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Bear's Den - Blue Hours

Bear's Den

Blue Hours

12inchCOMM479
COMMUNION
13.05.2022

Bear’s Den have today announced the release of their eagerly anticipated fourth studio album, Blue Hours.

Set for release on May 13th via Communion Records, the album sees the much-loved folk-rock duo – made up of Andrew Davie and Kevin Jones – once again team up with producer Ian Grimble on what is one of their most personal records to date.

Speaking about the new album, Davie says: “Blue Hours is a kind of imaginary space you get into at night, a place where you process difficult things or where you try to figure everything out.”

Themes on the album include both self-reflection and mental health after both struggled with the latter in recent years. “It’s the main over-arching theme with this record,” Davie explains. The group, who have worked with mental health charity CALM (Campaign Against Living Miserably) previously added: “It probably speaks to our struggles and hopefully many other people’s too. Men are not very good at talking. We’re not really taught how to – men have no idea how to talk about this stuff, certainly to each other.”

The pair describe the conceptual blue hours headspace that gives the new album its title as being “somewhere between a hotel, a mental health hospital, a bar that stays open later than anywhere else, a paradise, a dream, a nightmare and an endless sea of corridors and staircases leading you to rooms that represent memories – good, bad, happy or difficult.”

Despite the album’s challenging themes, it’s an album drenched in hope too. “We wanted this to be a celebration of music,” Jones continues. “I think that informed some of the bolder decision making on this record. At a time when music was so distant, it felt important to make an album that sounded hopeful, celebratory, ambitious and beautiful in spite of the heavy subject matter in some of the songs.” Jones adds: “It was almost like we needed to shout louder than before because we felt that there were more barriers between the audience and us. We needed something to transcend that.”

Following on from the album’s lead single, ‘All That You Are’, which was released late last year, the group have also given a further taster of what to expect from the new album with the release today of their bold, electronic-driven latest single, ‘Spiders’. Stream the new single here.

Speaking about the song, Davie says: “I started writing ‘Spiders’ around the time we left London. In my head, I thought moving would solve lots of problems, like everything will be better – almost like this Neverland vibe,” he laughs. “‘Spiders’ is a song dealing with the fact that this absolutely wasn’t the case. I had this vision in my head that I’d be at one with nature, that I’d be calmer – but all the things that were rattling around in my brain before were still there after the move. The song is about the fact you can’t run away from the things that are bothering you.”

Adding, “While making the record we wanted to get across a kind of simmering intensity with the song and the idea of someone trying to keep their shit together while wrestling with these darker thoughts and feelings. We wanted to get across a sense of bravery & triumph in saying, “sometimes I can’t pull myself out” of these difficult situations. To celebrate the difficult moments because we all have them. They are a universally shared experience even if it feels sometimes like they’re not and you’re the only one who feels them.”

Melodically, the song is a gentle Wurlitzer and guitar-driven track filled with hope thanks to the electronic elements added by long-term producer, Ian Grimble. “This song maybe sparked a lot of detail that ended up coming out on other songs on the album,” Davie says. “The sound of this felt exciting to us both,” Jones adds.

pre-ordina ora13.05.2022

dovrebbe essere pubblicato su 13.05.2022

20,97
Big Thief - Capacity LP

Big Thief

Capacity LP

12inchLBJ255LP
Saddle Creek
15.04.2022

The classic second Big Thief LP originally released in 2017, limited repress at a decent price! Gatefold LP & download code, don’t miss out.

The trails that Brooklyn's Big Thief -- Adrianne Lenker (guitar, vocals), Buck Meek (guitar), Max Oleartchik (bass), and James Krivchenia (drums) -- take us down on Capacity, the band's highly anticipated second record out 6/9 on Saddle Creek, are overgrown with the wilderness of pumping souls. After last year's stunning Masterpiece, Capacity was recorded in a snowy winter nest in upstate New York at Outlier Studio with producer Andrew Sarlo. The album jumps right into lives marked up and nipped in surprisingly swift fashion. They are peopled and unpeopled, spooked and soothed, regenerating back into a state where they can once again be vulnerable. Lenker's songs introduce us to a gallery of multifacted women and deal with the complicated matters of identity — at once dangerous and curious, though never unbelievable. Lenker shows us the gentle side of being ripped open. Tricked into love, done in and then witnessing the second act of pulling oneself back together to prepare for it to all happen again, but this time to a sturdier soul, one who is going to take the punches better than ever before and deal some jabs and roundhouses of their own. The album is thick with raw, un-doctored beauty: most of the songs on Capacity were played for the first time in the studio and were recorded the same day. There is a darker darkness and a lighter light on this album,' Lenker explains. The songs search for a deeper level of self-acceptance, to embrace the world within and without. I think Masterpiece began that process, as a reaction from inside the pain, whereas I feel Capacity examines the pain from the outside.'

