Buscar:audio 4

For its ninth release, Dusk Notes invites 3 guest artists, each gifted and stylistically distinctive in their own right, to reinterpret tracks from Imagery's self-titled album. Wide-ranging and divergent in genre, the compilation closes out with a remix from the label founders.

Homemade Weapons' striking take on ''Asymmetric Information'' features his signature audio sculptures of precise and militant choppage. Viels' intricate rework of ''Don't Crush the Acid'' is marked by commanding breakbeats and ominous ambience. Fred P's version of ''Don't Crush the Acid'' embarks on a jazzy groove with musing and yearning melodies. Soramimi and Rondec take us inward at eventide with a hushed andintoxicating montage of ''Inner Sunset.''

180 GRAM AUDIOPHILE VINYL

HEAVYWEIGHT SLEEVE FINISHED WITH LEATHER LAMINATE
INCLUDES INSERT WITH LYRICS AND PICTURES

THE LEGENDARY 1985 DEBUT ALBUM FEATURING THE HIT SINGLES
“YOUR LOVE”, “ALL THE LOVE” & “SAY IT ISN’T SO”

LIMITED EDITION OF 3000 INDIVIDUALLY NUMBERED COPIES ON
PURPLE MARBLED VINYL

ISLAND APES is a British band, formed in the East Midlands around 2018. The current line-up consists of ex members of Bivouac, Force Fed and Fudge Tunnel; guitarist/producer Dean Selby, drummer Antronhy, vocalist MKJ and bassist David Ryley. Their roots lie in anxiety, ritual and underlying melody. Call it what you like. Answers on a postcard to God Unknown. So the Germans call English football fans Island Apes? I guess they don’t know about the punk band of the same name. ISLAND APES features a lineup of UK underground punk legends. Antronhy, the drummer, was Nirvana’s infamous dancer at their Live at Reading performance. David Riley was the bass player in the legendary UK noise rock band Fudge Tunnel and current bass player in doom masters Conan. MKJ was in Forcefed and Meatfly; two early 90's influential UK hardcore bands. They have paid their dues and have produced a wild, lo-fi trip into an alternate punk universe where they tame audio chaos and explore the psychedelic side of consciousness. It’s grungy and grimy, guttural and grating, and even dubby, all in the most beautiful way. Their debut self-titled record is available on limited vinyl copies via God Unknown Records. To keep it punk the album will be released on vinyl only. Limited to 300 copies.

Following Far Out’s reissue of Agustin Pereyra Lucena Quartet’s La Rana, the label continues its memorialisation of the late, great Argentinian guitarist’s music, with the first ever direct from tape, audiophile reissue of Pereyra Lucena’s self-titled debut album from 1970.

One of the outstanding South American guitarists, Agustin Pereyra Lucena commanded a unique position in Latin music history. He hailed from Buenos Aires, but was obsessed with the music of Brazil. A disciple of Antônio Carlos Jobim, Baden Powell and Vinicius De Moraes, the nature of Agustin’s Argentinian roots combined with the nurture of Brazil and its music to give Agustin a sound entirely his own.

After being scouted in a nightclub, by musician and guitar craftsman Jorge Demonte, Agustin was invited for an audition at Argenitinian label Tonodisc. Before he knew it, aged 22, he was in the studio recording his first album.

Agustin enlisted fellow Argentinian Brazilophiles Mario "Mojarra" Fernandez who played bass and drummer Enrique "Zurdo" Roizner. He had first heard the duo backing Vinicius de Moraes, Toquinho and Maria Creuza on their legendary La Fusa live album, also recorded in Buenos Aires. For vocals, Agustin brought in his old friend, a French teacher called Helena Uriburu, who at the time had (unbelievably) never sung in a studio before.

The atypical bossas and spiritual swinging sambas, composed by many of Agustin’s aforementioned heroes, were elevated to new heights by Agustin’s dazzling arrangements and phenomenal guitar playing. The almost cosmic reaches Agustin achieved with his sound are balanced against the stylish sophistication and breezy nature of the music.

