Search:ao

Unreleased but perfectly formed "hidden" album, recorded in 1989-90 by Nuno Rebelo on the wake of his "Sagração Do Mês De Maio" double LP (composed in 1988 as soundtrack to the third Manobras de Maio fashion event in Lisbon). The tracks convey a sense of investigative curiosity regarding computer composition and they sound wonderfully artificial. Titles as "Moon OK", "Tiny Space Ships" or "Dança Das Creaturas Elásticas" ("Elastic Creatures Dance") embody this idea of otherworldness, a kind of music actually coming from another place, composed and played by elastic creatures. It displays the functional qualities of Library Music, illustrating playful as much as moody and dense moments. In this way the album comes across as a soundtrack for moving images, sure, but with unusual framing and sharp angles. A unique object in the Portuguese avantgarde, keeping its distance from Academia but also from contemporary independent releases ("Plux Quba" by Nuno Canavarro comes to mind). António Duarte's 2019 mastering enhances this collection of music liberated from the archives of one of the most brilliant, active and challenging musicians of his generation.

Nuno Rebelo was born in 1960, graduated in Architecture, founded Street Kids and Mler Ife Dada, played in the "transitional" line up of GNR in 1982. His creativity expanded into improvised music. Performances and recordings with other musicians multiplied. He composed music for theatre, dance, jingles and, on an almost contradictory scale to his underground credentials, soundtracks for the Expo 98 and Porto 2001 mega events.

“Improvisações Cristalizadas” by Nuno Rebelo:
Short electronic pieces composed in 1989-90 using the Atari 1040ST computer with Steinberg Pro24 Software, Two Yamaha Sound Modules (TX81ZX and TG55) and Ensoniq Mirage Sampler with keyboard. The composition method for each piece evolved from a short improvisation on the Mirage keyboard, recorded in MIDI to the computer. Counterpoint permutations (inversion, reversion, inverted reversion, transpositions) were then applied through the software, distributing the variations of the initial improvisation by other timbres. No other musical material was used.

From small beginnings in 1974 as a local cinema and university event, Film Fest Gent has grown yearly in stature and is now recognised as one of the major destinations for the film industry. A vital component is the celebration of film music in the shape of the World Soundtrack Awards which honours the very best composers at work in the world of cinema. In 2016 the award went to one of the most brilliant composers of his generation, Ryuichi Sakamoto. This is the first overview of his remarkable catalogue of film scores, fully approved by the composer and performed by the masterful Brussels Philharmonic under the baton of Dirk Brossé. Sakamoto was already a celebrated pioneer in electronic music and composer/pianist/singer in Japan when director Nagisa Oshima asked him to write the score for Merry Christmas Mr. Lawrence in 1983 and also to star alongside David Bowie. In a 30 year plus career since then he has worked with the cream of film directors including Bernardo Bertolucci (The Last Emperor), Brian De Palma (Snake Eyes), Pedro Almodovar (High Heels) and most recently Alejandro Gonzalez Inarritu (The Revenant). This compilation is a fitting tribute to his status as one of the greatest living musicians and film composers.

Neues Soloalbum des legendären Hard Rock Sängers Robin McAuley. Auf diesem neuen Album trotzt McAuleys Stimme weiterhin der Zeit und klingt so inspiriert und kraftvoll wie eh und je. Die Musik selbst ist härter und rockiger als sein vorheriges Werk "Standing On The Edge". Dieses Album liefert und übertrifft wohl das Versprechen des Debüts der Band und sieht erneut Robins kraftvollen Gesang in einer fantastischen Hardrock-Umgebung. Wieder einmal ist Robins inspirierte Gesangsleistung eine Offenbarung. Robins Begleitband ist die gleiche, die mit ihm auf dem vorherigen Album aufgetreten ist, darunter Gitarrist Andrea Seveso, der wieder einmal mit seinen Talenten absolut verblüfft, Bassist / Keyboarder Alessandro Del Vecchio (der auch wieder produziert) und Schlagzeuger Nicholas Papapicco. Robin McAuley gilt weithin als einer der großen Sänger einer goldenen Zeit in der Hardrockmusik. Seine Stimme ist auf Alben von Grand Prix und Far Corporation zu hören, und natürlich auf den MSG-Chartstürmern "Perfect Timing", "Save Yourself" und "MSG". Nachdem er MSG verlassen hatte, veröffentlichte er 1999 ein Soloalbum, schloss sich dann den AOR-Legenden Survivor an und ging dann zum Michael Schenker Fest auf ihren jüngsten Alben "Resurrection" und "Revelation". Und natürlich kam er 2020 als Frontmann der Supergroup Black Swan heraus. "Alive" könnte nicht treffender betitelt werden, wenn Sie dieses glorreiche Rock'n'Roll-Album hören.

