Search:august

“Week of Pines is a record about joyfulness, and coming home. And reclaiming things presumed gone. And grace, after making mistakes, that element of forgiveness and calm has been integral to this record.”
The album was recorded and produced by David Wrench over six days last August at Snowdonia’s Bryn Derwen studios. Her band features members of acclaimed country-folk outfit Cowbois Rhos Botwnnog and, for the album, includes a very special contribution from Lleuwen Steffan.
“The Welsh harpist Georgia Ruth is a rare talent, able to transcend borders of language, style and age with apparent ease ... A dazzling debut, rich with sweet pain and joy.” 

Andy Gill, The Independent ****
“Her own debut is a wonder, full of longing and melody.” Mojo ****

“while Sandy Denny, Bert Jansch and Van Morrison all linger on the horizon, Georgia Ruth comes over as more of a true original than most of the young hopefuls roaming these isles” Songlines ****
“Fans of Vashti Bunyan, the quieter moments of Talk Talk and gentle indie-pop will find succour here.” – Jude Rogers, tinyletter

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

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

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

Zur Feier des 50. Jahrestages des kultigen Wattstax-Events, das am 20. August 1972 im L.A. Memorial Coliseum stattfand, veröffentlicht Stax Records ”Wattstax” neu: The Living Word”.

Diese beiden LPs wurden von den Originalbändern von Chris Muth geschnitten und enthalten Auftritte von Isaac Hayes, The
Staple Singers, The Bar-Kays, Rufus Thomas, Carla Thomas, Albert King und anderen.

Wattstax war ein Benefizkonzert, das von Stax Records in Verbindung mit dem Watt Summer Festival organisiert wurde, um den siebten Jahrestag der Watts-Unruhen von 1965 in Los Angeles zu feiern.

Das Konzert, das von mehr als 100.000 Menschen besucht wurde und 7 Stunden dauerte, fand am 20. August 1972 im Los Angeles Memorial Coliseum statt und bot eine Mischung aus Soul, Funk und Gospel. Auf dem Programm standen Auftritte der größten Künstler von Stax, darunter Isaac Hayes, die Staple Singers, Rufus Thomas, Johnnie Taylor, die Bar-Kays und viele andere. Rev. Jesse Jackson trat bei der Veranstaltung als Moderator auf und eröffnete die Veranstaltung mit seiner oft zitierten ”I Am Somebody”-Rede.
Ein 2-LPSoundtrack mit den Höhepunkten des Konzerts wurde einige Monate später veröffentlicht. 1973 folgte der von Mel Stuart inszenierte Konzertfilm ”Wattstax” mit Richard Pryor als Moderator des Films, der 1974 für einen Golden Globe als bester Dokumentarfilm nominiert wurde.

chant#11 is the first VA compilation by David August's imprint featuring KMRU, Yu Su, Kareem Lotfy, Hadj Sameer, Sara Berts and more. Including also two new projects by August himself, Aşa (with jazz-noise vocalist Cansu Tanrikulu) and Madrā (with Carnatic vocalist Sushma Soma).

Observing how the world is continuously transforming, an idea of motion comes to mind. Inspired by Plato's concept of movement ("Nothing ever is, everything is becoming"), 99CHANTS has invited artists to create an "imaginary landscape." What does tomorrow sound like?

With creativity an increasing part of our daily lives, we must consider how we navigate the changes this contemporary environment brings. This means thinking through our responsibilities as a label, but also the role of music at this particular moment in time. We believe creativity and looking within our interior worlds can set hope and action in motion. We are curious to further explore music's ability to create gateways to such inspiration. With humility and gratitude, we hope this compilation can be a small contribution to a larger picture.

Since we started 99C in 2018, the safeguarding of the environment has been paramount to our existence. Considering the possibilities of tangible impact, we thoughtfully considered the act of compensation and decided that all proceeds will go directly to the non-profit organisation ONETREEPLANTED. Founded in 2014, OTP works with partners around the globe to plant trees in areas affected by deforestation. With 10 million trees planted as of 2020, biodiversity has been stimulated, jobs have been created, and while multinational conglomerates and energy companies produce the vast majority of global CO2 emissions, areas destroyed in the name of profit can once again flourish with life.

One amp. One mic. One person. Countless hooks. That’s the Dazy formula. Since first releasing the single Bright Lights b/w Accelerate in August 2020, Dazy mastermind James Goodson has been writing, recording, and releasing new music like a man on the hunt to find the best pop hook, and he won’t stop until he’s put all of them into his songs. Show- casing a unique set of influences, Dazy’s sound marries thumping drum machine beats, blasts of feeding back guitar, and sugar-sweet hooks into something that sounds like God- flesh covering Oasis—or maybe the other way around. With lean songwriting that recalls Teenage Fanclub but a home-re- corded production style better suited for Big Black, Goodson builds a constant churn of abrasive, consuming noise and then makes it catchier than anyone else would ever dare to.

"Hello It’s Me" sings Signe Marie Rustad in her crystal clear, inimitable voice. And with that, she’s back, three years after the release of her successful third album, When Words Flew Freely. The above lyric is taken from a song bearing the same name, the first single off Rustad’s fourth album, Particles of Faith. Known for her poetic lyrics and vivid songwriting, and backed by a tight knit band that’s been with her for years, Rustad’s new album offers a natural transition from the already classic When Words Flew Freely (WWFF). However, Particles of Faith also brings something completely new and fresh. WWFF presented a broader, organic and piano-driven Laurel Canyon-sound, and less of the americana sound present on Rustad’s first two releases. Particles of Faith is harder to place in any genre, other than in the broader singer-songwriter tradition, helmed by pioneers such as Joni Mitchell and Carole King. But Rustad also points to a host of other inspirations. Alternative pop/rock from the 80’s and 90’s have always been a big influence on Rustad, and on Particles of Faith, this is more evident than ever. R.E.M., Fiona Apple, Crowded House and Tori Amos were important components both in the artist’s record collection and on her TV screen via MTV. Seeing as this era was also the golden age of the saxophone, it was only natural to include a three-minute-long sax solo, courtesy of acclaimed Norwegian jazz musician Harald Lassen – a solo that “made me cry” says Rustad. The album is produced by Rustad along with indie pop hero Kenneth Ishak. “This is the music coursing through my veins,” says Rustad about the album. Rustad has been critically acclaimed ever since her 2012 debut, but with WWFF, things really took off. Rave reviews, inclusion on several year-end lists, live performance on Norway’s biggest talk show and a booking to Norway’s biggest festival followed the release. The album was awarded a Spellemann award (Norwegian Grammy) for lyricist of the year. After widespread touring since the fall of 2019, Rustad’s performance on Øyafestivalen’s main stage in August 2022, marked the wrap up of the WWFF project, while it simultaneously introduced the next chapter, announcing the new album with the performance of two new songs. The songs on the album are snapshots from a life, and “particles of faith” refers to keeping the faith in yourself, love, the people around you and the world in general throughout everything that you endure in life. It can be a kind of strength that you may think comes from the outside, but is actually found inside of us.

