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A1 Unknown Artist - Dont look back (Rayonas008)
A2 Unknown Artist - General Inspection (Rayonas008)
B1 Unknown Artist - Prop (Rayonas008)
B2 Unknown Artist - Ups Honey (Rayonas008)
+Rayonas Artist and Record label born in Lithuania since 2021 ! Underground music Unknown Artist / Vinyl
Zweifelsfrei prägt Fritz Kalkbrenner den Sound einer ganzen Generation und bringt Dancefloors weltweit zum Beben. Nun kehrt er mit seinem neuesten Album Third Place zurück, welches zweifellos eines der ambitioniertesten und künstlerisch anspruchsvollsten Werke seiner Karriere ist. Mit Third Place nimmt Fritz Kalkbrenner seine Zuhörer mit auf eine tief immersive Reise, die die Schnittpunkte von Musik, Gemeinschaft und Selbstfindung feiert. Das Album schafft eine perfekte Balance zwischen euphorischen Höhepunkten und introspektiven Momenten. Inspiriert vom soziologischen Konzept des „Third Place“ – Orte, an denen Kreativität und Gemeinschaft aufleben – verkörpert das Album die Freiheit und emotionale Befreiung, die man in Clubs und Räumen der Gemeinschaft findet. Im Mittelpunkt des Albums stehen mehrere bereits vorab veröffentlichte Singles. ”Into the Night” hat bereits mit seinen erhebenden Chicago-House-Akkorden und dynamischen Grooves die Dancefloors weltweit erobert. Der Track fängt die Euphorie der Clubkultur perfekt ein und kombiniert Fritz Kalkbrenners gefühlvolle Stimme mit einem unwiderstehlichen Groove. Ebenso beeindruckend ist ”The Telepath”, das nostalgische Warehouse-Vibes mit treibenden Breakbeats verbindet und die energiegeladenen Live-Sets von Fritz Kalkbrenner widerspiegelt
Comprised of Clams Baker Jr., Benjamin Romans Hopcraft, Adam J. Harmer, Marley Mackey, Quinn Whalley, and Bleu Ottis Wright, Too Cold To Hold is undoubtedly their best and most ambitious album to date. Taking on board the repetitive and polyrhythmic grooves of gqom (an alluring South African take on house music), adding in a dash of hip hop flavours and even jazz, and then harnessing that to their punk-funk, disco pogo, it’s a spellbinding mix. The album is produced by the band’s Ben Romans Hopcraft alongside Jamie Neville.
Talking about the first track to be taken from the album, ‘Fashion Week’, which is a joyous account of fashion’s die-hard fans rather than the more visible arrivistes or dilettantes, Clams said: “Those that will do anything to become that thing. That creation. And live it. It’s real artistry when you don’t have the means and you’re doing it. You’re hustling to get on the guest list, you get in, you’re done up by means that you can’t really afford, whatever you do… It’s a celebration of people who will do whatever to look good and feel good and step above wherever they are in their own minds.”
With a reputation as one of the most exciting and mesmerising live bands out there right now, they have also today announced both details of a very special ‘Fashion Week’ launch show at London’s Lexington on 10th July and a run of U.K. / EU dates to coincide with the album release in November – the dates include their biggest London headline show to date at The Troxy. The full list of dates, which is as follows:
Since Outlaws in 2020, Ludivine Issambourg's flute has not cooled down. How could it have, when with that album of Hubert Laws covers, it had reached incandescence? Still panting, burning despite the lid of its case left wide open, it awaited the opportunity to continue the adventures that Master Laws himself had praised.
A continuation? Above The Laws isn't quite that.
Although his name still appears, Hubert L. is no longer the sole guide in exploring the vast galaxies of jazz-funk. Through covers but especially as an enhancer of her own compositions, Ludivine has invoked the spirit and intangible presence of Jeremy Steig, Ronald Sneijder, and Bobby Humphrey—the legends of the flute.
Guided by an unescapable groove, with a musical dial set to the late 70s and early 80s, Ludivine has enlisted the help of a brass section this time, a true propulsion engine for funk that can also shift to a soulful breath if the moment calls for it. Supporting the keyboards, there's a Moog laying down its rich layers or twisting tones.
The flutes are used like levers to stabilize the flight or, conversely, to make it soar even faster through the measures. The alto version, which Ludivine had previously used sparingly, adds the necessary velvety note when it’s time to embark on smoother destinations. Speeding up the tempo to make passengers rise from their seats as if danger were imminent; calming the atmosphere to put them in a reassuring cocoon where they can let their thoughts and spirits wander, the improvisations find their place in the compositions observed from the porthole. Detached from gravity, yet still very much in tune with the vibe of cities marked as hot spots on the current jazz scene radar, it's the scent of these streets that permeates some tracks of Above The Laws.
Directed from the control tower by Eric Legnini, Chassol, Alex Finkin, and Michaël Lecoq, Above The Laws benefits from a few stops along the way where precious connections are established. Nils Landgren and his trombone in the colors of the Swedish flag, Laurent De Wilde for a chase between flute and Fender Rhodes, Céline Bonacina’s saxophone for an Afrobeat detour.
But it's at the edge of a journey where organic intensity has continued to assert itself without losing power that Ludivine connected with Brian Jackson for a cover of "Angel Dust," a track from the era when he and his partner Gil Scott-Heron were creating soul masterpieces. One of them featured a flutist by the name of Hubert Laws.
The starting point of Ludivine's latest jazz-funk explorations also becomes the endpoint. Elevated by the ten tracks of Above The Laws, Ludivine Issambourg closes a loop where she has placed her flute and its flourishes in an undeniably leading role. Opening the doors to ambitious orchestrations, unexplored horizons, she weaves into her compositions the experiences, places, and encounters that have shaped her.
Fresh off a rework of Papa Levi with single Ribena, London’s jungle pioneers 4am Kru drop their highly anticipated debut album Incognito Rhythm featuring all the tracks that have cemented their reputation as the go-to act for raw, live jungle music.
Having already taken the 2024 festival circuit by storm with appearances at Outlook Origins, Boomtown, Boardmasters, Reading+ Leeds, The Blind Tiger, Parklife Waterworks, Boundary and a milestone Saturday night closing set at Glastonbury’s Temple Stage, 4am Kru continue to draw audiences into the madness of their raucous blend of 1993-1994 influenced jungle. First bursting onto the scene post-lockdown, the falling monitors and flying bodies of their shows were particularly thrilling for ravers who had turned 18 in isolation.