Moments of calm serenity include Agustin’s own composition “Nina No Divagues”, Durval Ferreira and Pedro Camargo’s “Chuva” and the Brazilian bossa classic “Tristeza Nos Dois”, which feels like it draws equally upon exotica and early library records. Accompanied by Roizner’s shuffling samba jazz drums, opener “O Astronauta” is Agustin’s cover of the Brazilian guitar standard composed by Baden Powell. Another Baden Powell classic, “Consolacao” is an extended full-band set, which features Agustin’s crisp guitar dancing around a hypnotic rhythm section. Upright bass is swapped out for a big, round-sounding electric one, which sits loud in the mix for almost seven minutes of deep, groovy, distinctively early-seventies magic.

Agustin passed away in 2019, and it is only in recent years that he is starting to gain his plaudits as one of South America’s greats. On the liner notes of the album Vinicius De Moraes writes: “I think I never saw, with the exception of Baden Powell and Toquinho, anyone more linked to his instrument than Agustín Pereyra Lucena. It would give the impression that if the guitar were taken away from him, he would fade into music as one dies from the amputation of an arm.”

Agustin Pereyra Lucena will be released on audiophile vinyl LP, CD and digitally on the 26th January 2024 via Far Out Recordings.

Gruff Rhys is pleased to announce his new album "Sadness Sets Me Free" which will be released by Rough Trade Records on 26.01.2024. This incredibly will be the 25th album he has released in his 35 year career individually, collaboratively and as a member of various bands. "Sadness Sets Me Free" is also the follow up to 2021"s "Seeking new Gods", his first solo top ten record. The album will be available in a range of formats including a unique Dinked edition on "honeycomb neo-neapolitan" vinyl, an LP sleeve with "container doors" and a bonus 7" with exclusive audio for the first 1500 copies. A gatefold soft pack CD also includes a pull out poster. Lead-off single "Celestial Candyfloss" is a telling four minute glimpse of the forthcoming album, revealing the heady wonders and classic pop sounds within. Soaring strings carry the sweet melodies along, anchored by just enough necessary melancholy to add emotional ballast. The eye-popping video was created by long-time collaborator Mark James and compliments the scope and style of the song on a galactic scale. "Celestial Candyfloss" is, Gruff says, "an attempted pocket symphony about the cosmic lengths that people will travel in the pursuit of love and acceptance. Mark James has brought the Sadness Sets Me Free album cover to life & managed to place me watching TV interference in a shipping container that"s lost in space. For what is apparently the 25th album I"ve had a hand in writing I"ve reverted to a rich seam of inspiration relating to shedding some light on sadness and the general terror of cosmic loneliness." And so it was that Gruff and his band - Osian Gwynedd (piano), Huw V Williams (double bass) and former Flaming Lips drummer turned Super Furry Animals archivist Kliph Scurlock (drums) piled into a van driven by the late, legendary tour manager "Dr" Kiko Loiacono and raced from Dunkirk, where they had just played the final show of a tour of Spain and France, to the outskirts of Paris in the early hours of a March morning in 2022. There, in La Frette Studios, a recording facility installed in a 19th-century house, Gruff and his road-hardened group tracked "Sadness Sets Me Free" in just three days. Backing vocals were added along the way by Kate Stables from This Is The Kit along with additional strings and orchestration and it was mixed between Marseille and Cardiff. What finally emerged from these intense bouts of cross-continental activity was Gruff"s most accomplished and beautiful record to date. In a career that has taken him from the slate-mining towns of north-west Wales, down to the expat communities of Patagonia, up to the Mandan tribe of the Great Plains of North America and across to the Tuareg rock groups of the Saharan Desert, Gruff Rhys, one of Britain"s most beloved and successful singer-songwriters, has always been willing to follow an opportunity, wherever it may lead him. "At this point I quite like working with serendipity," he says. "Not in a cosmic way, but I try and leave things open to chance encounters and chance geography. As I"m around 25 albums in I"m always looking for ways to make a different-sounding record".

