - Jon Campling / Actor (Harry Potter, Final Fantasy)
- 'Now they return to find themselves as part of a folk metal scene that has rocketed in popularity to finally achieve the success that their influence on the genre merits.' - Terrorizer (UK)
Angel numbers: a series of recurring numerical patterns or sequences which those who believe in such things invest with cosmic significance.
Also, the name of the forthcoming album by Hamish Hawk – an apt title for an artist who bounces between scepticism and wonder, who alchemises the quotidian, who is engaged in a constant quest to outwit and outflank the ordinary. With the release of Heavy Elevator in September 2021, Edinburgh-based Hawk established himself as a writer of heartfelt, headstrong, unashamedly literate songs to stimulate both pulse and psyche. Heavy Elevator offered words to savour and tunes to relish. The songs were filmic and romantic, blending wit, wisdom, resignation and beauty with a kind of sceptical joie de vivre, delivered in a rich baritone that has drawn comparisons to everyone from Jarvis Cocker to Scott Walker. A singer of style and guile peddling accessible intelligence: what’s
not to love? Heavy Elevator established a powerful artistic imprimatur which nonetheless felt neither defining nor confining. While the album has been justly lauded, Hawk’s next steps have moved the story considerably further forward. Angel Numbers meets growing expectations head on, with panache and aplomb.
"Hungarian guitarist Gabor Szabo (1936-82) issued only three live recordings during his lifetime. Significantly, the first of these, The Sorcerer (1967), remains the most popular album in the guitarist’s all-too abbreviated discography. But there were also More Sorcery (1968) and Gabor Szabo Live with Charles Lloyd (1974), offering Szabo totally in his element and at his bewitching best.
Several more of Szabo’s concert recordings have surfaced in the intervening years, including this one, superbly captured for radio broadcast live in 1976 at the 600-seat Agora Ballroom in Cleveland, Ohio. It is a revelation. There is a sense here that concert patrons may have been hearing an altogether different Gabor Szabo than record buyers.
For one thing, Szabo is heard fronting what is likely his own group, rather than an army of studio musicians. In 1976, Szabo was leading a tremendous quartet with George Cables (or Joanne Grauer) on piano, Tony Dumas on bass and Sherman Ferguson on drums. Szabo had not had a band with this much jazz clout since his famed quartet with Jimmy Stewart in 1967-68 – and it is a union worth savoring: Szabo’s records during this period were light, at best, on jazz.
It’s unclear if any of these musicians are on the Agora date, but as Dumas’s “It Happens” opens the program, it’s a good bet, at least, that the bassist is on board here. But as Szabo’s ’76 quartet is not known to have recorded a studio record, Live in Cleveland is the closest thing to what a mid-seventies Szabo jazz album would sound like.
Gone, are the strings, vocals and concessions to commercial consideration so prevalent on so many of Szabo’s studio records at the time. What is present, though, is fine craftsmanship, tremendous interplay, and the exciting improvisation that good jazz always yields.
This particular concert was part of Sansui’s “New World of Jazz,” a series of 13 hour-long jazz concerts recorded at Cleveland’s iconic Agora Ballroom and broadcast over 40 FM radio stations. The series was sponsored by Sansui Electronics, a Japanese manufacturer of audio and video equipment, which previously sponsored a similar series of rock concerts recorded at the Agora as well.
Sansui was promoting its matrix QS 4-channel sound system – offering, what was considered at the time, superior diagonal separation and stereo compatibility. The firm, partnering with Agora Ballroom and Agency Recording Studio owner Hank LoConti (1929-2014), was looking to take advantage of what they rightly felt was the then-current jazz renaissance.
Each show’s 16-track master tape was mixed through the Sansui QS 4-channel encoder,” according to an August 1976 Billboard article detailing the arrangement, “for distribution to the 40 FM stations throughout the United States that bought the series” – allowing for three commercial spots for local dealers to advertise."
The recording is available for the first time on CD and VINYL. Mastering by grammy-nominated Jessica Thompson.
Die Symphonic Metal Piraten VISIONS OF ATLANTIS live vom Wacken Open Air 2022!
2022 setzten VISIONS OF ATLANTIS die Segel, um mit dem achten Album Pirates erneut auf eine symphonische Reise zu gehen. Zum ersten Mal in den 22 Jahren ihres Bestehens stiegen sie in die Top 20
der deutschen Albumcharts ein. Frei wie die sieben ungezähmten Meere hat die Symphonic-Metal-Band ihre rebellische Seite entfesselt und ihr bisher selbstbewusstestes und ehrlichstes Album abgeliefert.
Auf dieser Reise spielten sie ausgedehnte Touren durch die USA und Europa, sowie zahlreiche Festival-Shows.
Um die neue Ära von VISIONS OF ATLANTIS als Piraten für ihre Fans einzufangen, nahm die Band ihren Auftritt auf dem legendären Wacken Open Air im Sommer 2022 auf - jetzt erhältlich als ihre dritte
Live-Veröffentlichung, Pirates Over Wacken, die am 31. März 2023 über Napalm Records erscheint.
Mit Songs von Pirates sowie Fan Lieblinge wie ”A Life Of Our Own”, ”The Silent Mutiny” und ”A Journey To Remember” bot das Wacken Open Air die perfekte Bühne für diese Live-Veröffentlichung. Pirates Over Wacken ist der perfekte Vorgeschmack auf das, was VISIONS OF ATLANTIS 2023 mit erneut ausgedehnten Touren durch Europa und die USA erwartet! L
Das Album ”The Who With Orchestra Live At Wembley” wurde bei der Show der Band im weltberühmten Wembley-Stadion am 6. Juli 2019 aufgenommen. The Who performte viele ihrer größten Hits sowie Songs von ihrem gefeierten letzten Studioalbum mit Hilfe des Isobel Griffiths Ltd Orchestra. Dieses Album wird nun in 5 Formaten veröffentlicht und umfasst die 1CD mit den Highlights, eine 2CD + Blu-Ray mit einem Atmos-Mix des gesamten Albums sowie eine schwarze Standard-Vinyl-Version.
Dazu gibt es ein umfangreiches Booklet mit zahlreichen Fotos von den Proben, Backstage und von der Show.
