If the sanguine cedar scent of Cosmic Americana and the bright jingle jangle of Neo-Psych Rock has led you through the last couple of years, then chances are good you’ve had a brush with Silver Synthetic. The members of the New Orleans band ditched the dirtier riffs of their past projects (Jeff The Brotherhood, Bottomfeeders) for a West Coast curl that balanced country twang and honeyed harmonies with a rhythmic stomp that fishtailed through the speakers with glee.
An eponymous full length on Third Man fully distilled the scope of their sound, turning stage-battered ballads and barroom burners into one of 2021’s most promising debuts. They return for a second salvo, honed with a tour-tight symbiosis and some ace drop-ins from southern slingers Luke Schneider (pedal steel) and Rex Gregory (sax, flute). Rosalie finds Silver Synthetic refining their sound, softening their approach, and letting a breeze of ‘70s AOR weave among the country swagger. Between the tanned riffs, the band also balances societal burnout with sunshine, transforming scoffs and sneers into smoke-curled sighs draped in a windows-down aura.
They make their way to Curation Records for the new outing, a welcome home for the band’s sun-streaked Americana, turning ‘Preflyte’ Byrds, JJ grooves, beach-bound Neil, and ‘Water of Love’-era Dire Straits into an album that smooths the seams and steers the listener towards new horizons.
Two of folk’s most fearless innovators, Lisa Knapp and Gerry Diver, join forces for Hinterland—a captivating 9-track journey that reshapes English and Irish traditions into something bold and breathtaking.
Featuring richly layered vocals, wide ranging instruments and powerful storytelling, the album explores themes of nature, history, place and folklore and winds an evocative thread through tradition and contemporary folk. Standout tracks include the atmospheric ‘Hawk & Crow’, the rhythmic ‘Train Song’, and the eerie ballad, ‘Long Lankin’.
Hinterland enchants listeners with a fusion of emotive vocals and intricate instrumentals, delivering a seamless blend of the familiar and the unexpected.
Crouching Tiger, Hidden Dragon is a 2000 wuxia film directed by Ang Lee. Taking place in 18th-century Qing dynasty China, the story revolves around a warrior who gives his sword, Green Destiny, to his lover to deliver to safe keeping, but it is stolen, and the chase is on to retrieve it. The film was praised for its story, direction, and cinematography, and for its martial arts sequences. It won the Academy Award and Golden Globe Award for Best Foreign Language Film. The score was composed by Tan Dun, containing many solo passages for cello by Yo-Yo Ma. The track “A Love Before Time” features Coco Lee. This album is released as a limited edition of 750 copies on translucent red vinyl.
Violeta García is a cellist, composer and curator from Buenos Aires, Argentina, based in Bern, Switzerland. Working across a broad spectrum of artforms including improvisation, contemporary classical and electronic music, she is set to release her new album "IN/OUT" via Bongo Joe.
Nach Releases auf Too Pure, God Unknown und Big Scary Monsters erscheint das neue Album des Londoner Brüderpaares Cassels auf Human Worth. Produziert von Alex Petersen (aka Vincent Vocoder Voice) ersetzt das Duo scharfzüngige Charakterskizzen mit einem berauschenden Cocktail aus Philosophie und Körperhorror. Vorbei sind Flirts mit Indie-Rock und Elektro, stattdessen wird eine aufregende Vision dessen präsentiert, was harte Musik sein kann. "Tracked In Mud" ist der Soundtrack zum Leben in den letzten Tagen einer arroganten, technokratischen Höllenlandschaft. Die LP erscheint auf Ecomix-Vinyl in Topausstattung. 10% aller Einnahmen gehen an das gemeinschaftliche Lebensmittelzentrum/Vertriebsnetzwerk The Hornbeam Centre.
Long time friend of the label and Stones Throw alumni "Rejoicer" joins forces with longtime collaborator, fellow Apifera band member and renowned pianist Nitai Hershkovits to present a new moniker and concept piece "Cinema Royal" - a delicate yet audacious album that quietly commands attention.