"Hello It’s Me" sings Signe Marie Rustad in her crystal clear, inimitable voice. And with that, she’s back, three years after the release of her successful third album, When Words Flew Freely. The above lyric is taken from a song bearing the same name, the first single off Rustad’s fourth album, Particles of Faith.

Known for her poetic lyrics and vivid songwriting, and backed by a tight knit band that’s been with her for years, Rustad’s new album offers a natural transition from the already classic When Words Flew Freely (WWFF). However, Particles of Faith also brings something completely new and fresh.

WWFF presented a broader, organic and piano-driven Laurel Canyon-sound, and less of the americana sound present on Rustad’s first two releases. Particles of Faith is harder to place in any genre, other than in the broader singer-songwriter tradition, helmed by pioneers such as Joni Mitchell and Carole King. But Rustad also points to a host of other inspirations.

Alternative pop/rock from the 80’s and 90’s have always been a big influence on Rustad, and on Particles of Faith, this is more evident than ever. R.E.M., Fiona Apple, Crowded House and Tori Amos were important components both in the artist’s record collection and on her TV screen via MTV. Seeing as this era was also the golden age of the saxophone, it was only natural to include a three-minute-long sax solo, courtesy of acclaimed Norwegian jazz musician Harald Lassen – a solo that “made me cry” says Rustad. The album is produced by Rustad along with indie pop hero Kenneth Ishak. “This is the music coursing through my veins,” says Rustad about the album.

Rustad has been critically acclaimed ever since her 2012 debut, but with WWFF, things really took off. Rave reviews, inclusion on several year-end lists, live performance on Norway’s biggest talk show and a booking to Norway’s biggest festival followed the release. The album was awarded a Spellemann award (Norwegian Grammy) for lyricist of the year. After widespread touring since the fall of 2019, Rustad’s performance on Øyafestivalen’s main stage in August 2022, marked the wrap up of the WWFF project, while it simultaneously introduced the next chapter, announcing the new album with the performance of two new songs.

The songs on the album are snapshots from a life, and “particles of faith” refers to keeping the faith in yourself, love, the people around you and the world in general throughout everything that you endure in life. It can be a kind of strength that you may think comes from the outside, but is actually found inside of us.

On 25th August 1975, Father Yod took the Source Family to the top of a cliff on the eastern shore of Oahu, Hawaii. Despite having no previous airsports experience, he leapt off a 1300 ft cliff using a hang glider and he crash landed on the beach below.

The Source Family rejected all forms of conventional medicine; Father Yod died from his injuries nine hours later, surrounded by The Source Family.

Erstpressung auf pinkem Vinyl. "Breaking The Balls Of History" ist das insgesamt zehnte Album von QUASI, das am zehnten Februar, zehn Jahre nach ihrer letzten Platte, erscheint. Drei Zehner, was sich mit den dreißig Jahren deckt, die sie zusammenspielen. Sam Coomes und Janet Weiss sind zu Ikonen des pazifischen Nordwestens geworden, und QUASI hat sich immer so beständig angefühlt - ihre dauerhafte Freundschaft so generativ, ihre Energie unendlich, jedes Album rauer und eingängiger und wilder und lustiger als das letzte. Aber wir haben uns geirrt, QUASI jemals für selbstverständlich zu halten. Eine Zeit lang dachten sie, dass das komplizierte "Mole City" von 2013 ihr letztes Album sein könnte. Sie würden mit einem großartigen Album abtreten und weiterziehen. Dann, im August 2019, krachte ein Auto in Janets Haus und brach ihr beide Beine und das Schlüsselbein. Dann kam ein tödlicher Virus über uns, und niemand wusste, wann oder ob Live-Musik, wie wir sie kannten, jemals wieder würde stattfinden können. "There's no investing in the future anymore", erkannte Janet. "The future is now. Do it now if you want to do it. Don't put it off. All those things you only realize when it's almost too late. It could be gone in a second." Während des Lockdowns standen die Straßen von Portland still, Flugzeuge verschwanden, wilde Tiere tauchten auf. Und mit der ausgelöschten Normalität kam ein unerwartetes Geschenk: ununterbrochene Zeit, Stunden am Tag, um Kunst zu machen. QUASI konnten nicht auf Tournee gehen, also hatten sie eine Idee: Sie taten so, als wären sie auf Tournee und spielten jeden Tag zusammen. Jeden Nachmittag verschanzten sich Sam und Janet in ihrem winzigen Übungsraum und kanalisierten die Verwirrung und Absurdität dieser fremden neuen Welt in Songs. Sie beschlossen, dass sie die Songs live und gemeinsam aufnehmen würden, um einen Moment einzufangen. Das unglaubliche Ergebnis dieser Sessions ist "Breaking The Balls Of History", aufgenommen in fünf Tagen und produziert von John Goodmanson. Hier sind zwei Künstler*innen in ihrer Blütezeit, jede*r ein menschlicher Fundus an musikalischem Wissen und Erfahrung, völlig unverwechselbar in ihrem Songwriting und Sound. In der QUASI-Form wird die Band alchemistisch noch größer als die Summe ihrer Teile. Mitten in einem katastrophalen sozialen und politischen Moment haben sie exquisite, melodische Songs geschaffen, die vor Wut, wildem Humor und Intelligenz nur so sprühen, angetrieben von einem großen, zerschundenen, pochenden Herzen. "A last long laugh at the edge of death", singt Sam zu Beginn des Albums, und dieser fröhliche Trotz - der genauso gut der Logbuch-Eintrag unserer Gegenwart sein könnte - gibt den Ton für die kommenden Songs an. Es klingt düster, und das ist es auch, weil es sich dem Moment stellt. Aber es ist auch eine Platte, die vor Energie, Vergnügen und Freude nur so strotzt.

The latest album by Pomme, Consolation imposes itself, confident and determined to prove her as the important artist she is. Consolation is a joy that necessarily comes from a pain and its beautiful ashes. "Consolation" has been an enormous success, acclaimed by the media, it was released last August. On February 10, Pomme will release "Lot 2 consolation", the long-awaited reissue of his scrapbook. With its 5 new titles, Reviews and Ads – R2 and London Macadam.

Iceland's Thule offshoot label 66 Degrees was a vital label back in the day. After a 20-year hiatus, it came back strong in August and now follows up quickly with a second superb EP. This one is a carefully curated various artists collection that pulls together some local house anthems new and old. Ozy's 'Sequential Dub' is a super smooth deep house number with lush chord work. Sanasol brings heavier, more raw house drums and grinding bass that will get floors in a sweat. Oz Artists mixes up a raw, mechanical groove with balmy, dreamy pads up top to make for something utterly compelling on 'Atomox; while last of all Terry Cummingz pays homage to dusty Windy City house on his perfectly lo-fi 'Cherry Bon Bon. Classy business for sure.