Das Album ”To Be Loved (The Best Of)” von Papa Roach, einer der populärsten Bands im Bereich Alternative Rock/Nu Metal, wird diesen März zum ersten Mal auf Vinyl veröffentlicht. Diese Best-Of-Sammlung
aus dem Jahr 2010 umfasst die produktivste Zeit von Papa Roach und ihre ersten sechs Studioalben.
Die Hits ”Broken Home”, ”Scars”, “Last Resort” und ”She Loves Me Not” sind ebenfalls enthalten. Papa Roach gelang es, sich im Mainstream zu positionieren und zugleich unvergessliche Hits zu kreieren, die sich bis heute durchsetzen.
Das Best-of-Album ist als rote 2LP erhältlich, gepresst auf 180g
London Brew is a reimagining of Miles Davis’ legendary album Bitches Brew. Produced by Martin Terefe and Downtown Music UK Limited, the record reflects an emotional journey of the times, having been recorded during the pandemic after many months of isolation and the inability to collaborate in person. Recorded in December 2020 at Church Studios in London, the recording session brings together UK jazz artists, Nubya Garcia, Shabaka Hutchings, Theon Cross, Dave Okumu, Benji B, Tom Skinner and more. Producer Martin Terefe describes, “Sometimes the music is uncomfortable, other times it's familiar and joyous and other times it's like deep meditation.” This album will be a 2-LP set.
Dave Okumu: Guitar
Martin Terefe: Guitar, Electronics
Nubya Garcia: Tenor Sax, Flute
Benji B: Decks, sonic feed and re-cycling
Dan See: Drums, Percussion
Nick Ramm: Piano, Synthesizers
Nikolaj Torp Larsen: Synthesizers, Melodica
Raven Bush: Violin, Electronics
Shabaka Hutchings: Tenor Sax, Clarinet, Flute, Kalimba
Theon Cross: Tuba
Tom Herbert: Electric bass, Double Bass
Tom Skinner: Drums, Percussion
Die Mission der Band, nicht nur Brasilien, sondern die ganze Welt unsicher zu machen, scheint im Black Metal-Bereich mit dem vorliegenden neuen Album in greifbare Nähe gerückt zu sein.
Musiklisch lehnt sich der Stil der Band an die schwedische Schule ala NAGLFAR, DISSECTION oder UNANIMATED an.
Die brasilianische Black Metal Horde OUTLAW veröffentlicht mit "Reaching Beyond Assiah" ihr drittes Album
‘How Many Dreams?’ is the highly anticipated fourth studio album from Australian three-piece DMA’S. Featuring the singles ‘I Don’t Need To Hide’ and ‘Everybody’s Saying Thursday’s The Weekend’, the record is another step forward for a band on a still upwards trajectory. Partly recorded in the UK with Rich Costey (Sigur Ros, Muse, Foster the People) and Stuart Price (Dua Lipa, The Killers, Madonna) before being finished with Konstantin Kersting (Mallrat, The Jungle Giants) back in their hometown of Sydney, ‘How Many Dreams?’ is designed to be ambitious, a sonically vast landscape; there are songs to rave to, and songs to cry to. There’s a definite sense of celebration and revolution was brewing within the band on this record. DMA’S exploded onto the scene in 2014 with their debut single ‘Delete’. Since then, the band have released three acclaimed records with their last album THE GLOW (released in March 2020) debuting at #4 in the UK, #1 in Scotland, #2 in Australia. DMA’S have sold out worldwide tours including selling out shows at London’s Alexandra Palace and O2 Academy Brixton, and Manchester’s Castlefield Bowl, and graced the stages on festivals like Reading & Leeds, Glastonbury, Coachella, Lollapalooza, Outside Lands, Osheaga, Gov Ball and many more. UK April tour!
"Juliette’s new album. This disc displays an ability to mix the anecdotal and the tragic, objects and people. Laughter and tears. Sun and shadows. In this disc everyday life is transformed, there is life in all its paradoxes, dogs, squeakers, bells, a cello, hearts beating and refusing to give up, forgotten cars, the Devil and many other things. Each song is a new act of a play, a new curtain that opens. A universe that takes shape. Faithful, this album was produced with his accomplice Renaud Letang.
Reviews: R2, London Macadam, le Petit Journal Ads: R2, London Macadam"
Laszlo Umbreit's album Pas de Regrets combines electronic sounds with recorded memories and various materials to create a unique listening experience. The album features complex soundscapes and techniques of layering and editing, drawing on Umbreit's experience as a sound designer for films. Pas de Regrets is an immersive and rich listening experience, with a narrative quality that places it between prospective electronics and experimental radio.
Laszlo Umbreit (*1986) is a Belgian sound designer and musician based in Brussels. Laszlo's work is anchored in sound research yet usually dialogues with the moving image, whether as present or absent. His musical practice mixes improvisation on electronic instruments, field recordings and a long meticulous editing and mixing process of sonic materials.
Over the past 20 years, The New Pornographers have proven themselves one of the most excellent bands in indie rock. The group’s ninth album and first for Merge establishes them alongside modern luminaries like Yo La Tengo and Superchunk when it comes to their ability to evolve while still retaining what made them so special in the first place. A dazzling and intriguing collection of songs, Continue as a Guest finds bandleader A.C. Newman and his compatriots Neko Case, Kathryn Calder, John Collins, Todd Fancey, and Joe Seiders exploring fresh territory and shattering the barriers of their collective comfort zone. Newman began work on Continue as a Guest after the band had finished touring behind 2019’s In the Morse Code of Brake Lights. Themes of isolation and collapse bleed into this album, as Newman tackles the ambivalence of day-to-day life during the COVID-19 pandemic. But Newman says that Continue as a Guest’s title track also addresses the concerns that come with being in a band for so long. “The idea of continuing as a guest felt apropos to the times,” he explains. “Feeling out of place in culture, in society, being in a band that has been around for so long—not feeling like a part of any zeitgeist, but happy to be separate and living your simple life, your long fade-out.