pre-ordina ora15.04.2022

dovrebbe essere pubblicato su 15.04.2022

18,45
STRING - Last Index Of…2x12"

String

Last Index Of…2x12"

2x12inchVIS0
VIS
15.04.2022

Nothing is explained in the mysteries around us, but some art touches their soul: last year, Justin Tripp, one half of the US-American impro electronic duo Georgia and London-based electronic artist Zaheer Gulamhusein man behind projects like Waswaas and XVARR -joined forces as STRING. Together they went on a virtual vacation and never came back. As the virtual is fully real due to its virtuality, they created a truly authentic aural hardware journey, hauntingly adventurous, calm, and surprising.

Without defining the scope, STRING tumbled through a dark musical zone that stretched to the horizon, letting the sound shape itself while falling discreet into an appealing abstract space. Hovering clockwise shortly above the ground, they formed impossible geometric musical figures - weightless, fluid clouds, made up of relations between asymmetrical elements. Like in nature, their collaborative work avoids identical characteristics. In an expression of respectful admiration, they softly celebrate the irregularities between their specific genetic musical fingerprints, creating eight light binding clouds of dawn. A meditative musical voyage that transports cosmic particles of idealistic Berlin school ambient right into the heart of their electronic machines. All tunes swing calm but constitutive, dancing around synthesized surfaces that form obsessed flaming orbs of fear and hope, of matter and antimatter.

A shared love for hardware and the ethos of improvisation guided STRING into an experimentation, in which each party aligns closely to the core ideas of co-operative, in-the-moment electronic music, tied across the eight tracks in a sequence.

Finding a home with the highly esteemed Hamburg based label V I S, STRING’s debut “Last Index Of...“ will enter the earth in double vinyl and cassette format, plus tripping on at the digital platforms.

pre-ordina ora15.04.2022

dovrebbe essere pubblicato su 15.04.2022

25,50
CROMWELL, RODNEY - MEMORY BOX

'Memory Box' - the new album by Rodney Cromwell - fuses a European synthpop sensibility with a world of magical realism. It was inspired as much by the literature of Alice in Wonderland, Franz Kafka and Anna Kavan, as by its musical influences of artists such as Kraftwerk, Neu!, The Cure, Silver Apples, Oppenheimer Analysis and Polyrock. The sonic pallet of 'Memory Box' is rich, colourful, often surprising and utterly unique. Since the release of his debut 'Age of Anxiety' album in 2015, Rodney Cromwell has been featured by the likes of NME, Electronic Sound Magazine, Huffington Post, Paste, BBC6 Music and national RNE3 in Spain for whom he recorded a live session. 'Age of Anxiety' was included in a wealth of Best of Lists, not least that of Electronic Sound. He has appeared on compilations alongside Cavern of Anti-Matter, John Foxx, Devo, OMD, Katy Perry and many more. Rodney Cromwell is the project of Adam Cresswell. The first band he founded was SALOON, who were John Peel darlings, who recorded three Peel Sessions and the Festive 50 number 1 of 2002. They released three acclaimed albums on Track & Field (UK) and Darla Records (US) and played with a host of alternative acts including Stereolab, Electrelane, Quickspace, Laika, Of Montreal & Movietone. He followed Saloon with ARTHUR & MARTHA the acclaimed tweetronica duo that released the sole album 'Navigation' before vanishing. In addition to performing as Rodney Cromwell, he runs the Happy Robots record label. The Rodney Cromwell live set is a joyful mixed-media extravaganza, incorporating analogue synths, video visuals and live instrumentation, interjected by Rodney's 'offbeat wit'. His debut festival appearance at Indietracks in 2015 was described as 'like a spiritual experience". He has shared stages with acts including Pram, Marsheaux, Death & Vanilla, Rowetta and Steve Davis. His sole performance in 2020 was as part of Damo Suzuki's backing band. He will be promoting the album with a series of live-dates in 2022. Cromwell's recent singles 'Memory Box' and 'Get Me To Prague' received play on BBC 6 Music as well as national play in Spain, Finland and Japan. 'Memory Box' featured in the Official Festive 50 on Dandelion Radio. To coincide with the album we have early confirmed reviews with Electronic Sound Magazine and interviews with ElectricityClub, Pennyback Music and You haven't heard this music vodcast.

