Cerca:arrival

Originalmusik von den Chiptune-Rockern Anamanaguchi (Künstlerveröffentlichungen, Scott Pilgrim Videospiel, Capsule Silence XXIV) und Joseph Trapanese (Oblivion, Straight Outta Compton, No One Will Save You, The Greatest Showman, Skull Island, The Witcher, The Machine, Star Wars: Tales from the Galaxy's Edge, Stuber), mit Originalsongs von Anamanaguchi.

Scott Pilgrim Takes Off ist eine Anime-Streaming-Fernsehserie, die von Bryan Lee O'Malley und BenDavid Grabinski für Netflix entwickelt wurde. Die Serie basiert auf den Scott Pilgrim-Grafikromanen, die von O'Malley geschrieben und gezeichnet wurden, wobei die gesamte Hauptbesetzung aus der Verfilmung von 2010, Scott Pilgrim vs. the World, ihre Rollen für die englische Sprachbesetzung wieder aufnimmt, und dient sowohl als Fortsetzung als auch als Neuinterpretation des Grafikromans und des Films. Die Serie wurde am 17. November 2023 veröffentlicht und von der Öffentlichkeit
begeistert aufgenommen. Im Gegensatz zur Verfilmung, die weitgehend die gleiche Geschichte wie die Comics erzählte, weist "Takes Off" eine völlig eigenständige Handlung auf: Der titelgebende Scott Pilgrim verschwindet in der ersten Folge, und Ramona Flowers, sein Liebesinteresse, steht im Mittelpunkt, während sie versucht, herauszufinden, wer von den Darstellern für sein Verschwinden verantwortlich ist, während andere Figuren in der Geschichte an einer fiktiven Adaption von Scotts Leben arbeiten.

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

London outfit Kassian continue their broadly- evolving yet highly detailed journey through and beyond sound towards something ever more expansive. Their second release for !K7 Records comes in the wake of creating a dedicated hardware-forward studio in a Northeast London container complex, where they have the freedom to interlink their machines. This renewed focus brought them to Supercontinent EP, named for the ancient geological era when Africa and South America were joined as Pangea.

A reformulation of rhythmic ideas inspired by South= African Amapiano and South American Baile Funk governs the two hemispheres of the record. The pair examine and deconstruct dancefloor material, eschewing 4/4 for interlocking shaker patterns, searing acid lines, cracking breakbeats, and vocal samples in Zulu and Brazil Portuguese.

The immediacy of the restless rhythm and bass-led funk of “Yena” (the word Yena translates to ‘he/him /man’)forms a sweet spot where double-time and half-time can coexist. “Yami” (‘mine’ in Zulu) is a slinkier proposition which sheds prominent percussion in favour of a weighty, fluid, acid-informed bassline undulating from below.

An ascending percussive riff marks the arrival of “Pulgueiro”, followed closely by break beats and the nostalgia of distinctly British acid electro; it is an intentionally future-forward retelling of a vintage sound, replete with a mind-melt breakdown of rave pads.

A dubbed-out groove dominates the bottom-heavy “Sistema” – a groovy, steady roller that chugs and propels and chugs with head-nod hypnotism through an intricately minimalistic approach.

Composed by Jim O’Rourke and pieced together by Jim together with longtime collaborator and trumpeter Eivind Lønning at Jim and Eiko Ishibashi’s home in the Japanese mountains, this engrossing new album blows brass wails and tense fanfares across O'Rourke's manipulated Kyma tapestries for a deep, captivating trip into the aether.

Eivind Lønning has been sharing ideas with O'Rourke for several years: the duo collaborated on music for the Whitney's 'Calder: Hypermobility' exhibition, and Lønning played trumpet on O'Rourke's brilliant 2020 album 'Shutting Down Here'. For this new work, Lønning headed to O'Rourke and EIko Ishibashi's home studio in the Japanese mountains, where he teased unfamiliar, alien textures from his trumpet to open the labyrinthine three-part composition. O'Rourke took the material and subsequently funnelled it through his Kyma system, transforming it into a swirl of sound that hums alongside Lønning's original takes. The album was composed, mixed and mastered by O'Rourke, with everything's based on Lønning's virtuosic performance.