Beloved Rio de Janeiro veteran producer and live act, Fabio Santanna, brings his heady take on the tropical flavors of modern Brazil on Onda Boa’s second release, a pulsating double-sider that serves as a loving tribute to two giants of Brazilian boogie, Marcos Valle and Lincoln Olivetti. “Ao Som De Marcos Valle" kicks things off with a mix of organic elements layered alongside synths and Rhodes that Master Marcos himself would approve of, with lyrics that slyly reference some of Valle’s most iconic moments from his 80s boogie period. Razor N Tape’s Jkriv turns up the heat even further on his remix, bringing a touch of that NYC fire to the already sultry beaches of Rio.

“Chega Mais Lincoln” on the flip applies the lessons learned from “O Mago do Pop”, Lincoln Olivetti, utilizing sophisticated synth arrangements over a delicious mid-tempo groove and a vocoder calling out in praise… "Lincoln!”. Joutro Mundo’s remix takes things into dubbyer territory with his trademark approach to dance music that carefully balances tropical bliss with swirling, synth-thetic psychedelia, capping off an epic sophomore 12” for the label that manages to occupy the spaces in-between cosmic disco, tropical balearica and modern boogie… and always with that unmistakable Brazilian swing.

For its second release, Providenciales Records was able to unearth a previously unreleased album from the Buster Brown Band, featuring Kelly McNulty (from the Tagg/McNulty Band), Roger Burton (from the Bee's Knees), Jim Casey, Gregg Bissonnette (Ringo Starr's drummer), among others ...

Inspired by some of the best Soul, AOR and Funk artists, the band recorded these demos in studio in 1982 thanks to their local success in Dallas, TX, at the popular Popsicle Toes venue (the album title).
“Baby Don’t Lie” starts the album with a beautiful and mellow Soul / AOR introduction, while the following tracks, “Day Or Night”, “Endless Possibilities”, “Shock Proof” and “Say It” complete the LP with their Soul / Funk touch. There is even the first version of "Baby Don't Lie" as closing track, which was recorded 5 years before, in 1977.

Band members have collaborated with artists such as Lee Ritenour, Ringo Starr, Harvey Mason, The Isley Brothers, Smokey Robinson, Kenny Pore, Eric Tagg, and much more…

Liner notes (including exclusive pictures) and full story of the band by the one and only Grammy awarded David Ritz (co-author of "Sexual Healing" with Marvin Gaye)!

Limited edition of 500 copies, fully remastered!

Die neuseeländische Musikerin und Produzentin Princess Chelsea präsentiert ihr kommendes "nervous breakdown album" "Everything Is Going To Be Alright", das im pastoralen Aotearoa Neuseeland aufgenommen wurde und eine Art Trostspender ist. Es sind keine traurigen Lieder, sondern die beiden Eröffnungs- und Schlusstracks erzählen von Chelseas Genesung und sind als kathartischer Hörgenuss für alle gedacht, die es brauchen könnten. "If you feel you want to die / trust me darling / it just takes time", singt sie in "Time". In der Zwischenzeit zeigen Chelseas sorgfältig geschichtete Gesangsmelodien über Mellotron-Flöten und Harfe, verwoben mit Live-Cello und Violine, ihre Fähigkeiten als Arrangeurin und Produzentin. Princess Chelseas cineastischer, verträumter Pop hat sich in elf Jahren, fünf Alben, einer EP und elf Singles weiterentwickelt. Ihre Vortragsweise und ihr Songwriting zeichnen sich dadurch aus, dass sie eine fast naive Ernsthaftigkeit mit zynischem, augenzwinkerndem Witz und akustischen Funken überlagert. Ihr Grunge-Girlgroup-Song "I Love My Boyfriend" aus dem Jahr 2018 und ihr von Nancy & Lee inspiriertes "Cigarette Duet" aus dem Jahr 2011 haben ihren Bekanntheitsgrad durch den Einfluss einer neuen TikTok-Generation in das öffentliche Bewusstsein gerückt. Für dieses Album wurden Chelseas Instrumentalarrangements von ihrer Live-Band inspiriert, die die Schlafzimmerdemoaufnahmen mit einem überraschenden Sound interpretiert hat. Es klingt anders, als man vielleicht erwarten würde. "The Forest" wurde live in einem Take mit Chelsea und der gesamten Band im beliebten neuseeländischen "The Lab" aufgenommen und zeigt dynamische Gitarrenwände und eine leidenschaftliche Gesangsperformance. Es ist eine markante Abweichung von ihrem bisherigen Schaffen und stellt eine weitere Einführung in das dar, was sie seit der Veröffentlichung der verträumten und doch düsteren Single "Everything is Going To Be Alright" im Februar als ihr "Gitarrenalbum" bezeichnet hat. Chelseas Fähigkeiten als Arrangeurin und Produzentin kommen auf dem Album voll zur Geltung, aber oft in Form von komplizierten Gitarrenarrangements, die an The Cars und die Breeders ("Forever is a Charm") und an klassische neuseeländische Flying Nun-Bands der 80er und 90er Jahre ("Love is More") erinnern. Obwohl das Album eine deutliche musikalische Entwicklung darstellt, sind ihre Markenzeichen immer noch da - klassische 80er Jahre Synths (Yamaha DX7, Roland D-50), vielschichtige Melodien, orchestrale Instrumente, verträumter Gesang, verdrehter Pop, der oft Vergleiche mit Julee Cruise oder Enya gezogen hat.