Originally developing their live sound in indie bands while sharing a studio in Tottenham, the duo quickly realized that the traditional DJ set couldn’t contain the energy of their act. They have since surrendered to the chaos of their incredibly physical performances, nursing chipped bones and back injuries, deep finger taping, chalking up and wearing shoes designed for skipping rope whilst rewiring what it meant to move their bodies. Their innovation extends to the equipment, with the duo reinventing a way to deliver their signature throbbing basslines with a Roland SPD SX drum pad as thick as a car tire. Their upcoming UK tour this October promises to further showcase their immersive, disruptive sound.
4am Kru’s latest single Ribena breathed new life into Papa Levi’s iconic British reggae classic Militancy following the release of hard-hitting Wutt this past July, setting the stage for their most ambitious project yet. Their debut album draws from a wide range of influences in addition to 4am Kru’s signature blend of 90s jungle flavours, from obscure slow jam R&B like Angela Bofill, Janet Jackson and Prince, early hardcore bands like Hüsker Dü, off kilter Scottish folk, and even classical music. The project is a snapshot of the incognito, nocturnal world that the duo have dwelled in for the past two years, a time capsule of well-worn songs played between midnight and 4am. An extraordinary debut, 4am Kru’s Incognito Rhythm is an immersive, razor sharp, face melting journey through their show-stopping live sound.
Acquit Records are setting out on an ambitious one, presenting their latest foray into vinyl releasing with this incredible new LP from Arbilla. Both label and artist move incredibly low-key, but unearthing the info was worth it. Arbilla aka. Phil Robertson and his own adjacent imprint, Xistence Records, follows up prior greats such as the 'Movement' EP with this full-length, which takes after Detroit techno and catapults it to ever further cosmic reaches. Zooming out to the macro-point of galaxy filaments and Bootes Voids, we begin with the brukky opus '3500 Miles Away From Detroit' before seguing into the percussive workouts of 'Brighter Swallow' and 'Mecca'. A real sense of expanse is given off from the otherwise raw and up-close analogue sound; the cosmos is, of course, airtight.
After 17 albums and a prestigious GRAMMY® Awards nomination, Ibrahim Maalouf returns with a new and highly innovative musical project. In terms of philosophical, historical and musical aspects, T.O.M.A, which stands for "Trumpets of Michel Ange", is a great adventure that takes us to a world where folklore and modernity become one. As always, Ibrahim's music strikes the perfect balance between sophistication and approachability, making it both challenging and inviting for a diverse audience. "T.O.M.A” is first and foremost a mixed album, a true blend of influences where the festive and nostalgic East is expressed with a rare freedom.
"T.O.M.A" is also the name of a brand of trumpets created by Ibrahim in collaboration with French manufacturers. It is this unique instrument, invented over half a century ago by his father, that Ibrahim plays on stage, and on which he now educates the new generation of trumpet players.
Last but not least, 'T.O.M.A' is a big celebration that brings together generations, amateurs and professionals alike, along with special guests!
With T.O.M.A, Ibrahim lays the cornerstone of an ambitious life project combining lutherie, French cultural exceptionalism, teaching, albums and live performance, and above all aiming to bring us together around shared values.
It is on dark and sweaty dance floors that we get inspired, connect and leave our differences away to live in the present. With this compilation of music pressed in two parts and written by a set of artists from very diverse horizons, it is Polychrome’s perspective on the rave that we want to share. One where sound and light are the only points of reference, opening the space for liberating experiences.
Diffraction EP takes you through the full journey of waveforms traveling through our beloved clubs. Sparking the A-side, Hong Kong’s wonder producer and Mihn Club resident Xiaolin fires up with a progressive and flamboyant house cut, opening an ambitious dance. The tension is taken one notch deeper with Barcelona’s duo Iro Aka signature hypnotic and driving techno sound, dimming the lights for an introspective groove. On the B-side, Lyon’s Desire flirts with an electrifying psy-infused track where pounding beats and floating melodies dance in harmony and psychedelia. It is in a firework that Dublin’s prodigy Dylan Forbes closes out the EP, with an energetic progressive anthem that will light up the space
This ambitious production represents Aexhy's vision of a dazzling state of modern hardcore - literally a world full of dreams. Enter this unique adventure and discover the intricate 'heart-core' futuristic interpretation of new rave-style music.
The concept features Laze and H369, with additional remixes by Paul Seul, PAX, and vp allowed, making the project even more brilliant and valuable.
From Chillán, Chile, emerges Marcelo, a genuine talent,
He started in a band, singing and playing bass, now embracing electronic music's element.
His first EP "Got a Pineapple," a very organic and groovy, complete jazzy concept with intricate details, setting the mood smoothly.
"Rolling Out", brings a genuine bass killer, Perfect for the dance floor, a track that delivers thrill and thrillers.
Completing the debut is the legendary Losoul, a Playhouse icon, No introduction needed; his catalog speaks for quality, his talent not gone, minimal touch you can enjoy. Minimal master piece from Gathaspar for second remix very mental like he do always.
Together, they form an excellent combo, continuing our mission,
To print records of quality music, transcending shallow ambition.
For cover the daughters of Carmen Piemonte, Carmen Valbuena Piemponte.
After a short break mezin is back with the 4th record, helmed by Crihan. An Ordinary Family is a special affair, put together over a long period with a special narrative in mind, embodied by 4 pieces representing each of the main characters in F.M. Dostoevski magnum opus (or so we think!) The Brothers Karamazov.
In this exercise of imagination, Alin attempts to push his creative juices to new heights to represent his perception of the novel’s titular actors. From religious themes, distant church bells and organs, yet, a lighthearted Aliosha to the dark reveries and otherworldly echoes of Ivan through to the sheer power and brute force of Dmitri and finally intersecting with sly, slinky but confident Grushenka. An Ordinary Family sets off on an ambitious trip that, we hope, will spark some curiosity for the novel, but we’ll be happy if you keep on dancing, too!
Time Splitters is a various artist compilation created and produced by Richmond VA based Deskulling in collaboration with veteran Spanish Town JA artist I Jahbar between 2021 and 2023. This 21 track 50 plus minute Dancehall epic also includes other veteran vocalists such as G Sudden, RDL Shellah, Buddydon, and Darkchild plus newer talents such as Fearless, Longdon, Latty, King Kush and 1 Solar Boss. Alexander West who passed away in 2023 contributes an ethereal and heartfelt album closing performance on “Granny Grenade”. Time Splitters is a sprawling creation that captures a multiplicity of emotions, life complexities, spiritual evocations, and musical dimensions. Deskulling's eclectic productions are rendered to the perfect minimalism and provide a rich and varied platform for vocal performances that move between dark and light, sad and joyful, heavy and soft. A lot of work went into this release over a few years from many people during times of inner and outer complexities, turmoils, and tribulations. This release musically, lyrically, emotionally, represents life's spectrum's fully. Thanks for listening.
