Suche:at project

Benjamin is a British pianist, keyboardist and composer who has recorded with Randy Brecker, Frank Gambale, Chad Wackerman, Allen Vizzutti, Barry Finnerty and Mike Miller. Known for his extensive knowledge and experience in a multitude of music genres, he is mostly associated with jazz. At the age of seven, Benjamin began piano and trumpet lessons, later going on to study at Leeds College of Music. After graduating, he completed several contracts on international cruise lines and moved to the US. During this period, Benjamin toured the world twice, and worked with artists as diverse as Belinda Carlisle, Leslie Garrett, The Temptations and The Platters. Benjamin relocated to London in 2012, where he became a regular performer at Ronnie Scott’s, the Jazz Café, Pizza Express Jazz Clubs, The Vortex and others, playing with the finest musicians on the scene. Benjamin also performed in the West End Show, Straight From the Heart, and worked on TV shows such as The Voice and Britain’s Got Talent. In 2018, he recorded for Beautiful South founder Dave Hemingway’s latest project, Sunbirds, and has been working as a session musician, composer and arranger on a number of projects over the years. His upcoming second album, Far and Distant Things, was recorded throughout 2020, an ambitious project featuring legendary musicians from the US.

Tancred is the solo project of Now, Now guitarist/singer Jessica Abbot.
Abbot started her solo project as an outlet for songs that didn’t quite fit with Now, Now.
The 11-song album was recorded and mixed by Brett Bullion at Tarlton Music, mastered by Huntley Miller at HM Mastering and features artwork by Now, Now drummer Bradley Hale. Gold Splatter Color Vinyl

Repress !

Where We're Calling From
The Liminal Zone: Reflections on Duval Timothy’s Sen Am
Lamin Fofana

Sen Am is an enduring and tender album, rich and beguiling and generous in a quiet way. Over the last few years, I find myself returning to it, listening and absorbing, reflecting on the voices and working through the multiple layers of feelings and themes it announces with confidence and equanimity. Notions of care and contradiction, expressions of joy and desire and the underlying feeling of unease and turmoil; there is an urgent appeal to the listener for generosity, to strengthen our capacity to hear multiple voices simultaneously, to exist in multiple places at once.

Duval Timothy’s music was dropped into our world from another realm sometime in the spring of 2017. We received the call and we answered it. The rhythm and spirit was transmitted via London’s NTS Radio on the Do!! You!!! Breakfast Show with Charlie Bones and a short while later we were listening to the first vinyl edition of Sen Am in our living room in Berlin. The record got a lot of plays (at home and at some shows, before and after performances). It was like sunlight filtering through a cracked window and remaining there for a moment, dancing. Blue music emanating from a liminal zone, an in-between space, somewhere on the outskirts of Freetown, or rural Sierra Leone, or the outer edges of South London, or Bath, UK, or some undisclosed orbit, unfixed location. The music is soaked in diasporic experiences. It refuses to settle but still invites us to enter and stay awhile in that zone, where multiple forms exist (all) together with jazz, hip-hop, various strands of expressive electronics and experimental music all breathing together and moving around. It is a portal to a place of possibilities, a space for building and repairing possible and lost connections. But life in that liminal zone is precarious; it is life under duress; under pressure – not merely the pressure to produce a presentable, categorizable, and salable body of work, but the pressure that compels us to experiment and create new concepts and things that will help us imagine a different existence, a way out of the turbulence.

Freetown is a marvellous and sometimes sad place. It is one of those unmistakable locations inscribed diasporic memory; a place that touches you, a place that holds you and demands you bear witness: witness to pain, poverty, joy and desire. You remember the voices and the eyes of people even in momentary encounters. In Sen Am, you hear not only Duval’s recollections and sounds of Freetown, you hear family and friendship, people coming together and forming bonds, creating surrogate families. Forging community wherever you go is a practice, and community is at the core of this music. It’s in all the voices, from Emmerson and 6pac to Aminata and Aruna. It opens up a space for Black voices, for Sierra Leonean voices, and those voices extend through the succeeding projects, the 2 Sim EP and the album Help, and all that radiates from Duval’s Carrying Colour imprint.