pre-ordina ora18.03.2022

dovrebbe essere pubblicato su 18.03.2022

26,43
Jeremy Ivey - Invisible Pictures

Jeremy Ivey

Invisible Pictures

12inch5222721
Anti
11.03.2022

"This is the kind of songwriting I've always been drawn to," says Jeremy Ivey. "The perpetual motion, the intricate melodies, the sprawling arrangements. This album is the real me." Juxtaposing raw, unflinching personal reckonings with jaunty, buoyant melodies and rich, kaleidoscopic production, Invisible Pictures, Ivey's third album for ANTI- Records, is indeed a revelation. Though the songs are rooted in a 21st century swirl of chaos and uncertainty, the record is, at its core, an undeniably feel-good collection, one that refuses to surrender to the existential ache it so artfully captures. Instead, Ivey embraces the sheer, unmitigated joy of creative freedom and sonic exploration here, drawing on everything from flamenco and classical music to vintage indie rock and British Invasion tunes to craft a passionate, transcendent album more reminiscent of John Lennon or Elliott Smith than anything coming out of Nashville these days. "I try to put a little bit of hope into everything I do," Ivey reflects. "No matter how heavy, no matter how dark things may get, there's always a little bit of light shining through."

pre-ordina ora11.03.2022

dovrebbe essere pubblicato su 11.03.2022

21,81
Studiogruppe I - s/t

Studiogruppe I

s/t

12inchIFEEL076LP
International Feel
09.02.2022

Not much is known about the German session musician ensemble Studiogruppe 1 from the ‘70s and ‘80s. It’s believed that the grandfather of one member, known only as V.S., originally soundtracked silent films in theatres - although that hasn’t been proved. Studiogruppe1 never rose to prominence in the heyday of studio groups and library records, but it certainly wasn’t due to lack of trying.

Although it’s unknown who the individual members of Studiogruppe1 were, it’s clear they could find a groove within the machines. It appears the sessions were also engineered by V.S., and there’s plenty of space between the notes, which lends a heady atmosphere of anticipation to the music. Just close your eyes and you will find that the music triggers many scenes from the movies in your mind.

Take the opener Dunkler Sonnenaufgang, for example. Waves lap on the shore line of an alternate Coney Island, while the sound system of an abandoned amusement park plays arpeggios in the distance. Errinungen could complement expansive panoramic time-lapses of natural cycles and rolling clouds. The track Wenn Der Tiefe Schlaf Kommt, might accompany a documentary on REM dream cycles and flotation tanks. Sonnentanz raises the temperature, as act III in every movie narrative should, as protagonists rush to overcome their challenges. Ein Neuer Anfang would perfectly soundtrack the plot twist of any number of thrillers, film noirs, or sci-fi mysteries. Album closer War Alles Nur Ein Traum could supplement slow-motion shots of dawning realization, foreshadowing a betrayal or a cliffhanger.

V.S. and Studiogruppe1 have condensed the evocative sounds of the ’80s into something of an art form. Bringing to mind the lilting melodies and melancholy chord movements of Tangerine Dream, Vangelis or Manuel Göttsching, Studiogruppe1 manage to capture widescreen emotional flash points without the need for celluloid, or barely any visual aid, for that matter. These tracks work just as well in the furnace of your imagination or a dark room filled with dry ice and lasers.

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17,10

Last In: 4 years ago
PLANISPHERE - Heart Over Mind EP

Black Key return from a four year hiatus in style, with 4 sublime tracks from Australian ultra deep house don, Planisphere, aka David Swatten. Following an incredibly well received LP on reissue label, For Those That Knoe, Swatten returns here with more expansive, smokey and utterly consuming deep house cuts, stamped with his unique sound but offering a different flavour from his Definitive Transmission LP � one which immediately stands out from the crowd. Being only his third release in 20 years, there's an understandable sense of anticipation around Swatten's output. This release undoubtedly puts Black Key firmly back on the map, picking up their deserved reputation for releasing only the very best deep house, aimed well and truly at the heads.

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12,56

Last In: 4 years ago
MOOR MOTHER - BLACK ENCYCLOPEDIA OF THE AIR

Get yo ass in the house, robot-- you cyber-spectre, you outhouse prime minister, you hard-headed mirror ninja, snapping selfies, living in the pixelated seams between bursts the of flashing images, birthed in a pool of TV static and Tik Tok dust. BLACK ENCYCLOPEDIA OF THE AIR is here, not to save but to drown you. Heads better learn how to swim cause listen, this record is beat soup, hearty yet still minimal, a sonic mirage of prophetic soul that drop kicks your "chill beats to study to" Youtube playlist and hyper-intellectual rap podcasts into a hadron collider; it's only black matter on the other side-- 13 mesmerizing tracks about memory and imprinting and the future, all of them wafting through untouched space like the ghostly cinders of a world on fire, unbound and uncharted, vast and stretching across the universe. Moor Mother is a holographic figment of an Afrotopian dream, all at once goddess and warrior, mystic and cyborg, griot and future time traveller, etching noisy pieces of reverie into our consciousness for decades now. But check it: on BLACK ENCYCLOPEDIA she's joined by a wide-range of friends, collaborators and co-conspirators on a trip through the murky cosmos, navigating the black universe with stardust as currency. In these times, they'll say, as they click and mash their way through the same inter-webs that seek to strangle them, BLACK ENCYCLOPEDIA OF THE AIR is just what we need: a post-everything, 12:01 on the doomsday clock, anti-trip hop type of situation. "We ain't gotta fight no more," they'll say; the rest of us, we'll put this record on and imagine again that it's real.