Zu ihrer letzten Tour pilgerten insgesamt mehr als 130.000 Fans, die Tour für 2019 ist bereits
angekündigt und die Jubiläums-Show in der Berliner Wuhlheide im August 2019 mit 17.000
Besuchern, war nach nur 20 Tagen restlos ausverkauft. Ihre Musikvideos zählen über 350 Mio. Views
auf YouTube, Sie spielen unzählige Headliner-Slots auf allen großen Festivals und halten den Status,
als eine der erfolgreichsten deutschen Bands im Streaming-Bereich. Die letzten beiden Alben sind
bereits vergoldet und mehrere Singles haben Gold- und Platinstatus erreicht. In den
Mainstream-Medien bleiben Vincent und Dag dabei, zum Teil ganz bewusst, weitestgehend unter dem
Radar. In der großen Vielfalt, des am 1. März erscheinenden Albums - Die Unendlichste Geschichte'
ist das Lied - Unikat' tatsächlich ein Einzelstück. Der beinah klassische Pop-Song trägt eine Botschaft,
die für SDP eine besondere Bedeutung hat und zeigt erneut die emotionale Seite des Musikduos.
Gerade in heutigen Zeiten, in denen der Erfolgs- und Anpassungsdruck, besonders auf junge
Menschen, enorm hoch ist, sind solche Songs wichtig. Unikat rundet den famosen Genre-Wahnsinn
des Albums perfekt ab.

Angel numbers: a series of recurring numerical patterns or sequences which those who believe in such things invest with cosmic significance.

Also, the name of the forthcoming album by Hamish Hawk – an apt title for an artist who bounces between scepticism and wonder, who alchemises the quotidian, who is engaged in a constant quest to outwit and outflank the ordinary. With the release of Heavy Elevator in September 2021, Edinburgh-based Hawk established himself as a writer of heartfelt, headstrong, unashamedly literate songs to stimulate both pulse and psyche. Heavy Elevator offered words to savour and tunes to relish. The songs were filmic and romantic, blending wit, wisdom, resignation and beauty with a kind of sceptical joie de vivre, delivered in a rich baritone that has drawn comparisons to everyone from Jarvis Cocker to Scott Walker. A singer of style and guile peddling accessible intelligence: what’s

not to love? Heavy Elevator established a powerful artistic imprimatur which nonetheless felt neither defining nor confining. While the album has been justly lauded, Hawk’s next steps have moved the story considerably further forward. Angel Numbers meets growing expectations head on, with panache and aplomb.

Angel numbers: a series of recurring numerical patterns or sequences which those who believe in such things invest with cosmic significance.

Also, the name of the forthcoming album by Hamish Hawk – an apt title for an artist who bounces between scepticism and wonder, who alchemises the quotidian, who is engaged in a constant quest to outwit and outflank the ordinary. With the release of Heavy Elevator in September 2021, Edinburgh-based Hawk established himself as a writer of heartfelt, headstrong, unashamedly literate songs to stimulate both pulse and psyche. Heavy Elevator offered words to savour and tunes to relish. The songs were filmic and romantic, blending wit, wisdom, resignation and beauty with a kind of sceptical joie de vivre, delivered in a rich baritone that has drawn comparisons to everyone from Jarvis Cocker to Scott Walker. A singer of style and guile peddling accessible intelligence: what’s

not to love? Heavy Elevator established a powerful artistic imprimatur which nonetheless felt neither defining nor confining. While the album has been justly lauded, Hawk’s next steps have moved the story considerably further forward. Angel Numbers meets growing expectations head on, with panache and aplomb.

In November of 1982, I went into the studio with Government Issue to record what was to be their first full-length album. Up until that time, they had only released the Legless Bull 7”EP, and the tape they recorded early 1982 would take over a year and a half to be released as the Make An Effort 7”EP. The members of G.I. excelled at driving each other crazy and there was a lot of arguing, but still we had a great session at Inner Ear and we managed to track 20 songs in one day. From the beginning the band had been divided on what to record, and it was only after much debate that they decided to leave off the material they had recorded with the earlier line-ups and only put out 10 new songs.

In early 1983 Dischord was strapped for cash, meaning that we could only work on one release at a time. Since all of our money was tied up with the manufacturing of Minor Threat’s Out of Step 12” EP, the G.I. record would have to wait. A new DC label, Fountain of Youth, expressed an interest in releasing Boycott Stabb, so it was decided to do a ‘split-label’ record. In this case, Fountain of Youth put up the money and we let them use the Dischord Records name to help with context and distribution. It has since been reissued on a number of different labels and formats, but after coming across the master tapes and hearing the songs that had been left off, we thought it would be cool to release the complete session, and to finally release the record on Dischord proper.

In going through the tapes, I discovered that most of the outtake songs were never mixed, so earlier this year I took the recordings back into the studio. Hearing the separated tracks amazed me. Such great playing and songs! With the technological advances in the recording world made multi-tracking and overdubbing so common, it’s easy to forget that studios could also be used as something more akin to a photo-booth, capturing what was happening at that very moment. Most of the early Dischord sessions were essentially ‘live’ recordings, so the bands had to be able to play, and because the budgets were minuscule, they had to get the songs down in short order. G.I. stepped up on both counts. -Ian MacKaye, August 2010

In November of 1982, I went into the studio with Government Issue to record what was to be their first full-length album. Up until that time, they had only released the Legless Bull 7”EP, and the tape they recorded early 1982 would take over a year and a half to be released as the Make An Effort 7”EP. The members of G.I. excelled at driving each other crazy and there was a lot of arguing, but still we had a great session at Inner Ear and we managed to track 20 songs in one day. From the beginning the band had been divided on what to record, and it was only after much debate that they decided to leave off the material they had recorded with the earlier line-ups and only put out 10 new songs.

In early 1983 Dischord was strapped for cash, meaning that we could only work on one release at a time. Since all of our money was tied up with the manufacturing of Minor Threat’s Out of Step 12” EP, the G.I. record would have to wait. A new DC label, Fountain of Youth, expressed an interest in releasing Boycott Stabb, so it was decided to do a ‘split-label’ record. In this case, Fountain of Youth put up the money and we let them use the Dischord Records name to help with context and distribution. It has since been reissued on a number of different labels and formats, but after coming across the master tapes and hearing the songs that had been left off, we thought it would be cool to release the complete session, and to finally release the record on Dischord proper.