The album begins by cautiously introducing us to its sonic palette: wavering, bird-like horn wails that O'Rourke contorts around quiet synth oscillations and computerised swarms. Lønning's spittle-drenched blasts are given the spotlight, but O'Rourke's manipulations - often gentle and illusory, and sometimes utterly lacerating - lift the sounds into completely new territory. When Lønning begins to turn rhythmic cycles using the trumpet keys, popping with his mouth to compliment its leathery timbre, O'Rourke replies with dense, hallucinatory drones, juxtaposing unstable electronics with Lønning's breathy, sustained notes. All these sounds coalesce into a dizzy vortex, but O'Rourke is careful not to overwhelm the senses, dropping to near silence as the first act transitions into the second. O'Rourke pelts Lønning's vertiginous wails, steadily mutating them into Xenakis-like stabs until they sound like cybernetic strings and icy tones that extract the tension from Lønning's brassy harmonics.

The third act is more screwed, with O'Rourke allowing Lønning's improvisations wail into cathedral-strength reverb, accompanying the sound with glassy penetrations and throbbing subs. Here, Lønning sounds as if he's heralding the arrival of a celestial being, piercing the atmosphere with bright, sustained tones and muted, jazzy flourishes. O'Rourke hangs back, carefully spinning the notes into naturalistic fibres and orchestral drapery, before he allows the electronics to subside completely and the trumpet to echo into the imposing negative space.

'Most, but Potentially All' is a dumbfounding piece that shifts the dial on contemporary experimental music; dizzyingly complex but never showy, it's the kind of record you can spin repeatedly and hear something different each time. As an exploration of the trumpet, it's a unique expression, and as a progression of electro-acoustic compositional techniques, it draws a deep trench in the sand, setting a new standard.

Following on from his atomic single release, Phonk On The Dancefloor, Sofia’s Raredub now presents his highly anticipated full EP via Mutual Pleasure Records. Rare, Raw and Ready is a high-voltage introduction to the Bulgarian bass baron, a title that is fully justified with this latest venture of sound.

Raredub wastes no time in setting the pace for this project, as we’re thrown straight into the searing furnace with opening track BAMBA. Having been road-tested by the likes of KETTAMA, KiNK, Skin On Skin and Raredub himself, BAMBA, with its infectious vocals, gut-hurdling bassline and devious rave-stab melodies, is a carefully constructed weapon of sound, with proven devastating results.

We’re then brought to Juicy Fruit, which sees both Raredub and Mutual Pleasure’s head-honcho Partiboi69 lock palms to create a deeply sensual, highly contagious dance-floor anthem that sees the producer masterfully blend hissing hi-hats and a series of infectious rising chord patterns and melodies which, when combined, are certainly set to cause nothing but dance-floor destruction.

Since being played as the opening track to Partibo69 and DJ Heartstring’s stingzone set, L.L.L is a track which, with its mind-warping bassline,euphoria ladened vocals and pad-work, has enjoyed a growing sense of anticipation from listeners, eager for its arrival.

Snappy Chulo sees Raredub again use a series of piercing rave-stabs to drive his sound, which is partnered with a plethora of electronic experimentation and instrumentation, before the seismic bassline of Break Of Dawn see Raredub bring the walls and ceiling crumbling down; presenting a suitably fitting finale to this atomic attack on the senses.
Rare, Raw and Ready brings Raredub’s prowess for production to the fore, as the Bulgarian producer conducts wild electronic experiments, bending genres and sound into form, to create a versatile, highly contagious and highly atomic serving of sound.

This is the most ambitious project of Tim Garland's stellar career, with a celebration of Lighthouse Trio's 20th Anniversary (Gwilym Simcock and Asaf Sirkis), along with a stunning display of Tim's prowess as a composer and arranger with the Britten Sinfonia, featuring violinist Thomas Gould, along with trumpet ace Yazz Ahmed performing as a special guest on one track. Tim describes the project: “That Moment of Departure, from the known, the notated, towards something new is a shout of fearless freedom. The compositions on this album all have crucial and varied relationship*s with improvised music, from string orchestra to intimate trio, and completely free-form music. Classical influences and visual art have informed me, as much as my jazz heart. The series of paintings called ‘Sail To Hope’, by Esra Kizir Gokcen, provide a backbone of inspiration for the first disc’s music. The subject of journeying into the unknown, as well as the influence of Turkish rhythms, create the background atmosphere whilst maintaining the spaciousness and freedom for the jazz soloists.”