For the third edition of Oblivium vinyl we present this exclusive project : Carlo di Roma "Subway ep" is an ambition project together two amazing remix from Franco Cinelli and Chktle
«The almighty golden vhs tape has been stolen !!!"
An enigmatic lady contacts our heroes, claiming she saw the tape
At an illegal auction in istanbul. The adventure begins, and will lead them through Egypt, India, UK, to run against the evil ancestral cult before it uses the golden tape to summon dark forces... »
3 years ago, Videoclub concept album was released, using 70s movie soundtracks memories as an inspiration to create original compositions. It met warm reception all around the world. Beatsqueeze records is proud to announce Videoclub II this year, an ambitious sequel full of rich dusty theatrical arrangements. Take some pop-corn and enjoy the musical narration.
Yann Kornowicz, composer.
Starting from classical music by learning violin in his childhood, he began his film music obsession during the 90s, and used the piano as a tool to decompose the scores airing on tv. Many years later he continues his mono-maniac exploration through his albums and through works for tv, platforms, documentaries or advertising.
Dan Amozig, multi-instrumentalist.
After learning guitar in his teenage years , he graduated the cim jazz school in paris in the 2010s. He is touring with several projects since then, and focuses on live music. He recently added horns to his scope
To enrich his beloved musical territories : jazz and hip hop.
Following their 2021 debut album, ‘Brama’, One Million Eyes return with their highly anticipated second album, ‘Iris’, set to captivate us once more through a kaleidoscope of rich analog and instrumental fragments.
The inspiration behind the album was born from a powerful symbol—the iris of the eye. Controlling the inflow of light, the iris mirrors the duo's mission for the album, “letting light in, even in the darkest of times”. Representing an attempt to shed new insight on their sometimes indescribable approach, Paolo and Luciano compare the ambition (and consequent imperfections) throughout their music to that of the imperfect, yet unique array of color found within an iris, in the hope it can completely entrance and mesmerize. With much of the album recorded live, ‘Iris’ marks a refined evolution in the One Million Eyes sound born under their Tempelhof guise many years ago. Infusing organic sound elements such as voice fragments, acoustic guitar lines, and drum beats at the forefront of their compositions, their vast array of analog synthesizers once again provide added depth and warmth, resulting in majestic, hypnotic circular motifs that Paolo and Luciano describe as "Mantras, rising and falling in volume and intensity."
Compiling the follow-up to a very successful first album is always a tricky task, but just 12 months since the release of volume one in the 'With Love' series, miche has excelled himself once again with another glorious, deep dive into the world of rare soul. 15 tracks of independently released music, created by magnificent artists with stories to tell and primed for rediscovery.
The ambition to celebrate under-the-radar artists has remained, but instead of a facsimile of volume one, what we have here is a selection shaped by life changes. Volume two is for the dancers; still soulful, still ultra-rare and slept-on records from the USA, Chile, Brazil and beyond, but the dynamics of the collection have shifted slightly. It represents a move from being immersed in a week in week out environment of beautiful, soulful music in a cosy, dimly lit hi-fi bar to playing livelier, more energetic, dancefloor-focused music in nightclubs. This volume will get you on your feet, make you move and unleash whatever it is that makes you get down.
One of the jewels in the crown of this compilation is a joyous, anthemic gospel version of Stevie Wonder's 'As' by The Family Tree (a project produced by the fantastic Julius Brockington). We are also treated to a rare and sought-after Pennsylvanian funk / AOR bomb by Maxwell, a stunning modern soul tune 'High On You' by Freedom, and self-released Brazilian 45s by Banda 22 and Zé Da Lata. P.J. City's 'Straight Forward (Non-Stop)' is gospel-disco perfection, and we also have 'Dame Solamente Amor’, a sublime, soul beauty from Chile by Rogers Mitchell. Many of these artists featured in this compilation aren't household names, but they deserve their moment to shine, to be heard, loved and appreciated for their artistry.
As Miche says it, “I hope this compilation helps in some way to keep this glorious music alive and play a part in connecting generations of music lovers from the worldwide soul family. As always, it has been made ‘With Love’.”
It’s clear, when looking at Jlin’s body of work, and her recent activities, that she's the definition of what a creative composer looks and sounds like in 2023. She’s able to work across borders in many different environments and situations. Her work, and sound, is fluid and not locked into genre. The only apt tag for her now is ‘composer.’ Let’s be clear - she’s not EDM, IDM, electronic, footwork or post-footwork. She’s simply Jlin.
In thinking about this new release we have to draw attention to her collaboration with Chicago’s Third Coast Percussion - ‘Perspective’ - since it’s also the title of this six-track mini-album. And of course, we’d be remit if we didn’t point out that Third Coast Percussion’s acoustic version of ‘Perspective’ saw Jlin shortlisted as a finalist for The 2023 Pulitzer Prize in Music! Jlin notes how “Working with T.C.P. was a rewarding experience. I love their constant driving ambition. When I would go to their studio we would experiment as much as we could, and that to me is the beauty of composing.” Note that the CD version of ‘Perspective’ adds the four tracks from her ‘Embryo’ EP, apt since ‘Embryo’ itself was the 7th Perspective piece.
To shift perspective slightly, Jlin notes that collaborating with dance companies, especially those of Wayne McGregor and Kyle Abraham “has seen a significant evolution in my work.” She adds, “Working with Kyle and AIM, I felt the need to incorporate more organic percussion and drums. The raw, visceral nature of Kyle's choreography demanded a more tactile, grounded sound. I believe that music and dance are deeply interconnected, and the rhythm and physicality of organic percussion needs to mirror the dancers' movements whether it is conceptually or abstract.”
The organic aspect of her composition ‘Dissonance,’ a key cut on her new mini-album sounds like it might have been written for Kyle and AIM but, like the entire release, it was in fact written for Third Coast Percussion. With the organic drums in the track being a part of what Jlin calls her “from scratch” foundation. For many ‘Dissonance’ will be a first glimpse at Jlin’s mastery of organic sounds. It’s a stunning work that showcases her distinct approach to organic percussion. Further audible evidence can also be heard all over her new mini-album. She continues to evolve her sound and her approaches to composition on a steady and constant basis.
Jlin’s new mini-album “Perspective” works as a catch-up for those wanting new music from her, and wanting to hear how her sound is evolving. Tune in. There’s much more ahead.
Got dust? Krash Slaughta has. In fact, for him, Everything’s Turning Up Dusty right about now. Surely this can’t be his brand-new double-vinyl LP journey into sound which finally realises an ambition to create a cut n paste opus held since his pre-turntable days of pause-button mixes? It certainly can! The project comes in four parts corresponding to four sides of 12″ vinyl which weigh in at approximately fifteen minutes each and each side of which took around a month to make!