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23,82

Last In: 4 years ago
Special Costello - Life Matter Love Thought

If one always looks at the sky, he will end up with wings, a wise French man once declared. Halifax, Nova Scotia based musician Jeremy Costello had wings, long before he looked up. Wings of imagination. Brandishing in his head, transforming deep-rooted emotions into poetry and sound. Since 2012 the Canadian self-releases music as Special Costello, a moniker under which he records solo or with local friends like Saxophone player Nick Dourado or guitarist Dave Burns. His lyrics are sincerely woven poetic enunciations that balance between introspective emotions and existential philosophical demands. Lyrics from a spirit that is in love without an object, unconditional, mirroring his very own subconscious inner being. The music reflects his tempers in many colours. Glimpses of Synth-Pop, psychedelic rock nuances, traces of new romantic utopia, infantile Casio minimalism, Shoegaze haze, drama wave: Special Costello blends many styles, uniting all in his very own musing grandeur of pop music.

After an array of digital releases, Berlin based label Marmo Music now publishes the Special Costello touch for the first time physically fabricated on vinyl. Seven songs featuring the longing voice of Jeremy Costello, sometimes in correlation with spoken words and dialogues by noted artists, poets, and scientists. All creations have been recorded by himself between Spring 2017 and winter 2020, using the extrasomatic help of instruments and machines like Farfisa Combo Compact transistor organ, Roland JX3P polyphonic analog synthesizer, Roland D50 linear synthesizer, Roland Rhythm Composer TR-08, Arturia Microbrute monophonic analog synthesizer or a Gibson Thunderbird IV bass guitar. In communication with his sensitive inner blues, they created an atmospheric voyage into the heart of Special Costello, that fulfils Arthur Russel’s sapient declaration: being sad is not a crime! Seven musical paintings full of intimate, vibrant feelings and existential thoughts, veiled in an antidepressant neo new romantic glam. An epic tune like “The Next Day”, in which Costello’s singing links with thought-provoking spoken word samples, sounds like Robert Ashley is meeting Hans-Joachim Roedelius in a psychic séance with Brian Ferry. In comparison, a song like “If Not Depression, Then What?” grooves with a pulsating wave bass figure and an overall gently floating electronic majesty, while Costello’s voice takes deep listeners to an unknown higher ground. On the other hand, a composition like “Unsetting” offers a nonchalant graceful funk drift with reverberant hand claps, minimal guitar strains and a chromatic synth pop grace. Above all the music Costello’s voice cries, screams, whispers, and weeps with a compelling introspective elegancy, that invites to associate intensely with the nonpareil Special Costello touch.

Written, composed, and recorded by Jeremy Costello between 2016 to 2020 in Halifax, Scotch Village and Toronto (Canada).

Instruments used by the artist: Farfisa Combo Compact transistor organ, Roland JX3P Programmable Preset Polyphonic Synthesizer, Roland D50 linear synthesizer, Yamaha DX7 Frequency Modulation/Programmable Algorithm Synthesizer and TX7 FM Expander, Roland Computer Controlled Rhythm Composer TR-08, Arturia Microbrute Analog Synthesizer, Gibson Thunderbird IV bass guitar, MicroKorg Synthesizer/Vocoder, Electro Harmonix Small Stone Phaser, Memory Boy Analog Delay, Alesis Quadraverb, and finally, their voice was recorded using Shure Beta57A and AKG D 330 BT dynamic microphones.

pre-ordina ora29.10.2021

dovrebbe essere pubblicato su 29.10.2021

19,29
KC Lights Featuring Leo Stannard - Cold Light EP

The Toolroom Family is happy to announce the release of KC Lights' brand new single 'Cold Light' that lands as the highly anticipated follow up to his global hit 'Girl’ which, in spite of the global shutdowns of clubs and festivals last year went on to be the ‘stay at home’ summer anthem for 2020.