Living in a secluded place in an isolated time, it felt like a positive form of acceptance: find your own little nowhere, find some space to fall apart, continue as a guest.” Newman discovered new vocal approaches within his own talent. There are new and rich tones to Newman’s voice throughout Continue as a Guest, from his dusky lower register over “Angelcover” to his slippery slide over the glimmering synths of “Firework in the Falling Snow,” to bold tones he embraces on the soaring “Bottle Episodes.”
Another sonic change comes courtesy of saxophonist Zach Djanikian, whose tenor and bass luxuriate all over Continue as a Guest’s alluring chassis, especially on the menacing build of “Pontius Pilate’s Home Movies.” Along with Newman’s usual collaborators, several songwriters contribute. The bursting opener and first single “Really Really Light” is a co-write with Dan Bejar (Destroyer, the New Pornographers). Then there’s “Firework in the Falling Snow,” a collaboration with Sadie Dupuis of Speedy Ortiz and Sad13. “I was feeling like I wanted some help, so I sent it to Sadie and she sent me back this complete song that had these great lyrics,” Newman says. “She included the line ‘A firework in the falling snow,’ and I was like, ‘Yeah, that’s great.’ Sometimes you need that one thing to center the song, and even though I only used a few lines of hers in the end, I couldn’t have finished it without her.”
Even as Newman embraces a collaborative spirit more than ever, Continue as a Guest is a testament to his ability to discover new artistic sides of himself. “I started out as a songwriter more than as a singer, but at some point, you have to sing your own songs,” he says with a chuckle. “For a long time, I felt like the idea of changing a song because I couldn’t hit a note wasn’t okay—I could just get someone else to sing it. But I’m learning now that my songs can actually be a lot more malleable than I thought.” And it’s in that spirit that Continue as a Guest sounds like a thrilling path forward for The New Pornographers, with songs that generate a contagious feeling of excitement for the future as well.
Recommended If You Like: Boredoms, OOIOO, Blonde Redhead, Guerilla Toss, Rolling Stones, Liars, Marnie Stern, Yoko Ono, Battles. Cover by acclaimed photographer and artist Kunie Sugar White Vinyl / White Cassette available while stocks last. Did you know that miracles happen every day? We don’t always see it that way. We look at the state of the world and think, “It’ll be a miracle if we make it out alive.” But miracles are what humans do. We’re Earth’s most inventive and unpredictable species, when we’re allowed to be. Also the most destructive. Miracle-Level is Deerhoof’s mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters. Musically, Miracle-Level is vulnerable, brave, and brimming with spicy surprises. Deerhoof’s 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg, Manitoba. This is also their first album written entirely in Satomi’s native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent.
Tape Runs Out's debut album, Floodhead On 180GSM, River Green Vinyl, with beautiful matt varnish artwork, Green vinyl strictly limited run of 350 ,. Floodhead is an exploratory sonic journey from the mind and soul of long-time band leader, Liam Goodrum-Bell (guitar, vocals). Tape Runs Out’s experimental sound comes in part from their excellent array of instrumentation - the band members bring violin (Clare Myerscough) and the hammered dulcimer (Ellie Winter), as well as bass (Takeshi Kanemoto) and drums (Laurence Moore). Recorded and produced by Liam and Dan Dawson (band’s guitarist) at Dan’s home studio over the course of a year, the album thrives off experimenting with different textures and sounds, with each song seeking to be its own microcosm of creativity, delivering its unique part within the whole. The painstaking detail and time spent by Liam and Dan between the initial recording session during the summers of 2021 and 2022 has resulted in an incredible production, and one that takes the listener through the Tape Runs Out universe. The first single from Floodhead, Souvenir made God is in the TV's track of the week and was heaped praise on by Steve Lamacq on his BBC 6 Music afternoon show and new music fix.
Porto-based trio 10 000 Russos will release their new ‘Live In Berlin’ double LP on March 24th 2023 via Rubber Duck, a new live album imprint by Fuzz Club Records. The record captures the band storming through their subterranean motorik psych-drone live at Berlin’s Astra Kulturhaus on October 16th 2021. Recorded whilst out on a European tour, ‘Live In Berlin’ finds 10 000 Russos performing their 2021 ‘Superinertia’ LP in full the album’s five songs expanded and taken to even more transfixing and hedonistic heights in a live setting. These shows were 10 000 Russos’ first with the new, more-electronic line-up and sound, with newly-recruited synth player Nils Meisel making his debut on the ‘Superinertia’ LP and completing the line-up alongside founding members João Pimenta (drums/vocals) and Pedro Pestana (guitar). Across the hour-long set, Pimenta’s deadpan sprechgesang vocal and machine-like percussion, Pestana cascading psych guitar-loops and Meisel’s repetitive synth basslines all combine on a performance that will pull you into a trance at times and get you on your feet at others.
Introducing a brand new artist on Skep Wax Records, MARLODY releases debut album I’m Not Sure At All. Limited edition white vinyl LP plus digital DL and signed postcard. Marlody’s first album I’m Not Sure At All takes anxiety, weakness, fear - and turns them into strength: powerful melodies, the sweetest harmonies you ever heard, and lyrics that insist on the possibility of hope, without losing sight of the possibility of despair.
Dominated by her extraordinary keyboard playing, Marlody’s songs are illuminated - and sometimes made sinister by occasional bursts of programmed percussion, submarine bass and distant, chiming digital bells. These are deep, darkly beautiful pop songs. When she was a girl, Marlody was one of the higher-achieving classical pianists of her generation, winning competitions and destined for greatness.
She hated it, and threw it all away. In the intervening years, putting more and more distance between herself and her classical origins, she listened to Yo La Tengo and Shellac and a hundred other things that took music to new, untutored extremes. I’m Not Sure At All is the outcome. Marlody’s painful personal journey is not glossed over in the lyrics: Words is about the debilitating effect of psychiatric medication; Malevolence is about the horrible urge to commit inexcusable violence;
Friends in Low Places is a remarkable hymn of solidarity with all those people who’ve contemplated taking their own lives. But the songs are strangely uplifting: they offer up their truths so calmly and are so generously wrapped in harmonies that they feel like gifts. There are great stories here too: Summer takes a child’s point of view, describing the beginnings of new life after the loss of a parent.