Thank you for the invitation to write about the album Sen Am, on the occasion of its re-release which also coincides with the release of the exquisite double 7” Smɔl Smɔl with cktrl — a wonderful piece which calls on the listener to play both records at the same time to hear the music or play them separately and hear different versions. Duval is strengthening us, encouraging us to feel comfortable with discomfort, with incompleteness, with the hard-to-understand. This is a beautiful thing.

Ltd Black Vinyl Gatefold edition + 32 Page Booklet + Download Code

The LP contains original compositions by Ryuichi Sakamoto, Pascal Comelade, Laurie Spiegel, Lyra Pramuk, Chassol, Nicolas Godin and Pierre Rousseau, Pedro Vian and Pierre Bastien, Visible Cloaks, Kelman Duran, Raul Refree, Lucrecia Dalt, Lafawndah.

+ a booklet with writings by contemporary thinkers like Shumon Basar, François J. Bonnet, and pictures by, Araki, Juergen Teller, Elizaveta Porodina, Dani Pujalte, P Jack Davison, Zhong Lin, Alessandra Sanguinetti, Adrià Cañameras, Javier Tles among others. Lacquer cut by Josh Bonati & Mastered by Rashad Becker

'PRSNT' is a unique global artistic project combining the input of artists across the worlds of music, video and written word which acts as a statement on how we, as consumers, engage with music in the 21st century. Vital electronic musicians including Ryuichi Sakamoto, Lafawndah, Lyra Pramuk, Lucrecia Dalt and Visible Cloaks have each contributed tracks, which are approximately 32 seconds long.

The concept was devised by Created By Us and the Barcelona-based label Modern Obscure Music. They read a study which identified that the overwhelming volume of instantly accessible information online is shortening attention spans and altering how audiences engage with music digitally. Their curiosity about the state of online consumption developed further on discovering that around a third of all listeners using digital platforms skip to the next track, within the first 30 seconds of playing.

Each musician was given a fascinating challenge to create engaging compositions with real artistic merit, inside the confines of this shortened span. Akin to Brian Eno's famous Windows 95 start-up music, the time constraints are crucial, and the compositions are deceptively complex and more substantial than expectations of their nano nature would suggest.

'PRSNT' acts as a critique of flighty feed culture, but is simultaneously constructive, providing something which is either proposed solution, or "if you can't beat 'em join 'em" resignation. Every artist has interpreted the brief differently, resulting in an intriguing blueprint for the potential future of digital music. Could abbreviated micro compositions satisfy, inspire and nourish like their longer counterparts? They certainly take up much less of listeners' busy lives, which are often spent tackling ever-increasing workloads.