‘Girl’ dominated the airwaves with BBC Radio 1 daytime playlist inclusions, KISS FM, Capital Dance, Sirius XM in the US and specialist playlists all over the world. It has now amassed over 5m streams on Spotify alone and still going strong.

As we move further into 2021, timed right on the back of some of his most recent stellar remixes for James Hype, Topic, Blinkie, Lost Kings and Nightlapse, KC Lights returns to lift our bleak spirits with the aptly named ‘Cold Light’.

He has collaborated with UK singer, songwriter Leo Stannard, who is being hailed as one of the most talented and exciting songwriter / vocalists to emerge in recent years, which is quite impressive during these times of quarantines and lockdowns. Most recently, Leo featured on CamelPhat’s track ‘Blackbirds’ which is featured on the Camels album, ‘Dark Matter.” He may also be recognized for his work with Maverick Sabre, Tom Odell, Rae Morris, Lewis Mokler and many more.

‘Cold Light’ is signature KC Lights with a stripped back groove and tribal drums complimented by Leo’s sublime vocal which takes the track to a whole new level! It’s feels like another anthem in making from this emerging star and with a club mix and a 6am remix, it really is the perfect tune to take us into the promise of lighter and warmer months ahead.

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12,56

Last In: 15 months ago
SPACE: 1999 - YEAR ONE

Space:1999

YEAR ONE

2x12inchSILLP1642
SILVA SCREEN
03.09.2021

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 proved to be the last of their collaborations.
Uncut Magazine referred to Series 1 music as “Pink Floyd without the mythology”. The first recording session for Space: 1999 took place on December 11th 1973 with a 52-piece orchestra performing the opening and closing title music. For the series’ incidental music between 32 and 38 instruments were utilised at any one session, all conducted by Barry Gray. The selections from Year 1 show Gray’s skills in creating a memorable opening theme as well as dramatically evocative cues highlighting the plight of the Alphans as they became known. The Year 1 album also showcases a selection of library cues which featured throughout the series.
Barry Gray was a classically trained composer and a versatile musician and was amongst the first composers to use electronic instruments in music for television. Best known for creating the music for most of the Gerry & Sylvia Anderson television series in the 1960's and 70's (Fireball XL5, Thunderbirds, UFO, Space:1999), Barry Gray’s complete musical opus is still not commercially available in its entirety. Fanderson, dedicated to the productions of Gerry Anderson, has gained access to all Barry Gray's original studio tapes and have undertaken a major re-issue project. Together with Fanderson, Silva Screen Records is championing Barry Gray’s incredible musical opus and is releasing the material in a series of physical and digital albums and vinyl records.

pre-ordina ora03.09.2021

dovrebbe essere pubblicato su 03.09.2021

31,89
DARRIN BRADBURY - ARTVERTISEMENT

Darrin Bradbury

ARTVERTISEMENT

12inch277781
Anti
20.08.2021

Artvertisement is Bradbury’s third album and second release for ANTI-,
following his critically acclaimed 2019 LP Talking Dogs & Atom Bombs.
Bradbury wrote Artvertisement while touring in support of Talking Dogs, and
recorded the album at Trace Horse Studio in March of 2020 over the strange,
anxious handful of days between Nashville’s devastating March 3rd tornado
and the start of the COVID-19 shutdown.
The title Artvertisement was inspired by Bradbury’s difficult experiences navigating the polished, often soulless Nashville music industry, where record label
executives would laud his songwriting some going so far as to call him a genius
but ultimately turn him away because his music wasn’t commercial.
While music is still his primary focus, Bradbury has leaned into working on visual art, which, like his music, draws out both the darkness and the humor of the
everyday. His art aligns aesthetically with his music. His portraits are abstract,
while his smaller sketches veer more toward humor and commentary. He sells
his art on a “pay what you want” model, explaining that he is as happy to sell a
painting for a nickel as he is for five hundred dollars.
It may not be the kind of financial model that lands him a high-rise office overlooking downtown Nashville, but that’s always been the antithesis of what
Bradbury is about. “Do no harm but take what you need,” he says.
“Holding on to success, holding onto money... What does it matter? We’re all
going to die someday.”