Western Skies Motel, das Instrumental-Musik Projekt des Dänen René Gonzalez Schelbeck veröffentlicht sein viertes Album 'Trails'. Seine Musik wird oft als „Ambient Americana“ beschrieben, widersetzt sich jedoch einem so simplen Etikett. Sie ist eindrucksvoll und atmosphärisch und hat zweifellos musikalische Gemeinsamkeiten mit Künstlern wie Arvo Pärt, Daniel Lanois, den Soundtracks von Nick Cave und Warren Ellis, Grouper, William Basinski und sogar mit dem düsteren Americana-Drone-Rock von Earth, wie René es prägnant ausdrückt: „Ich mag Einfachheit. Weniger Noten und längere Noten.“
The very first Grammy winning artist in Reggae history, MYKAL ROSE is the voice of the greatest days of Black Uhuru. He’s responsible for hit songs such as ’Guess Who’s Coming To Dinner’, ‘Sinsemilla’ or ‘Sponji Reggae’. Thanks to Sly & Robbie, Mykal Rose and Black Uhuru have been a turning point into Reggae history, giving to the four corners of world the raw and brutal sound of Jamaica early 80’s violent political crisis, far from Bob Marley refined and sophisticated music.
40 years after he left the group, Mykal Rose returns with ‘Rain And Blood’, a new single that could have been taken from another Sly & Robbie-produced Black Uhuru album. In a 1986 proto- digital reggae style, Swiss reggae powerhouse THE 18TH PARALLEL recorded an early dancehall-roots-reggae riddim with none other than the legendary Robbie Shakespeare himself on bass. Mixed by today’s finest sound engineer from Jamaica, Gregory Morris (Protoje, Lila Ike, Mortimer,...), ‘Rain And Blood’ combines the best of modern reggae sound with an impeccable groovy riddim inspired from back in the days. On top of this, the finest horns section of the new Jamaican music scene, TOPP BRASS, graces us with a timeless instrumental cut called ‘Red Sky’. This is heavyweight reggae at its best!
Emanuela Hutter and Oliver Baroni front this Anglo-Italian masterly, modern rockabilly band, making worldwide waves from their home base of Zurich. Highlights of this 2011 relaunch album Buy Beg or Steal include a rockabilly cover of Enola Gay and their classic hit duet between Demented Are Go"s Sparky and Emanuela: My Love For Evermore. The song"s murder ballad viral video now has over 25,000,000 views. An international cult hit, it has also inspired myriad tattoos, multiple 7" pressings and well over fifty cover versions. The LP version features an exclusive extra track.
Orange vinyl, limited to 350 copies. REPRESS of the legendary NIGHTSTALKER sophomore album. Recorded at Action Studios, 1995 Produced by Alex K. Engineered by Aris Christou. Assistant producer Jim Spliff Remastered at SweetSpot Productions Studio
Orange vinyl, limited to 350 copies. REPRESS of the legendary NIGHTSTALKER sophomore album. Recorded at Action Studios, 1995 Produced by Alex K. Engineered by Aris Christou. Assistant producer Jim Spliff Remastered at SweetSpot Productions Studio
Ajay Saggar is BHAJAN BHOY. "With BHAJAN BHOY, Saggar synthesizes all of the stylistic approaches he’s explored over the years, swirling them into an intoxicating musical blend, with an earthy spirituality. Even the project’s name reflects the dual aspects of Saggar’s upbringing coming together in harmony. In Hindi, a “bhajan” is a devotional song, sung in the mandir, or temple, while “bhoy” is a Scottish and Irish derivation for a young man. There’s a searching quality to Bhajan Bhoy, as if Saggar is still hunting for transcendence with each track, whether through an expansive drone, an orchestral facility on the piano, or an electronics-augmented raga that threatens to dip into noise” (Erick Bradshaw / writer and WFMU DJ). This album presents a rich and varied set of compositions that showcase Saggar’s skills as an incredibly talented and accomplished composer and musician. With each and every Bhajan Bhoy LP, you are are carried to a higher place. With ‘Bhoy On The Wire’, the 35 minutes laid out unfolds like a cosmic tapestry, an extraordinary exploration that shimmers and reverberates with newfound vibrancy. The songs were broadcast as part of a session on Steve Barker’s “On The Wire” radio show in April 2024. They were a gift to Steve and his team for 40 years of broadcasting. “On The Wire” is simply the greatest radio show in the world. As Ajay explains in his own words : “In September 