Gruff Rhys is pleased to announce his new album "Sadness Sets Me Free" which will be released by Rough Trade Records on 26.01.2024. This incredibly will be the 25th album he has released in his 35 year career individually, collaboratively and as a member of various bands. "Sadness Sets Me Free" is also the follow up to 2021"s "Seeking new Gods", his first solo top ten record. The album will be available in a range of formats including a unique Dinked edition on "honeycomb neo-neapolitan" vinyl, an LP sleeve with "container doors" and a bonus 7" with exclusive audio for the first 1500 copies. A gatefold soft pack CD also includes a pull out poster. Lead-off single "Celestial Candyfloss" is a telling four minute glimpse of the forthcoming album, revealing the heady wonders and classic pop sounds within. Soaring strings carry the sweet melodies along, anchored by just enough necessary melancholy to add emotional ballast. The eye-popping video was created by long-time collaborator Mark James and compliments the scope and style of the song on a galactic scale. "Celestial Candyfloss" is, Gruff says, "an attempted pocket symphony about the cosmic lengths that people will travel in the pursuit of love and acceptance. Mark James has brought the Sadness Sets Me Free album cover to life & managed to place me watching TV interference in a shipping container that"s lost in space. For what is apparently the 25th album I"ve had a hand in writing I"ve reverted to a rich seam of inspiration relating to shedding some light on sadness and the general terror of cosmic loneliness." And so it was that Gruff and his band - Osian Gwynedd (piano), Huw V Williams (double bass) and former Flaming Lips drummer turned Super Furry Animals archivist Kliph Scurlock (drums) piled into a van driven by the late, legendary tour manager "Dr" Kiko Loiacono and raced from Dunkirk, where they had just played the final show of a tour of Spain and France, to the outskirts of Paris in the early hours of a March morning in 2022. There, in La Frette Studios, a recording facility installed in a 19th-century house, Gruff and his road-hardened group tracked "Sadness Sets Me Free" in just three days. Backing vocals were added along the way by Kate Stables from This Is The Kit along with additional strings and orchestration and it was mixed between Marseille and Cardiff. What finally emerged from these intense bouts of cross-continental activity was Gruff"s most accomplished and beautiful record to date. In a career that has taken him from the slate-mining towns of north-west Wales, down to the expat communities of Patagonia, up to the Mandan tribe of the Great Plains of North America and across to the Tuareg rock groups of the Saharan Desert, Gruff Rhys, one of Britain"s most beloved and successful singer-songwriters, has always been willing to follow an opportunity, wherever it may lead him. "At this point I quite like working with serendipity," he says. "Not in a cosmic way, but I try and leave things open to chance encounters and chance geography. As I"m around 25 albums in I"m always looking for ways to make a different-sounding record".

EVOLV is a visionary window into the mind of Dubfire, the journey of the ‘hybrid’ being and its evolution. Last year in October, an 11-track debut album was released on his long-standing SCI+TEC imprint. And now, just over a year later, Grammy award winning producer Dubfire returns to that sonic discourse, drafting in an impressive array of names to re-interpret the material, and accompanied by Dubfire's new audio-visual EVOLV show which picked up where the critically acclaimed electronic performance experience HYBRID had left off.

The eclectic package will include such notables as Glaskin, Arjun Vagale, Nadia Struiwigh, Mathimidori (dub alias of Mathias Kaden), Maral, Decka, Carl Craig, Truncate, Drumcell, Chris Liebing, Radio Slave and Luke Slater who have all given the original music in their own unique style.

With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy Award-winning (2001) duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works, ‘RibCage’ (2007), ‘Emissions' (2007), ‘Roadkill’ (2007) and the highly acclaimed ‘Grindhouse’ (2009) remix from Radio Slave which led to a host of other notable projects over the years.
Collaborative work highlights include projects with Miss Kitten, Luke Slater, Flug, and Oliver Huntemann, as well as co-producing two songs on Underworld’s Barking album. A true artist, he has always been heavily invested in exploring performance technology, unveiled to wide praise with his HYBRID live show. A two-year world tour commenced in 2015 and was followed by his retrospective album, A Decade Of Dubfire (2017), a celebration of his immense output during the first 10 years of solo artist stardom. EVOLV is Dubfire’s debut solo artist album.