pre-ordina ora20.08.2021

dovrebbe essere pubblicato su 20.08.2021

26,85
DELILUH - AMULET

Deliluh

AMULET

12inchTAR10106
Tin Angel
13.08.2021
 
2

In September of 2019, Deliluh took flight with sights set on new horizons.
A long plotted scheme to uproot the group from their Toronto home and
airlift them into the touring bastion of Europe seemed like a pot worth
gambling their stack on.
Their future in the old world was read with wide-eyed optimism, emboldened
by two albums newly waxed and tour dates rolling in. Greener pastures with
foreign allure, a promised land chalk full of experimental art and sound, and a
plethora of unconventional venues ripe for the picking... it’s open season, what
could possibly go wrong?
Well, the best laid plans... ‘Amulet’ is the first release since Deliluh’s departure
from Toronto, an opening document of the group’s transition to Europe. Mirrored images of the same composition occupy each side; ‘A’ performed by their
previous four-piece lineup (Kyle Knapp, Julius Pederson, Erika Wharton, Erik
Jude) and ‘B’ by the current active two-piece (Knapp and Pederson). ‘Amulet’
is set to be released July 30th on 10” via Tin Angel Records.
The lyrics depict a jewel thief committing crimes with the conviction of a merciless zealot, and justifying them with a spite for the status quo. The protagonist
amuses with the threat of being “caught”, a fate seemingly imminent and yet
laughable in the crooked context of societal greed. Knapp delivers sharp criticisms with a swagger liberated of fear, imploring us all to root for the anti-hero
in a time when danger is craved en masse.
The tonal contrasts between both versions testify to the group’s versatility.
The A side pulls tension by way of minimalism, leaning into a sinister synth
sequence that navigates a pitch dark sonic terrain. Swooning guitar, plucking
violin, whispering synths and darting tape effects peek in and out of the periphery, circling with unsettled starkness around Jude’s gloomy bass drone, through
until Wharton-Shukster’s string soaring climax.
Flip to the B side, and the immediate motorik groove turns the sequence on its
head, snapping to a gritty dance track for nights long yearned for. Pedersen’s
modular synth takes on a fresh persona of dusted drums and otherworldly high
hats, cracking on the beat while guitar scratches, processed sax, and string
synths build with harmonic euphoria, all until the tape slips and pulls the rug
from under the DIY dance floor.
‘Amulet’ demonstrates Deliluh’s potential growing fearlessly in the face of a
tight game. They promise a plentiful stash of recordings soon to be unearthed,
giving the sense that their recently tested process of creation has been far from
hindered. What comes next is anyone’s guess, though Amulet at the very least
reassures that we’re still, as always, in trusted hands.
Knapp: “It’s ‘adapt or parish’ these days.. We’re fortunate to be safe and
healthy, and thankfully, we’re not afraid of taking risks or evolving.”
Pedersen: “It isn’t the end goal that matters, but what you learn while exploring the paths that lead into unexplored terrain.”

pre-ordina ora13.08.2021

dovrebbe essere pubblicato su 13.08.2021

16,77
Chora(s)san Time-Court Mirage - Blues Alif Lam

Having already unearthed three collections of archival ‘70s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer’s music by turning to more recent work with this first-time vinyl edition of Hennix’s “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis,” a 2014 piece first released as a CD in 2016 (Important Records).

The double album captures the April 22, 2014 premiere of Hennix’s composition by by the Chora(s)san Time-Court Mirage, her expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the blues’ origins in the eastern musical traditions of raga and makam, “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis” has its roots in Hennix’s 2013 realization of an “Illuminatory Sound Environment,” a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix’s own “The Electric Harpsichord.”

As Hennix explains in Other Matters, Blank Forms’ 2019 collection of her writings:

“Rag Infinity/Rag Cosmosis presents fragments of ‘raga-like’ frequency constellations following distinct cycles and permuting their order, creating a simultaneity of ‘multi-universes.’ When two such ‘universes’ come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated—the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically ‘transfinite’ Poincaré cycles (cyclic returns to initial conditions).”

As with Hennix’s best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Upon its mesmerizing ebb and flow, the vocalists incant a devotional poem written in Arabic by Hennix and featuring quotations from the Quran. Also reproduced on the album’s gatefold jacket, Hennix’s reduction of the sacred text to its most elegant formulation invites the contemplator to bring their inner knowledge to the composition for use as a prompt for meditation. Yet the piece offers depth to even the most secular listener willing to immerse themselves in music brimming with such serene intensity.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