Wrong relates the history of an adulterous affair, with a piercing sympathy for the emotional state of the adulterer. There are musical echoes: the infectiousness and daring of some of the vocal melodies might remind you of Kate Bush, the intimacy might remind you of Cate Le Bon, the stabs of anger and pain might remind you of Liz Phair. The keyboard is sometimes as smooth as Fleetwood Mac; other times it’s as raucous and distorted as Quasi. The harmonies are from another place again – you could imagine hearing them in an Unthanks recording. I’m Not Sure At All will be released by Skep Wax on limited edition white vinyl and all digital services.
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.
Now available at a new lower price. Pressed On Opaque Yellow Vinyl With Japanese Stylized Insert And Deluxe Obi Strip. Remastered From The Original Analog Tapes. The first live Miles Davis electric band release since 1977’s very dark and heavy Dark Magus. The album features live performances from shows at Boston’s Kix Club. The double vinyl release contains reimagined versions of songs from The Man With the Horn (1981), tunes from the pre-electric Gil Evans collaboration Porgy and Bess (1959), and a dedication to the Boston venue called Kix. While this was one of the first live Miles Davis performances in over half a decade it certainly did not show!!! This album features R&B legend Marcus Miller on bass, Mike Stern on guitar, Bill Evans on saxophone, Mino Cinelu on percussion, and electric band alumni Al Foster on drums. Produced and edited by long time Miles collaborator Teo Macero
Darling West decamped for a tiny island on Norway’s west coast to begin writing what was to become Cosmos, their fifth studio album. For the first time, the band’s core – married couple Mari and Tor Egil Kreken – have included band members Thomas Gallatin and Christer Slaaen in the songwriting and production process. As a larger united, Darling West has really evolved. Cosmos is indeed the sound of expansion. West coast, cosmic folk, americana… Call it what you will – there are even hints of afro blues on here – but where the band once fit firmly in the folk/americana category, you might as well just call it pop these days. Cosmos was recorded and produced in its entirety by Darling West. Vocal guests on the album include Matthew Logan Vasquez (Delta Spirit) and Jarle Bernhoft, while David Wallumrød, Lars Horntveth and Torjus Vierli all excel on keys. Finally, the one and only Rob Moose (Paul Simon, Bon Iver, Sufjan Stevens, Phoebe Bridgers) provides strings on “Till Night Turns to Day” and “Old Man”. The listener is also awarded plenty of what we’ve come to love from Darling West: Mari Kreken’s gorgeous voice and Tor Egil Kreken’s incredibly versatile playing (guitar, bass, banjo, etc.) playing. The sum of these parts makes up a magical record, with songs and melodies that will stay on your mind for the unforeseeable future. While many struggled to keep their heads up during the pandemic, the band did their best to contribute positively, and came out on the other side with a growing, dedicated fanbase, due to their incredibly popular “Family Sessions” on Youtube. A recurring concept where they featured a host of friends and other artists, thus creating a community – or family – which is still going strong. The music on Cosmos searches outward, while the lyrics look inward. The resulting record includes elements of pop, while it pushes the envelope for what Norwegian americana can sound like. Cosmos is also about loving yourself, and there are of course a handful of love songs about shaky relationships – as we’ve come to expect from Darling West. The band continues to develop their unique musicianship and Cosmos is indeed another masterstroke from the band.
‘Sinking Ships’ is the much anticipated seventh studio album from the acclaimed Alberta Cross. A gorgeous 10-track collection of modern indie-rock including an irresistible cover of Sharon Van Etten’s ‘Every Time The Sun Comes Up’.
The album is at times expansive & subtly anthemic, beautifully mellow, folk-tinged and awash with a layered, maximalist sound that variously recalls The War On Drugs, Bon Iver & Phosphorescent. At all times, lead singer Petter Ericson Stakee’s un-mistakable high-vocals, which have at times been compared to Jim James & Neil Young, soar through the music – particularly on album stand-outs ‘Mercy’ & ‘Glow in The Dark’.
The album was written mostly at the legendary The Wool Hall in Frome Somerset with Petter’s long term producer and collaborator, Luke Potashnick - who recently bought and renovated The Wool Hall (legendary in part due to Van Morrisson and Tears for Fears recording albums there).
Der Bestseller von 1982 endlich wieder auf Vinyl erhältlich! Der Titelsong "Big Ship" gehört zu den bekanntesten Liedern des renommierten Sängers, u.a. hat er sein eigenes Studio und Label danach benannt, und der Longplayer wurde im Harry J und Channel One Studio mit den Roots Radics aufgenommen, von Scientist abgemischt, und als Produzent fungierte Linval Thompson. Weitere Top-Tunes des Albums sind "Roots Man Skanking", "Stop Loving You", "Peaceful Man", das auch als 2009-CD Remaster erhältlich ist: Katalog-Nr. GREWCD39
Die Rede ist natürlich von RAGE, die zunächst als AVENGER gestartet sind, bevor es dann zur Umbenennung kam. Nun werden die Alben der Jahre 2001 bis 2003 der Herner Metal-Legende mit Bonus-CDs mit etlichen Demoversionen (inkl. bisher unveröffentlichten Titeln) auf Doppel-CDs neu veröffentlicht. Besonders interessant dürfte hier für die Fans das Album „Welcome To The Other Side“ sein, das endlich als neu gemasterte Version (auch als Doppel-Vinyl) vorliegt.
Ein absolutes Muss für alle RAGE-Heads!
Beyond ecstatic to finally offer a glimpse into the world of voertuig. Working on music for several years, purely for themselves in sheds and studios tucked away in the outskirts of the hague, Tonal Oceans presents an album by the four piece act containing music embodying the true spirit of the city.
W&P by Offer van Kesteren, Gianni Tjon Tam Pau, Tijmen van Wageningen, Laurens ten Berge.