Cate Brooks is back with her seventh release for Clay Pipe Music. Never one to stand still, ‘Easel Studies’ finds her pushing the boundaries of sound synthesis and experimentation on the Buchla Music Easel while still sounding beautifully beguiling and hypnotically melodic.

"On this day in 2015, at exactly Midday, I took delivery of a wildly exotic musical instrument. To call it a synthesizer would be a misrepresentation; it’s really more of a tactile, living, breathing entity than anything else. It had originally supposed to have been delivered on the day before, but had somehow been mislaid in the labyrinths of the Royal Mail sorting office at Elephant and Castle.

I sat patiently and quietly all morning, waiting for its imminent arrival. I had already read through the ‘manual’, which is more of a concept / design for living, written by synthesis legend Allen Strange.

With Noon approaching, I became a little anxious- my local postie, Barrie, was usually here by about 10:30am and there was no sign of him.

At 11:58, Barrie walked past, completely ignoring my house. Obviously concerned, I stood at the door and waited for him to walk back toward his van. As he came back, he smiled and I called out, quizzically “Barrie?”. His reply was “Yes I have!” and walked back to his van, collecting a large box and bringing it to my door. I remember the weather was muggy and my neighbour was attending to her rose bushes, as the cheery and helpful postie deftly navigated around her busy secateurs.

I took the box inside, opened the top and just looked at the inner box for a while. I took a photo of it, which I still have. It felt like quite a momentous occasion, because I felt that this instrument would take me to different sonic spaces than I was used to. It wasn’t my first experience with Don Buchla’s instruments by any means, as I’d learned to use his 200e system. But this was quite a different beast.

My cat Brillo came to inspect the box and I set the Music Easel up on the floor and plugged it in. The result of that very first experiment became “Pendula”.

In the following days and weeks of that summer, I created many more experiments on the Easel, quite often with Brillo either sat on me as I played, or trying to climb up on the instrument itself, attempting to move the faders and switches himself.

By the end of August, I had amassed some thirty-something pieces, which I put aside for future reference. I had learned a lot about this instrument, its idiosyncrasies, subtleties and ways of working.

Sadly, Brillo died in September of 2015. I like to think that his last summer with me was a comforting experience, curling up and listening to the sonic experiments taking place, as he regularly did for the sixteen years he was with me. The first track on the album, “Con Brillo” is my little tribute to him.

Fast forward to 2021 and I rediscovered all of these experiments. Some were almost unlistenable, but some had a beguiling charm about them- perhaps the sound of someone not really knowing what they’re getting into. They needed mixing and balancing, so I set to work. I also wrote a new piece, with exactly the same recording chain, in the same way, in the same room. This became the suitably titled final track “Hindsight”.

The Music Easel has remained a constant source of sonic worlds for me to explore. It because the main instrument on the album Agri Montana, for example and has cropped up on many other records I’ve made since.

I would especially like to thank David at Postmodular for selling the Music Easel to me, after phoning him and disturbing his Sunday afternoon outing to Hyde Park (sorry about that David). I always promised I would send him a copy of something I had produced on it, so hopefully he will enjoy Easel Studies."

As I finish writing this, I notice that it is, once more, exactly Midday.

I hope you enjoy Easel Studies too.

Cate Brooks (21st of May, 2023).