After enduring a year like 2020, no one could have possibly expected Al Jourgensen to stay silent on the maelstrom of the past 12 months. As the mastermind behind pioneering industrial outfit Ministry, Jourgensen has spent the last four decades using music as a megaphone to rally listeners to the fight for equal rights, restoring American liberties, exposing exploitation and putting crooked politicians in their rightful place—set to a background of aggressive riffs, searing vocals and manipulated sounds to drive it home.
As Jourgensen watched the chaos that befell the world during the height of a global pandemic and the tensions rising from one of the most important elections in American history, he seized on the opportunity to write, spending quarantine holed up in his self-built home studio—Scheisse Dog Studio— along with engineer Michael Rozon and girlfriend Liz Walton to create Ministry’s latest masterpiece, Moral Hygiene (out October 1 on Nuclear Blast Records). Anchored by last year’s leadoff track “Alert Level”—which asks listeners to internalize the question “How concerned are you?”—the 10 songs on this upcoming 15th studio album cover the breadth of the current dilemmas facing humanity, while ruminating on the sizable impact of COVID-19, the inevitable effects of climate change, consequences of misinformed conspiracies and the stakes in the fight for racial equality. And most importantly doing so with the lens of what we as a society are going to do about it all.
Moral Hygiene comes on the heels of Ministry’s acclaimed 2018 album AmeriKKKant (hailed by Loudwire as Jourgensen’s own “state of the union” address) that was written as a reaction to Donald J. Trump being elected president—though Jourgensen says this new album is more informational and reflective in tone. “With AmeriKKKant I was in shock that Trump won. I didn’t know what to do, but I knew I had to do something. Because I believe if you are a musician or an artist you should be expressing what’s going on around you through your art. It’s going to happen whether you do it consciously or unconsciously. Moral Hygiene however has progressed even further into a cautionary tale of what will happen if we don’t act. There’s less rage, but there’s more reflection and I bring in some guests to help cement that narrative.”
In addition to recruiting long-time cohort Jello Biafra (Jourgensen’s partner in the side project Lard) for the quirky earworm “Sabotage Is Sex,” other guest appearances include guitarist Billy Morrison (Billy Idol/Royal Machines) on a rendition of The Stooges hit “Search & Destroy.”
Another standout track is “Believe Me,” featuring a throwback vocal style from Jourgensen that harkens back to his singing on Twitch and cult classic “(Every Day Is) Halloween.” The song came out of a jam session with Morrison, Cesar Soto and sampling from Liz Walton, and reminded Jourgensen of his formative days at Chicago Trax Studios where communal ideas were constantly informing early Ministry records. “’Believe Me’ had such an old school vibe I wanted to bring back old school vocals. …It’s funny how things come back to you,” says Jourgensen, also reflecting on Ministry turning 40 in 2021.

With the release of Moral Hygiene, Jourgensen is more positive than before. “This may sound crazy but I’m more hopeful about 2021 than I have been in two decades at least,” he says. “Because I do see things changing; people are starting to see through all the bullshit and want to get back to actual decorum in society. We could just treat each other nicely and be treated nicely in return. I never thought Ministry would be in the position of preaching traditional values, but this is the rebellion now.”

Contemporary hard driven Jazz Funk from the north of England. Bee To The Flower, initially released under the influence of Newcastle’s finest Warr
Thompson in a much slower and kind of stepped down version has been rearranged and recorded again by the band expressly for Tesla Groove Internation
at the Loft Studios. We have been on this project for a long while and the biggest thing we blame covid for is the goddamn delay it forced into t
development of artistic projects, of which the physical final release is only the latest of the steps. Driving (and very creative) basslines, a beautiful and almo
psychedelic Fender Rhodes intercalate with a vibrafone played with such a mastery I could only remind of thegreat Pharoah Sanders at the time of h
performances with Lonnie Liston Smith and Nathaniel Betties, one of the greatest afro percussionists of all times. All of this on such a hitting drumming I ju
can’t wait to fire it out of a proper soundsystem. Created in 2011 by north-east based Dave Wilde and Chris Jelly, the original jazz/funk fusion sounds of th
seven piece Newcastle based band have carved a niche as some of the finest exponents of the genre in the UK. The band has given exciting dance induci
live performances up and down the country, at Band on the Wall, Hoochie Coochie and many more, supporting the likes of Craig Charles, Roy Ayers an
Lonnie Liston Smith along the way. New material has been in the making for quite a while, but after the enforced lockdown, King Bee are ready to release th
latest recordings at long last. Worth waiting for.

Double vinyl on blue and orange transparent vinyl in gatefold sleeve with download code.

 Former bIG*fLAME singer and bassist Alan Brown returns with his long term solo project The Great Leap Forward, releasing a powerful and trademark new album ‘Revolt Against An Age Of Plenty’. 