Man, that is epic! When did he ever get the time and concentration to put such a beast together? Wait – are we talking about yet another Krash Slaughta lockdown project? We are! And this bad boy stitches together vintage vocal loops, rare breaks, library records and obscure samples along with remixes of Stetsasonic, O.C., Tanya Winley, Jurassic 5, Edan, Nas, ODB, Gang Starr, Super Lover Cee & Casanova Rud (any one of which would be straight fire on 7″or 12″) along with pretty much whatever the hell else he wanted to put on there. Pressed at 45 rpm, this one features two differently-coloured slabs of wax: one mauve and one blue while even the centre labels and cover art get in on the cut n paste vibe having been created by hand by Krash homie Saleem Andrew McGroarty. As with previous such efforts from the KS camp, there will be no re-press! Sleep at your peril.
Originating from Adelaide while performing and producing as half of the duo 'Warren Raww', Hank YM got his start by throwing a string of events in the well catered establishment 'Sugar Nightclub'.
While supporting and hosting the likes of Funkineven, Damiano Von Erkcert, Mark Grusane and Florist, ambition turned more towards production in 2017. Taking inspiration from fellow Adelaide musicians such as Mic Mills, Arthur Miles and Freddie Norwood (Untzz Records), the focus in Hank's sound has always been to create a unique experience, with sets flowing from roots percussion through to house and disco. First debuting with a strong release on Australian Label 'Centre Source Records', 'Wabi-Sabi' placed focus on percussion and lush chords inspired from Japanese aesthetic
KEY GLOCK is a protégé of Young Dolph & who rose to fame in 2017 with his mixtape “Glock Season.” The artist signed to Young Dolph’s label in 2017 and their collaborative album, “Dum and Dummer,” reached #8 on the Billboard 200. As a lead artist, Key Glock has since had one certified platinum single (“Russian Cream”) and 4 certified gold singles (“Since6ix,” “Gang Shit No Lame Shit,” “Mr. Glock,” & “Ambition for Cash”). His debut studio album, “Yellow Tape,” peaked at #14 on the Billboard 200, while the follow-up, “Yellow Tape 2,” rose to #7 on the same chart. A 5-track EP, “”PRE5L,” was released in November 2022 & included the hit track, “Jigsaw.” He is the cousin by marriage of Young Dolph, who sadly passed in November 2021. In a since-deleted IG post, Key Glock called Young Dolph “my lefthand man, my brother, my cousin, and my mentor.”
Kinn turns the Post-Rock continuum inside out with his sophomore album, Dogtooth.
Shifting focus between his present self and his misled teenage years, 'Dogtooth' sees London born and raised sound art graduate Fred Lomas contemplate the vulnerability of youth, addiction and suicide as Kinn. Unabashed in their creative ambition, Kinn's tongue-in-cheek 'dread-voyeurism' is underpinned by a palpably sincere vulnerability that seeps through their dynamic and rewardingly dense records.
An insight into Fred's formative years can be unraveled from his nickname "Dread", originally given to him by his parents. Growing up in North London as a 'constantly out of the house' youth, Fred only had eyes on any counterculture he could find to defy the city's notorious empty capitalist centric mainstream culture, skateboarding, graffiti, and terrible punk bands which would only last 1-3 rehearsals (max). As a teenager he experienced the notorious 2011 Tottenham riots, which is often referenced in the artist's output and greatly informed their sensibilities. Barely an adult, he was confronted first hand with concepts of constant hostility and corruption which were seemingly welded to his surroundings, corruption formed by high rises and international political scandals taking place only a short journey away.
Even today, Dogtooth reflects on this contrast of community and anger and surmises it to be part and parcel of modern metropolitan life, looking to peel away the bad looking for meaning, comfort and ways of goofing off amidst oppressive forces, sirens and snake oil salesmen everywhere.
We couldn't be happier to announce the first Mapache Records compilation after all these years. ONE MILE FROM HEAVEN is a dreamy travel through the 70's and beyond private singer songwriters scene.
There have always been privately-pressed records. Such a "private" LP is an album that has been composed, performed, recorded and edited usually very-DIY style by the very artist or by an amateur label. A private press record is, above all, an act of the artistic urge. It's an act that takes place outiside of the industry out of need, out of a lack of knowledge, out of love, out of a drive, out of ambition... you can choose among the many reasons.
Depending on their genre, origins, time, and above all, quality, some of these efforts have become valuable pieces for the music collector. Having been created behind the "canonical history of music" written by the industry, every now and then an archaeologist will bring to the surface an artifact they have found in some basement or flea market, or that was kept covered in dust in the shell of some old recording studio soon to be torn down.
All these records have their own story, and some are still especially relevant, and others are but small footnotes in the encyclopedia of music that made their way into the margins of the mainstream world. These are the most limited of editions (and mostly locally made ones) of largely unsociable and mostly unobtainable records--and when found, they are often exorbitantly priced. Many of these marginalized and onscure artists have stayed alive only through the wonderful work of tireless song rescuers, music lovers, vocational archivists, collectors, and record labels with an idealistic drive. These romantics have been rescuing and indexing a form of music that very few have showed interest in until recent years. This record is a tribute to all of those who managed to make these songs not be lost to time. Above all, this release is a tribute to all those artists who recorded their songs on their own, mostly because they couldn't keep the music inside themselves.
Almost halfway through 2023, Voitax returns with a bass heavyweight of the highest order.
Marc alias Tymotica has been showcasing his musical ambitions not only as a founding member of the Munich-based label »Ruffhouse«, but also through his sonic ventures as a DJ and producer. Luca, on the other hand, an equally ambitious DJ and producer going by the name of DJ Ion, has his roots in hip-hop, jazz, and 90s techno. His debut on Don Williams’ a.r.t.less imprint proves that adequately. Their fusion turned out to be quite fruitful, as shown by their diverse yet well-centred record »Anthea« on Club Qu.
With »Bionic Gradient«, their promising collaboration enters another chapter, a representation of their precise curation of musical components, as well as an impressive design of their sounds. This progressive bass EP features dubstep-, grime-, trap-, and hip- hop influences, nuanced with dub and IDM. Through each track, the duo links crispy polyrhythms with well-chosen samples that perfectly complement the contemporary, high defined sound. Catchy leads, long reverb tails, metallic soundscapes, and detailed drum programming are carefully fused with the underlying warm bass body. All this comes down to an astonishingly eclectic bass EP that is built to be dropped on the dance floor, yet invites you to dive into an abstract and dreamy world on its own.
As both are continuously working on new material, we are more than excited about what is to come!