The first regular Dave Brubeck Quartet with Paul Desmond included Joe Dodge on drums and, alternatively, brothers Bob or Norman Bates on bass. In 1956 Joe Morello took over as the quartet’s drummer in place of Dodge (the Bates brothers would be replaced by Eugene Wright on bass a few months after the recording of this album, and with his arrival the “Classic Quartet” was born). Jazz Goes to Junior College is, therefore, a recording that shows a transitional phase of the quartet. It also marks a return to “live” albums after making various studio LPs. This was a “sequel” to the Brubeck Quartet hit Jazz Goes to College, recorded during various college concerts in 1954. THE COMPLETE ALBUM - 180-gram VIRGIN VINYL - LIMITED EDITION -

Malegra, Reyna Tropical's long-anticipated debut full-length album, is at once a vibrant arrival and an electrifying bridge. The album is a contemporary celebration and continuation of wide-reaching cultural traditions - from Congolese, Peruvian, and cumbia rhythms to revolutionary artists like lesbian Mexican guitarist-singer Chavela Vargas - these influences meld and are remixed through the distinctive lens of trailblazing guitarist and songwriter Fabi Reyna. Traversing themes including queer love, feminine sensuality, and the transformative power of intentional relations to the earth, Malegría spotlights narratives often pushed to the margins and offers them a sonic homeland. The portmanteau, born from a 1998 Manu Chao song by the same name, is akin to bittersweet and blends the Spanish "mal" which means "bad" and "alegria" which means "happiness." Malegria marks Reyna Tropical's return to centering creative joy and movement through music. Whether enjoyed during listening parties or infectious live sets, the music will move listeners and irresistibly command a jump - into action in protection of the land, into the arms of a crush, into your own power and fearlessness, into steady body rolls along to the beat. Malegria offers us all a chance to witness history in the making.

Christina Kubisch’s Stromsänger finds this legendary sound artist at the top of her game mixing electromagnetic wave recordings with a score for six voices, creating powerful results. Stromsänger is based on a collaboration with the Norwegian vocal ensemble Trondheim Voices and on a special experience while researching and recording electromagnetic waves in the city of Trondheim.

“The general theme of the composition is the idea of sounds which travel. During a tram ride from the city up to the hills with an old tram I discovered not only stunning views of the surrounding landscape but as well a special soundscape. Wearing a custom made induction headphones, I could hear the normally hidden electromagnetic fields of the tram, which were so impressive and musical to me that I immediately decided to base my piece for Trondheim Voices on this discovery.

As a start, a series of pure vocal recordings were produced by Trondheim Voices while listening to a choice of electromagnetic tram sounds and following score instructions. This material was mixed in my Berlin studio and afterward was played back through a multi-loudspeaker setup into the room of the Elisabeth Church in Berlin and was instantaneously recorded. The emerged recording was played back and recorded again. The process of playing back the previous recording was repeated numerous times, generating numerous “re-recordings”, until the voices sounded aethereal and abstract. The last one of these recordings became the very beginning of the Stromsänger piece.

Part A is based on the electromagnetic sounds of the waiting tram and previously recorded voices. The singers come on stage and start to sing together with their recorded part which slowly fades out while the live singing takes over: a kind of choral for electrical tram waves and voices.

Part B is based on the actual tram ride with strong and intense electromagnetic sounds. The single recordings were treated electronically and were divided into six channels. Each singer has chosen one of these files and improvises with the magnetic sounds as a soloist or in duos or trios.

Part C is based on the itinerary of the tram ride to Lian, where a pilgrim's path starts. The names of the single stops, which have very beautiful and poetic names, are performed together as a kind of "sound poetry". The singers walk around on stage and/or can choose special positions for their performance. The recording of the word "Lian", the final stop, was recorded beforehand and played back and re-recorded several times in the open Norwegian landscape near the final tram stop. The voices slowly disappear and fade out.”

Christina Kubisch, 2024

EYE – the new band from Mammoth Weed Wizard Bastard (MWWB) singer-songwriter/musician Jessica
Ball – has announced the arrival of their eagerly awaited debut album, 'Dark Light’. "These songs have
been many years in the making... Some of these ideas were crafted before MWWB, this is something
I've always wanted to do. Over the last couple of years, I’ve spent some time on finishing and crafting
these ideas and pieces of music into songs. Some were snippets of lyrics from my early twenties which
reflect on what seems like a different person. I think it’s quite poetic how it’s all come together now.”

