Ein Nachfolger zur 2016 erschienenen Country-Rock-Compilation "Cosmic American Music"! Dieser zweite Band geht weit über Gram Parsons' Country-Rock-Vision hinaus und erforscht die twangigen Falsettos und kommerzielle Neugier, welche auch die Eagles aufsteigen ließ. Obwohl verwurzelt im Westküsten-Folkrock der späten 60er Jahre, präsentierte diese neue Generation einen "Safe-for-the-suburbs"-Sound, der von den politischen Unruhen der Hippie-Ära geprägt war. 20 Tracks, zwei LPs im Klappcover.
Neon Sky Vinyl!. Ein Nachfolger zur 2016 erschienenen Country-Rock-Compilation "Cosmic American Music"! Dieser zweite Band geht weit über Gram Parsons' Country-Rock-Vision hinaus und erforscht die twangigen Falsettos und kommerzielle Neugier, welche auch die Eagles aufsteigen ließ. Obwohl verwurzelt im Westküsten-Folkrock der späten 60er Jahre, präsentierte diese neue Generation einen "Safe-for-the-suburbs"-Sound, der von den politischen Unruhen der Hippie-Ära geprägt war. 20 Tracks, zwei LPs im Klappcover.
Austrian electronic music producer Peter Kalcic, better known as B.Visible, is set to release his third studio album titled "Life is my Hobby" on October 10th through his own imprint, Data Snacks.
This new album sees B.Visible continuing to blend genres, drawing inspiration from the trip-hop sounds of the 90s, the R&B of the 80s, and mellow house music. True to his signature style, he maintains a balanced mix of acoustic drum sounds, electric pianos, and shimmering synths.
Unlike his previous works, the creation process for "Life is my Hobby" extended beyond the traditional studio setting. Much of the album was crafted in his newly moved apartment and various cafes in Vienna's 5th district. His collaboration partners were close to home, literally-Anda Reverie and Silvia Ponce Marti, his upstairs and downstairs neighbors, respectively, feature as vocalists on the album.
Silvia Ponce Marti's contribution for instance is featured on the track "Ella," which addresses the sensitive issue of the hyper-sexualization of the female body in today's society. She also created a stunning mixed media video for the song, which can be viewed here.
Anda Reverie appears on the track "Bad Karma," portraying an alien questioning the moral implications of humanity's destruction. The music video for this song brings the scenario to life with dreamy environments and unsettling projections.
B.Visible describes the album's creation as guided by causality, resulting in a less experimental and more accessible sound-his closest encounter with pop music to date. Asked about the title he keeps quite. The listener is encouraged to form their own opinion from the impressions.
BIO (EN)
Viennese producer B.Visible is always pushing his craft forward, with each concept being an evolution. His music is mutating organically as each project brings novelty, but always while blending sharp electronic components with dusty acoustic layers. That duality exists in every aspect of his creative journey, with DJ sets revolving around second-hand records and modern-day productions, but also his live project offering a whole new dimension and generosity to the audience. B.Visible melts the barrier between analog and digital in a such distinctive and elegant way that it feels natural.
Forgetting You Is Like Breathing Water, the self-titled debut from the duo of trumpeter Will Evans and guitarist, synthesist, producer and multi-instrumentalist Theo Trump, arrives like a vault revelation. It feels like a decades-old yet newly unearthed masterwork of gorgeous ambient improvisation, the sort of thing scholars live to research and shepherd into deluxe reissue.
The patient, crystalline chords that swell and resonate like a series of confessions; the textured brass murmurs that suggest a ’60s or ’70s Fire Music master at their most poignant. Provocative found-sound experiments threading arcane religious recordings through dystopian soundscapes. Ear-shattering free-noise tumult. Where and when did this music come from? Who are these voices?
As it turns out, Forgetting You Is Like Breathing Water springs from an engrossing human story, though it isn’t necessarily the one you’d expect. This work of stunning maturity is in fact an entrance by two little-known explorers in their early 20s, who grew up together in Virginia, in the shadow of the Blue Ridge Mountains. It documents one of those perfect, sparkling moments in post-adolescence when big decisions and responsibilities are right around the corner, but for a spell, two young artists are able to create among the comforts and nostalgia of their shared past.