Recently created Guatemalan label Identidata is extremely proud to present Sacratávica, the very first collected survey of Joaquín Orellana’s compositions. With a career spanning over 50 years of activity across contemporary art, performance, theater and sound art, Orellana is a highly singular figure in Guatamalan culture. Often considered to be the sole avant-garde composer in the country, his work has a deeply interdisciplinary quality. Most of his music was created using an orchestra of his self-built instruments, also known as Útiles Sonoros. Sitting at the border of sculpture, sound installation and musical instrument, these Útiles Sonoros, which he’s been building and developing since the late ‘60s, are at the center of his artistic activity.
Aside the obvious formal aspect, his compositions also have a strong political message, while being deeply rooted in Guatemalan history, folklore and various identities, both indigenous and modern. Playful opener “Híbrido a presión” was one of the first of his compositions to be performed entirely using the Útiles Sonoros. However, due to its technical complexity the piece was seldom reproduced, except for a later staging that Orellana directed in Louisville, Kentucky. “Ramajes”(1984), initially titled “Evocación profunda y ramajes de una marimba” , tracks the many incarnations of the marimba across history, before reaching its final form as one of Orellana’s instruments by combining vibrational percussion with melody and poetry fragments.
The title track, ‘’Sacratávica’’, represents one of the most ambitious and emotionally charged pieces from the album. An expansive 22 minute composition mixing textures that mimick field recordings and multi-layered vocal melodies culminating in choral catharsis, ‘’Sacratávica’’ deals in baroque maximalism without ever feeling cluttered. For the casual listener, the track immediately stands out, not only because of the moving vocal layered harmonies, but also through its epic scale and strong sonic narrative. Dubbed “Las voces del Rio Negro”, the piece references the massacres that took place in Coban during a period where the army massacred numerous towns, throwing the bodies in the nearby Rio Negro (the Black River).
Final track, “Fantoidea”, a glistening, metallic ambient improvisation, was a reimagining of Disney’s Fantasia using Paul Dukas’s “The Sorcerer's Apprentice” as inspiration.
Despite his work being presented in numerous exhibitions and concerts in various prestigious museums and theaters across the world, very few quality recordings exist to date. The only previously available recordings so far or either of very poor quality or did not receive enough attention. This is why, although The compositions presented not being previously unheard, having them all together in a high quality audio object represents a key moment In Guatemalan and Latin American culture.
Recorded on August 31st 2016 during a historical concert attended by over 1000 people at the Centro Cultural Miguel Angel Asturias, designed by Efrain Recinos, one of Guatemala’s leading contemporary artist from the last century, the four pieces were performed by a selection of over 90 musicians (including 60 vocalists) who were already familiar with Orellana’s instruments, cherry-picked from the Guatemalan Conservatory.
For the people behind Identidata, it has been a long and arduous process to put together these pieces. Trying to offer a panoramic view of Orellana’s work, the curators have selected pieces ranging from different decades and artistic periods. Sacratávica is a portrait of a singular artist whose work speaks not only to his culture, but carries strong aesthetic sensibilities that resonate universally.
Since Interstellar Space, John Coltrane's posthumously released duo album with Rashied Ali, the combination of sax and drums has received an aura of sublime spiritual ambition. It is where tireless truth seekers come together to aim for something transcendental. Something too big for words. Of course, a lot has happened in the meantime.
The available options - philosophically, stylistically, temperamentally - are endless. Musicians are aware of those historical turning points, yet they also try to add their own twists and interpretations. Some of them succeed. One of reed player Mattias De Craene's many projects - MDC III - is a project involving drums and saxophone. A striking difference: De Craene invited two drummers (Simon Segers, Lennert Jacobs), that have been active in the worlds of jazz, pop, free improvisation and experimental music. They are the ideal foil for De Craene's vision, which seems to exclude no opposites. While the use of a recorder, electronics and percussion steers the music beyond the classic acoustic limitations, the result becomes strikingly rich with contrasts. What is abstract and introspective the first moment can switch - gradually or abruptly - to moments of fierce ecstasy the next.
The music feels free (free from limitations, free to choose its own logic), but also invites. Shifting moods and textures are combined with intricate rhythmical patterns, as the drummers lock together in dense, complex and/or ritualistic grooves. A minimal pulse, accompanied by murmuring hisses of brushes and a serenading sax is contrasted with moments of exuberance. The result is many things at once, but despite these wildly varying colors, sounds, textures, rhythms and moods, they are all linked, part of a generous, iridescent whole.
The trance-inducing trio MDCIII is back. And that equals yet another delicious load of modular drums, wildly processed saxophone sounds, improvisation & pulsating grooves.
After their first EP, MDCIII ft. Sylvie Kreusch, and their subsequent first (internationally) acclaimed album 'Dreamhatcher', the 'double drums' saxophone trio with Mattias De Craene, Simon Segers & Lennert Jacobs is all set to show what angle rock 'n roll can really come from. On their new album 'Drawn In Dusk' (release: end of September via W.E.R.F records) the trio delivers a whole new palette of sounds that are just as mystical, energetic and wild as 'Dreamhatcher'.
On April 7th electronic luminary Nathan Fake presents the new longplayer ‘Crystal Vision’ on his own Cambria Instruments imprint, which features collaborations with Clark and Wizard Apprentice.
This is music for music’s sake – recorded without angles, agendas and themes – so Fake was free to simply continue honing his craft and express himself non-literally. Aptly titled, there’s a clarity of execution and ambition, and a peak effectiveness to the record that just sounds right.
Continuing to set a personal bar higher and topping his own best, the mark of master craftsperson is everywhere, but that doesn’t mean it’s polished; There’s plenty of rawness evident, with spiky sonics keeping ears on high alert – full of endorphin-flooded rave energy.
Following a short, scene-setting ‘Arrival’ – a simple major chord arpeggio played on a Jupiter 6 which sounds like curtains opening at dawn, things begin apace with ‘The Grass’, which hurtles like a precision-tuned bullet train through Arctic tundra. The undulating effect of compression is emphasised by the classic techno trope where 2 rhythms jar yet interlock, creating an exquisitely disorientating strobe-like flutter. On the track’s guest, Fake comments, “I fell in love with Wizard Apprentice's ‘I Am Invisible’ and felt our musical styles were similar. Their vocals are smooth and clear and sharp at the same time. They’re like a calm within the storm.”
Inspired by Italo disco but sounding wholly alien and futuristic, ‘Vimana’’s fizzing buzzsaw arpeggiated bassline, popping snares and bright whirling melody are equally an electro trance melange, with an effervescent major chord Arp that kicks in midway.