Limited Whirlpool Blue Vinyl! Auckland, New Zealand post-punk group Guardian Singles return to Trouble In Mind for their follow-up to 2021's debut with "Feed Me To The Doves", a ten-track socio-political burner addressing our collective spiritual chaos that pulls influence from across the history of punk & permeates it into something decidedly Aotearoan & uniquely their own in ways that are both personal & universal. "Feed Me To The Doves" is the first album to feature the current, long-standing lineup of Thom Burton (guitar, vocals), Fiona Campbell (drums), Yolanda Fagan (bass), and Durham Fenwick (lead guitar). The band has been playing live together now for a few years & it shows. The songs herein vary from the deeply personal, to sketches or postcards, as Burton says "_scribbled while watching the dregs of a delirious culture war play out through broken smartphones and praline vape clouds." Expertly recorded at Neil Finn's Roundhead Studios in Auckland by engineer Steven Marr, who Burton says had a "great sense of being able to keep the urgency of the songs while adding lushness and keeping things sounding like they're about to break at any second". Marr helped turn the album's scrappy beginnings into something more cohesive and beautiful.

The Flaming Lips veröffentlichten 2002 "Yoshimi Battles the Pink Robots", welches das meistverkaufte Album der Band ist und in den USA mit über 700.000 verkauften Alben mit Gold ausgezeichnet wurde.
Das Album enthält einen der kultigsten Songs der Band - "Do You Realize?" - sowie die Singles Fight Test, Ego Tripping at the Gates
of Hell und den Titeltrack. Die 20th Anniversary Deluxe Edition 5 LP Vinyl Box Set enthält das Originalalbum, B-Seiten, Demos und Radiosessions sowie weitere Raritäten. Die Vinyl-Box enthält 56 Tracks, von denen über 30 bisher unveröffentlicht sind, und 40, die zum ersten Mal auf Vinyl erhältlich sein werden.

Languid yacht-soul from the mind of LA native AJ
Greene and his Greenflow collective. Originally issued as a QCA-custom job in 1977, the group’s lone album appeared after years of
performing their brand of Sausalito-friendly, seafood AOR up and down the West Coast.
The LP’s standout track is ‘I Got’Cha’, with
Greene’s sister Eleanor providing innocent “doodoo-doo-doo-doo”s around funky keys, muted trombone, and come-hither whispers.

Mit einer Mischung aus zeitgenössischem AOR, melodischem Rock und Djent präsentieren BLACK ORCHID EMPIRE einen progressiven Sound, der ebenso ausgefeilt wie technisch, ebenso frisch wie vertraut und ebenso melodisch wie knallhart ist. Seit ihrem Debüt im Jahr 2016 ist das Londoner Trio auf dem aufsteigenden Ast, da sie den aktiven Rockmarkt in Großbritannien aufmischen. Mit "Tempus Veritas" ist die Band nun bereit, die nächste Stufe zu erreichen. Vom Konzept her ist das Album eine Sammlung von Geschichten, die nach fesselnden imaginären Erzählungen suchen, die in der Geschichte, wie wir sie kennen, versteckt sind. Wenn der Vorgänger "Semaphore" ein Sci-Fi-Album war, ist dies ein Hi-Fi-Album.

Mit einer Mischung aus zeitgenössischem AOR, melodischem Rock und Djent präsentieren BLACK ORCHID EMPIRE einen progressiven Sound, der ebenso ausgefeilt wie technisch, ebenso frisch wie vertraut und ebenso melodisch wie knallhart ist. Seit ihrem Debüt im Jahr 2016 ist das Londoner Trio auf dem aufsteigenden Ast, da sie den aktiven Rockmarkt in Großbritannien aufmischen. Mit "Tempus Veritas" ist die Band nun bereit, die nächste Stufe zu erreichen. Vom Konzept her ist das Album eine Sammlung von Geschichten, die nach fesselnden imaginären Erzählungen suchen, die in der Geschichte, wie wir sie kennen, versteckt sind. Wenn der Vorgänger "Semaphore" ein Sci-Fi-Album war, ist dies ein Hi-Fi-Album.