It also represents a reunion of sorts, as Evans and Trump connected as toddlers, became inseparable as boys, then pursued independent lives and creative paths as young adults. “Theo is my oldest friend,” Evans says, “and I feel like that’s what this band is — us meeting right in the middle of our interests.”
Now, having conjured this magic, they’ve detached once again: Evans, whose other works include the indie/avant-jazz unit Angelica X, is currently based in New York City. Trump recently moved to England, where he’d participated in his family’s theatre company, to go to school and further his solo ambient project. “This album didn’t start out as something super ambitious,” Evans explains. “It was more just an excuse to spend time together again and make music.”
***
In conversation, Evans and Trump are a delight, especially for cynics who might think that Gen-Z is only capable of doomscrolling. They come across as kindly young intellectuals who grew up using the internet as it was intended, for exposure to ideas and art across genres and generations. Trump points to indie-folk and the oracular post-rock of late Talk Talk, Bark Psychosis and Gastr del Sol. Pressed for his guitar heroes, he cites Bill Orcutt, Mary Halvorson and Marc Ribot, and mentions his devotion to alt-country. Heyday electro-industrial stuff like Skinny Puppy and Nine Inch Nails also meant a lot to him.
Evans is equally intrepid, though his background has a greater jazz focus. Ambrose Akinmusire, among today’s most thoughtfully commanding trumpeters, is a favorite. As for the soulful murmur he offers throughout Forgetting You, Pharoah Sanders’ wistful and lyrical contributions to Floating Points’ work is a touchstone.
The two grew up down the street from each other in the northern Piedmont town of Batesville, Virginia. Their families were friends, holidays were celebrated together and they became the most loyal of pals. As children they had a pretend band.
Then life unfolded, they attended different schools and their paths diverged. Evans discovered John Coltrane and became a jazz obsessive, as Trump found punk and hardcore and later began making ambient music. As a dedicated jazz trumpeter, Evans studied formally and widely; Trump was an autodidact, teaching himself guitar and absorbing synthesis and production techniques. The late teens and very early 20s brought moves away from home and back to home, as well as plenty of listening and learning. The Covid pandemic meant an opportunity to reconnect on long walks. Through it all, together and apart, they remained reverent of each other.
By early 2023, they found themselves living again among the Blue Ridge Mountains. In the evening, after giving trumpet lessons in Charlottesville, Evans would make the eerily beautiful trek “over the mountain” to Trump’s home in Staunton, Virginia. They’d talk and eat and begin to improvise, deep into the night. Evans played trumpet and sometimes drums. (Given the wee-hours recording schedule, the neighbors didn’t appreciate the latter.) Trump plugged a rickety, junk-store Telecaster-style guitar into a cheap solid-state amp and explored open tunings; he also layered on lap steel, electric bass, synths and electronics.
They locked in and relished each other’s gifts. In Trump, those include patience and intentionality and sonic decision-making; for Evans, a distinctive trumpet sound that both musicians think of as a singer’s voice. “Will’s playing is so thoughtful and well placed,” Trump says. “My goal from a producer’s mindset is that the trumpet will occupy the space that vocals would take.”
Often, they got lost in the best way. “The thing I look for most when I’m playing is that feeling of disappearing into what you’re doing,” Evans says. “Usually when that happens, the music is good.”
By the same token, they didn’t pursue free improvisation as an ethic, or as a pure process. Their goal was something closer to spontaneous composition. “We were trying to make good songs,” Evans says simply. Later, Trump did brilliant post-production work, expanding a modest setup into an enthralling soundworld. Under his judicious editorship, music that was wholly improvised sounds at times like a carefully composed new-music commission.
The results speak for themselves. “A Happy Death” summons up a swath of American desolation through the viewfinder of Wim Wenders. “Flesh of Lost Summers” and “Partings” are highlights from an essential ECM LP that never was. “A Collapse of Horses” infuses those seminal post-rock influences with the plod of doom metal or slowcore. The album’s final track, “The Mountains Are a Dream That Calls to Me,” was in fact the first thing the duo recorded, as an evocation of those twilit drives across the Blue Ridge Mountains. “Looking back at what we chose to name the songs,” Evans says, “and some of the sounds and how they make me feel, there is an air of impermanence and loss to this album.”
“I’m excited for everything that’s to come,” he adds, “but I recently thought, ‘Damn — that’s not going to happen again.’ It was a privilege for us to have that time together.”