Vigorous, scintillating and life-affirming, this 13-song album sees Brown reach a milestone birthday, as explored in 'Can You Kanreki?’ - the Japanese concept of second childhood and re-birth. Then there are the trademark political and social vignettes, such as the title song of the album 'Revolt Against An Age Of Plenty' – railing against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – a scathing attack on the lack of openness, honesty and humility of our political leaders.

Brown featured on the legendary and influential C86 NME cassette as singer and bassist with Manchester agit-post-punk trio bIG*fLAME, and recorded nine John Peel sessions for BBC Radio One in the 1980’s with bIG*fLAME (4), The Great Leap Forward (2), A Witness (2) and Inca Babies (1). 

Formed by Brown following the disbandment of bIG*fLAME in 1986, The Great Leap Forward is essentially a solo project in which Brown writes all songs and lyrics, and plays / programs all instruments on recordings.

The style and sound is more melodic and accessible than bIG*fLAME, but still with overtly political lyrics and a socialist / humanist ethos: incisive political and social commentary layered over sharp yet melodic guitar pop – and with a touch of electro and humour thrown in for good measure…
Stuart Maconie, writing for NME, summed up the band's sound: "First there's the jagged guitar melodics, sweet but never tacky. Then there's the ferocious rhythmic drive. But best of all there's the stylish and witty use of found voices...snatches and snippets of speech and propaganda that are integral to the songs."

Little wonder that as with McCarthy, The Great Leap Forward were loved by a young James Dean Bradfield.

Brown writes- “This album is the culmination of four year's writing, and it has a much more varied approach than previous releases. Whereas previously I've concentrated on a political approach, this album takes a wider view of the world. Of course I still provide the trademark political and social vignettes - how could I not - such as the title song of the album 'Revolt Against An Age Of Plenty' – named after a collection of works by the English writer Jack Common in which I rail against mass consumerism and media control; the wistful 'dEBRA 2021' (a re-working of the bIG*fLAME classic 'Debra'); and the ascerbic 'It's A Wonderful Lie' – with what I think is a scathing attack on the lack of openness, honesty and humility of our political leaders.

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five full-lengths of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

The 3rd album by Scottish industrial enigma Cinder aka Cindytalk began life as the soundtrack to an experimental film by English director Ivan Unnwin entitled Eclipse (The Amateur Enthusiast's Guide To Virus Deployment), and was originally slated for release via Factory Records' video division, Ikon. Inspired heavily by Alan Splet's eerily disembodied sound design in David Lynch's Eraserhead, the collection's 15 pieces seethe between field recordings, wistful piano vignettes, and lurking metallic haze – a hybrid palette Cinder characterized at the time as “ambi-dustrial.” Unfortunately Ikon collapsed on the eve of the project's completion so the film was never distributed, but the Midnight Music imprint repackaged Cindytalk's score as an LP in 1990 under the name The Wind Is Strong... (full title: The Wind Is Strong - A Sparrow Dances, Piercing Holes in Our Sky).

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five full-lengths of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

The 3rd album by Scottish industrial enigma Cinder aka Cindytalk began life as the soundtrack to an experimental film by English director Ivan Unnwin entitled Eclipse (The Amateur Enthusiast's Guide To Virus Deployment), and was originally slated for release via Factory Records' video division, Ikon. Inspired heavily by Alan Splet's eerily disembodied sound design in David Lynch's Eraserhead, the collection's 15 pieces seethe between field recordings, wistful piano vignettes, and lurking metallic haze – a hybrid palette Cinder characterized at the time as “ambi-dustrial.” Unfortunately Ikon collapsed on the eve of the project's completion so the film was never distributed, but the Midnight Music imprint repackaged Cindytalk's score as an LP in 1990 under the name The Wind Is Strong... (full title: The Wind Is Strong - A Sparrow Dances, Piercing Holes in Our Sky).