1984, I started a degree course at the University of Lancaster. On a wet and soggy Sunday afternoon towards the end of September, I sat in my room staring out at the grey Lancashire landscape, and decided to alleviate the boredom by seeing if there was anything to listen to on the radio. Most of the stations I tuned into were as dull as the weather outside. However, as I neared the end of the FM dial (and was about to give up hope), I chanced upon a station where I was taken by the music being played. That show was “On The Wire”, introduced by Steve Barker. From there on in, every Sunday, between 2-5pm, I tuned into Radio Lancashire to listen. Steve’s shows had an incredible and wide reaching selection of music and genres, that thrilled your ears and left you wanting more. Tied to that, his deep knowledge of the material he played helped the listener dig into the sounds even more, and also left you in admiration of this trait. In 1985, I started putting on DIY shows in Lancaster (inviting the likes of Bog-Shed, bIG fLAME, The Membranes, The Wedding Present, etc etc) and Steve was kind enough to mention the shows on-air, which helped in getting people from different parts of the county to come to the shows. At the tail-end of 1985, he invited me to the studio to come and hang out. When in 1988, the group I was in, Dandelion Adventure, released our first (demo) cassette, it was Steve, who not only played tracks off it, but invited the group to the studio for an interview. Now if you’re a young band, that is a massive thrill! And in 1990, when Dandelion Adventure did a John Peel session, I actually used “On The Wire” jingles (that Steve had put on a cassette and given to me a few years before) on the track “All the World’s A Lounge”. Since then, the show has been a mainstay for me, and so many others around the world, to get turned onto incredible sounds from around the world. And over the course of 40 years, Steve has always supported my music. These six tracks are a 40th birthday gift to the “On The Wire” team (Steve, Michael “Fenny” Fenton (an absolutely critical part of the show), and Jim Ingham (engineer who keeps the technical side of things going)) for sharing so much amazing music, and making the world a better place. They were originally broadcast as an exclusive session in April 2024 on “On The Wire", and are here for your listening pleasure. Music like shower”. Artwork by Jake Blanchard
Cindy Lee, Arthur Russell, Viagra Boys, On-U Sound. In the discourse around new albums from singular, world-building artists, the phrase “a big step forward” can often be a blinking red warning sign. You know you’re about to be pulled somewhere new against your will. Inertia is a hell of a thing. It’s nice here. Surely, the party’s not over yet? JJULIUS’ Vol. 3 album is a big step forward, or a step up, out of the murky basement of the preceding two volumes. There’s no time to acclimate. A spindly violin grabs you by the hand and pulls you into the pastoral bounce of “Brinna ut,” which, in spite of its meaning (“Burn out”), creates the kind of blind positivity and warm stomach feeling less cynical people might find in self-help seminars. For us, we have records like this. And, inertia be damned, Vol. 3 has charm like a balm. JJULIUS records have always arrived like meteors from another planet, an impression hammered home by the fact that they’re titled like compendiums of artifacts. And while Vols. 1 and 2 carried that notable tinge of darkness, Vol. 3 has (almost!) cast that shadow, adding elements of disco (“Dödsdisco”) and dream-pop (“Etopisk hallucination”) to his forever favorites Arthur Russell, African Head Charge, and The Fall. Some of that new car smell could be attributed to a change in process. Each song was written over beats played by Tor Sjödén of the wild-eyed Stockholm group Viagra Boys, beats that were themselves inspired by tracks from the likes of Patrick Cowley, CAN, Count Ossie, Black Devil Disco Club and others that Julius would send to him as inspiration. Unless you’re Mark E. Smith, fervor fades. Eventually we all crave a lie down in some nice grass, a few minutes to gaze at the sky and wonder if everything is actually all that bad. Vol. 3 gives you 35 of those respiting minutes. “No looking back, no misery, no talking trash, no enemies.”