Artwork by Soft Turbo
Drawing by Ilan Havinga
Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon . Recorded in 1988, Lyburnum would not be released until 1993 - several years after Moss Icon 's demise. Originally released on Vermiforn - the esoteric noise label founded by Sam McPheeters of Born Against - the vision that Moss Icon 's Tonie Joy had for Lyburnum failed to manifest in its finished product. Of the process of preparing Lyburnum for its eventual release, Joy recalls, "My creative mind was well into its next chapter, onto an apocalyptic order referring to Joy's post- Moss Icon band, Universal Order of Armageddon . Getting Lyburnum to look like what I envisioned in my mind became an uphill battle that involved misplaced photos, misunderstood instructions by the printer, increasing apathy, and lack of advanced printing knowledge (on my part), amongst many other technical and creative issues. With a deadline near it ended up being an it-is-what-it-is situation. Some corrections were attempted for the second pressing the following year, but a further lack of coordination between various parties saw it losing even more of the original vision." Despite these challenges and shortcomings, Lyburnum Wits End Liberation was instantly cherished as a feral masterpiece - a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond. Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon 's seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored, and includes previously unpublished photos that were inadvertently missing from the original release. Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at Record Technology Inc.
CRYSTAL CLEAR VINYL
Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon . Recorded in 1988, Lyburnum would not be released until 1993 - several years after Moss Icon 's demise. Originally released on Vermiforn - the esoteric noise label founded by Sam McPheeters of Born Against - the vision that Moss Icon 's Tonie Joy had for Lyburnum failed to manifest in its finished product. Of the process of preparing Lyburnum for its eventual release, Joy recalls, "My creative mind was well into its next chapter, onto an apocalyptic order referring to Joy's post- Moss Icon band, Universal Order of Armageddon . Getting Lyburnum to look like what I envisioned in my mind became an uphill battle that involved misplaced photos, misunderstood instructions by the printer, increasing apathy, and lack of advanced printing knowledge (on my part), amongst many other technical and creative issues. With a deadline near it ended up being an it-is-what-it-is situation. Some corrections were attempted for the second pressing the following year, but a further lack of coordination between various parties saw it losing even more of the original vision." Despite these challenges and shortcomings, Lyburnum Wits End Liberation was instantly cherished as a feral masterpiece - a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond. Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon 's seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored, and includes previously unpublished photos that were inadvertently missing from the original release. Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at Record Technology Inc.
Puscifer setzen ihre Serie von Album-Remixen fort und veröffentlichen "Existential Reckoning: Re-Wired", das am 31. März 2023 über Puscifer Entertainment/Alchemy Recordings/BMG erscheint.
„Existential Reckoning: Re-Wired“ bietet eine Track-by-Track-Neuinterpretation der 12 Songs von „Existential Reckoning“. Die Puscifer-Bandmitglieder Mitchell und Round sowie die aktuellen Tourmusiker Greg Edwards (Failure, Autolux) und Gunnar Olsen interpretieren die Stücke des prophetischen, elektrolastigen Albums neu.
Néo-Romance ist das klangmalerisches Debüt-Album der kanadischen Pianistin und Komponistin Alexandra Stréliski bei XXIM Records (Sony Music). Inspiriert von den Geschichten ihrer Vorfahren in Europa und einer neuen Liebe in Rotterdam, findet die Musikerin mit polnisch-jüdischen Wurzeln darin einen neuen, romantischen Zugang zum Leben und ihrer Musik. In ihrer Heimat Kanada ist Alexandra Stréliski seit ihrem Album Inscape (2018) mit dem sie offen ihren Burn-Out thematisierte, mit über 140.000 verkauften Alben und 300 Millionen Audiostreams weltweit ein gefeierter Medienstar und erhielt 2020 den renommierten JUNO Award.Néo-Romance ist inspiriert von großen persönlichen Veränderungen im Leben von Alexandra Stréliski. Es ist die Geschichte ihrer Öffnung für die Liebe und neue Erfahrungen nach dem Rückzug durch ihren Burn-Out, verstärkt durch die Pandemie. So ist Alexandra Stréliski während der weltweiten Gesundheitskrise nach Rotterdam gezogen, um dort mit ihrer Lebenspartnerin zusammen zu leben. Ihr Weg nach Europa führte sie damit zu den Wurzeln ihrer Familie. Sie besuchte die Wohnhäuser in Amsterdam, in denen ihre Vorfahren einst lebten, und entdeckte in einer Bibliothek in Paris Kompositionen von einem ihrer Vorfahren, der Lehrer und Komponist in der Zeit der Romantik war.Die Vorstellung einer kollektiven Identität und gemeinsamen Geschichte fand in Alexandra Stréliski einen tiefen Widerhall, der durch die erzwungenen Trennungen und das Gefühl der Isolation infolge der pandemischen Abriegelungen noch verstärkt wurde. Entsprechend entstammen ihre Kompositionen für Néo-Romance "einem sehr tiefen, sehr persönlichen Raum". Diese Erfahrung versucht Alexandra Stréliski auf ihrem Album mit anderen Menschen zu teilen. Sie erklärt: "Bei Néo-Romance geht es um Geschichten gegen Einsamkeit und Isolation. Wir sollten uns daran erinnern, wie universell unser emotionales Spektrum als Menschen ist, im Gegensatz zu einer Polarisierung. Wir alle machen die gleichen Traumata durch - Leben, Tod, Trennungen - wir können also hoffnungsvoll bleiben und von unserer eigenen, wunderbaren Existenz träumen. Wir können uns verlieren und in unseren Gefühlen leben - es ist alles in uns, und darin sehe ich Hoffnung. Die Prämisse und das Setting für das Album ist: Wie kann man in dieser desillusionierten, beängstigenden Zeit, in der wir leben, einen positiven, inneren Zugang im Sinne der Romantik zur Welt finden", erklärt Alexandra Stréliski.Auch musikalisch lässt sich Alexandra Stréliski von der Romantik inspirieren und versucht ihr kompositorisches Spektrum zu erweitern. Insbesondere von Frédéric Chopin lässt sie sich beflügeln, mit dessen Musik sie aufgewachsen ist. Das Label der "Neo-Klassik" möchte sie hinter sich lassen. Für die 14 Stücke des Albums arbeitet sie strikt melodieorientiert und gibt den Themen Zeit sich zu entwickeln. Die Kompositionen sind jeweils als eine in sich geschlossene Idee und entsprechend farben- und kontrastreich zeigt sich das Album: So stehen etwa den sanften und ruhigen "Rêveries" und "Border" die bewegten Stücke "The Hills" und "The Breach" gegenüber, die von schnell auf- und absteigende Klavierarpeggien geprägt sind. Für Néo-Romance arbeitete Alexandra Stréliski auch erstmals mit einem Streichtrio zusammen, das sie in Paris aufgenommen hat. Vereinzelt setzt sie auch eine Kirchenorgel als subtile Begleitung für ihre Klavierlinien ein.