Celebrated techno producer, sound artist and one half of ORKA, Jens L. Thomsen announces groundbreaking EP ÆÐR, landing 15th December via Kervið. ÆÐR (meaning ‘vein’ in English) is a uniquely atmospheric two-track EP, exploring modernity and post-war freedom through a Faroese lens. Commissioned for Eysturoyartunnil, a 12km subsea tunnel - the largest of its kind - in Jens’ native Faroe Islands, a structural marvel with striking art that has both a voice and aesthetic identity of its own. The EP currently lives as a live audio installation, broadcast around the clock on FM radio for anyone travelling through the tunnel. This is the first time a soundscape has been permanently installed and broadcast via this kind of technical solution allowing the sound to become part of the experience of the space itself. As one half of revered techno duo, ORKA, twice nominated for the Nordic Council Music Prize, who recently released their sixth album, All At Once, and an integral part of Yann Tiersen’s live band, Thomsen has already made a significant impact in electronic music. ÆÐR is an expansion of his work as a composer, which includes several site-specific soundscapes, including NORD which was commissioned by the Southbank Centre and installed across the entire fifth floor of the Royal Festival Hall in London.
On ÆÐR, Thomsen brings his talent for one-of-a-kind environmental sonic experiences to a wider audience. A paean to human endeavour and the developmental history of humanity, the tunnel is at once progressive and ancient: a liminal setting where late-modern and pre-modern longings somehow seem to rub off on each other. These intersecting ideas are translated into a striking soundscape of dark drones, creeping frequencies, bleeping ambience, groaning masses of sound, and pulsating echoes from the hidden world beneath us. The underworld that we somehow are able to move through temporarily in our car under the sea, giving the tunnel and the islands a voice of their own, while exploring the parallels between the tunnel and Faroese society today.
This uniquely immersive and compelling work, previously existing only as a transitory experience for users of the Eysturoyartunnil, is now available on vinyl for the first time to be considered and enjoyed in all its fascinating detail. A thought-provoking and groundbreaking piece from one of Europe’s most exceptional composers and sound artists today

Nachpresssung 2021 als Audiophile Black Vinyl! Doppel-LP auf schwarzem 180gr Vinyl. "Aufheben" oder "Aufhebung" ist ein deutsches Wort mit einigen scheinbar gegensätzlichen Bedeutungen. Über das bloße Aufheben eines Gegenstandes oder das Aufheben einer Regelung hinaus benutzt Hegel den Begriff, um zu erklären, was passiert, wenn These auf Antithese trifft. Als neues Album von THE BRIAN JONESTOWN MASSACRE wurde ,Aufheben" im Studio von Anton Newcombe in Berlin und in der berühmt-berüchtigten DDR-Radiostation ,Studio East" aufgenommen. Mit dabei: Matt Hollywood als Originalmitglied der Band. Außerdem versammeln sich hier Will Carruthers (SPACEMEN 3 , SPRITUALIZED) , Constatine Karlis (DIMMER) und Thibault Pesenti (ROCKCANDYS); zum Gesang trägt Eliza Karmasalo (auf Finnisch!) bei. Hier trifft sich der traditionelle Sound des BRIAN JONESTOWN MASSACRE mit vermischten östlichen Einflüssen und bringt die gesamte Verrücktheit mit, die man in den letzten 40 Jahren entdeckt hat. Das BRIAN JONESTOWN MASSACRE hat sich über die Jahre hinweg zu einer musikalischen Kommune für respektierte Musiker entwickelt und brachte seit den 90er Jahren große Bands hervor: BLACK REBEL MOTORCYCLE CLUB, THE WARLOCKS, THE SILVER ROCKETS, THE BLACK ANGELS, THE RAVEONETTES und THE DILETTANTES (um nur ein paar zu nennen) sprießen aus dem musikalischen Stammbaum des BRIAN JONESTOWN MASSACRES. Die Konstante: Frontmann Anton Alfred Newcombe.