Repressed LP on Neon Orange Vinyl, includes download card. It feels like someone left the light on in the studio and it all just ran itself, there had been a funky human input earlier in the day but, by a Darwinian machine-led kind of osmosis, the tracks recorded spent the wee small hours self-reducing and simplifying themselves. Marinated in music. “I believe more in the scissors than I do in the pencil,” said Truman Capote. ”Simplicity is the ultimate sophistication,” opined Leonardo da Vinci much earlier in proceedings. Yes, it’s the space around the object, what you leave out that makes what you leave in so important. ESG know this. Sure they can play the game but it’s the swagger of the groove and the minimal topping – like an anti-cup cake – that makes this unique New York sisterhood so appealing on ‘Keep On Moving’. Sampled on TV ads, lauded by critics and swooned over on the dancefloor, ESG’s post-punk took out the grunge and polished the basics. Cut them open and “less is more” is written all the way through. ‘Keep On Moving’ was released over ten years ago to much praise (Q said it was “even better” than 2002’s much loved ‘Step Off’). ESG had been sparring partners for PiL and early hip hop and four years after the ‘Off’, they were onto something new – rhythm as core, reflective storylines about relationship management, sensuality and insanity gather around the bass fix but they’re much blurrier than the incessant beats. Inadvertently they unmask techno and glitch and leave out any kind of superfluous fluff. It’s hard and temple throbbing. Turn it up. And keep moving. “If there's one tune which sums up ESG's enduring lust for life, it's the beautifully-judged Black Flag/early techno crossover of the closing 'Gimme A Blast'.” The Guardian 5/5 // “This album's every percussive aspect has been honed to impart the maximum amount of pleasure.” The Observer // “Despite their influence on younger bands (you can hear LCD Soundsystem's knobbly grooves on ‘Insane’), ESG still sound like nothing else.” The Guardian
Sopa Boba is a Belgian-Dutch electronic, modern classical project. The idea behind the form is a so-called Oratorio from the present age which unfolds a dramatc tale within a sociopolitcal framework. The compositons incorporate a neo-classical style string quartet, harsh modular sytnhs and spoken word vocals. It features Pavel Tchikov (Ogives) and G.W. Sok (The Ex, Oiseaux-Tempête).
That Moment is an adaptation of the eponymous text by Moldavian writer Nicola Esinencu. The starting point of That Moment takes place in a real fact, which happened in present-time Moldavia, where a father cut his son's finger with an axe, as a punishment for stealing a bit ofmoney from the father's wallet. From there the author combines the tale and its reality with a caustic irony, interrogating an unbridled capitalist society, where everything and everyone is for sale. The total playing-tme is 55 minutes, somewhere in between a hybrid electronic - modern classical oratorio and a concept album, with seven tracks that serve as seven chapters of an ironic and satiric story about the downward spiral of the capitalist society.
Heavenly are proud to announce limited edition vinyl reissues of two classic albums by the mighty King Gizzard and the Lizard Wizard.
2016’s Nonagon Infinity and 2017’s Flying Microtonal Banana are the first instalments in an eco series of represses of the band’s monumental back catalogue. Each of these albums has been pressed on black bio-vinyl wax, an environmentally friendly alternative to traditional vinyl wax. The sleeves for each album are paper casing, using no glue or plastics making them fully recyclable - should you one day decide to part with it.
More King Gizzard vinyl reissues will follow in the coming months.