Laszlo Umbreit's album Pas de Regrets combines electronic sounds with recorded memories and various materials to create a unique listening experience. The album features complex soundscapes and techniques of layering and editing, drawing on Umbreit's experience as a sound designer for films. Pas de Regrets is an immersive and rich listening experience, with a narrative quality that places it between prospective electronics and experimental radio.

Laszlo Umbreit (*1986) is a Belgian sound designer and musician based in Brussels. Laszlo's work is anchored in sound research yet usually dialogues with the moving image, whether as present or absent. His musical practice mixes improvisation on electronic instruments, field recordings and a long meticulous editing and mixing process of sonic materials.

Riding high on the inexplicable Tech-house adoption of their last release, Talking Drums return with hit number six.
This desert island disc finds the family bagging a last minute flight to sunnier climes, where the cocktails are strong and the seas are calm.

On 'Air Ecosse', the crew provide an engine overhaul to a middling slice of Scotch boogie, squeezing maximum thrust out of the new beat-y intro before a bubbling bassline and chiming chords provide some serious uplift. The captain takes the comms for a late deadpan vocal, hinting at a little Pet Shop Boys karaoke prior to touchdown in paradise.

The percussion pals kick off the Birkies on the B side, boarding the bateau with a pair of proper harbour heaters. 'Too Yacht To Handle' bubbles along like Mick'n'Keef in disco mode, oozing grooves under a swooning vocal a la Nicolette Larson. A hazy arrangement lets the music play, indulging the instrumental breaks, soaring synths and subtle delays in true 12" Extended Mix stylee, perfect for peak-time at poolside or la playa.

Dropping the tempo to a sunset strut, 'AORwaves' provides the perfect cool-down, as TD cut back the fat on a forgotten soft-rocker to create a cosmic yacht bomb. Low slung, sleazy and spaced out, this is gonna rock a bar set and beyond.

Limited Press - Numbered Insert - Drum Fun Guaranteed.

Created between Palm Springs, California and Hilo, Hawai'i, V is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, V is the definitive Unknown Mortal Orchestra car record. It's also the fifth full-length album Ruban has released in twelve years. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools and the alluring darkness that lurks below perfect, pristine surfaces. It's a duality expressed in the dilapidated sunset blues and the saltcorroded soul Ruban explores through tracks like `Layla' and `Nadja. ' During the pandemic's early days, Ruban reunited with Kody at a cousin's wedding in Hawai'i. With assistance from their father, Chris Nielson (saxophone/flute) and longstanding Unknown Mortal Orchestra member Jake Portrait, they brought everything Ruban had been thinking about together. The result was V, due for release on March 3, 2023, through Jagjaguwar. When they talked about records that moved them in that spine-shivering manner, Ruban started thinking about the 70s AM radio rock and 80s pop songs that had lurked on the edge of his subconscious mind for most of his life. He wanted to write his version of records like that, leading to the two glorious uptempo singles Unknown Mortal Orchestra released in 2021, `Weekend Run' and `That Life'. However, the golden good times never last forever. Not long after, health issues began to plague his extended family.Putting his recordings aside, he helped his mother and his uncle move home from New Zealand and Portland to Hawai'i, and began dividing his time between Hawai'i and Palm Springs. During this period he reconnected with his relatives, reassessed his past, and started to look at things with fresh eyes. Hawai'i brought back memories of the darker side of his parents' lifestyle as entertainers. On those trips, he heard those classic AM radio rock records everywhere. They were inextricably intertwined with the palm trees, swimming pools, and glamorized hedonism he'd internalized from his childhood. There's a type of music in Hawai'i called Hapa-haole (Half white). You can hear it expressed in signature Unknown Mortal Orchestra style through the humid guitar-led atmosphere of V's penultimate song, `I Killed Captain Cook'. Although the songs are presented in a traditional Hawaiian manner, they're mostly sung in English. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.