In going through the tapes, I discovered that most of the outtake songs were never mixed, so earlier this year I took the recordings back into the studio. Hearing the separated tracks amazed me. Such great playing and songs! With the technological advances in the recording world made multi-tracking and overdubbing so common, it’s easy to forget that studios could also be used as something more akin to a photo-booth, capturing what was happening at that very moment. Most of the early Dischord sessions were essentially ‘live’ recordings, so the bands had to be able to play, and because the budgets were minuscule, they had to get the songs down in short order. G.I. stepped up on both counts. -Ian MacKaye, August 2010

Twisting and contorting the English language to fit the meter and his every whim, Lupe Fiasco uses his superb lyrical skill to process the changing world in which he lives. Drawing connections between the concrete and spiritual in his hometown of Chicago, Lupe announces DRILL MUSIC IN ZION, his next album. The product of a burst of thoughtful spontaneity, Lupe created the new album over a short period, diving into a folder of beats sent by his longtime producer Soundtrakk and emerging with a fully-realized album in just three days. “Soundtrakk is the swordmaker, I’m the samurai," says Lupe. "He’s the mechanic, and I’m the driver.” Armed with Soundtrakk's soulful sounds, Lupe creates a focused statement that reflects on the past and paves a way forward, preaching strength through mindfulness and self-sustaining community. DRILL MUSIC IN ZION arrives digitally on June 24th via 1st & 15th/Thirty Tigers. The physical release is set for August 26 (CD, Black Vinyl, and Indie-retail exclusive blue vinyl). His first new album since 2018's DROGAS WAVE, DRILL MUSIC IN ZION marks the start of another chapter in Lupe's illustrious career. The proud Chicago native has already had a busy 2022, marked with sold out shows, new music, and much more. Lupe recently closed out his "Food & Liquor Tour," a series of performances in which he plays his debut album in full. He paid tribute to his hometown in the reflective, self-produced "100 Chicagos," and dug into the archives to share "Hustlaz," a previously-unreleased song originally recorded before the release of the now-classic debut album Food & Liquor. Beyond music, Lupe continues to focus on the community organizations he founded, including We Are M.U.R.A.L, The Neighborhood Start-Up Fund, Society of Spoken Art, and his cross-cultural content venture, Studio SV.

Radio Slave teams up with Nez for all-new versions of the club smash, ‘Wait a Minute’.

The first single from Radio Slave’s forthcoming 2023 LP, ‘Wait a Minute’ sees the UK legend pair with grammy nominated multi-hyphenate Nez for a hard-hitting, rap-infused house track that has become a staple of the handful of DJs who had upfront versions this summer.

Initially meeting via Radio Slave’s incendiary remix of the FELIX DA HOUSECAT co-produced ‘Lift Off’ released via Three Six Zero/Sony in 2021, LA’s Nez and Berlin-based Radio Slave made plans to work together as soon as possible, and a new version of 2020’s ‘Wait A Minute’ is the result. Featuring remixes from Rekids’ own Mark Broom and coming complete with an instrumental version, Radio Slave feat. Nez ‘Wait A Minute’ is released through Rekids on 26th August 2022.

Radio Slave, aka Matt Edwards, is responsible for some of the most recognisable underground dance tracks of the past 20 years, including ‘Grindhouse’, ‘Don’t Stop No Sleep’, ‘Another Club’, and many other timeless cuts. His collaboration work with Joel Martin as Quiet Village and solo work as Rekid has received critical acclaim, and he remains one of the most in-demand and consistent remixers around.

Nez has worked with the likes of Chance The Rapper, A$AP Rocky, Tinashe, ScHoolboy Q, and many more before dropping the dancefloor focussed ‘Midnight Music’ EP in 2021. Growing up in Chicago, Nez absorbed the rich musical lineage of the Windy City, and now distils these into his own unique creations and collaborations.

Die neue Ausgabe der Bootleg Series von Bob Dylan, "Fragments - Time Out Of Mind Sessions (1996-1997): The Bootleg Series Vol. 17" erscheint als 5 CDs umfassendes Deluxe Boxset sowie als Standard-Version auf 2 CDs oder 4 LPs. Sie enthält in der Standardversion das Album "Time Out Of Mind" in einem 2022er Remix sowie zwölf ausgewählten Outtakes und Alternativversionen. Volume 17 der gefeierten Dylan-Reihe wirft 25 Jahre nach seiner Erstveröffentlichung einen neuen Blick auf das Meisterwerk "Time Out Of Mind" und zeichnet dessen Entstehung nach. Angefangen bei den bislang unveröffentlichten Song-Fassungen aus den 1996er Teatro-Sessions mit Dylan (Gesang, Gitarre, Piano), Daniel Lanois (Gitarre, Orgel), Tony Garnier (Bass) und Tony Mangurian (Schlagzeug, Percussion) bis hin zu (ebenfalls unveröffentlichten) Live-Mitschnitten aus den Jahren 1998-2001. Anfang 1996 begann Dylan, der seit der 1990er LP Under The Red Sky kein Album mit Eigenkompositionen veröffentlicht hatte, mit der Arbeit an neuen Songs. Von August bis Oktober ging er mit Daniel Lanois, der sein 1989er Album Oh Mercyproduziert hatte, ins Teatro Studio in Oxnard/CA, um dort Demos für eine mögliche neue LP aufzunehmen. Als die Songs im Januar des Folgejahres Form angenommen hatten, zog man ins Criteria Studio in Miami/FL um. Die Studiobesetzung wurde aufgestockt, und so fand sich in Florida ein illustrer Mix aus Session-Musikern und Mitgliedern von Dylans Tourband ein: Bucky Baxter (Akustikgitarre, Pedal Steel), Duke Robillard (E-Gitarre/Gibson L-5), Robert Britt (Martin Akustikgitarre, Fender Stratocaster), Cindy Cashdollar (Slide Gitarre), Tony Garnier (Bass, Kontrabass), Augie Meyers (Vox Orgel, Hammond B3, Akkordeon), Jim Dickinson (Keyboards, Wurlitzer E-Piano, Pumporgel) sowie die Schlagzeuger Jim Keltner, Brian Blade und David Kemper. Das Album "Time Out Of Mind", der schließlich aus diesen Sessions entstand, avancierte zu einem Dylan-Klassiker. Songs wie "Love Sick", "Can't Wait" oder "Not Dark Yet" wurden zu Lieblingsstücken der Fans. Mit "Make You Feel My Love" gelang Dylan sogar das Kunststück, dem Great American Songbook einen neuen zeitgenössischen Standard hinzuzufügen. Zahllose Künstler, darunter Billy Joel, Neil Diamond oder Adele, haben diesen Song gecovert. Bei den Grammy Awards 1998 gewann "Time Out Of Mind" in den Kategorien 'Album of the Year' und 'Best Contemporary Folk Album'.

Another Terra Magica release is coming! The new ‚Axisdance‘ - Various Artists (TERRAM003) double-vinyl 12″ compilation coming out this summer August/September on Terra Magica Rec.

With artists from all over the world such as Poly Chain, Mogwaa, Jacques Satre, Jai, DJ Normal 4, Imogen Soundsystem – Ilija Rudman and Antonio Zuza, Gee Dee, Rambal Cochet, Listensport, Johnmon and Hektisch Sprengen DJs.

Every track has its own spirit, in a kind of a 90s journey way. The compilation is a fascinating mixture of weird cosmic and slow goa vibes to more emotional places with powerful bassdriven downtempo techno and slightly trance influenced anthems as well as distinctive tribal acid easiness with epic melodies. Furthermore it involves faster loaded minimal hypnotic synth sounds and dark UK-House with a big-beat touch to it. Raw liquid floating old skool breaks melts into rave stompers which are inhabited by sensitive living microbes vibrating jungle atmospheres.