Celebrating 10 years since his first album, Tom Williams releases his most
eclectic project to date. ‘Follow The Leader’ represents a departure from
his previous output, and is comprised of a collection of songs which
comment on pre- and post-lockdown life, providing beautifully crafted
snapshots of modern Britain.
Having released six studio albums to date, Tom Williams has built a passionate
fanbase of discerning music lovers since his first album, Tom Williams & The
Boat’s ‘Too Slow’ ten years ago.
His 2017 album ‘All Change’ was voted by BBC 6 Music Recommends as one of
their Top Ten Albums Of The Year, and his last album 2019’s ‘What Did You Want
To Be?’ which was produced by Tim Rice-Oxley, was described by The Guardian
as “surging, vintage pop-rock” and championed extensively by Jo Whiley at BBC
Radio 2, Steve Lamacq and Lauren Laverne at BBC 6 Music, Huw Stephens at
Radio 1, Q Magazine and Clash. ‘Follow The Leader’ signifies a departure from
Williams’ previous output.
Self-produced, the album boasts rich orchestral sounds and full band performances, mixed with claustrophobic drum machines, synthesizers and deep sub
bass sounds.

"The definition of a hidden gem" - John Peel / "The world seems finally to be catching up to Leslie Winer, whose startling intelligence and singular vision shine through her copious recording life." - Max Richter / "She might just be the coolest woman on the planet!" - Boy George "When I Hit You - You'll Feel It" is a 16-track anthology that celebrates the extraordinary work of musician, poet, and author, Leslie Winer. The collection spans Winer's three-decade-long musical career: from her groundbreaking solo work in the early '90s to her latest inspired projects. Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave's Karl Bonnie, and others, the collection also spotlights Winer's diverse collaborations, unearths previously-unreleased recordings and was newly remastered by the GRAMMYr-nominated engineer John Baldwin. The album includes a new interview with Winer, captured by the compilation's co-producer, acclaimed author and critic Wyndham Wallace. Rounding out the package is an insightful essay by the award-winning writer and scholar Louis Chude-Sokei and an original cover collage by the renowned British photographer and artist, Linder, featuring photography by Mondino, and design by designer Christopher Shannon. Musician, poet, iconoclast, model, artist, enigma. Leslie Winer is many things. She grew up in Boston with a voracious appetite for music and the written word and embraced the city's lively jazz and folk scene in the '70s. Moving to New York for art school, she formed an unlikely friendship with writer and artist William S. Burroughs and lived on-and-off with Jean-Michel Basquiat. In London, where Winer began her musical ventures in earnest, she was a regular at Leigh Bowery's underground club Taboo, where she met many of her collaborators, including filmmaker John Maybury, Kevin Mooney (of Adam and the Ants), and Boy George. Winer's striking looks also attracted fashion designers and photographers. Throughout the early '80s, she was an in-demand model-appearing in campaigns for Valentino, Christian Dior, and Yohji Yamamoto, and serving as a muse for a young Jean-Paul Gaultier, who later dubbed Winer "the first androgynous model." She posed for Helmut Newton, Irving Penn, and Pierre et Gilles, and graced the covers of The Face, French and Italian editions of Vogue, and Mademoiselle. But music was Winer's true passion and, at the turn of the '90s, she would unknowingly help invent the massively popular genre known today as trip-hop. On her debut, Witch, Winer masterfully blended the uninhibited sampling of early hip-hop with dancehall basslines and programmed beats, while weaving mesmerizing - and coolly-detached - spoken-word vocals into her ambient tracks. It was unorthodox in the most delicious ways. While Witch was finished in 1990, it wouldn't be released for three years, due to the whims of Winer's label. By the time the album saw the light of day (released under the pseudonym "c"), trip-hop was gaining mainstream traction via acts like Portishead, Massive Attack, and Madonna. Although Winer eventually gained wider acknowledgment (prompting the NME to give her the dubious distinction of "The Grandmother of Trip-Hop"), Witch initially went sorely unnoticed. Winer continued to record, undeterred by the elusive nature of mainstream success in the modern music business. Her network of inspired collaborators continued to grow and expand, yet her influence remained largely a secret except to those in the know, such as Grace Jones and Sinead O'Connor, who would cover her songs. In the modern era, one is hard-pressed to find an artist who continues to push the creative envelope as much as Winer does. And yet, three decades after her revolutionary debut, her work remains just as startling and fresh.