Green vinyl repress, standard single sleeve printed inner. 'The Time Has Come' is an absolute master class on words and guitar twisting into one another - the poetry goes beyond simple observation into deeply personal and profound lore. A timeless document of sweet and haunting melodies. My favorite record of all time.' Ryley Walker. // "I've never written songs, regularly, because I never considered myself a songwriter. I've only ever really considered myself a ballad singer, which is what is most important to me. The stories... the ancient nature of the situations and the human condition. And obviously, it's changed so much over the centuries that those songs have been sung, but it always retains that essence of something that's universal... to humanity, and I've always wanted to touch that. I think I wanted to understand people; I think I wanted to understand myself. It's a way of finding the truth. I felt I belonged to that music." Anne Briggs // Offering some of her first original compositions, 'The Time Has Come' was a break from tradition in more ways than one for Anne Briggs. Where previous recordings displayed the unaccompanied melodies of her voice, this album - originally released by CBS in 1971 - brings additional instrumentation in the form of guitar and bouzouki. The result is that her vocals are not submerged, but heightened - the plucked strings providing the perfect foil for her crystalline inflection. 'The Time Has Come' is a mix of Anne's own songs alongside some notable covers (Lal Waterson, Steve Ashley, Stan Ellison, Henry McCulloch). All are graced with the quietly self-assured elegance of Anne's playing, with sounds ranging from the breezy 'Clea Caught A Rabbit' to the terrible beauty of 'Wishing Well' - each song typifying the bouzouki or guitar style. To say that Anne was an accomplished picker is to do her something of an disservice - the intricacy of her finger-work rivals - and more often than not eclipses - any number of her contemporaries.
Balance and Composure machen 2013 da weiter, wo sie mit dem Debut Separation zwei jahre zuvor aufgehört hatten. Wieder einmal die Grenzen ihrer Musik auslotend, mit treibenden Riffs und intensivem, leidenschaftlichem Gesang auf dem damals zweiten Studioalbum "The Things We Think We're Missing". Es ist die Art von Album, die den Hörer zum Innehalten und Nachdenken anregt und Momente des Glücks und der Traurigkeit im Laufe von 13 Songs bereithält. Bei Erstveröffentlichung erreichte The Things We Think We're Missing #Platz 51 der Billboard 200 und wurde von mehreren Publikationen als "eines der besten Alben des Jahres" gelobt. Nach Alben auf No Sleep/Hopeless und Vagrant hat sich die Bnad nach einer Pause im Jahr 2023 wieder zusammengetan und veröffentlichte ihr viertes Studioalbum im Oktober 2024 auf Memory Music (Run For Cover). B & C können laut sein, leise und alles dazwischen. Eine ziemlich treffende Beschreibung, wenn auch etwas heruntergebrochen.Ein sound-ästhetischer Angriff, der Einflüsse wie Sunny Day Real Estate, Neutral Milk Hotel und Nirvana offen legt, seit 2011 sind Balance and Composure als einer der vielversprechendsten Underground-Rock-Newcomer im Segment Punk/HC präsent! Für Fans von Citizen, Turnover, Tigers Jaw, Touché Amoré, Sunny Day Real Estate.... - Neue 2025er-Pressung auf hell-rosa Vinyl!
‘The Pattern Speaks’ is the debut album from Austin via Glasgow space-gaze duo SKLOSS, blending heavy
psychedelia, post-metal drones, meditative drums, and raw distorted riffs performed with honesty and
deliberation. Across these eight equally pulverising and ethereal tracks, the result is a powerful,
atmospheric and reverberating wall of sound that indulges SKLOSS’ heaviest and gentlest sonic impulses
all at once.
"Super Pedestrian is the debut album from Annie DiRusso. Transparent yellow LP in a single pocket jacket with an insert.
Annie DiRusso is a Nashville-based alt-pop artist born in NYC who wears the influence of both cities on her sleeve"
BENMONT TENCHs neues Album The Melancholy Season ist sein zweites Soloalbum nach vier Jahrzehnten an den Keyboards bei Tom Petty and the Heartbreakers. The Melancholy Season erschien bei Dark
Horse Records und ist Tenchs wahrer Einstand als Singer-Songwriter, ohne Kompromisse oder Zweifel. Es
wurde von Jonathan Wilson produziert – einem gefeierten Singer-Songwriter und Tourgitarristen von Roger
Waters, der an karrierebestimmenden Alben für Dawes, Father John Misty und Margo Price gearbeitet hat.