FUSE launches its new ‘X Series’, a new instalment on the label centred around collaborations, with the first four-track offering courtesy of anonymous partnership eb_flow.

Continuing to evolve, adapt and blossom as an imprint leading the way across house, minimal and beyond, London favourites FUSE have undeniably levelled up once again as they approach a decade and a half in the game. Adding to their global events and long-standing sub-label INFUSE with sister imprint LOCUS, the brand has delivered quality productions across the electronic sphere from a mix of label regulars and emerging names, with founder Enzo Siragusa heading up and curating the subtle nuances and directions across their wide-reaching ventures. A new project for 2022, late August, welcomes the arrival of the label’s ‘X Series’ - a collaborative introduction which will see label favourites and special guests combine to unveil a string of unique releases in partnership with one another. The inaugural release sees anonymous pairing eb_flow join the label, delivering four cuts which have been essential records amongst the head honcho’s sets this year.

Opener ‘Transmission’ welcomes an otherworldly trip through hazy vocal murmurs and sweeping lead melodies as skippy percussion and rumbling sub-bass take hold before ‘Show Me’ delivers an impactful, bottom-heavy anthem fusing murky basslines beneath garage-tinged drums, funky grooves and dubby sonics.

The vinyl package comes loaded with two further cuts in the form of ‘Elevate’ and ‘Space’, with the former delivering a dreamy, mind-altering trip guided by bright stabs and loose, free-flowing drum shuffles, while the latter serves up a late-night skittering ride through resonant electronics, elongated pads and rubbery bass.

Ellen Allien and the We Are Not Alone collective are back with a second edition of the We Are Not Alone series. A 36-track compilation split into 3 parts, each consisting of 12 cuts, dedicated to the infamous We Are Not Alone event series and the best of Berlin’s underground techno talent.

Ellen Allien's innovative party series We Are Not Alone was launched in 2016 and remains committed to inviting an exciting crew of artists to perform at the 36 hour events, now in a new home at RSO.BERLIN, where they returned with bang over 36 hours and 3 floors in May.

The We Are Not Alone compilation features artists that have played at the parties, as well as those who will join the line-up for future events. The 4th, 5th and 6th parts include music by Ellen and established names names such as Thomas P. Heckmann, Dollkraut & DJ Europarking, Francois X, Phase Fatale and Etapp Kyle. Rising stars Nene H, Nur Jaber, Stephanie Sykes, Wallis and Métaraph. BPitch signings including Rosa Anschütz, Shaleen, Matasism and Uncrat.
For this installment of the series, Ellen Allien collaborates with esteemed director and photographer Stini Roehrs for the multidisciplinary project ‘’AFTER DARK – Emotional States of Techno’’, consisting of a virtual rave film, book and exhibition produced by AKKURAT Studios, and the We Are Not Alone VA, which is to be released physically and digitally via BPitch.

The next We Are Not Alone parties take place at RSO, Berlin in July, August and October of this year. 22nd July, CSD weekend, is set to be a single night event on two floors. 20th August a We Are Not Alone floor during the RSO Club Festival and then we’ll be back for over 30 hours on 15th & 16th October. Watch this space.

Amorphic returns with his final release of 2022. It's been a strong debut year with releases on Modularz, Symbolism and the debut Amorphic label release, as well as music on Token to come early next year. Amorphic 01 introduced this new project to the world with its punishing polyrhythmic designs and upfront beats, which was supported and played by most top Techno DJs.

In June, The 'Voyager222' EP on Modularz took things further with all 4 tracks having massive support. Ben Sims' then released the first Amorphic single on Symbolism in August with a slightly groovier but typical Sims style release, and now Amorphic 02 ends the year with another 2 slabs of polyrhythms and brutal subs.

Triathalon's new album Spin is cavernous, warm to the touch — aglow in
Rhodes pianos, Wurlitzers, and fuzzed out guitars.
The New York based trio recorded Spin live, with mixing by Gabe Wax
(Adrianne Lenker, Fleet Foxes) and mastering by Zeroh (Pink Siifu,
Eyedress)
It was written, produced and recorded by the band themselves. The album is an
inherently transformative record — the product of years of work, both on the self
and as a collective, a band. Spin is cavernous, warm to the touch, aglow in
Rhodes pianos, Wurlitzers, and fuzzed out guitars.
Triathalon will hit the road on a month- long North American tour at the end of
August with stops in 27 cities including Los Angeles, Brooklyn, Chicago,
Philadelphia and more.
Forming in Savannah, the band—which began as the solo project of Adam Intrator
before Chad Chilton and Hunter Jayne joined in 2011—relocated to New York City
after performing together for nearly a decade in Georgia. Their new music is a
snapshot of Triathalon's evolution and growth — tracing a journey of sonic selfreflection, of being lost in your thoughts and watching the world around you
change.
"brooding, romantic, lush — and deeply sensual" Billboard

Triathalon's new album Spin is cavernous, warm to the touch — aglow in
Rhodes pianos, Wurlitzers, and fuzzed out guitars.
The New York based trio recorded Spin live, with mixing by Gabe Wax
(Adrianne Lenker, Fleet Foxes) and mastering by Zeroh (Pink Siifu,
Eyedress)
It was written, produced and recorded by the band themselves. The album is an
inherently transformative record — the product of years of work, both on the self
and as a collective, a band. Spin is cavernous, warm to the touch, aglow in
Rhodes pianos, Wurlitzers, and fuzzed out guitars.
Triathalon will hit the road on a month- long North American tour at the end of
August with stops in 27 cities including Los Angeles, Brooklyn, Chicago,
Philadelphia and more.
Forming in Savannah, the band—which began as the solo project of Adam Intrator
before Chad Chilton and Hunter Jayne joined in 2011—relocated to New York City
after performing together for nearly a decade in Georgia. Their new music is a
snapshot of Triathalon's evolution and growth — tracing a journey of sonic selfreflection, of being lost in your thoughts and watching the world around you
change.
"brooding, romantic, lush — and deeply sensual" Billboard