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five albums of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

Across decades of activity Cinder’s body of work has forever followed its own elusive muse but nowhere is this restless spirit more apparent and ambitious than the 4th Cindytalk LP, Wappinschaw. Conceived as “a call to arms” inspired by Scotland and its struggle for independence, the title refers to an archaic Scottish battle inspection during which clan chieftains surveyed their group's weapons to ensure they were combat ready. A mindset of reflective preparation threads throughout the record, manifested in forms both naked and noisy, ancient and anguished.

Opening with an aching solo vocal rendition of the British folk standard “The First Time Ever (I Saw Your Face),” the album then surges into the Cindytalk classic, “A Song Of Changes,” sparkling and spiraling in strange waves of sorrow and joy. From there the mood fragments, tracing asymmetrical paths of feverish dirge, pensive spirituals, noir abstraction, spoken word (landmark Glaswegian writer Alasdair Gray guests on “Wheesht”), bagpipe drone, and apocalyptic post-punk. Given its aggressive eclecticism, it's not surprising that Cinder describes the creation of Wappinschaw as a “precarious” process, composed from “scraps” with abruptly shifting personnel – a situation only compounded by the impending dissolution of their label at the time, Midnight Music.

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five albums of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

Across decades of activity Cinder’s body of work has forever followed its own elusive muse but nowhere is this restless spirit more apparent and ambitious than the 4th Cindytalk LP, Wappinschaw. Conceived as “a call to arms” inspired by Scotland and its struggle for independence, the title refers to an archaic Scottish battle inspection during which clan chieftains surveyed their group's weapons to ensure they were combat ready. A mindset of reflective preparation threads throughout the record, manifested in forms both naked and noisy, ancient and anguished.

Opening with an aching solo vocal rendition of the British folk standard “The First Time Ever (I Saw Your Face),” the album then surges into the Cindytalk classic, “A Song Of Changes,” sparkling and spiraling in strange waves of sorrow and joy. From there the mood fragments, tracing asymmetrical paths of feverish dirge, pensive spirituals, noir abstraction, spoken word (landmark Glaswegian writer Alasdair Gray guests on “Wheesht”), bagpipe drone, and apocalyptic post-punk. Given its aggressive eclecticism, it's not surprising that Cinder describes the creation of Wappinschaw as a “precarious” process, composed from “scraps” with abruptly shifting personnel – a situation only compounded by the impending dissolution of their label at the time, Midnight Music.

Light in the Attic is ecstatic to announce When I Hit You—You’ll Feel It: a 16-track anthology that celebrates the extraordinary work of musician, poet, and author, Leslie Winer. When I Hit You—You’ll Feel It spans Winer’s three-decade-long musical career: from her groundbreaking solo work in the early ‘90s to her latest inspired projects. Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave’s Karl Bonnie, and others, the collection also spotlights Winer’s diverse collaborations, and unearths previously-unreleased recordings.