pre-ordina ora23.07.2021

dovrebbe essere pubblicato su 23.07.2021

37,77
Don Rendell - Space Walk

Don Rendell

Space Walk

12inch0602435687858
Decca Records
16.07.2021

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. A figure in British modern jazz for over half a century, Don Rendell was both active protagonist and key witness to the main developments in the music from its rise out of tiny clubs and back rooms on up to the most prestigious national stages. From his earliest performances in London’s West End and his work of the 50s and 60s — most not ably with the Don Rendell-Ian Carr Quintet — to the lower profile work of the 70s and 80s, his quite assurance and consistent performance marked him out as a highly respected figure among his peers. He is one of a handful of British artists to feature on Blue Note Records and appeared on some of the most distinctive and characterful British jazz albums by the likes of Michael Garrick, Stan Tracey, Amancio D’Silva, and Neil Ardley. Even though Rendell eschewed much of the free and electric fusion styles that came to the fore in the late 60s, in the main sticking to an acoustic sound with melody and rhythm at its heart, he similarly bridled at any notion that he was merely a ‘bopper’, a description he positively hated. In many ways, Space Walk was as much a valedictory as transitionary album for Rendell. It was his last for Denis Preston, the fabled producer behind Lansdowne Studios, described by Neil Ardley as a ‘rare Diaghilev like figure’ who steered many of the key figures of the British jazz scene into the studio when nobody else would record them. It was also Rendell’s final project for EMI Columbia and his last as a leader for a major record label. After Space Walk, Rendell would record for smaller, independent labels like Spotlite. But as much as the album is a farewell to one chapter, it also marked the way forward to the next..

pre-ordina ora16.07.2021

dovrebbe essere pubblicato su 16.07.2021

33,99
STUBBORN HEART - MADE OF STATIC

Returning with their first new music in 8 years, Stubborn Heart have announced their anticipated new album 'Made Of Static'. Luca Santucci and Ben Fitzgerald, who have spent the last few years developing the ten brooding electro-soul tracks that make up the successor to their lauded 2012 self-titled debut, have once again struck a fine balance between ominous synth-soundscapes and introspective songwriting. Balance is the key theme here. With Fitzgerald leading the production and manning the machines, the sound is rawer than on their previous album. Left-field pop with dark, icy edges, it finds a home somewhere in between r&b and cold wave. Santucci brings the heart and with it his aching, obsessive lyrics and a desire for something grittier in its presentation. The duo's talents complement each other perfectly throughout. Santucci has amassed an impressive list of writing and vocal credits in his time, with the likes of XL and Warp signee Leila Arab, Plaid, Riton and Soulwax amongst them. Fitzgerald has also been hard at work at his home studio programming various styles of music for artists and producers from around the world. As Stubborn Heart, they come armed with some serious experience and a wealth of influences. There's an honest simplicity in the way they create, with lyrics written in an immediate, direct fashion with the aim to catch a feeling rather than emulate one. On their first album Stubborn Heart garnered praise from the likes of Pitchfork, NME and the UK broadsheets. It was named album of 2012 at Gilles Peterson's Worldwide Awards and Rough Trade placed it in their top 20 best albums the same year. However, it's now that we're presented with an album they feel better represents their dynamic - an album born from the duos combined creative static - as such, 'Made Of Static' is the first fruit of their reunion, aiming to step on from where they left off, and with the promise of much more to follow.

pre-ordina ora04.06.2021

dovrebbe essere pubblicato su 04.06.2021

19,20
Burning Witches - The Witch Of The North

Swiss heavy metal coven BURNING WITCHES and Nuclear Blast Records proudly present “The Witch Of The North”, the group’s much anticipated, fourth studio album set for worldwide release on May 28th, 2021. Following 2020’s “Dance Of The Devil”, which charted in Germany at #22, and the quickly sold-out “Circle Of Five EP”, vocalist Laura, guitarists Romana and Larissa, bassist Jeanine and drummer Lala notably up the ante on “The Witch Of The North”, their most dynamic, intricate and powerful album thus far. Perfectly mixed and mastered by V.O. Pulver and produced by German thrash titan Schmier (Destruction), BURNING WITCHES stick to their irrefutable 80’s influences (Judas Priest, Iron Maiden, Dio, Accept, Warlock, WASP etc.) and inject an irresistible energy and refreshing vibe, topping it off with classic art by Claudio Bergamin (who illustrated Priest’s triumphant “Firepower”). From the epic title-track to the album’s most catchy anthem ‘We Stand As One’ over to the ballad ‘Lady Of The Woods’ and speedy riff attacks like ‘Thrall’, ‘Flight Of The Valkyries’, and ‘Nine Worlds’, “The Witch Of The North” marks a new highlight in the band’s career, with vocalist Laura brilliantly shifting from aggressive to seductive with ease. No matter if you have followed the band since its humble beginnings in 2015 or just recently fell for their charms, BURNING WITCHES are doubtlessly one of the most sensational bands in heavy metal right now.

pre-ordina ora28.05.2021

dovrebbe essere pubblicato su 28.05.2021

33,57
NR/MA - Shinkai

Nr/Ma

Shinkai

12inchWTN66
Where To Now?
25.05.2021

Five years after the release of ‘Pressure Loss’ the modern master of electronic minimalism Nicola Ratti returns to Where To Now? in collaboration with Japanese MC ‘MA’, for a suite of submerged, outsider Trip-Hop.