Featuring what may be his only recordings on the Prophet keyboard,
these once lost performances expand the omniverse of Ra across a
stellar set of lengthy cuts! All recorded in a single day and finally making
their terrestrial debut, pressed on colored vinyl and packaged with a
Prophet keyboard brochure plus notes from Ranthropologist Brother
Cleve!What happens when a Prophet meets a Prophet? The answer lies
within these grooves
Amongst the hundreds of recordings issued by Sun Ra and his Arkestra, under
their various guises, the majority were recorded in concert or in makeshift studios
such as their early 1960s set- up at NYC's Choreographer's Workshop. Beyond
those, roughly 22 albums were recorded at Variety Recording Studio in New
York's Times Square. However, on August 25, 1986, Sun Ra and cohorts entered
Mission Control, a state- of- the- art 24- track studio north of Boston, which was
teeming with electronic keyboards and otherworldly sound generators. Nestled
within that arsenal was a brand- new digital ultra keyboard — the Prophet VS
("Vector Synthesizer").Of all the keyboards Ra played throughout his half-century
career, the Prophet was one of the most sophisticated. There's no evidence that
he had played either of the instrument's earlier incarnations, the Sequential
Circuits Prophet-5 and Prophet-10. Created using microprocessors, a then- new
technological advance, under the auspices of engineer Dave Smith in 1978, the
Prophet-5 revolutionized electronic music as the first polyphonic and, most
importantly, programmable synthesizer.Ra was intrigued by the Prophet (surely by
the instrument as well as by the name). Recorded during a single day, it's about
time that these once lost performances have now been found.It was a joy and a
thrill to be sitting at the console hearing this music for the first time, especially
with my fingers on the faders and knobs of the mixing desk. We watched the
oxide fly off the 2" tapes during playback, making this our one chance to digitize
before they metamorphosed into dust. Welcome to the new Sun Ra album….35+
years after it was recorded. The Omniverse has expanded once again.— Brother
Cleve (1955 - 2022)

Paranoid and lazy, never knowing who is your friend and who is just
watching a screen, never really hungry and never satisfied - Fever Dreams
and Daymares of Family Dinners with the network news so loud you can
hear the white noise pop like firecrackers
Floating through this dimension on the path of least resistance, unnoticed and
unbothered til you're old enough to die. The pitiful fantasy of having people cry at
your funeral, while your spirit watches from the rafters. Feeling lost in your body
like a ghost under a bed sheet.
Fourth Dimension Intervention, by The Homeless Gospel Choir, was recorded over
five days in August 2021 at The Lodge KY by John Hoffman. It's the first album to
feature all five members of the band, the first self produced album, and the first
full length to be released by Don Giovanni. Pressed on Seaglass Blue color vinyl.

Repress !

Selva Discos returns to the LP reissue game with a bang – by giving a new life to the stunning and very sought-after Memória das Águas album by Fernando Falcão. Originally recorded in 1979 in Paris but only released independently in Brazil in 1981, the album comes complete with genre-hopping explorations that swirl around ambient soundscapes, lively jazz, experimental-leanings, Afro-rhythms and a unique blend of Latin grooves and French pop with a Brazilian accent, but it also comes with a story as deeply unique as the music.

To make a long story short, after participating in the political movements against the military regime in 1968 in Brazil, Fernando Falcão left the country and moved to France, where he lived in exile for 15 years. There, after working in music, acting, and sculpting, he involved himself in Jérôme Savary's legendary Grand Magic Circus, where he met his first wife, Valérie Kling. It was from this relationship that a partnership began between the musician and his father-in-law, the artist François-Xavier Lalanne, who guided Falcão in the process of inventing sound sculptures such as the balauê – a horizontal version of the berimbau string instrument whose sound was influenced by a water stream (since there was a hose soaking parts of the balauê wet during the performances). Much of this exploration and experimentation resulted in the album Memória das Águas.

The album still sounds like little else from the time. As audacious and experimental as it is seamlessly listenable, it takes in immersive textures one moment before breaking out into Fela Kuti-esque brass-soaked grooves the next. It’s ultimately a record that captures the spirit and rhythm of Falcão’s homeland combined with the lush production and art-pop approach associated with his exiled home; It’s a polished, well executed and glistening record. Its fusion of African, Brazilian, jazz, pop, classical and avant-garde collides to create a record that spans as many continents as it does genres.

Remastered from the original master tapes, not only the sound but the artwork of Memória das Águas was completely and faithfully restored. Also, the reissue comes with unprecedented liner notes featuring rare photos of the musician and his sound sculptures plus articles that help to explain who Fernando Falcão was and where Memória das Águas sits among other staples of Brazilian music, including one from DJ and selector John Gómez – who helped to connect Selva Discos' Augusto Olivani with Diana Lion, Fernando Falcão's daughter (since the musician died in 2002), for this project. After Memória das Águas, Selva Discos will also reissue another long lost Fernando Falcão LP album – Barracas Barrocas.

An unblinking look at an entertainment-obsessed society, Amused to Death addresses issues that have only grown in complexity and urgency over the past two decades. With Amused to Death, Roger Waters sounded the alarm about a society increasingly — and unthinkingly — in thrall to its television screens. Now in 2022, Amused to Death speaks to our present moment in ways that could scarcely have been anticipated three decades ago. In 2015, television is just one option in an endless array of distractions available to us anytime, anywhere, courtesy of our laptops, tablets and smartphones. With eyes glued to our screens, the dilemmas and injustices of the real world can easily recede from view.

"Even if you have one of the original issue vinyl LPs, the new version of Amused to Death on the Analogue Productions label is an essential upgrade to your listening experience. Like The Division Bell and The Endless River vinyl LPs before it, Analogue Productions has kept their commitment for quality meticulously high with Amused to Death. The record pressing is uniformly excellent..." Paul Powell Jr., Brain Damage U.K. Pink Floyd News, August 2015.

The 2015 2 LP 200-gram vinyl edition of Amused to Death features remastered audio completed by longtime Roger Waters / Pink Floyd collaborator and co-producer, James Guthrie, and has been pressed at Quality Record Pressings. The cover and gatefold art has been updated for 2015 by Sean Evans, the creative director of Waters' 2010-2013 "The Wall Live" tour and movie.

Back in stock is the re-issue of the Augustus Pablo classic album debut from 1973. The LP-Vinyl is re-mastered and expanded with the three additional tracks "Java" and "Guiding Red" from singles released the previous year, plus the unreleased "Marabi", the version to Dennis Brown's "Cheater". "This Is Augustus Pablo" was recorded at Randy's studio, mixed by Errol Thompson and produced & arranged by Clive Chin & Augustus Pablo. A masterpiece of early reggae & instrumental dub introducing the sound of the melodica!

Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines. Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno. Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Jalea is the affectionate term used by seafood-craving Peruvians for one of the country's signature dishes. In this jalea the menu consists of four original tracks highlighting the artist's career on one side, and four selected remixes by iconic producers from Mexico, Argentina, and Peru. Tribi arrived on the scene as digital cumbia was busy spreading its wings from Buenos Aires, soon to take over Latin America (and later the world), with Lima the next city to catch the bug. Ernesto had been DJ'ing in clubs since the mid-90s, and experimenting with Peruvian cumbia since the mid-00s, but the birth of his alias Tribilin Sound allowed him to go wholesale into his beloved chicha, reinterpreting grooves by classic Peruvian groups like La Pintura Roja, Los Titanes and Chacalón y la Nueva Crema, as well as proving to be a dab hand at a mash-up. Soon, he found himself at the heart of a like-minded community, releasing a debut self-titled album with Peruvian label, Terror Negro, and following it up with Aquí Siempre Bailamos (2014) for pan-Latin collective Sello Regional. Coming from a club background, rhythm has always been central to Ernesto's approach, his adopting of Peruvian styles never deviating from the necessity to get bodies moving, and the remixers here seem to take delight in stretching out his rhythms. Mexico's Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines; another Mexican, Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian thunder-duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno..