Natalie Chami and Whitney Johnson perform as a duo under the
name Damiana.
Both artists have built their own catalogs as multi-instrumentalist improvisers
and composers in the Chicago experimental scene, exploring the intersections
between ambient, electro-acoustic improv, and more legible songcraft based
around their voices and their work with synths and electronics -- all filtered
through their backgrounds in classical performance and education.
Chami’s solo recordings under the TALsounds moniker have appeared on labels
such as NNA Tapes, and Ba Da Bing!, and her collaborative projects include
the trio Good Willsmith. Johnson has released a series of solo LPs as Matchess
on the label Trouble in Mind, and has contributed to recordings and live performances by Ryley Walker, Circuit Des Yeux, and Tortoise’s 20th anniversary
performances of TNT, among other artists.
After meeting in the early 2010s, Chami and Johnson embarked on multiple US
tours together, and their informal duo collaborations naturally crystallized over
time into the Damiana project The duo’s debut album Vines presents their first
recordings after years of live sets and home recording sessions.
The album strikes a balance between the realms of deliberate compositional
sculpting and free-form improvisation, as Damiana’s evolving sessions of looping synth phrases and harmonized vocal lines emphasize austere beauty and
meditation as much as spectral disorientation and instrumental complexity.
While the tracks on Vines create the illusion at any given moment of a standing
cloud, often colored by Johnson’s lush viola and Chami’s effect-manipulated
electronics, a zoomed out perspective of each session reveals an undulating
story arc with contrasting emotional resonances and constantly shifting timbral
focus.
Treading the line between transportive stasis and upward motion, the duo has
honed their sense of when to push forward with a new texture or melodic
flourish without disrupting the atmospheres that they meticulously build together. Packaging: LP Black vinyl. Artwork by Heather Gabel (from the band
HIDE). Manufactured at 8Merch in Poland.

Let’s Stick Together by Bryan Ferry was his third solo release, his first following the disbanding of Roxy Music earlier in the year of 1976. Unlike Ferry’s two previous solo recordings, Let’s Stick Together was not a dedicated album project, instead being made up of material released as singles, B-sides and an EP. Five of the tracks on the album were re-recordings of Bryan Ferry songs previously recorded with Roxy Music. “Re-Make/Re-Model”, “2HB”, “Chance Meeting” and “Sea Breezes” were from the band’s eponymously titled debut album (1972), while “Casanova” was taken from Country Life (1974). In most cases the re-recordings were smoother and more oriented to jazz and R&B than the original Roxy Music versions. The other six tracks on the album were covers. The sax-driven “Let’s Stick Together” was written and originally recorded by Wilbert Harrison. Other up-tempo numbers were The Everly Brothers’ “The Price of Love” and Jimmy Reed’s “Shame, Shame, Shame” (which includes a counter-vocal by the backing singers which quotes Marvin Gaye’s “Can I Get A Witness”). The remaining covers, which included The Beatles’ “It’s Only Love”, were performed in a mellow cabaret style. Lovingly Re-Mastered from the original tapes by Frank Arkwright at Abbey Road Studios. London. Featuring artwork that has been faithfully restored to reflect its original first press “Let’s Stick Together” is presented on 180g heavy weight vinyl and is one of those classic albums that would not look out of place in any record collection.

This killer limited editon vinyl EP is a collaborative effort between Montreals SENZ Beats & Roughneck Jihad (From Third Sight). SENZ made all the beats and handled the scratch duties. Jihad held down the MC duties on all the tracks and there are no features. All vocals were recorded by Roughneck Jihad at Imhotep's Garden Studios. The cover art is by @misfitsleep and the project was mixed and mastered by Sqreeb.

From the many musical lives of artist Glenn Donaldson emerges The Reds, Pinks and Purples, a project that sifts out the purest elements of pop music and in the process chronicles the point of view of an assiduous San Francisco-based songwriter. The Reds, Pinks and Purples’ third album, called Uncommon Weather, is both an elusive portrait of San Francisco––during one of its fluctuations as an untenable place for musicians and artists––and also a self-portrait, however inverted, of a songwriter who has dispatched another treasured collection of timeless sounding DIY-pop songs.