Die Kern-Studioband des Albums bestand unter anderem aus Taylor Goldsmith von Dawes an der Gitarre,
Sebastian Steinberg von Soul Coughing am Bass und Wilson am Schlagzeug, mit Beiträgen von Jenny O.
und Sara Watkins. Tench „könnte nicht glücklicher sein“, ein Zuhause für The Melancholy Season bei
Dark Horse Records gefunden zu haben, und sagt, es sei „ein Label, das mich emotional berührt. Und sie
haben die Musik von George, Cat Stevens, Joe Strummer – das sind Autoren. In dieser Gesellschaft zu
sein, ist perfekt.“
"There is great power in secrecy. Detached from the world, brewed under a strict code of confidentiality, a new lifeform came into existence. Led by none other than Sonata Arctica frontman Tony Kakko, this new beast of his gained momentum in the massive shadow of his wildly successful power metal superheroes, slowly, steadily, biding its time, waiting for the right moment. This moment is now: With his self-titled debut, Tony Kakko opens the curtains into this strange new world of his just enough to take a first peek – and instantly hunger for more. A master story teller and a wizard of conjuring musical emotions, Himmelkraft stages Kakkos trademark talents in a wholly new, unexpected and thrilling way. To him, the sky truly is the limit, bestowing upon us an album that sounds like nothing else out there – brooding and dark, menacing and eerie, stomping and monumental.
This project sees Tony Kakko enter a fascinating new era. Much like the legendary Elven smiths of old, forging away in solemn silence, Kakko has stopped the wheel of time to reinvent himself and his bold musical vision. Shrouded in mystery, a new being appears in the fog, barely discernible and yet distinct the very moment Tony Kakko starts to sing.
Yet, everything else remains just what it was from the very start – a mystery. Call them songs for a dying world or songs for a world reborn – either way, you will be intrigued how this extraordinary project will develop. And that’s a promise
"
Nach Chick Coreas Piano Improvisations und Keith Jarretts Facing You war Paul Bleys Open, To Love
das dritte fabelhafte Kapitel in ECMs leise revolutionärem Solo-Piano-Manifest, dessen Wirkung bis heute
anhält und Improvisatoren beeinflusst. In den Liner Notes dieser Luminessence-Vinyl-Edition schreibt BleyBiograph Greg Buium: ”Nach mehr als fünfzig Jahren bleibt Open, To Love ein unvergängliches Juwel,
das für immer in der Gegenwart verankert ist und zu den großen Meisterwerken in ECMs riesigem Katalog gehört.” Das von Manfred Eicher im September 1972 in Oslo produzierte Album des kanadischen
Pianisten integriert auf brillante Weise drei Materialstränge zu einem weitreichenden und emotional starken
Erzählbogen. Das Repertoire besteht aus Liedern von Carla Bley und Annette Peacock (Carlas ”Closer”,
”Ida Lupino” und ”Seven” und Annettes ”Open To Love” und ”Nothing Ever Was, Anyway”) sowie zwei
Stücken von Paul, die Jazz-Standards neu aufrollen und umgestalten. In ”Harlem” und ”Started” fragmentiert Bley motivisches Material aus ”I Remember Harlem” und ”I Can’t Get Started”, Stücke, die er in den
Bebop-Jahren gespielt hatte, bis die Musik einen surrealistischen, traumhaften Charakter erhält, der sich
perfekt mit neuen Visionen freier Balladendichtung verbindet
Wir feiern den 20. Jahrestag von Alter Bridges mit Gold ausgezeichnetem Debüt „ One Day Remains “
mit einer Deluxe-2-LP-Edition. Das Album erschien ursprünglich 2004 und enthält Fanfavoriten wie „Metalingus“, „Open Your Eyes“ und „In Loving Memory“. Diese erweiterte Ausgabe bietet sechs Bonustitel,
darunter die Rarität „Save Me“, und ein Live-Set mit fünf Songs aus dem Jahr 2005 aus den Phase One
Studios in Toronto, das bisher unveröffentlichte Darbietungen enthält
Recorded in 1958, this album showcases Chet Baker’s undeniable charm as both a singer and trumpeter, embodying the essence of cool jazz. Accompanied by an elegant trio featuring Kenny Drew on piano, George Morrow on bass, and Philly Joe Jones on drums, Baker revisits standards with disarming grace. His soft, melancholic voice shines on tracks like “Do It the Hard Way” and “Everything Happens to Me,” where each note feels suspended in time. His airy trumpet subtly converses with Drew’s piano, creating moments of pure musical poetry. A must-listen for fans of intimate and refined jazz.