Music is a form of world building. I love to develop sonic characters and set them into fictional ecosystems with unique textures, acoustics and atmospheres. Each song forms a different landscape, through which a vocal character guides us and tries to tell us its stories." — Ludwig Berger

Ludwig Berger's 'fictional' debut album "Garden Ediacara" unfolds as a musical eco-fiction, guiding listeners through a speculative ecosystem with synthesized vocals. Infused with storytelling techniques from sci-fi and fantasy, the album intertwines melodic songwriting with electroacoustic sound design. Inspired by hydrofeminism and eco-fiction novels, such as "A Door Into Ocean" by Joan Slonczewski, the album delves into the geological period of Ediacara around 600 million years ago — an era so remote it resonates as a glimpse into a possible future. The Ediacaran period was characterised by a peaceful and thriving ecosystem inhabited by soft-bodied creatures without eyes and bones, which were completely wiped out through the appearance of a new species. "Garden of Ediacara" alludes to this period, celebrating both the pleasures of biodiversity as well as mourning its inevitable loss. The narrative unfolds as an exploration of growth and interconnection in the shadow of a coming extinction. The track titles, written by Daisy Lafarge, reveal themselves as a cohesive poem and contribute to the album's narrative.

Informed by his practice of field recording that focusses on intimate encounters with plants, animals and geological phenomena, as well as his studies in electroacoustic composition, Berger expands his palette for his debut in 'fictional' music. The album prominently features a post-human, non-binary death metal voice synthesizer, physical modeling instruments, and microscopic field recordings of plants, insects, as well as aquatic and geological life. With impressionistic strokes, Ludwig Berger crafts vibrant worlds using glassy timbres and more-than-human voices, guiding listeners through emotionally ambiguous terrain, seamlessly oscillating between moments of intimacy and irritation, melancholy and playfulness.

Ludwig Berger is a landscape sound artist, educator and musician. In his compositions, installations and performances, he enables intimate and playful sonic encounters with plants, animals, buildings and geological entities. He is founder and curator of the label Vertical Music, which releases field recordings and experimental music. Berger holds degrees in electroacoustic composition, as well as musicology, art history and literature. As a sound researcher and teacher at the Institute for Landscape Architecture at ETH Zurich from 2015-2022, he studied the sonic dimension of Japanese gardens, alpine glaciers and urban landscapes, which among other things led to the release of the acclaimed album trilogy 'Melting Landscapes', 'Dammed Landscapes' and 'Buried Landscapes'.

At once a hazy relic and a digital snapshot of the human experience, Your Day Will Come is the debut album from Chanel Beads, arriving April 19 via Jagjaguwar. The remarkable project announces the arrival of New York-based musician Shane Lavers as a new force in experimental music, capturing the many contradictions of modern existence and the strange infiniteness of the digital world. The songs feel like a memory in which you can't distinguish between what actually happened or what was a false reproduction in your mind - although the burning emotion remains intact. Lavers pushed himself to strip his own sense of ego from “Your Day Will Come”. Throughout, Lavers weaves in contributions from his live bandmates, singer-songwriter Maya McGrory (Colle) and experimental instrumentalist Zachary Paul, who offer their own layers of feeling. As McGrory offers a more full-bodied tone and Lavers often sings with his higher-pitched head voice, the two collaborators meet in the middle; it's an intermingling of identities or a subconscious pining for androgyny. In this slippery space, different perspectives merge together, and there's a sense of empathy and humility that arises from the blending of these voices. These days, Chanel Beads live shows see all three performers weaving together in absolute catharsis. This catharsis is pushed to its peak on "Idea June," which sees McGrory taking over lead vocals to project Lavers' lyrics. As McGrory sings, "The waves wash onto my shore," in a voice that's both earnest and digitally processed, it's as though she's speaking as a separate embodiment of Lavers. In under two minutes, the track of clunky acoustic guitar and gutting strings lands somewhere between detachment and kinship. Similar to the off-kilter structure of "Police Scanner," these songs are strangely affecting in their unfinished and liminal forms. Lavers, who is drawn to poor MP3 rips and transitional moments in DJ mixes, knows that these inexact musical artifacts evoke human imperfection. The title of Your Day Will Come could be read as a promise of the arrival of good karma, or it could be a reminder of one's mortality, said out of spite. Yet as Lavers unpacks the haunting feelings of the past that he must release in order to move into his future, he reminds us that grief and hope might be closer than they seem to the naked eye.