Reminiscent of what used to be called ‘funky techno’ but with sparklier sounds, ‘Boss Core’ blinds like sunshine bouncing off ice. Using his trusty Boss DR550 drum machine, and inspired by Autechre's ‘Vose In’, the track peaks by reaching that melancholic/euphoric axis for which he is loved.
With chugging slow breakbeats not a million miles from Board Of Canada or trip hop, ‘Crystal Vision’ rolls along, with the melody opening up, revealing more hidden notes as it progresses, building into a fractal, kaleidoscopic mosaic.
An emotional outpouring with serotonin surging through the circuitry, classic breakbeats and layers of lazers, ‘Bibled’ has all the hallmarks of a classic. This is a bonafide festival-set closing, hugging-your-mates, moment – or, with its guitar solo, “a power ballad” – as Nathan calls it.
A minimalistic moment of calm midway through the album, ‘CMD’’s gently comforting dreamscape is conjured with FM stacked and detuned sine waves which are left to breathe, whilst the chunky Chicagoan house jack of ‘Hawk’ brings to mind classic Relief records, but even more detuned and wibbly, and laden with synths.
As the title suggests, ‘Amen 96’ is in Fake’s own words, “me having a go at jungle. I grew up listening to it, and I remember as a teenager it sounded like the most intense and otherworldly music ever. It still does. This track is an experiment to see how my melodic style works against amen breaks”. Closer to the braindance end of the spectrum than ‘proper’ jungle (and all the more interesting for it), Fake channels the spirit of Squarepusher but makes it his own, brimming with melodious twinkle.
A collaboration with Nathan’s close friend and genuine musical hero Clark. ‘Outsider’ finds this dream team alchemising pure gold that’s bigger than the sum of their parts. Skittering, intense, far-reaching end epic, the pair close proceedings on a grandly dramatic note. In 2020 Nathan released the album ‘Blizzards’, which was described by The Quietus as “his best work”, and “his best LP yet” yet by Resident Advisor. The equally well received ‘Blizzards Remixes’ EP which featured Afrodeutsche and Irene Dresel followed in 2021, as did a nationwide UK tour.
An in-demand remixer, Fake has added his magic to tracks by Radiohead, Clark, Perc, Jon Hopkins, GoGo Penguin, Dominik Eulberg, Christian Löffler and Damian Lazarus, working for labels including Ninja Tune, Domino, Warp, Blue Note and Kompakt.
There’s more than a hint of ambition on the double LP sophomore effort from Sam Austin Rabede, the producer known as DJ Black Low. Pretoria, South Africa-born and based, the young man makes amapiano with new ways of expressing this local turned-global style of dance music.
In DJ Black Low’s musical imagination, the songs manage to smoothly vacillate between dreamy and firmly-grounded. Adorned with vocalists across most of the twelve tracks, there’s a new dimension to Black Low’s now-signature approach to abstract, angular deconstruction of the rhythmic developments in his songs.
The album references influences and ambitions in its song titles and lyrics while the music itself is anthemic in its sonic and structural aspirations. On many of the songs a slow-burning tension transforms into something unexpected until you’re somewhere else as the track concludes. There is an emotional and compositional maturity that builds on his earlier work. Vocals and lyrics are in focus.
Production collaborators among Black Low’s Gauteng Province circle add to the constantly churning array of ideas that populate this consistently surprising release. Despite being a relative newcomer, DJ Black Low is onto something here.
Over the course of her lush, expansive, defiantly sprawling new album, “Sometimes I Might Be Introvert”, released on Age 101, the
Ivor Novelloaward-winning, Mercury nominated Little Simzdelivers an
undeniable modern classic, effortlessly condensing any number of
disparate styles and genres into music which thrillingly broaches the gap between urgent modern treatise and hip hop.
A bold, quantum leap forward from the critically beloved “Grey Area”, this is hardly music aiming simply for the pop charts; rather, it is turbo charged with the kind of fury and potency, confusion and anxiety that make up the modern experience of being Black, British and female at this particular point in time.
This is no mere philosophical exercise, however - the result is her most ambitious and soaring body of work to date, one which operates at the very heights of what rap can be.
3xLP, Widespine Jacket
Yellow & Black Translucent Smoke Vinyl
Yellow Tape 2 is the follow-up to Key Glock's 2020 debut album, Yellow Tape, and like it's predecessor, remains distinctly featureless. The album showcases Glock, at times alongside his alter ego, Glizock, floating over trap-heavy production with the authentic tone his fans have come to know. Featuring the singles, "Toolie," "Ambition for Cash," & "Da Truth," the album sees production from Tay Keith, Juicy J, Sosa 808, Budda Bless and more. The Deluxe version features 10 new tracks, including the standout single, Proud, dedicated to the late Young Dolph.
• 180 GRAM AUDIOPHILE VINYL
• GRAMMY AWARD WINNING HIP HOP PRODUCER FOR THE FUGEES, CYPRESS HILL AND HOUSE OF PAIN A.O.
• FOUNDING MEMBER OF THE NY D.I.T.C. CREW
• INCLUDES THE SINGLES “THE HIATUS” AND “J.D.’S
REVENGE” AND FAN FAVOURITES “5 FINGAS OF DEATH” AND “THIS ONE”
• FEATURING GUEST PERFORMANCES BY FAT JOE, PETE ROCK, BUSTA RHYMES, PHIFE DAWG, BIG L, LORD
FINESSE, AG, SADAT X AND TERRORIBUL A.O.
Bronx-born hip hop artist and producer Diamond is known as one of the founding members of the New York collective Diggin’ in the Crates Crew. He produced for a number of artists, including Cypress Hill, House Of Pain, KRS-One, Xzibit and won a Grammy Award for his production of the title track from The Fugees’ iconic album The Score.
In 1997 he released his second studio album Hatred, Passions and Infidelity. Included are the tracks “MC Iz My Ambition” and “No Wondah”, which were built around the lyrics from De La Soul’s “Stakes Is High”, released one year earlier. The album features many guest performances, including Don Barron, John Dough, Gina Thompson, Phife Dawg (A Tribe Called Quest), Pete Rock, Big L, Lord Finesse, AG, Fat Joe, Busta Rhymes, K. Terroribul and Sadat X.
RIYL: Toro y Moi, Helado Negro, Rosalía, Tame Impala, Cuco.