Jamie Jones and Lee Foss’ label Hot Creations will deliver a combined EP by Aix en Provence-based DJ and producer MALIKK and Marseille-born duo Chicks Luv Us in August. Bridging chunky tech house with dub techno, Can We Dance displays their collective love for bright and playful beats.

On the title track, the producers work in symbiosis to create a club-driven chunker with chopped-up vocal samples and a squishy bassline. Bouncy ‘til the last beat. On the B-side, Chicks Luv Us drop a Balearic-flavoured banger with Makelene. High-pitched vocals pulsate throughout the track, as huge kickdrums and playful sound FX amp up the energy. MALIKK offers a quirky closing track on Walkie Talkie, packed with punchy drums, bleepy percussion and techy vocals—perfectly aligned with Hot Creations’ colourful aesthetic.

Chicks Luv Us are two Marseille-born pals with a penchant for groovy house and minimal techno. Their back catalogue echoes the textures that bring them together as producers, with releases on Loco Dice’s Desolat, Steve Lawler’s Viva Limited and many more. They cut their teeth in DJing during their residency at Spartacus Club in Cabriès in the south of France from 2009 and 2018. Today, the pair continue to grow a legion of international fans while finessing their craft in the studio, and soundtracking dancefloors worldwide. MALIKK is an Aix en Provence-based artist whose early appreciation for 80’s disco, funky and soul still occasionally seeps into his current club-focused music. Previous releases on Hot Creations, Hottrax, Toolroom, and Solotoko display his multi-dynamic palette, nodding to several genres and moods. Having played in Brazil, Argentina, Spain, Belgium, Netherlands and his native France, MALIKK’s DJ sets reflect his fun and explorative approach, marking him as one of Aix en Provence’s finest exports.

Released on Greensleeves in 1990 to glowing reviews ‘Blowing With The Wind’ went on to be Pablo’s most successful album since the seventies. The mix of nyahbinghi drumming and hardcore steppers was embraced big time by the new age sound-system culture bringing Pablo’s far east sound to a whole new audience. A successful tour of Japan followed where Pablo showcased Blowing With The Wind with a selection of his original rockers. Recorded at Tuff Gong & Dynamic and mixed at Tuff Gong & Music Works, engineered by Soldgie, Chunny, Sylvan Morris & Tony Kelly.

Following their debut Glastonbury Festival performance, Broadside Hacks in collaboration with British Underground today announce the UK premiere of The Broadside Hack; a new documentary telling the story of the young vanguard of UK artists sharing radical interpretations, proto-feminist narratives and queer histories through the lens of British traditional folk song. An accompanying live album of the songs performed in the film will also be released in December on LP and digitally. Having enjoyed its US premiere at SXSW in March, The Broadside Hack is a short music documentary produced by British Underground, created with the aid of a grant from Arts Council England and PRS Foundation. Directed by Crispin Parry and filmed by The Northern Cowboys, It explores the influence of traditional folk songs on a new generation of musicians, filmed just as the UK was emerging from the dark days of the pandemic. The documentary was made in collaboration with music collective Broadside Hacks and features influential artists and groups from the new folk scene, including Rough Trade signees caroline, former Goat Girl bassist Naima Bock, whose acclaimed album Giant Palm was released on Sub Pop earlier this year, Shovel Dance Collective, Thyrsis, Broadside Hacks and Boss Morris. Discovering a fresh vitality in the tunes and new histories in the stories they tell, the film includes conversations, dances and intimate performances filmed at Peter Gabriel’s Real World Studios in Box, Wiltshire between 17th and 19th August 2021. The live concert and screening of The Broadside Hack arguably marks the close of the first chapter in the story of the UK’s new folk scene; a story in which Broadside Hacks has been central. Initially formed as a folk night, the pandemic forced it to change its shape, morphing into a collective of young, like-minded musicians who met to play folk music in South London. “An adventurous exploration of traditional music by the young and folk curious” - The Times // “All your favourite players in one Sunday League team” - Loud And Quiet // "The band play old folk songs, those so old their authors have been lost in time, and inject in them such life, depth and emotion that it's extremely affecting" - The Quietus // Side 1 A1 Boss Morris - Up The Hill A2 Interview Shovel Dance Collective - ‘A Collective Authoring of History’ A3 Shovel Dance Collective - The Bold Fisherman / My Husband Has No Courage In Him A4 [Interview] Thyrsis - ‘Collaboration Across Space and Time’ A5 Thyrsis - Single Sailor A6 [Interview] Naima Bock (Broadside Hacks) - ‘Retracing Beginnings’ A7 Broadside Hacks - Gently Johnny. Side 2 B1 Shovel Dance Collective - Merrily Kissed the Quaker B2 [Interview] Shovel Dance Collective - ‘Queering Folk Songs of the Past’ B3 Thyrsis - Godstow Bridge B4 [Interview] Naima Bock (Broadside Hacks) - ‘The Broadside Hacks Folk Club’ B5 Broadside Hacks - Rain and Snow B6 Boss Morris - Young Collins

The wait is over! Delgado, the ten-track collaboration album by Flee Lord & Roc Marciano is now available on vinyl with bonus tracks from the delxue digital version! Originally released in August of 2021, Delgado was produced entirely by Roc Marciano, with the veteran artist / producer providing a blend of versatile beats for the Lord Mobb General to spit his patented street raps over. With features from long time collaborators such as Conway the Machine, Ransom, Stove God Cooks and DJ Boogieman, Delgado received both commercial and critical acclaim and now this fan favorite is available on wax! HotNewHipHop had this to say about the album: “On this one, Flee is in absolute beast mode, bodying each instrumental that Marci serves up with fire and fury. At this point, it’s going to be hard to deny Flee a spot at the best current lyricist table, especially after he delivers inspired performances on ‘This What Ya Want?’ and the minimalist ‘First Kill’.”

Debut album by Dutch producer w1b0, who passed away in August, to be released in November on U-TRAX.

Wibo Lammerts' sudden death on August 15thshocked the worldwide electro community, and also left the record label, that had been working on the debut album with the artist known as w1b0 for the past two years, dumbfounded and in grief.

Wibo had jokingly always called his upcoming debut album 'his legacy', which now sadly has become a painful truth. With the support of Wibo's family, U-TRAX is now doing the only thing that doesn't feel totally wrong: proceed as planned, and release 'When Humans Ruled The Earth' on November 11.

W1b0 made quite a name for himself with heavy electro tracks that he released on labels like Bass Agenda, Hilltown Disco and Discos Antónicos. Standing at 202 meters, and combined with a cheerful character, most people remember him as the gentle giant of electro.
For this album, Wibo wanted to steer away from the dark and heavy electro he mostly made until then. The idea of having a platform to create delicate electronic music in different styles, and make it a showcase of his versatility, was very appealing to him. And that is where he and U-TRAX found each other.