Lloyd Cole & The Commotions – Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine – were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University of Glasgow -Their sound swam against the tide of shiny 80s synthesisers, offering intense, melodic, guitar-based pop, topped with droll words packed with literary references.
Given just how loved debut album Rattlesnakes was, it would have been hard for whatever followed to be received as warmly – yet Easy Pieces made a good first of it. It was to sell twice as many copies in its first two weeks as Rattlesnakes had to date, giving the group a Top 5 chart placing on its release in November 1985. Recorded with 80s super-producers Clive Langer and Alan Winstanley, its first two singles, the brooding, gospel influenced Brand New Friend and the forever-jaunty Lost Weekend reached the UK Top 20.
This re-issue faithfully replicates the original 1985 Polydor Records UK release with printed inner sleeve and is pressed onto high quality 180g vinyl.
white marbled vinyl
Jacidorex is back with another album, 'UNFACED01'. This record sees the Belgian DJ/producer pushing the boundaries of the genre even further with his signature brand of dynamic hypnotic acid patterns.
'UNFACED01' begins with a cinematic introduction before opening into a hip-hop track, which then swiftly transitions into electro techno, industrial techno, acid trance tech
Born in Milan to a Cameroonese father and a Polish/Lithuanian mother, Nathan Dawidowicz moved at the age of 6 to Jerusalem. He was spending his childhood in a Jewish ultra-orthodox environment playing the piano and dreaming of being a Fashion designer and musician. After waking up from the reality he was raised in, he moved to Venice and started to explore the "outside world" of the mental barriers of religion. Music and fashion were his medicine, and he quickly became addicted to musical textures and vinyl. His love for music brought him quickly to Berlin, where he currently lives and loves.
Sanctuary Of Ideas is a very personal and optimistic journey by Nathan Dawidowicz. His first solo album is a spiritual path, as cosmic and adventurous as Nathan`s trajectory, with beautiful twists and psychedelic twirls into Dawidowicz personal rabbit hole. A record full of memories and positive affirmations, filled with Jazzy yet psychedelic Cosmic and Krautrock elements. A fusion of inspiration - and a perfect reflection of Dawidowicz heritage.
Idea`s Eve is a stargate to our ancestral power. The source of our inspiration is connected to our past - to the spirits of our ancient memories. Dawidowicz leaves a lot of space to breathe in this magical opener. Enchanting melodies and bubbling sounds surround the listener while his voice keeps repeating a mantra of an ancient love spell. A track where you feel your DNA spiraling up the ladder of evolution. Yet so natural and healing.
Full Moon Dance is the spiritual continuation of the first track. A swirl of magical melodies, yet jazzy but truly cosmic walking up the ladder to another dimension, where warm moon rays and fluffy clouds surround love. The synth lines represent the playful and smooth moon rays reflected on a rhythmical heart-beating ground where tears can be joyfully spent to honor the emotions we usually oppress.
To close the EP, Nathan Dawidowicz worked a half a year to finalize the last track in full detail. 23 Minutes and 18 Seconds long is the Capricorn Rising Over Jerusalemite Temple. This story is where the listener is brought to a higher level of consciousness. Against the rules of our consumerist world, Nathan Dawidowicz focuses on a dramaturgy full of patience for our own lifetime. Acidic lines come and go, powerful synth solos trigger unknown brain parts, and an epic melody accompanies the listener and lets dark emotions melt in a brass-filled part where a voice tells us that time is on our side. The song ends with an epic twist and promises a new start, where our most lovely memories stay in a vortex of light. Beam me up Nathan.
Das neue Album des elektronischen Erkundschafters James Holden, 'Imagine This Is A High Dimensional Space Of All Possibilities', ist Rave-Musik für ein Paralleluniversum, getragen von der Hoffnung, Freiheit und Möglichkeiten der frühesten Tage der Dance Music. Im Gegensatz zum jazzigen Liveband-Vorgänger 'The Animal Spirits' (2017) ist Holdens viertes Soloalbum ein kontinuierlicher Soundcollagentrip, der kunstvoll Audiowelten und Field Recordings mit dem anything-goes-Ansatz pastoraler Früh-90er Klassiker (The KLF 'Chill Out') und ausufernder Radiolandschaften (Future Sound Of London) kombiniert. Mit 12-seit. 4-Farb-Booklet mit Illustrationen von Jorge Velez (Professor Genius).
The sound of the classic period of Psychic TV - featuring Peter Christopherson and Geff Rushton (John Balance) of COIL, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary 'Dreams Less Sweet' album of the same year. "Thee First Will To And Testament Ov Psychic TV. All our works remain interconnected, interfaced, and intentional. Thee Process is thee Product". These recordings of a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organised by HÖH and GRAMM Records, to whom, eternal and infernal thanks all ways.
Extra Muros is an annual itinerant artistic residency initiated in 2017. The third edition was co-organised during the winter 2021-2022 by the FLEE art collective in collaboration with the Music Department of the Museum of Ethnography, Geneva (MEG). Five artists participated in this residency including: Prins Emanuel, Nabihah Iqbal, Jaakko Eino Kalevi, Cosmic Neman, and Maria Spivak.The residency was held at the MEG in two phases. The first part of the residency and encounter represented an opportunity for the artists to explore the museum’s archives, collections, and exhibition spaces. The second phase was dedicated to the composition and production of original musical content in an ephemeral studio set up in the auditorium of the Genevan institution.
In this context, the pieces presented in this album were all conceived during this residency. Having never worked together, the five artists and musicians, each with their own distinct musical path, discovered a variety of sound resources at the Museum. These included eleven traditional instruments from the African continent, Asia and Oceania from the MEG collections, as well as synthetisers, audio effects units, amplifiers and several other vintage emblematic analog electronic devices from the collection of the Swiss Museum and Center for Electronic Music Instruments (SMEM) in Fribourg. In addition, recordings of traditional music from the five continents belonging to the museum’s International Archive of Folk Music (IAFM) were also made available to the artists.