This is a special audiophile vinyl version of Live Improvisations, an album featuring two sides of music, one the response to the other. The A-side is a recording of a 2014 session between Hakobune and Chihei Hatakeyama that was made with the colours of autumn and rural Japan in mind. Both of these artists have composed dozens of works that have established them as leaders in their field and this is no different. On the flip, zake and From Overseas craft 'Live Improvisation II' and 'forge an intercontinental bond' as they recorded the music in one take with no editing afterward. It's a gorgeous listen that shows a real mastery of tone and texture.

Two legends we have on this next majestic cut of magical sorcery; a Brit wizard and a German magician, the result is a masterpiece.

It's the pair you've all been waiting for! FINALLY!

Alan Tew's driving jazz-rock, sleuth-funk masterpiece, Drama Suite Part I is finally reissued to sate your appetites for arguably the very best library two-parter in existence. If you don’t know, get to know. Originally released in 1976 but wonderfully timeless, Drama Suite Part I is at the top of every library funk collectors' list. It's easy to see why...

Racing out the gate, the gritty crime funk of "The Detectives" makes for a thrilling, wild ride. A dramatic action theme, it's packed with strident playing and bags of attitude. There follows 10 (ten!) drama-tinged, horn-heavy, wah-wah-laced, conga-enhanced, synth-riddled links for neat segues and maximum funk fever. "Helicop" is another fast paced and energetic dramatic action background with great breaks and horns. "The Big One (Prelude)" has an ace bassline and creeps along superbly to create expectation and contains an amazing rolling piano loop that just stops you dead in your tracks. It's all building to "The Big One", a driving, dramatic, full-band action with fantastic funk breaks, heavy horns and *that* piano refrain. It was sampled by Jay-Z, and you can't really blame him, can you? The brief, tense "Headlights" and (even briefer) burner "The Burn" add some - you guessed it - deep drama over insistent rhythms to close out Side A.

Flip over for "The Detectives (Slow Version)", a relaxed, thoughtful version featuring synths. You might recognise it as being sampled by Domo Genesis and Evidence for "Tallulah" from their brilliant collaboration a few years ago. "The Detectives (Interlude)" is another slow, pensive version featuring electric piano and a trombone solo in the centre section. There follows 6 further links, Detectives versions essentially, with guitars, electric pianos, flugelhorns - all very cool and relaxed rhythms. The strutting majesty of big-time highlight "The Build Up" is next. It's a medium-slow drama background with occasional light statements of The Detectives theme peppered throughout. Nice. The fantastically-titled "Snout" is a slow, tense background theme which features a repetitive guitar figure with alto flutes over the top. The tense, stabby funk of "The Prowler" rounds out proceedings, with nervous figures over a slow, insistent cymbal beat.

As with all of our KPM re-issues, the audio for Drama Suite Part I comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity. We're not quite sure what else to say about this landmark record, other than, GET IT!

It's the pair you've all been waiting for! FINALLY!

Alan Tew's Drama Suite Part II. What can we really say? Honestly? We guess the first thing that strikes you is how clean the drums are. Almost impossibly slick but dripping so, so heavy with the neck-snapping funk you'd expect from perhaps the most sought-after library funk set of them all! The cheapest on Discogs is, currently, £1300+. Now's your chance to remedy that. If you know, you know. And we think you know...

"The Rub" is a cool, low-slung heavy-funk roller with relaxed brass and alto flute phrases. Up next, "Money Runner" is another edgy funk glider, its easy-tempo moving in harmony with slinky rhythmic riffs and featuring a seemingly ad-libbed electric piano solo. Strutting along after, "White Elephant Walk" is another laconic, deeply stoned walking theme with electric piano and alto flutes. There follows a couple of brief "walking" links before the brilliantly tense "Master Plan" slowly builds. Expectancy grows to the main theme around a minute in and then a melodic theme builds slightly to the 3 minute mark before floating down gradually and elegantly to its climax. It's utterly fantastic. The smoky, after-hours "Night Watch" is a slow, cool gem featuring alto flutes and synths.