Follow up to their 2019 breakout ‘Foam,’ of which Pitchfork said “Foam demonstrates that it’s possible to draw from everywhere, without sounding quite like anything else.” Lead to tours supporting Durand Jones & The Indications, Belle & Sebastian, Chicano Batman, Crumb, Innerwave, and festival appearances at Pitchfork Festival Chicago and Primavera Sound LA. ‘Last Spa on Earth’ is wildly unique and creative music, mixing the sounds of Indie, Electronic, Drum & Bass, Reggaeton, Latin Hip Hop, and more to create a sound all to their own. Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero friends whose bond dates back to their childhoods in Bogotá, Colombia moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band’s desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world’s darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other’s contributions both to these songs and to each other. Track Listing: 01. LSE 02. Nos Soltamos 03. Tu Tonto 04. XO 05. Toy Premiado 06. Ecstasy 07. Drive 08. Miami 09. Mona 10. Especial 11. Papelito 12. I Am Nobody
Spanning over 14 tracks, the new Grimes album features collaborations with Janelle Monae and newcomer, Taiwanese rapper Aristophanes. It was recorded primarily in her home studio in Los Angeles, CA, where she relocated to in 2014. Like all of her previous albums, 'Art Angels' was written and recorded entirely as a solo endeavor. The new album features more live instrumentation than ever before on a Grimes record. She plays piano, guitar and violin, continuing her evolution as a musician and a producer for her most ambitious album to date.
LP - with 14 Exclusive Art Prints designed by Grimes and Download.
CD - With two bonus tracks to the LP.
Another seemingly obvious addition to the chosen Planet Euphorique family is underground icon Angel D'lite, presenting “303 Dalmations” as the label’s 18th release. The 5 tracker screams ruff ‘n’ ready rave with a delicate touch, embodying playfully rude dancefloor attitude politely requesting you to check your ego at the door. The South Londoner Mz D’lite carries the torch for the ambitious wave of Nu skool sounds, inspired throwbacks and masterfully crafted break work that has you stomping the house down.. Boots. Bold, brave & in your face; not for the faint hearted, a true sonic reminder to not take yourself too seriously.
Setting the tone is the title track, a tongue in cheek laugh in your face. With no messing around a brazen breakbeat assault leads the way for bleeped out bliss and building sub bass; cheekily tricking you into a 4/4 moment. The climactic chaos continues through Just Trippin, offensively tense stabs; building — ferociously, borderline losing control with the UKG hybrid ventures elevated by filtered chops and screws and a late blooming 303 workout. Tempos? High as hell.
Ell Murphy lends her passionate vocal essence to 7am on the A side closer. Feel the rush; transporting you to a moment in the dance which feels nostalgic and yet still to come.
Emo-jungle, cyber centred and spine chilling; Liquid Skies feels like a cold london morning after the rave, introspective yet unable to stay still, “in and out of control”. The record ends on a comparatively weightless low-key progressive builder Relaxcersizer. Holding the same sentimental harmonic bone engrossing sensation that trickles through the EP; with a little more patience, a moment to absorb the kaleidoscope of frantically exciting musical ideas laced throughout. This record is an ode to the dancers..Need I say more? You’ve read enough, now listen.
Sampled by Dr.Dre and Jay-Z, cult combo CALIBRO 35 release the new studio album "DECADE" and celebrate 10 years.
Italian super cult combo CALIBRO 35 release their 6th much awaited studio album "DECADE" on February the 9th 2018. "DECADE" marks 10 years of Calibro 35's releases and it's the very first album recorded by Calibro with an orchestral-inspired enlarged line-up that features horns, strings and percussions. Mixed and recorded by CALIBRO's usual suspect and Grammy Award winner Tommaso Colliva, on the album all the influences collected by the band during their last ten years' journey like music, collaborations, movies, gigs, books find their space. "DECADE" is CALIBRO 35's "time capsule" and is as rare and complex as a timeless work.
Musically CALIBRO 35's inner influences like Ennio Morricone, listen for instance to the epic journey of the album's end credits "Travelers", Luis Bacalov and David Axelrod are still there but are now mixed with elements from afrobeat or cosmic jazz. "Psycheground" sounds like Tony Allen involved in writing a score for a vintage Hollywood production while Sun Ra lurks on "Modo". Everything is mixed up with new influences from modern musical languages. References to Jaga Jazzist, Budos Band or Alternative Jazz and Alternative Hip Hop new acts such as Makaya McCraven, Yussef Kamaal, Oddisee can all be found on the album. In tracks such as "Modulor "you realize that Decade is certainly not a point of arrival and expresses the ambition of the band to look further and evolve. All classic Calibro's vintage instruments such as clavinet, eco, analog synths, fuzz guitars are now supported by new ones such as Dan Bau, Balafon and Waterphone ("Polymeri") in the band's new wall of sound. Thanks to the enlarged line-up and the orchestrated parts involved, which pushed the band to experiment new methods of composition, Calibro 35 on "DECADE" sound strong, full and tight as never before.
Active since 2008 CALIBRO 35 enjoys a worldwide reputation as one of the coolest independent band around. During their ten years career, they have been sampled by Dr. Dre on his Compton album, Jay-Z Love Child & Damon Albarn, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat, Headhunters and as unique musicians they've collaborated with, amongst others PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine's as "the most fascinating, retro-maniac and genuine thing, that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide which includes VIP's fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.
Lined up next on Cosmocities is a special delivery and direct nod to our formative years’ loves - in this very case, trance music. Fruit of 90s cross-channel outfit Prism, the collaborative endeavour of French producer Pascal Eloy and UK-based Grant Wilkinson, the three-track EP “CMSR006” mixes unreleased music (Refraction), a 1996-issued goodie (Rain) and an exclusive remix from SYO, better known for his ambitiously retro-futuristic output under the S.O.N.S moniker.
Originally released as part of Planet Dog’s 1996 compilation “Feed Your Head”, “Rain” retains all of its original mystique and soulful use of modern production tools - letting a cascading flow of arpeggiated synths, stealth bass onslaughts and 303-borne trippiness pour down as a fully immersive digital shower for the senses.
An unheard gem from the vault, initially written and recorded in 1995, “Refraction” pulls further dynamic traction from a bubbling drum programming and damp, urban jungle-y atmosphere - beaming us straight back in the rave’s most compelling heyday with its feverish maelstrom of fluttering bleeps, spiralling tribal motifs and faux-organic, Neo-Easternmost harmonics.
Adding his ever innovative spin to the table, SYO cuts into the flesh of the original to deliver a further syncopated and spacious version, flush with complex rhythmic sleights of hand and subtle melodic trickery throughout, bound to keep you on the edge with every bar. 25 years on since it was first designed, Prism’s lasting relevancy shines bright on this all-road, bold-to-the-full trance epic that’s lost nothing of its flair.
Rising French techno producer Trudge makes his debut appearance on Lobster Theremin with the blistering four-track EP, Self Love Club. Following releases for ARTS, 1Ø Pills Mate and Of Paradise - as well as his transformation from hazier sounds into full throttle techno - Self Love Club is a defining record for the young artist and an ambitious taster ahead of his debut album, slated for release at the start of the
summer.