This album, recorded in 1957, brings together a dream team of jazz musicians. The singer, with her rich tone and soulful inflections, is supported by top-tier players. Sonny Rollins on tenor saxophone delivers exquisitely refined solos, while Max Roach on drums provides subtle yet impactful rhythms. Paul Chambers on bass and Wynton Kel1ly on piano offer impeccable harmonic support. Between poignant ballads and more upbeat tracks, each piece is a gem.
Helena Casella is a Belgian-Brazilian vocalist with a multicultural background who vocalizes her thoughts in her own passionate, soulful, and tasteful manner. She grew up in an incredibly musical family with strong ties to the broader artistic world. This rich background is clearly audible in her musical approach, where she blends genres such as R&B, soul, hip-hop, and modern jazz without breaking the connection to the vibrant sounds of Brazil, where part of her roots lie. The depth of her soft, warm voice pulls you into her story, floating between the realms of the intimate and the ethereal.
With her debut album 'Pit Of Impressions,' Helena shows that she is an artist from whom we have yet to hear the best.
File under: neo soul, nu jazz, R&B
Sounds like: The Internet, Hiatus Kaiyote, Michi, Solange, Erykah Badu, Charlotte Dos Santos, ...
Take A Look At God's Face is the soundtrack to the 2022 acclaimed film of the same name by award
winning writer/director Jack Laurance: a short and true story about revenge, lost love and exotic animals.
Sulk Rooms is the musical project of prolific composer/producer & live performer Thomas Ragsdale.
Thomas' brand of 'luminescent electronica' soars majestically through a wide range of much-loved
electronic albums, including equally excellent work under the moniker Ffion
2xLP on TRANSLUCENT TAN VINYL. Beyond his achievements as a founding member of the Byrds, Rock
& Roll Hall of Fame inductee Gene Clark was truly one of the most prolific singer/songwriters of the rock
era. This album introduces previously unreleased studio sessions from Clark's pre-Byrds days in 1964
with studio recordings from 1967-70 plus the Nyteflyght sessions from 1982
For Nottingham quartet Divorce, home is a feeling. Initially meeting as teenagers through the city’s close-knit DIY scene, the band – completed by members Tiger Cohen-Towell (vocals / bass), Felix Mackenzie-Barrow (vocals / guitar), Adam Peter Smith (guitar / synth) and Kasper Sandstrøm (drums) - came together as Divorce in mid-2021, releasing a slew of genre-defiant singles that quickly caught the attention of tastemakers the world over. Sonically rich and lyrically open-hearted, 'Drive to Goldenhammer' sees Divorce assemble a shelter for themselves amid the chaos and leave the front door open to everyone. This album pays homage to seeking place and home; one of the great human levellers. Much of life feels at odds with this particular need. And to Goldenhammer; you are a reason to keep driving. We will find you again and again! Gatefold vinyl includes 12” lyric booklet including photos, thank yous and lyrics
"Multiple finds saxophone virtuoso Joe Henderson operating in the sonic space between Fusion and Free Jazz, joined by a world-class ensemble featuring Dave Holland, Jack DeJohnette, Larry Willis, and Larry “Blood” Ulmer, who all heavily contribute to the momentum that makes the album a meeting of giants. This Jazz Dispensary Top Shelf reissue of Multiple was cut from the original analogue tapes (AAA) by Kevin Gray, pressed on 180-gram vinyl at RTI, and comes packaged in a gatefold tip-on jacket. "" "
The Nocturne is one of the most popular and beloved forms of music. Yet, many of us today do not know the name of its creator: John Field. Born in Ireland, Field lived during the same period as Beethoven, and his musical legacy has influenced not only Chopin but also generations of composers up to the present day. “By recording this album, I hope to share the story of this historically important composer and to encourage listeners to discover the origins of the Nocturne.” Alice Sara Ott
"Formed by Brandon Hagen (guitar, vocals) and Drew McDonald (drums), and later joined by Zack Abramo (bass), Vundabar have always been imbued with a fiercely independent spirit, their sound forged in mythical underground Brooklyn venues such as Silent Barn and Shea Stadium. Musically, they exist almost as a fever dream of many genres, melding arty post-punk, tangled math-rock, sun-dappled surf-guitar, shimmering jangle-pop and grunge scuzz into sharp, compact songs. Across six albums the band have netted them a wide fan base and a reputation for a killer live show, not to mention a platinum record for their song 'Alien Blues'. "
2025 marks the return of Cologne-based electronic outfit Urban Homes with their first new music in over eight years, following an unintentional hiatus driven by side projects, relocations, the pandemic, and the unpredictability of »life.« After over eight years, the duo is back with their first new material: a fresh batch of purely instrumental downtempo and dub-influenced tracks, marked by a somber and atmospheric vibe that distinctly separates this new material from their previous work. Inspired by themes of extraterrestrial life and the paranormal, the four new tracks compiled on the »U.F.O.« EP release were crafted during recording sessions split between Cologne and Berlin before languishing for years on neglected hard drives, finally »ripening« into their current form.