Now we're talking, "The Fence (a)" is just sensational and worth buying this album all on its own. It's likely the reason you're here, anyway. Another impossibly funky, slow and easy tempo with a bass riff to die for, dramatic guitar with gorgeous electric piano and alto flute phrases. It was sampled for "Action Satisfaction" by J5, way way back. "The Fence (b)" is a slower, more deliberate version of the previous heater, but it's no less essential. Indeed, it's absolutely jaw-drooping. Closing out this remarkable side, "Surveillance" is another horizontal masterpiece of relaxed yet dramatic jazz-funk. Vibes ad-lib in centre section and give you an idea of how Roy Ayers making library funk in the mid-late 70s might've sounded. Sensational.

Flip over for "Total Silence", a near-beatless and understated scene-setter featuring neat interplay of guitar and synthesizer themes over bass and hi-hats. The slow "Eyes" follows, a brief gem with subdued electric piano solo and a light climax. The fantastic "Drama Backcloth (1a)" is up next, a repetitive piano and bass refrain with guitar figures over the top. Its creeping crime-funk vibe was pilfered for "Outta Town Shit" by Ghostface Killah in 2006. "Drama Backcloth (1b)" is a short, subdued version without the guitar figure. "Drama Backcloth (2)" features an expectant, background marimba figure over light rhythm whilst the cool "Drama Backcloth (3)" centres around a relaxed riff and the angular "Drama Backcloth (4)" presents eerie progressions with piano interjections. It's decidedly non-rhythmic!

We're then onto 14 (!) different half-minute "Scenechanges", all jazzy and funky, some cool and dramatic, some slow and rhythmic. All ace and groove-fuelled. The aptly-titled "Final Statement" closes proceedings, a slow, pensive theme on guitar joined by cool brass and a solo trumpet to its climax.

As with all of our KPM re-issues, the audio for Drama Suite Part II comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity. We're not quite sure what else to say about this landmark record, other than, GET IT!

Impossible to find in the wild, KPM's Image is exactly that; this record paints extraordinary, hyper-vivid scenes with music, in the way only the library greats can. Originally released in 1974, Image is an absolutely stunning listen from start to finish, and arguably the most wanted KPM grail that's still not been reissued - until now! Just too good…

Worth the price of admission alone, and likely the reason you're all already drooling about this release, the mellow, dramatic beat of "Image", Brian Bennett's opener and title track, is a Jaylib-sampled firecracker. A reflective, scenic underscore which grows to full orchestra and ends as it begins - it's just beautiful. Next up, swoon to "The Little Orphan" by Neil Richardson featuring strings and harp. It's a deeply emotive, sweeping orchestral piece. Just straight gorgeous. It's followed by "Paradise Island", a lush, horizontal Balearic gem courtesy of Gordon Rees and David Gold; it'll send you into a blissful reverie with its elegant strings and gentle drums. From the same pair, "Forbidden Fruit" is, again, string-drenched but the strings are more insistent, stabbing even, and, with drums and Blaxploitation guitars high up in the mix, it's definitely a funkier proposition. "The Enchantress", again a Rees-Gold special, is a slower, groovy, synthy wonder. Closing out the A-Side, "Phenomena" is a mysterious gem, a Gold solo effort set at a breezier tempo with propulsive percussion and head nod, fast-paced breaks with ace keys.

Flip over for "Infinite Expanse", John Scott's dramatic panorama adorned with proud, triumphant horns. Scott's "Static Objects" paints patient, pastoral scenes; there's a serenity and stillness to the proceedings. Next up, Be With favourite John Fiddy delivers shifting shapes and patterns with his wonderful "Metamorphosis", all wah wah, harps, dramatic percussion and strings. It's by turns billowy and blasting. "Cubist Pictures" follows, Neil Richardson's brilliant nebulous, fragmentary piece. Better yet, Richardson's gorgeous, beatless "Analysis" follows, and it's an orchestral beauty featuring cello, harps and woodwind. It's no exaggeration to describe this as transcendental. His "Crystal Ball" presents more static scenes with cello, twinkling percussion and strings, before Steve Gray's fantastically-titled softly-ace "Gliding Through Clouds" closes out this remarkable set.

As with all of our KPM re-issues, the audio for Image comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.