‘Shinkai’ meets at the crossroads of the gloomy sonic snapshot world of Tricky, the South London DIY avant pop bloom of Curl/Mica Levi, the outer fringes of Hip-Hop heralded by the Anticon crew, and the deep textured minimalism of Machinfabriek.

‘Shinkai’ heralds the first time Nicola Ratti has worked with a vocalist, and MA’s unique brand of ritualistic vocal methods and experimental approaches to intonation and inflexion only enhances Ratti’s otherworldly soundscapes. The depth of meaning behind MA’s lyrics further expands this sprawling sound world, revealing a twisted beauty, a deep insight into the melancholic world MA reflects upon within his abstract wordplay – on ‘Suiso’ MA laments above Ratti’s mourning electronics….

“A ship with the wind in the sails erased a path to the skies.

Gone forever,
In sandy finality,
A scene never to be repeated,
Never to be understood.

Never to hatch,
Dreams of never continuing beyond the crossroads
A painting dissipates as the allure runs dry
Without consulting the dusk, dawn never arrives.

Agonising over the silence brought on by a stumble,
Attacked from all angles until I find my ground once more.
What comes next does not matter - just as long as it comes.
A not-so-distant-future, born from certain uncertainty.

Let me face it with wavering reservations,
Bury me in it
My sins left unanswered
Cover the snow on which it falls.

An unthawing aquarium.
An unanswering aquarium.

Hiding, evolving, recollecting, transferring,
A precarious contradiction befalls.
Timeframes cut, edited and replaced with resentment
The ritual aesthetics of a secret ceremony.

The thoughts of once again,
Fills me with dread and rage.
Painted in blood.

Alas, it was fun...”

On the surface this is an unlikely (yet inspired) collaboration – MA has been a part of the Tokyo Hip-Hop underground for many years, over which time he has stylistically leapt into noisier, more experimental territories. We have Rabih Beaini to thank for shining a light on MA’s talents, with the 2019 LP ‘AMA’ being released on Morphine records, and Beaini opening new doors for experimentation and collaboration.

‘Shinkai’ was composed and recorded between January and April 2020. The pair had met a couple of times in Japan first and then in Europe, undertaking a live collaborative experiment combining sounds and words that had not been designed to be performed together, ‘Shinkai’ reflects the fluidity of this encounter and is in essence a consequence of it.

Ratti assigns the following poetic grounding to the intentions and thematic form of the album – “Shinkai means deep sea, a place most of us will never see except on the surface. The sea depths do not belong to us, they are not places for us, we do not know them and they disturb us, they are a material that we can look at without seeing. I have always thought that height, verticality in general, was not a familiar dimension except in relation to our physicality. The horizon reassures us, the depth disturbs us. The Italian language is written and read horizontally, from left to right, the Japanese language can be written vertically and read from right to left. Does the horizon still reassure us?”

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15,92

Last In: 4 years ago
Yautja - The Lurch

Yautja

The Lurch

12inchRR74821
Relapse Records
21.05.2021

Nashville underground trio YAUTJA make their Relapse Records debut with their highly anticipated new album, "The Lurch". YAUTJA's new album amalgamates metal, punk and noise rock into a ferocious hybrid that has propelled them from the obscurity of the American South onto the international stage. Recorded by Scott Evans at the legendary Steve Albini's Electrical Audio studio in Chicago, "The Lurch" marks another step forward for the innovative band. From the opening roar of “A Killing Joke” and the ominous noise waves of “Undesirables” to the churning cannonade of “Before the Foal,” "The Lurch" conveys the personal frustrations and sociopolitical observations of its creators. “We’ve got our bubble of friends and artists and businesses, but you drive 30 minutes out of town and you see rebel flags or people wearing t-shirts that say, ‘Redneck Lives Matter,’” bassist/vocalist Kayhan Vaziri explains. “So there’s a lot of frustration there, and the lyrics pertain to that.” Elsewhere on the album, tracks such as "Tethered" and "Wired Depths," discuss the various technologies and systems in place befalling the great populace. Rampant displacement of local communities fuels Vaziri's opening screams in the track aptly titled “Catastrophic” - “Forced under society!” Featuring members of several other musical projects including Thou, Coliseum, Mutilation Rites and more, YAUTJA's collective experiences across the underground and experimental subgenres drive their unique sound. The band's palpable malaise, malcontent, and sharpened edges are matched by the album's production - the attack of noisy, whirring guitars constantly veering on dissonance are met with a destructive, mangled low end, as they march on to some of the most creative drumming in the genre. "The Lurch" showcases a band that is daring, experimental, and unrelenting.

pre-ordina ora21.05.2021

dovrebbe essere pubblicato su 21.05.2021

20,13
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