Formed in 2008, Urban Homes initially emerged as a post-punk group, debuting live in 2009. Their first release—a four-track demo tape recorded in late 2010—already hinted at an evolving sound that would soon embrace a more experimental and electronic direction. By 2011, the band swapped their live drums for a drum machine, a shift that would profoundly shape their sound in the years to follow. Over the years, Urban Homes has explored a broad sonic landscape, merging electronic production, rhythm-driven compositions, and experimental song structures. Drawing influences from early house, balearic, disco, dub, avant-garde electronica, and pop, their music continues to defy easy categorization.
In March 2013, the duo released their debut album »Centres«, earning the Pop NRW Prize for Best Newcomers that same year. Their 2016 follow-up, »Jams«, was met with critical acclaim. A love letter to dance music's roots, Jams fused pop sensibilities with open-ended experimentation, built from years of MIDI-driven jam sessions that were painstakingly edited and reconstructed. Both released by Altin Village & Mine, »Jams« was also licensed by the Japanese label Fennely / Moorworks for an exclusive CD edition in 2017. Over the years, Urban Homes supported their releases with numerous tours and festival appearances across Germany and a memorable tour of Japan in 2017.
First LP in the ‘Signature Series’, a small new series in the Metaphon catalog, documenting previously unreleased archive works of less known composers. Metaphon presents their ‘signature’ in the most personal and elementary way.
Raoul De Smet (1936), mainly known for his numerous instrumental and chamber music works, started composing in the early 1960’s. Between 1974 and 1989 he also recorded several electro-acoustic compositions at the IPEM in Ghent, one of the more approachable crossroads for experimental music creation at the time. His work carries different moods and contrasts, a sort of expressive eclecticism where straight forward evolution often prevails over far-fetched intemperance. However, his work is far from obvious. The four distinctive tracks on this album portray a fresh and unpretentious enthusiasm of a composer discovering new electronic tools.
Sie gelten als Kultlegenden und als Vorreiter der Prog Rock-Welle der frühen Siebziger: Die US-Band fasziniert seit mittlerweile einem halben
Jahrhundert mit ihrer eigenwilligen Mischung aus Jazz, Hard Rock, Klassik und Folklore. Mit dem zweiten Album haben David Surkamp und seine Mannen deutlich melodischere, sogar poppige, Töne angeschlagen, die für viele Hörer positiver aufgenommen wurden als die bewusst sperrigen Sounds des Debütalbums.
IN+OUT Records veröffentlicht den zweiten Teil dieser wunderbaren Kompilation, liebevoll zusammengestellt von Frank Kleinschmidt und Thorsten Scheffner, mit Songs aus Alben, die auf Organic Music erschienen sind ("You’ve Changed", "Underground System", "My Time" und "Tears"). Ein Best-of-Album der letzten Dekade, mit Originals wie "Moon Dancer" oder "The Key", unsterblichen Standards wie "In Your Own Sweet Way" und "Here's
That Rainy Day" sowie den Ray Charles Classics "I Got A Woman" und "Hallelujah I Love Her So".