A Bad Diana is a project from Diana Rogerson, someone I first became aware of aged 12 when I read about Nurse With Wound and their United Dairies label in Smash Hits magazine. I was confused, mystified and intrigued in equal measure, and a couple of years later as a result I bought my first Nurse With Wound album. This led to an interest in all things NWW related. I guess Diana could be described as the matriarch of the Nurse With Wound world but she also had her own very distinguished pre-history with Fistfuck, an early-80s extreme noise outfit. She then made two mid 80s cult classic albums as Chrystal Belle Scrodd, both far out there rollercoaster rides of audio wildness, highly recommended to anyone with wide open ears. She then moved to rural Ireland and raised a family. There was the odd collaboration and then in 2007 A Bad Diana’s “The Lights Are On But No-One’s Home” was released on CD. I feel this is her meisterwerk and it has become something of a cult favourite over the years. Now for the first time, almost two decades later it is available on vinyl on Optimo Music Archiv. Produced in association with Steven Stapleton and Colin Potter from Nurse With Wound and irr. app. (ext.)’s Matt Waldron this is some seriously beautiful and strange listening. Next level sound design means this is an incredible headphone record but it is also a deeply warm and engaging home listening gem. Beautiful, magical, ultra hypno, soulful reverberations with the deep emotion of Diana’s voice tones and bio-vibrations.

During the year 2021, Charlemagne entrusted us with numerous archives recently found on audio cassettes dating from the 70s and 80s. After a long process of listening and selection, Matière Mémoire is pleased to present the first volume of these archives to you.

ALL MUSIC, instruments & voices by charlemagne palestine
Except CD2 track4 by Simone Forti & Charlemagne Palestine
Track selection by Karbé dinel / Cassette digitization by Lionel Hubert
Mastering by Frederic Alstadt at Mont analogue Mastering
COVER PICTURE BY Henry Ughetto "Pour charlemagne palestine" 1998

This is one of the most obscure records ever released in Venezuela in the 60s and the only recording of The Pets. This 1967 album shows perfectly what the influences of the Venezuelan nueva ola (new wave) scene were at the time, including versions of The Doors, Beatles, Rolling Stones, Paul Revere & The Riders_ as well as the outstanding original "El Entierro De Un Hombre Rico Que Murio De Hambre", one of the finest garage tunes to emerge from Latinamerica. It followed the global triumph of the Beatles that made the wave of beat groups gets bigger and bigger and lots of new bands emerged, some of which would last while others would definitively go into oblivion, and a small number of them would leave at least one recording that today is considered a highly valuable collector's item. This is the case of The Pets. Originally, they were not called The Pets, but The Playboys, and basically the group was formed to liven up the parties and gatherings at Casa Italia, a very important institution in Los Teques, near Caracas, where they formed. At one of these parties, they were heard by a representative of the Discomoda label who insisted on recommending the group to the company, completing the signing of their contract almost immediately. First time reissue, audios remastered from the original tapes and pressed on 180g vinyl.

Standing In The Light, das viel geliebte dritte Album von Level 42, ist wieder als LP in
einer streng limitierten audiophilen Gold-Vinyl-Pressung erhältlich.
Level 42 - der Bassist und Sänger Mark King, der Keyboarder und Sänger Mike Lindup,
der Gitarrist Boon Gould, der Schlagzeuger und Texter Phil Gould und der Studiotüftler
Wally Badarou - waren 1983 angesehene Überlebende der Britfunk-Explosion der frühen
80er Jahre, hatten aber noch nicht den ganz großen Durchbruch geschafft. Live waren sie
eine unübersehbare Attraktion, aber ein echter kommerzieller Erfolg blieb ihnen verwehrt.
Polydor erkannte dies und schickte die Gruppe nach LA, um mit Larry Dunn und Verdine
White von Earth, Wind & Fire zu arbeiten und ihrem Sound eine zusätzliche Dimension zu
verleihen.
Es sollte jedoch kein EWF-Horn- und Mystikfest werden; Standing In The Light optimierte
und kommerzialisierte den Sound der Gruppe, ohne dabei ihre einzigartige britische
Interpretation von Jazz-Funk zu verlieren. Out Of Sight, Out Of Mind war die erste
Singleauskopplung des Albums und verpasste nur knapp die britischen Top 40; die
nächste Veröffentlichung bescherte der Gruppe jedoch ihren ersten Top-10-Hit und einen
Vorgeschmack auf den Erfolg, den sie in den kommenden Jahren genießen sollte. Living It
Up (The Sun Goes Down) war ihr erster Top-10-Hit im Vereinigten Königreich und ist ein
funkbasierter Knaller. Infolgedessen war Standing In The Light das erste Top-10-Album
von Level 42. Es enthält auch das intensive, politische I Want Eyes, das Lieblingsstück
von Schlagzeuger Phil Gould in Zusammenarbeit mit Mark King, sowie fünf weitere
Beispiele für den einzigartigen Groove der Gruppe