At once a hazy relic and a digital snapshot of the human experience, Your Day Will Come is the debut album from Chanel Beads, arriving April 19 via Jagjaguwar. The remarkable project announces the arrival of New York-based musician Shane Lavers as a new force in experimental music, capturing the many contradictions of modern existence and the strange infiniteness of the digital world. The songs feel like a memory in which you can't distinguish between what actually happened or what was a false reproduction in your mind - although the burning emotion remains intact. Lavers pushed himself to strip his own sense of ego from “Your Day Will Come”. Throughout, Lavers weaves in contributions from his live bandmates, singer-songwriter Maya McGrory (Colle) and experimental instrumentalist Zachary Paul, who offer their own layers of feeling. As McGrory offers a more full-bodied tone and Lavers often sings with his higher-pitched head voice, the two collaborators meet in the middle; it's an intermingling of identities or a subconscious pining for androgyny. In this slippery space, different perspectives merge together, and there's a sense of empathy and humility that arises from the blending of these voices. These days, Chanel Beads live shows see all three performers weaving together in absolute catharsis. This catharsis is pushed to its peak on "Idea June," which sees McGrory taking over lead vocals to project Lavers' lyrics. As McGrory sings, "The waves wash onto my shore," in a voice that's both earnest and digitally processed, it's as though she's speaking as a separate embodiment of Lavers. In under two minutes, the track of clunky acoustic guitar and gutting strings lands somewhere between detachment and kinship. Similar to the off-kilter structure of "Police Scanner," these songs are strangely affecting in their unfinished and liminal forms. Lavers, who is drawn to poor MP3 rips and transitional moments in DJ mixes, knows that these inexact musical artifacts evoke human imperfection. The title of Your Day Will Come could be read as a promise of the arrival of good karma, or it could be a reminder of one's mortality, said out of spite. Yet as Lavers unpacks the haunting feelings of the past that he must release in order to move into his future, he reminds us that grief and hope might be closer than they seem to the naked eye.

Ruutu Poiss with his second album “II” after his 2021’s debut full length “Palav Aed“, a welcome return to Wake Dream. Recorded in a concentrated period of time during the dark winter days of late 2022 and early 2023, “II” now finds it’s way to the public’s ears in the brighter days of the year.

An album as conceptual as it is emotional, with feelings of transformation and dreaming, hope and arrival, and an aesthetic that is both cinematic and hypnagogic, nostalgic and futuristic, it turns contradictions into harmonies, brings together the dark and the light, spinning and whirling freely around a steady core.

Recorded mainly with one synth and a collection of old drumcomputers, Ruutu Poiss once again shows his futuristic sonic virtuosity within the boundaries of a compact studio setup.

Nach einer erfolgreichen Reihe von fünf Studioalben und zwei Live-Alben, Psychedelic Backfire I und II (beide 2019), hatten Elephant9 ihre groovige Mischung aus energiegeladenem Rock und Power-Jazz so weit gebracht, wie sie konnten. In dieser Hinsicht war ihr letztes Album Arrival of The New Elders (2021) eine willkommene und sehr zeitgemäße Ergänzung ihres Schaffens. Abwechslungsreicher, reifer und nachdenklicher, groovig wie eh und je, aber strukturierter und weniger jamorientiert, was ihnen eine 9/10-Rezension in Uncut und einen Platz in der Liste der Alben des Jahres einbrachte, in der ihre telepathische Gemeinschaft hervorgehoben und mit "this is an Elephant9 you'll never forget" geschlossen wurde. Jazzwise, Shindig, Prog, Electronic Sound, The Quietus und einige andere stimmten dem zu. Mythical River ist auf die gleiche Art und Weise geformt und ein natürlicher Nachfolger, mit sechs herausragenden neuen Kompositionen von Keyboard-Maestro Ståle Storlokken, gerahmt durch zwei kurze kosmische Einwürfe. Von hypnotischen und magischen bis hin zu messerscharfen und polyrhythmischen Stücken ist dies ein weiteres starkes Werk eines Trios, das sich auf der Höhe seiner Zeit befindet. Es wurden Vergleiche mit Bands gezogen, die bis in die sechziger Jahre zurückreichen, aber mit den letzten Alben erscheinen Elephant9 als eine durch und durch zeitgenössische, zeitlose und sogar futuristisch klingende Band. Ståle begann seine musikalische Reise mit Vespestad und Henriksen, die sich bald zu Supersilent mit Helge Sten an Bord entwickelten. Stale is zudem Mitglied von Hedvig Mollestad Weejuns, Moster! und Humcrush und hat mit einer Reihe von weiteren Acts, vor allem mit Motorpsycho, zusammengearbeitet.