In pairs, the residency’s participants were able to combine their respective creative worlds with the museum’s historical instruments as well as sound archives. This compilation is the result of this rich dialogue.
Die Demo Collection "Beyond Redemption - Demos & EPs 1989-1992" fasst die historisch bedeutsamen Demos, Promos und EPs von Afflicted (früher bekannt als Afflicted Convulsion) in einem einzigen, unverzichtbaren Multi-Disc-Paket zusammen. Remastered von Patrick W. Engel (Corrosion of Conformity, Destruction) in den Temple of Disharmony Studios, wurden die Demos "Toxic Existence" (1989), "Psychedelic Grindcore" (1990), "Beyond Redemption" (1990), "Promo Tape" (1990), "Ingrained" (1990), "The Odious Reflection" (1990) und "Wanderland" (1990) in ihrem Originalzustand für die Ewigkeit konserviert und sorgfältig verbessert. Erleben Sie den Aufstieg von Afflicted von jungen Wilden zu Weltklasse-Death-Metal-Innovatoren neu. "Beyond Redemption - Demos & EPs 1989-1992" erscheint als Gatefold 180g 3LP mit LP-Booklet, Ltd. 2CD Jewelcase im Schuber und als digitales Album über Century Media Records.
Afflicted hatten auf ihrem Debütalbum "Prodigal Sun" gekonnt signalisiert, dass sie sich nicht so leicht in eine Schublade stecken lassen. Vehement gegen den Strom schwimmend, ließen die Stockholmer 1995 alles stehen und liegen und wandelten sich auf ihrem zweiten Album "Dawn of Glory" komplett. Afflicted hatten sich offiziell als "Defenders of True Heavy Metal" neuformiert. "Dawn of Glory" entsprach mehr der kraftvollen Stimmung von Silver Mountain, Heavy Load und Axe Witch und katapultierte die First Wave of Swedish Heavy Metal (FWOSHM) mit Tracks wie "Raging into Battle", "Son of Earth" und dem mitreißenden Titeltrack in die moderne Ära. "Dawn of Glory" war jahrelang nicht erhältlich und erstrahlt nun in neuem Licht dank eines spektakulären Remasters im Originalzustand von Patrick W. Engel (Corrosion of Conformity, Destruction) in den Temple of Disharmony Studios. Vor Hammerfall gab es Afflicted. Die 2023 neu aufgelegte Version von "Dawn Of Glory" wird über Century Media Records erscheinen und als 180g LP inklusive LP-Booklet, Ltd.
Die schwedischen Afflicted verblüfften den Death Metal 1992 mit ihrem viel gelobten Debüt "Prodigal Sun". Progressiv, psychedelisch und doch zutiefst brutal stürmten die Stockholmer mit "Ivory Tower", "Tidings from the Blue Sphere", "Harbouring the Soul" und "In Years to Come" in die Herzen der Konventionen. Seit Jahren nicht mehr erhältlich, erstrahlt "Prodigal Sun" in neuem Licht durch ein spektakuläres, originalgetreues Remaster von Patrick W. Engel (Corrosion of Conformity, Destruction) in den Temple of Disharmony Studios. Wenn Napalm Death, Soundgarden, Voivod und Pink Floyd einen kollektiven Peyote-Ausflug in den bewaldeten Vororten Stockholms unternähmen, dann wäre das Ergebnis Afflicted's bahnbrechendes "Prodigal Sun". Dieses hochgelobte klassische Meisterwerk erscheint als 180g LP inklusive LP-Booklet, als Ltd. CD Jewelcase im Schuber sowie als digitales Album
Public Image Ltd. (PiL) will release Hawaii on 7” limited edition vinyl on 31st March. The release follows an incredibly brave and well received performance on The Late Late Show Eurovision Special on Friday 3rd February, in which John Lydon’s heartfelt emotions were visibly on show.
The track is the most personal piece of songwriting and accompanying artwork that Lydon has ever shared. The song is a love letter to John's wife of nearly 5 decades, Nora, who is living with Alzheimer’s. A pensive, personal yet universal love song that will resonate with many, the song sees John reflecting on their lifetime well spent and in particular one of their happiest moments together in Hawaii. The powerfully emotional ballad is as close as John will ever come to bearing his soul. “It is dedicated to everyone going through tough times on the journey of life, with the person they care for the most,” John says. “It’s also a message of hope that ultimately love conquers all.” Celebrating their 40-year anniversary in 2018, Public Image Ltd. haven’t been going quite as long as John and Nora, however, the band is widely regarded as one of the most innovative and influential bands of all time.