Yellow Vinyl

Created between Palm Springs, California and Hilo, Hawai'i, V is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, V is the definitive Unknown Mortal Orchestra car record. It's also the fifth full-length album Ruban has released in twelve years. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools and the alluring darkness that lurks below perfect, pristine surfaces. It's a duality expressed in the dilapidated sunset blues and the saltcorroded soul Ruban explores through tracks like `Layla' and `Nadja. ' During the pandemic's early days, Ruban reunited with Kody at a cousin's wedding in Hawai'i. With assistance from their father, Chris Nielson (saxophone/flute) and longstanding Unknown Mortal Orchestra member Jake Portrait, they brought everything Ruban had been thinking about together. The result was V, due for release on March 3, 2023, through Jagjaguwar. When they talked about records that moved them in that spine-shivering manner, Ruban started thinking about the 70s AM radio rock and 80s pop songs that had lurked on the edge of his subconscious mind for most of his life. He wanted to write his version of records like that, leading to the two glorious uptempo singles Unknown Mortal Orchestra released in 2021, `Weekend Run' and `That Life'. However, the golden good times never last forever. Not long after, health issues began to plague his extended family.Putting his recordings aside, he helped his mother and his uncle move home from New Zealand and Portland to Hawai'i, and began dividing his time between Hawai'i and Palm Springs. During this period he reconnected with his relatives, reassessed his past, and started to look at things with fresh eyes. Hawai'i brought back memories of the darker side of his parents' lifestyle as entertainers. On those trips, he heard those classic AM radio rock records everywhere. They were inextricably intertwined with the palm trees, swimming pools, and glamorized hedonism he'd internalized from his childhood. There's a type of music in Hawai'i called Hapa-haole (Half white). You can hear it expressed in signature Unknown Mortal Orchestra style through the humid guitar-led atmosphere of V's penultimate song, `I Killed Captain Cook'. Although the songs are presented in a traditional Hawaiian manner, they're mostly sung in English. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.

Created between Palm Springs, California and Hilo, Hawai'i, V is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, V is the definitive Unknown Mortal Orchestra car record. It's also the fifth full-length album Ruban has released in twelve years. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools and the alluring darkness that lurks below perfect, pristine surfaces. It's a duality expressed in the dilapidated sunset blues and the saltcorroded soul Ruban explores through tracks like `Layla' and `Nadja. ' During the pandemic's early days, Ruban reunited with Kody at a cousin's wedding in Hawai'i. With assistance from their father, Chris Nielson (saxophone/flute) and longstanding Unknown Mortal Orchestra member Jake Portrait, they brought everything Ruban had been thinking about together. The result was V, due for release on March 3, 2023, through Jagjaguwar. When they talked about records that moved them in that spine-shivering manner, Ruban started thinking about the 70s AM radio rock and 80s pop songs that had lurked on the edge of his subconscious mind for most of his life. He wanted to write his version of records like that, leading to the two glorious uptempo singles Unknown Mortal Orchestra released in 2021, `Weekend Run' and `That Life'. However, the golden good times never last forever. Not long after, health issues began to plague his extended family.Putting his recordings aside, he helped his mother and his uncle move home from New Zealand and Portland to Hawai'i, and began dividing his time between Hawai'i and Palm Springs. During this period he reconnected with his relatives, reassessed his past, and started to look at things with fresh eyes. Hawai'i brought back memories of the darker side of his parents' lifestyle as entertainers. On those trips, he heard those classic AM radio rock records everywhere. They were inextricably intertwined with the palm trees, swimming pools, and glamorized hedonism he'd internalized from his childhood. There's a type of music in Hawai'i called Hapa-haole (Half white). You can hear it expressed in signature Unknown Mortal Orchestra style through the humid guitar-led atmosphere of V's penultimate song, `I Killed Captain Cook'. Although the songs are presented in a traditional Hawaiian manner, they're mostly sung in English. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.

Auf ".5: The Gray Chapter" zeigen die Maskenmänner aus Iowa, was sie drauf haben, und präsentieren gleichzeitig ihren aktuellen Drummer Jay Weinberg.

Musikalisch orientiert sich das Album weniger an seinem Vorgänger "All Hope I Gone" als vielmehr an Slipknots musikalischen Wurzeln zur Zeit von "Iowa" (2001) und "Vol. 3: The Subliminal Verses" (2004).

Mit hohen Chaftplatzierungen und guten Reviews reiht sich ".5: The
Gray Chapter" deshalb in die Liste der Slipknot Klassiker ein.

Stratus were a cross-genre rock band formed around 1974 in Rhinelander, Wisconsin, led by Robert Ackley. Originally recorded in 1976 at Wildwood Recording Studios, an embellished description of a basement in Rhinelander, Wisconsin. This release was funded by a local dentist and promoted by ‘Cathy’, Ackley’s muse and inspiration for the release and the track ‘Girl’ in particular. Only 1000 copies were ever pressed, the majority of which were subsequently distributed by the band at shows as pseudo-business cards, with many pristine original copies as a result becoming lost to time. The tracks have since resurfaced in Europe many years later, much to the surprise and joy of Ackley himself. Remastered from one of the last remaining mint condition original presses, this release is a must for all collectors of blue eyed soul and AOR rarities. This reissue marks the first release in 7” format since its 1976 debut.

- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

Light in the Attic’s Pacific Breeze series has supplied the world’s growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings—the mesmerizing and nebulous genre of Japanese bubble-era music of the ‘70s-’80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan’s affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave.

Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country’s creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as “Heartbeat” by Miho Fujiwara.

This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka.

Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

Tracklist:

Naomi Akimoto - Bewitched (Are You Leaving Soon), Atsuko Nina - Tonkachi, Miho Fujiwara - Heartbeat, Miharu Koshi - Scandal Night, Chu Kosaka - Shirakechimauze, Teresa Noda - Tropical Love, Makoto Matsushita - Business Man Pt. 1, Susan - Ah! Soka, Yukako Hayase - Suiyoubi Madeni Shinitaino, Parachute - Kowloon Daily, Hiroyuki Namba - Tropical Exposition (Who Done It? Version), Pizzicato Five - Boy Meets Girl, Mari Iijima - Love Sick, 1986 Omega Tribe - Cosmic Love, Osamu Shoji - Pub Casablanca, Chiemi Manabe - Untotooku

Mastered by Tohru Kotetsu and pressed at RTI, this 45rpm LP will live up to and surpass your most demanding judgments. Midnight Sugar is one of the most sough-after titles from the acclaimed Three Blind Mice catalogue.

On “Midnight Sugar” the Tsuyoshi Yamamoto Trio plays two of Tsuyoshi’s own blues improvisations followed by jazz ballads that became standards for the Trio. The combination of these titles is nothing but exceptional.

The Yamamoto Trio’s Midnight Sugar was recorded March 1, 1974 at Aoi Studio, Tokyo. It earned the Best Engineering Award and Jazz Disc Award of Swing Journal in 1974. It is Yamamoto’s unmistakable skill and his jazz feeling which adds that certain touch of liveliness and spontaneity and makes Midnight Sugar a unique experience. This Piano Trio will mesmerize you with this great collection of standards, superb musicianship and awesome sonics. You are sure to listen to this one over and over.

Mastered by Tohru Kotetsu and pressed at RTI, this 45rpm LP will live up to and surpass your most demanding judgments. Misty is one of the most sought-after titles from the acclaimed Three Blind Mice catalog.

Touring with the Micky Curtis Band, Tsuyoshi Yamamoto had the chance to explore several international experiences that he would later use on his 1974 album, Misty, as he worked with this band in France, England, and Switzerland.

The Yamamoto Trio’s Misty is a Stoned Cold Killer! A1 Reference Material!!! Misty earned both the “Best Engineering” Award and Jazz Disc Award of Swing Journal in 1974. Recorded at Aoi Studio, Tokyo, on August 7, 1974. Tsuyoshi Yamamoto is highly musical and his expressions natural, neither overly technical nor serious, his performance is relaxed and melodious.

The second EP from this mysterious edit series and they definitely don’t disappoint!
On the edit block this time... Tropical Jazz funk, African boogie, killer lost female AOR, & a Rare Gospel meets Street Soul cut. The first EP sold out fast so don’t sleep on this one folks!

A completely re-recorded and remastered version of KAUAN's black metal masterpiece, Aava Tuulen Maa. Released with brand new cover art, different arrangements, and updated recording, ATM Revised is the definitive edition of the band's third album. Released in a beautiful vinyl sleeve with a bonus vinyl-sized booklet. ATM Revised (Aava tuulen maa) was recorded in the early days of Kauan. It was the first album recorded outside of the group's home studio with strict budget limitations. Finally in 2021, everything came together. Kauan blew off the dust from the original recordings and carefully removed all the compromises. This is not just a "remastered" version of the original, it's complete recordings of real drums and bass, restored and refined original tracks, carefully mixed & mastered with analogue gear with all respect to the source. Original art pieces by Sergey Jung were also rescanned, together with all the sketches and imperfections, so now you can experience a beautiful new-looking layout.

After 6 years and 7 volumes, the Tramp Records crew invites you to join them on yet another enlightening journey into soulful Jazz, Folk and Funk from the 1970s.

This 8th volume contains nineteen Jazz, Soul and Folk nuggets from between the late 1960s and the late 1970s. One of the many highlights is the opening track by Bobby Cole which is most likely one of the finest independently produced vocal jazz recordings ever put on wax. So true. Oscar Brown Jr. and Mark Murphy sends its regards. But that's just the beginning. Praise Poems Vol.8 covers a wide selection of genres, from big band jazz (Helmut Pistor's Big Rock Jazz Band and Germany's own Ladykiller) to psych-pop (Portraits in Sound, Harve and Charee and Allison & Shaffer), from folk-rock (Flash, Garndarf and the incredible Fang Buzbee) to AOR (The Menagerie and Penn Central), completing the set with a handful of melancholic folk beauties, most notably Hans Hass Jr.'s mind-blowing "Welche Farbe hat der Wind".