Demon Music are happy to present – Electribe 101 - ‘Electribal Memories’, this stunning half-speed master vinyl edition cut from the original tapes by Barry Grint at Air Studios. Formed when Hamburg-born / London-based, sometimes S’ Express member Billie Ray Martin hooked up with four musician / producers from Birmingham, Electribe 101 instantly hit upon a sound heavily influenced by the de rigueur deep house sounds of Chicago and Detroit but with a distinctive European twist. With Billie Ray up front, with a voice like ice on fire and looking as if she’d stepped forward in time from a circa-1966 Mary Quant catwalk, the band were instantly snapped up by Mercury Records, and taken under the wing of Pet Shop Boys manager Tom Watkins. The band released five singles in the UK, and all featured on their debut album ‘Electribal Memories’ – ‘Tell Me When The Fever Ended’, ‘Talking With Myself’, ‘You’re Walking’, ‘Lipstick On My Lover’ and an incredible cover of Odyssey’s deep soul classic ‘Inside Out’. When the album arrived in 1990, it was an instant hit with critics – immaculately produced, poised, luxurious and soulful, it was difficult to believe it was a debut record at all. After ‘Electribal Memories’, Electribe 101 called it a day. Since then, the album’s reputation has grown in stature and many of its’ singles’ attendant remixes have become sought-after rarities. The cultural earthquake prompted by the late-1980s arrival on these shores of house, acid and rave prompted many a legendary club night and a generation of superstar DJ / producers. While there were a myriad of great club tracks produced in that heady period between 1988-1991, classic albums from the scene were rather more of a rarity. One towering exception was the debut by Electribe 101…

Holsten marks his arrival with his debut 'All Talk EP' on Rupture LDN.

Dark and menacing from the bass to the atmospherics, Holsten takes no prisoners with four tracks of dystopian pressure, including a collab with Overlook (for his first return since 'Gumshoe' in 2015).

Essential selections for the late night warriors from Holsten, with tight breaks and swarming lows, without ever losing the groove.

To abandon animals for music – and avant-garde jazz at that –, could seeming shocking to some people. However, it is exactly what Manuel Villarroel did, as he was a vet for three years before leaving his native Chili for Europe and a career in music. And though the animals may have suffered, the world of music can be grateful.

Born in 1944, Manuel Villarroel lent an ear to the best pianists from North America: Oscar Peterson and Erroll Garner then Herbie Hancock, McCoy Tyner and Cecil Taylor. Manuel left Santiago in September 1970 to participate in the Contemporary Music Workshop in Berlin. To pursue his musical career, he rapidly decided to remain in Europe.

The following year in Paris, Manuel began a quartet with saxophonist Jef Sicard (who would also play with his brother Patricio, in the Dharma Quintet). But the group would rapidly expand: Villarroel and Sicard added Gérard Coppéré (saxophone), William Treve (trombone), François Méchali (bass) and Jean-Louis Méchali (drums). And with the arrival of Sonny Grey, a Jamaican trumpeter heard ten years earlier with Daniel Humair, the Matchi-Oul Septet was complete.

Complete and ready: on May 8th, 1971, Matchi-Oul was in the studio for Gérard Terronès’ Futura label. The septet recorded seven of the pianist’s compositions. A succession of tracks which flow magically from one to the next: from the first drum strokes to the last deep notes of the bass, the successive waves roll over the piano and whistle through the wind instruments. And when they all come together it gives even greater force to Villarroel’s beautiful songs. Terremoto is a masterpiece of collective expression: but what else could we expect from a “supergroup’’ of this stature?