MONO’s beloved debut album finally available again on vinyl, note the new price. Remastered for vinyl by Bob Weston at Chicago Mastering Service. Features all-new cover art // One of the most distinctive bands of the 21st century.” – Pitchfork // “Essential, really” – Exclaim! // “MONO have now well and truly sealed their place in the pantheon of rock history.” – Rock Sound // Under The Pipal Tree is the debut album by now-legendary Japanese experimental rock band, MONO. Released in 2001 on avant-garde icon John Zorn's Tzadik label, Under The Pipal Tree showcased a young Japanese quartet whose wide range of influences - most notably Sonic Youth, Mogwai, The Velvet Underground, and Neil Young's Crazy Horse - were on ferocious and ambitious display. Though MONO would eventually become known for their expert marriage of metal and classical genres, Under The Pipal Tree highlights the band's psychedelic roots. Long stretches of hypnotic, melodic washes give way to scorching guitar freakouts that evaporate into haunting silence. It's remarkable not just for its earnest exploration, but for its startling execution. Fifteen years and eight albums later, Under The Pipal Tree stands as one of the great debut albums by a seminal underground band. Finally released on vinyl for the first time ever, Under The Pipal Tree has been remastered for vinyl by longt ime friend and tour mate, Bob Weston at Chicago Mastering Service. The double album is packaged in all new artwork, and is pressed onto audiophile-quality 100% virgin vinyl. This stunning album has never looked, sounded, or felt better

New Zealand juggernaut Fat Freddy’s Drop return with a new studio album, ‘Special Edition Part 1’, due for digital release on 15th November, with 2LP Vinyl and CD following up on 10th January. The 45rpm vinyl edition is produced with
a different track order across four sides and promises to deliver super fat loud audio.

Part 1 of a double album, ‘Special Edition Part 1’, comprises of six tracks of which ‘Raleigh Twenty’, ‘Trickle Down’ and
‘Six-Eight Instrumental’ were written and recorded undercover at the band’s Wellington studio, BAYS, while the other
tracks; ‘Special Edition, ‘Kamo Kamo’, and ‘OneFourteen’, have all been developed and evolved from the band’s celebrated live jam sessions, whilst on the road in front of audiences worldwide.
Supremely crafted at Freddy’s own BAYS studio in hometown Wellington, the deep musical and rich vocal layers reflect
Freddy’s inspiration from the black music lexicon and is a response to the crowd energy at their world dominating live
shows.

‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next
journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2. The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in
2005.
The album cover artwork is by Wellington artist Otis Chamberlain, a continuing evolution from his creation for the its first single ‘Trickle Down’, a work that's morphed from digital cover art to the band’s massive summer tour backdrop and the recently released late-night buttery steppers ‘Kamo Kamo’. Fat Freddy’s Drop have been performing and recording together for more than 15 years, establishing themselves as one of New Zealand's most internationally successful acts. Considered one of the best live experiences in the world, they will embark on their biggest European and UK tour since they sold out a double hitter at London’s 02 Academy Brixton in 2018. Including an already sold out show in Dublin, the band will headline Cardiff’s Motorpoint Arena on 29th April 2020, Liverpool’s Invisible Wind Factory on 30th April, returning back to London’s Alexandra Palace on 1st May – the palace was the scene of two triumphant sold out headline concerts in 2014 and 2017 - before heading north to Glasgow’s Barrowland on 3rd May.