Very few compilation series' release as many as eight volumes and those that get that far often start to run out of quality music or meander too far from their original artistic direction. That certainly is not the case with the "Praise Poems" series which leaps from strength-to-strength as our team of compilers and researchers continue to unearth lost and often overlooked music from an era long gone. Many of these records were released in small quantities as private pressings or by small regional labels. Obviously, those labels neither had the budget, expertise, nor options to promote their releases in a sweeping way. Therefore the majority of these artists failed to find the wider audience their music so richly deserved.

Portuguese multi-instrumentalist, DJ and producer Pedro
Ricardo releases his debut album, Soprem Bons Ventos, on
Soundway Records.
Currently based in Berlin, Pedro Ricardo has been releasing
music for the past eight years under different aliases via labels
such as Wolf Music and his own imprint Hear, Sense and Feel.
An eclectic DJ and selector, he hosts a radio show on South
London’s radio Balamii, guested on Mafalda’s NTS show and
can be found playing in clubs across all Europe.
Stylistically, Ricardo became entranced with jazz from an early
age, while also becoming enamoured with folk music – rooted
in his Portugal childhood, now encompassing sounds from
Cape Verde, Brazil, and Spain along the way. He intertwines
these instrumental influences with field recordings, and
electronics, on Soprem Bons Ventos.
“The album translates to ‘Good Winds Blow’, shares Ricardo.
“This idea of good winds blowing is intertwined with the
feeling of missing something, and sadness. On a positive note,
there is still an overarching sense that happiness also lies
ahead. Soprem Bons Ventos represents an ode to the past, to
those who came before me, connecting with my present and
imagining the future."

With 'Parallel Light', AndrewWasylyk offers an alternative mix album to 2020's spiritual-jazz and neo-classical masterclass in melody, 'Fugitive Light And Themes Of Consolation'. This new LP, his third with Athens Of North Records, is as much a different perspective as a companion piece.

The ten songs still circle landscapes for meaning, channelling half-heard melodies and misremembered memories; caught somewhere between settling down and setting out towards the shining levels of the estuary and beyond. Each magnifying the bold, expansive arrangements of FL&TOC with layers are lifted and peeled away.

The soft-focus glow of gently pressed piano keys, the well and wash of strings and brass remain, but the deduction of instrumentation serves to highlight the ornate and offers comfort with this new found space. In the warmth reshaped, a romanticism illuminated.

At the essence of these reframed compositions Wasylyk's blue and gold, mellifluous refrains prevail. It's a seamless, sublime flow from a restless artists and an album quietly reawakened.

Kid Cudi meldet sich mit seinem zehnten Studioalbum „Entergalactic“ zurück.
Der GRAMMY-Gewinner und mehrfache Platin-Award-Träger festigt mit seinem kommenden Projekt erneut seinen Platz an der Spitze der globalen A-List-Musiker: innen.

Als Parallele zur musikalischen Verwirklichung seines Schaffens erscheint ebenfalls eine gleichnamige Netflix-Produktion. Die Regie teilen sich Kid Cudi und der erfahrene Filmproduzent Kenya Barris (Girls Trip, Der Prinz aus Zamunda 2).
Kid Cudi teilt stolz mit: „Entergalactic is everything I’ve always wanted to do, create a long-form visual companion to an album.”

Neben der musikalischen Fülle überzeugt das Album auch durch seine hochkarätigen Feature-Gäste wie Ty Dolla $ign, 2 Chainz oder auch Steve Aoki.

Time for some rare late 70s soul royalty out of Memphis, Tennessee, a top rung rarity on the collector scene, Coco & Ben - Good Feelin'. Ben Robinson was recently tracked down by friends of the label Daniel Mathis and Robert Garcia, lucky for the world he was still sitting on the tapes for this slightly longer take (as well as some unreleased tracks) allowing us to cut this disco floater as a nice loud 12" for the first time, now sounding better than it ever has, don't sleep on the flip either. Utterly essential record.

"Island Time" is the latest album from Joel Sarakula and his first since relocating to The Canary Islands at the height of the pandemic. From his home in the UK he accepted an invitation to perform a special concert Alfredo Kraus Auditorium in Las Palmas, Gran Canaria in November 2020 not realising it would change his life.

"Island Time" is a collection of songs covering themes such as island life, city life, loneliness and romantic love and our relationship with nature.

Stylistically covering soft-rock, soul, disco and reggae, "Island Time" and its first single "Tragic" is broad in scope but ultimately a cohesive record, with the production focusing on a small group of musicians featuring Phil Martin (Dawn Patrol, Martin & Garp) on drums and Xav Clarke on guitar and bass. Building on his previous records "Love Club" and "Companionship", Sarakula expands his palette with a broader use of synthesizers and drum machines and makes stylistically adventurous choices such as the AOR samba of "Dinosaur" and the 70s-cod reggae inspired title track "Island Time", a tribute to escape and re-invention. Sarakula sings "Don't bother me I'm on island time, don't bother my mind once again." For any overworked and over-connected city-dweller, this plea for isolation in a tropical island is a beautiful fantasy.