PiL’s music and vision has earned them 5 UK Top 20 singles and 5 UK Top 20 albums. With a shifting line-up and unique sound - fusing rock, dance, folk, pop and dub – Lydon guided the band from their debut album First Issue in 1978 through to 1992’s That What Is Not, before a 17 year hiatus. Lydon reactivated PiL in 2009, touring extensively worldwide and releasing two critically acclaimed albums This is PiL in 2012 followed by their 10th studio album What The World Needs Now… in 2015, which peaked at number 29 in the official UK album charts and picked up fantastic acclaim from both press and public. (The album also peaked at number 3 in the official UK indie charts and number 4 in the official UK vinyl charts). What The World Needs Now… was self-funded by PiL and released on their own label ‘PiL Official’ via Cargo UK Distribution. John Lydon, Lu Edmonds, Scott Firth and Bruce Smith continue as PiL. They are the longest stable line-up in the band's history and continue to challenge and thrive. PiL will be releasing their new album ‘End Of World’ this year. Details to be announced soon…
“Uncharacteristically soul-bearing” - Pitchfork
“a swooning, poignant ballad awash with memories of happier times… He’s remarkably tender as he croons: “Don’t fly too soon / No need to cry, in pain / You are loved.” It’s the vulnerability that is most striking. Lydon’s love for his wife shines through like sunrays breaking through clouds, casting everything in a golden light: “I remember you,” he reassures her. He’s backed by harmonising chants of “aloha”, the Hawaiin term that is both a greeting and a farewell. It’s a message from the heart, overflowing with spirit and compassion. What better word for what Lydon is trying to convey here?” - The Independent
“a beautiful and rueful ballad written by 66-year-old Lydon to his wife Nora, who suffers from Alzheimer’s. It’s a peach of a track: both pensive and personal, it reflects on one of their happiest times together in Hawaii. “Remember me/ I remember you… You are loved,” not-so-Rotten sings over a lush soundscape of gently twanging guitars vaguely reminiscent of Fleetwood Mac’s Albatross.” - Telegraph
Critically-acclaimed, criminally-overachieving Glasgow-based singer and guitarist Alasdair Roberts is known as a superlative original songwriter as well as an interpreter of traditional songs from Scotland and beyond. For the past twenty years, his recordings have alternated between these two complimentary poles, with "pop" records such as The Amber Gatherers and A Wonder Working Stone nestling in his expansive back catalogue alongside "folk" albums such as No Earthly Man and What News (with Amble Skuse and David McGuinness). Additionally, all of these records possess a further dimension, derived from their collation of songs together into one album-length statement. This is part of Alasdair"s great achievement in his career - for him, this thing of music and song hasn"t come the eons it"s travelled to simply entertain. These impulses fully present and well honed, Alasdair returns to his roots with Grief in the Kitchen and Mirth in the Hall, his fifth full-length collection of traditional song. Recorded live in the studio, it is an entirely solo collection of twelve traditional ballads and songs sparsely arranged for acoustic guitar, piano and voice. The majority of the songs originate in Alasdair"s homeland of Scotland, with a couple from Ireland and one from Prince Edward Island on Canada"s eastern seaboard too. The record takes its title from a line in the final verse of one of its songs, "The Baron o" Brackley" - a ballad of feuding clans and matrimonial betrayal from the north-east of Scotland. Grief in the Kitchen and Mirth in the Hall: it"s a title which goes some way towards encapsulating many of the record"s themes. Collectively the songs treat of various conflicts and tensions - those of gender; of class, status and position; and of geography and tribal belonging - and the roles and responsibilities expected at the various intersections of these constructs. That we should never forget! As with many of Alasdair"s recordings, Grief in the Kitchen and Mirth in the Hall contains ballads aplenty: tragic ("Bob Norris"), supernatural ("The Holland Handkerchief") and dramatic ("Eppie Morrie"). There are love songs ("The Lichtbob"s Lassie") and anti-love songs ("Kilbogie"). There are rare, seldom-heard pieces ("Young Airly") and much more well-known ones ("Mary Mild," a version of "The Queen"s Four Maries"). Woven through all of this - a thread of levity, perhaps - is a triptych of zoological allegories - a panegyric to a mystical steed ("The Wonderful Grey Horse"), a lament for a lost cow ("Drimindown") and a paean to a regal waterbird ("The Bonny Moorhen"), which serves to highlight the intersection of the mythic, the eternal and the mundane at which we all find ourselves in every day of our life on Earth. Grief In the Kitchen and Mirth in the Hall was masterfully recorded by Sam Smith at Green Door Studios, Glasgow over an economical two days, and mixed in one day. Its brevity on all levels is an aspect of its expression. Alasdair"s renowned acoustic fingerstyle guitar is understated yet questing, ever in service to the needs of the song, underpinning his soulful tenor voice. Three songs eschew his habitual acoustic guitar in favour of simple piano arrangements. The spare setting and Alasdair"s deeply committed performance gently reminds of the meanings and melodies of these old songs, chosen instinctively and with care, for all to hear and sing in 2023, and the world beyond that is ever coming.
Ein Muss für alle Hard Rocker! Last in Line - die Band um die Original Dio-Mitglieder - veröffentlichen ihr drittes Album:
Auf „Jericho“ liefert Campbell seinen charakteristischen, flamboyanten Gitarrenstil, Appice und Soussan erschüttern mit ihren unverwechselbaren Grooves die Grundfeste, und Freemans Gesang gehört zu den besten seiner Generation.
Die 12 Tracks bestechen durch fette Gitarrenriffs und Soli, sie sind eingängig und voller Energie!
— Exzellenter Hard Rock eines All-Star Line-Ups
— Vivian Campbell (Def Leppard, ex-Dio), Vinny Appice (ex-Black Sabbath, ex-Dio), Phil Soussan (ex-Ozzy Os bourne), Andrew Freeman (ex-Lynch Mob)
Red Vinyl[30,21 €]
Fans von Porcupine Tree, Haken, Green Carnation und Muse werden sich beim Sound von Empyre zu Hause fühlen, denn die Band setzt auf Kontraste und Tiefe. Das Quartett verbindet seine gewaltigen Riffs mit sehr persönlichen Texten, die vom leidenschaftlichen Gesang von Frontmann Henrik Steenholdt geprägt werden.
Eine Welt der dunklen Introspektion und Perspektive, die einen nach innen gerichteten und gefühlsbetonten Standpunkt feiert. Gemischt von Chris Clancy (Massive Wagons/Those Damn Crows).
— Als CD oder schwarzes Vinyl erhältlich
— Das zweite Album der angesagten britischen Rockband,
und das erste für Kscope
— „Empyres Musik klingt kolossal“ (Planet Rock)
— „Atmosphärischer, aber druckvoller moderner Rock“
(Classic Rock UK)
— Als Digipak CD oder 180g schwarzes Vinyl
— Der „Sänger des Cellos, Akrobat des Kontrabass und
Meister des geschmackvollen Anspruchs“ (Jazzthing) mit
Quintett und dem Gothenburg Symphony Orchestra
— Traumhaftes Zusammenspiel zwischen Orchester, Band
und Solisten
Seit über 10 Jahren kulminiert Danielssons Kunst in der Liberetto-Band, die internationale Erfolge feiert. Jetzt hat er die bekanntesten Stücke dieser Formation in ein symphonisches Gewand gekleidet, federleicht und atmosphärisch dicht: Eleganz, Verve, Drive und musikalische Frische versprühen die Orchesterversionen, die der Schwede mit dem Gothenburg Symphony Orchestra und seinem Quintettinterpretiert.
Im zweiten Teil des Albums erklingt Danielssons Concerto für Kontrabass und English Horn.