The full-length album (over 75 minutes on cd and digital) comes after 'The Pilex Program EP', released in October, that featured a remix by Detroit's Ectomorph of 'Pilex Driver' and saw 'Program Yourself To Feel' remixed by a well-known Dutch producer that recently created the new 'techno alias' Human Form.
As usual with U-TRAX, the album comes in three different editions, with the 11-track double vinyl version containing the Ectomorph and Human Form remixes. The CD and digital version boast original versions only, plus four additional tracks: 'Alternate Reality Interface', 'Mixed Matter Fluctator', 'Synthetic', and 'In There'. The cassette version more or less has the same track list as the CD/digi version, but has both aforementioned remixes and a bonus track in the incredibly hypnotizing 'I Wanted You', a track that unfortunately couldn't be on the CD and vinyl versions.

Buyers of the physical releases get treated on superior quality products, another trademark of U-TRAX. The vinyl edition boasts over one hour of music, on two 180 grams, green vinyl discs, in a black & white & neon green gatefold sleeve. The eye-catching artwork is created by Utrecht artist Leffe Goldstein, known amongst others for his psychedelic beer can designs for Utrecht brewery Maximus. Wibo, being the beer lover he was, had zero doubts about having Leffe Goldstein do the cover for his album. The CD has a total playing time of 75 minutes and comes in a beautiful 6-panel digipack, while the cassette will have full-color on-body print and comes in a plastic-free Maltese cross fold-up sleeve.

Buyers of the physical releases get treated on superior quality products, another trademark of U-TRAX. The vinyl edition boasts over one hour of music, on two 180 grams, green vinyl discs, in a black & white & neon green gatefold sleeve. The eye-catching artwork is created by Utrecht artist Leffe Goldstein, known amongst others for his psychedelic beer can designs for Utrecht brewery Maximus. Wibo, being the beer lover he was, had zero doubts about having Leffe Goldstein do the cover for his album. The CD has a total playing time of 75 minutes and comes in a beautiful 6-panel digipack, while the cassette will have full-color on-body print and comes in a plastic-free Maltese cross fold-up sleeve.

Opener 'Acid Whip' is one of the oldest compositions on this album, in which a dark 303 bassline hums over layers of spacey strings. Wibo named it after the legendary Whip It party in Amsterdam's De Melkweg. 'Alternate Reality Interface' then presents bouncy rhythms toying around with all sorts of analog (bass) synthesizers, before we go really deep with the epic ambient techno track 'Wandering Souls'.
Then things get a little lighter spirited: 'Mixed Matter Fluctator' is an electro track that builds on sounds created by Matt Buggins. It has very strong Detroit influences, the city Wibo loved so much and that he made a pilgrimage to with a group of friends that called themselves 'The Techno Tourists'. The tempo goes up a notch in 'Program Yourself To Feel', that halfway opens up in wide science fiction strings that evoke memories of Star Wars, the movie series that Wibo was a great fan of, and that was the source of many of his tracks' names. The Human Form remix opens the vinyl edition of this album and is a downright belter of a track.

Next is a somewhat experimental intermezzo named 'Synthetic'. Erratic beats and pounding bassdrums get accompanied by very subtle eerie-sounding strings, before melancholic synthesizers and piano chords take over. This is an excellent prelude to the epic 'Hologram Computing', a track that is one of our favorites. It slowly and softly builds and builds, before a pounding bassdrum breaks loose and a hypnotic arpeggio takes you to higher planes.
Not ready to letting the listener relax, w1bo then serves 'Beilstein Reference', which again presents his trademark cocktail of down-to-earth electro rhythms and catchy melodies, covered in all sort of little sounds and noises, giving the song a lot of energy. What follows is 'Hit me', a track loosely based on a song by Dutch indie rock band Mr. Joe Abe. Wibo met the band's singer on a camping site while being on holidays and the two decided Wibo should do a remix of one of their songs. Nothing was left of the original except the vocals, and the result is a remarkable cheerful, poppy electro song.

'Anticipated Input' is one of the more recent tracks Wibo made for this album, combining electro, acid and, yes: epic strings. But not all is peace and quiet on this album, as 'Pilex Driver' shows. This is w1b0 going experimental in a danceable fashion: Industrial sounds make the track sound like we're passing a construction site that is playing loud electro music. On the vinyl version of this album, Ectomorph totally decomposed the original and made it into a mysterious, almost subdued, and totally brilliant electro track that sees a main role for the retro Roland CR drum machines sounds.

TFHats, Wibo's fellow member of the Transhumanism collective, added lyrics to 'Cartesian Coordinates'. His vocals add a pleasant New Wave flavor to this song, that has breaks that remarkably reminds one of Nirvana's 'Smells Like Teen Spirit'. What follows is the most personal track on this album. 'Fornan' is a song that Wibo made for his wife Nanette, and was added as the last piece of the puzzle that creating an album is. The warm Detroit techno atmosphere in this electro song couldn't be a more beautiful tribute to his love, and mother of their two young boys.
The album then takes a surprising detour through a 1980s landscape with 'In There', that features the Joy Division-esque vocals of another one of Wibo's friends, indicated only as Vincent. The super slow and gloomy track is a treat for anyone that loved the darker side of New Wave. The album has a worthy closer in the sensitive, yet playful 'Schlegel Diagram'.








h 08: Hit Me (w1b0's Slugfest Assault Dub) feat. Mr Joe Abe

Ernest Hood’s Neighborhoods was released some two decades after the Portland, Oregon born and raised musician’s first forays into field recordings. These very recordings, and those captured over intervening years, define the universal sound and aural images of childhood, a theme memorialized by Hood’s privatelypressed opus of 1975.

Sprawling through a haze of zither, synthesizer melodies, and foraged pedestrian sound, Neighborhoods is both a score and documentary composed and directed by Hood to offer, in his words, joy in reminiscence. Hood’s nostalgic impulse ran parallel to the developments of other artists, writers, and filmmakers of the 1970s who were looking back to the 1950s to convey a collective memory of childhood. Unlike some of the widely embraced work of this nature, the music of Neighborhoods eschews irony or detachment for lucidity, striving above all for a dream-like return to the details of sensory memory.

Born into a musical lineage, Hood’s early, promising career as a guitarist in a globetrotting jazz outfit was cut short when he contracted polio in his late twenties. Moving from guitar to less physically-demanding stringed instruments in the late 1940s, Hood first began implementing field recordings in his jazz ensemble collaborations as early as 1956. In 1961, Hood and trumpeter Jim Smith collaborated on a local Portland television program, with their large, tight ensemble providing breakneck contemporary jazz for an action painting by famed West Coast modernist painter Louis Bunce. Hood incorporated his own field-recorded sounds of birds in the performance – an element that would resurface in Neighborhoods with great abundance among other found sounds.