"Island Time" will be released on Jan 20th, 2023 with Sarakula bringing some tropical sunshine to the freezing European winter in January and February with performances already confirmed in The Netherlands and Germany.

Horn of Plenty excavates the shadowy depths of the New Zealand/Aotearoa underground with Old Light, a collection of previously unreleased recordings by Nova Scotia, the experimental trio of Dean Brown, Dick Whyte, and Rick Jensen. Resting at the borders of free improvisation, noise, drone, and ecstatic ritualism, across seven tracks - recorded sporadically between the early to mid-2000s - the LP unveils a widely unacknowledged flowering of singular, real-time creativity from the southern hemisphere, with few parallels before or since. Old Light - Nova Scotia’s first full-length to appear in 13 years and the first to be issued on vinyl - draws on live recordings made across the years spanning the early to mid-2000s. Encountering the trio fully embracing a radical search for creative freedom, while dispelling all notions of dedicated instrumentation in an “anything goes” approach, the LP’s seven tracks cover a vast amount of ground, while retaining a unifying logic and sense of cohesion. Rather than the brittle angularity and simmering aggression that helped define the generation of NZ/Aotearoa artists that proceeded them, Nova Scotia’s sound - a distant cousin at best - draws from a different well, embracing a form of ecstatic ritualism bound to a fundamental human desire to commune through sound. As though Faust, Marginal Consort, and the free-wheeling psychedelia of Parson Sound and International Harvester had birthed a delicate, inward-looking child, Old Light embarks on a journey through doomy noise dirges, clatter-threaded drones, spirited DIY clamour, and joyously experimental, real-time improvisation, culminating as a body of creatively brilliant sonority that recalibrates our understanding of what flowered from the NZ/Aotearoa underground at the dawn of the new millennium.

In summer 1958, João Gilberto -an unknown 28 year-old Brazilian guitarist and singer from Bahia- made his recording debut as a singer with two songs "Chega de Saudade" and "Bim Bom." With a new rhythmic feeling, batida, and rich harmonies he laid the basis of the modern Brazilian samba, now known as Bossa Nova. Underpinned by his insouciantly swinging guitar, Joãos seductive, vibratoless vocals caressed both ear and soul in a mesmerizing, highly addictive combination, refreshing and modern. Chega de Saudade was a hit, launching Gilbertos career and the bossa nova craze. Soon, singers and guitarists were trying to imitate him and composers were all on a Desafinado (the second Gilbertos hit) and Chega de Saudade kick. The longawaited renewal of the Brazilian samba was now a fact. Antonio Carlos Jobim said: Gilberto appeared as a light, as a big star in the firmament, in the heavens. He became a focus, because he was pulling the guitar in one way and singing the other way, which created a third thing that was profound. Yes, the guy who brought the Bossa Nova beat to the world was João Gilberto.

Strictly limited to 500 copies on transparent blue vinyl. The Swedish AOR band HOUSTON is back with their 5th album and 3rd of their series of self-titled releases, this one, simply called “III”. Houston has been around since their self-titled debut album in 2010 and landed the number one in Classic Rock Magazine’s AOR chart that year, up against outfits such as Unruly child, CrashDiet, H.e.a.t and Nelson.

-European fall tour is sold out across all venues, with a U.S. tour set for 2023. Supported by fans and listeners of Thundercat, Silk Sonic, Jungle and Steely Dan. Album single, “Rolling Back” has been featured across multiple editorial playlists via major DSPs, including Spotify’s Soul ’n’ the City, Retro Pop, Stay Tuned!, Happy Stroll and Ready for the Day. Young Gun Silver Fox, the acclaimed indie duo from the UK with yacht-rock tendencies comprising of Andy Platts of Mamas Gun and Shawn Lee (vagabond award-winning video game composer) announce their highly anticipated fourth studio album Ticket to Shangri-La. The album showcases a band at the very top of their game, fine-tuning their potent brew of sun-kissed pop-soul, west coast AOR and natural groove with a skill for composition and production that sees them forging ahead down a musical highway blessed with blue skies and positive vibrations. For both participants, the chance to make a new record together is always a liberating experience, as Andy explains; “I always come back to Young Gun Silver Fox like taking a drive to the coast and I just smell the ocean and the air and it’s like ‘wicked I’m back here again’ and I can just kick back and enjoy it.” The chemistry and craftmanship on Ticket to Shangri-La means that Young Gun Silver Fox do exactly as the title suggests, transporting the listener to a magical, mythical world of sunshine and good vibes, a musical and spiritual ethos born from the minds of two gifted musicians that stand as the embodiment of all they do best, whilst providing the perfect invitation into their unique world.