How The Reds, Pinks and Purples arrived here is a story with many roots, the most consequential of which is perhaps the musical aftermath of his earlier band, The Art Museums, whose brief tenure in the late ’00s coincided with an explosive period of the Bay Area rock scene and was followed by a hermetic musical period of Donaldson’s. Disenchanted with the dissolution of his band, Donaldson averted the DIY-pop sound with an instrumental, conceptual project called FWY! but meanwhile started a habitual songwriting practice, sharing nascent songs with friends in an email exchange. In 2013–2014, The Reds, Pinks and Purples took shape as the moniker for Glenn’s most direct expressions in the DIY-pop mode, enabled by this new disciplined output. By then, San Francisco was already a changed place. The tragic loss of his former bandmate in Art Museums was another source of discontinuity and rupture. You can hear in The Reds, Pinks and Purples’ earliest songs this grappling with life, anxiety, and atrophying subcultures. For an artist with an overriding interest in the aesthetic principles of discrete musical genres, this turn toward his immediate world for subject matter was a major shift, setting The Reds, Pinks and Purples apart from Donaldson’s other musical ventures.

Preceding the release of Uncommon Weather was the Reds, Pinks and Purples’ 2nd album, one of the record buying joys of 2020, You Might Be Happy Someday, and, earlier, their first proper full length Anxiety Art, a title that might nod to the classic Television Personalities song “Anxiety Block.” Donaldson’s music continuously reckons with the influence of Dan Treacy, whose own forays into drum-machines, echo, and reverb in the early 1990s is an important reference point for The Reds, Pinks and Purples’ musical template. Paul Weller, Robert Smith, and Sarah Records also come to mind. But, as important, Donaldson sees his projects as visual expressions too, often blurring the lines of records and physical art objects. They could just as well be “art multiples” as well as records. The pattern for Reds, Pinks and Purples’ records is to document San Francisco’s Inner Richmond district in photographs: the muted, pastel colours and unpeopled compositions unfold in a series of images that read like counter-melodies to Donaldson’s distinctive voice, a vocal tone that always complements the colours.

Self-recorded and mostly self-performed, Uncommon Weather features pinnacle versions of songs Donaldson has honed since the beginning of the project. The album arrives with grateful timing, quick on the heels of You Might Be Happy Someday, and alleviating, for a brief window at least, whatever it is that keeps us coming back to this elemental music. Donaldson imagines his listeners are just like himself: fascinated and addicted to the spiritual power of uncomplicated pop classics. Anthony Atlas

The first release in what will be an ongoing three-part series, Part I features nine tracks for bass guitar and tenor saxophone. Part II, an exploration of a slightly larger, more sonically diverse musical world will feature string quartet and voice. Finally, Part III will collaborate with choreographer Siobhan McKenna, who alongside Nick will develop a percussive movement work that seamlessly intertwines with the musical work.

“My aim is to create music that is sonically and musically atypical whilst still belonging to an accessible contemporary scene. Each project, album or ‘part’ will set out to explore a single ensemble or group of instruments. In the case of Part I, that ensemble is hollow body bass guitar and tenor saxophone. “ - Indigo (Nick Roder)

The Indigo project itself was inspired by Saxophone & Bass Guitar by Sam Gendel and Sam Wilkes, which prompted Nick to write an album of music for the same type of ensemble. Having only just purchased a bass guitar for a different project, the instrument was still very new to him.

“I was curious to see what I would write with my self-imposed rule of not being able to overdub material, and further, how my limitations as a relatively green bass guitarist would influence the writing of the material. A strong focus on harmonic movement and melodic material was where I eventually found my happy place.”

The result is a phenomenal debut. Burrowing into the space between it’s sparse instrumentation and dulcet tones, Part I is the realisation of a minimalist and concise vision of what a symbiotic relationship between two instruments can yield.

About Indigo
Indigo is the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder. The Indigo project was conceptualised in 2020 and focuses on deep sonic exploration of little-heard ensembles in a contemporary space.

Since 2018, Nick has been composing soundtracks for video games including The Invisible Hand, Roadwarden, N1NE: Splintered Mind, This Dead Winter and Miska. Nick has also played in art-rock ensemble, Tulalah, exploring sonic textures, combining contemporary jazz/rock with chamber sounds. The modular ensemble released The Flood (Equinox Recordings, 2015) and The Question (Independent, 2017).