Opener Ice On My Neck sets the pace of the release combining bone-rattling drums & glacial pads to maximum effect, while title track Self Love Club ramps up the emotion without sacrificing any intensity. On the flip, Bird Ghost’s ethereal synth lines punctuate a pummelling kick and Night Shift lowers the aggression ending the record on a dreamy, break-lined note.
Lukas Poellauer comes back on fortunea with an ambitious 5 track ep. Mixing up house music with the use of traditional instruments and vocals by Spitting Ibex singer Aunty on some of the tracks.
It starts off with ‚Going Down’. An impressive introduction with reminiscences to early garage house records. ‚Falling Back’ folllows up on A2. A tight bass is companied with piano-cues, glittery strings and a mysterious saxy breakdown, that gives the listener a sort of a cosmic film-noire vibe.
The melancholy continues with the next piece. ‚Departure’, the title-track of this record is placed on the B-side. A trumpet and a vibraphone are the main elements in this laid back, jazzy deep house tune. It certainly has the blues in it.
While Aunty was only present on the first track for a couple of lines, her voice is placed now more on the foreground with her party song ‚It’s All Good’ on B2.
The record closes with a danceable rework of ‚Departure’. Tieffrequent label head Siggatunez is responsible for this version.
This release will lighten up your day. Stay safe and healthy!
Straight out the gate, Nas dropped a classic. Since the release of the seminal ‘Illmatic’ album in 1994, critics and fans have been wondering if Nas peaked too early and if anything in his subsequent catalogue could be held up against this masterpiece. To be fair, it’s hard to follow up something this flawless, a project that allied his most insightful, pitch-perfect heartfelt rhymes with the work of the best hip-hop producers on the east coast.
DJ Premier, Q-Tip from A Tribe Called Quest and Large Professor all take their turns on the album, along with the unsung L.E.S., but it’s Pete Rock in his prime who provides the stunning backdrop for the cinematic ‘The World is Yours’. It’s a perfect nugget of a single, weaving in the brashness of Scarface, the repetition of a snatch of T La Rock’s early Def Jam gem ‘It’s Yours’ and piano courtesy of Ahmad Jamal’s ‘I Love Music’ from his own timeless ‘The Awakening’ album (1970).
Presented for the first time on 7”, the vocals of the album version and the instrumental on the flip provide the perfect opportunity to enjoy and compare the work of two masters at the top of their game. Pete Rock’s seamless weaving of disparate samples into a compelling whole, the then little-known Nas’ statement of intent. With a maturity beyond his tender years, Nas put himself straight at the top of the pile, this Queensbridge chronicle hinting at the ambition and greatness he harboured within himself.
The ‘Art On Ice’ EP is a tasty preview of the forthcoming ‘Ski Infinity’ LP by ‘The Steaming Jeans’: the official soundtrack for the ‘Winter Of Love’! The legendary ‘Winter Of Love’ was an athletic event of unprecedented scope and ambition held throughout the 1980s. For one beautiful decade, ice lovers from all four corners of the globe gathered at Mount Unity for two weeks of spectacular competition, dazzling snowscapes and glittering nightlife.
Contains exclusive instrumental version of ‘Art On Ice’. Limited edition of 150 copies on snowy white vinyl!
From playing chaotic house parties in their home city of Oxford to becoming major festival headliners across Europe, Foals' trajectory has been remarkable. They've earned critical acclaim (NME and Q Award wins, plus Mercury Prize, Ivor Novello and BRIT Award nominations) and fan devotion (1.7 million sales of their four Gold-certified albums) in equal measure. And while the majority of contemporaries have fallen by the wayside, Foals continue to hit new peaks.
After more than a decade in the game, Foals again embrace that love for the unconventional with the bravest and most ambitious project of their career: not one, but two astonishing new albums: 'Everything Not Saved Will Be Lost'. A pair of releases, separate but related, they share a title, themes and artwork. 'Part 1' will be released on March 8th, with 'Part 2' following later in the year.
'They're two halves of the same locket,' frontman Yannis Philippakis explains. 'They can be listened to and appreciated individually, but fundamentally, they are companion pieces.
Fundamentally tethered but possessing their own personalities, the two bodies capture the most compelling, ambitious and cohesive creations they've ever produced. Eager to break the traditional pop song structure which they felt they were becoming increasingly tapered to, the 20 tracks defy expectation. There are exploratory, progressive-tinged tracks alongside atmospheric segues which make the music an experience rather than a mere collection of songs. Yet the band's renowned ability to wield relentless grooves with striking power and skyscraper hooks also reaches new heights.
The album's lead single 'Exits' is a case in point, featuring Philippakis conjuring the image of a disorienting world via a contagious vocal melody. It's a fresh anthem for Foals' formidable arsenal, but also an ominous forecast.
'There's a definite idea about the world being no longer habitable in the way that it was,' says Yannis. 'A kind of perilousness lack of predictability and a feeling of being overwhelmed by the magnitudes of the problems we face. What's the response And what's the purpose of any response that one individual can have'
'Exits' signposts what to expect thematically from both instalments of 'Everything Not Saved Will Be Lost'. The title is a warning that anything - from the tiniest fleeting moment of inspiration through to the planet's own biological diversity - can be under threat of being irrevocably erased.
It's a theme that permeates throughout the album's material, as Foal mirror the public neuroses that have been provoked by our current cultural climate. Paranoia of state surveillance Fear of environmental collapse Anxiety over Trump's next potentially cataclysmic move It's all there in these apocalyptic songs.
'Lyrically, there are resonances with what's going on in the world at the moment,' summarises Yannis. 'I just feel like, what's the utility of being a musician these days, if you can't engage with at least some of this stuff These songs are white flags, or they're SOSs, or they're cries for help... each in a different way.'
The new albums' journeys began as the 'What Went Down' era ended. Founding bassist Walter Gervers departed on amicable terms after playing the Festival Paredes de Coura in Portugal in August 2017. Foals felt that he couldn't be replaced - a decision that ushered in a period of recalibration, reorganisation and, ultimately, rejuvenation.
After taking a little time out, Foals - completed by Jimmy Smith (guitar), Jack Bevan (drums) and Edwin Congreave (keys) reconvened - with Yannis on production duties, who, together with Edwin, also covered the bass parts. They began by writing in a rehearsal space before exporting those sketches into the recording phase at 123 Studios, Peckham, with the assistance of engineer Brett Shaw. They'd repeat the cycle between the two spaces, effectively creating an ongoing feedback loop as they sought to push every new idea to the finish line.
1 x 12" black vinyl 180gsm
- label 4/c
- discobag on reverse board with matt varnish
- gatefold on reverse board with matt varnish
- shrinkwrap