DE MANNEN BROEDERS ist die erste Zusammenarbeit feat. Colin van Eeckhout und der flämischen Folk-Ikone Tonnie 'Broeder' Dieleman aus Zeeuws.
Ersterer ist der Frontmann der belgischen Post-Metaller AMENRA, einer Band, die für ihre überwältigende Härte in Sound und Gefühl bekannt ist.
Letzterer ist ein holländischer Folksänger, dessen Musik von der Kultur seiner seeländischen Heimat inspiriert ist und der bereits mit Baby Dee und
Bonnie Prince Billy zusammengearbeitet hat. Als die beiden sich trafen, spürten sie sofort eine Verbindung.
Das Ergebnis ist das 9-Track-Album Sober Maal (was übersetzt 'nüchternes Mahl' heißt und sich auf die Praxis bezieht, eine einfache Mahlzeit zu
essen, um Dankbarkeit zu üben), das unter dem Namen DE MANNEN BROEDERS veröffentlicht wird. Es wurde in weniger als fünf Tagen in der
Doopsgezinde Kerk aus dem 18. Jahrhundert in Middelburg in den Niederlanden geschrieben und aufgenommen.
Klanglich ist Sober Maal eine eindringliche, emotionsgeladene Reise, die sich in einer vergangenen Welt verwurzelt fühlt, aber dennoch völlig
eigenständig klingt und eine melancholische, aber dennoch hoffnungsvolle Note hat. Der Gesang von Colin und Tonnie verschmilzt mit dem Chor und
einer sparsamen Auswahl an Instrumenten, darunter ein Banjo, ein Klavier, eine Drehleier und die mächtige Zentralorgel - alles vermischt mit den
Klängen und dem Echo der Kirche.
JTQ experimentieren ständig mit verschiedenen Musikstilen, nach Soul- und Jazzalben, einem Chor- und einem Orchesteralbum, nehmen sie jetzt ein Funk-Rock-Album auf, das eigentlich die nächste The Prisoners-LP hätte sein können. Funky, teils punky Rock-Elemente wechseln sich ab mit Hammond-Funk-Instrumentals im Stil von Jimmy McGriff. James Taylor nahm viel mit Billy Childish und The Prisoners auf und fand es an der Zeit, seine Jazzband auch an diesem eher rock'n'rolligen Sound auszuprobieren. Während die Funk-Rock-Tracks auf BBC 6 laufen, spielt Jazz FM die Instrumentals.
- Ltd. Col. LP: (Opaque Orange Vinyl)
'Alagbon Close', ursprünglich 1974 auf dem Independent-Label Jofabro veröffentlicht, markiert das Aufblühen des Afrobeat sowohl als Musik als auch als prinzipielle politische Philosophie. Instrumental vereint das Album die verschiedenen charakteristischen Elemente von Felas Afrobeat, die bis dahin noch nie in einer so einheitlichen und fein ausbalancierten Form auf Tonträger festgehalten worden waren. Textlich ist es eine direkte Auseinandersetzung mit der Vollzugsgewalt des nigerianischen Staates: 'Alagbon Close' in Lagos war das Hauptquartier der nigerianischen Kriminalpolizei (Criminal Investigation Department). Viele der musikalischen Elemente, die 'Alagbon Close' so fesselnd machen, sind bereits auf früheren Aufnahmen zu hören, aber auf diesem Album hat Fela sie alle mit verheerender Wirkung zusammengeführt und damit das klassische Afrobeat-Paradigma geschaffen.
Verve Forecast announces the first in a trilogy of Spoken Word EPs from three-time Grammy nominated artist Tank and the Bangas. ‘The Heart’ is an EP that features Jill Scott and is produced by The Roots' James Poyser (Erykah Badu, Common). Subsequent EP installments feature Yaya Bey, Aja Monet, Samara Joy, J Ivy. Second EP will be ‘The Mind’ and is produced by Iman Omari (Kendrick Lamar, Mac Miller). ‘The Soul’ will be the final installment and is produced by Robert Glasper (H.E.R. Brandee Younger). Following the August 30th album release with all three parts, there will be a fall co-headline tour with Jamila Woods and a Blue Note NYC residency (third year in a row)!
Deicide ist eine der drei großen US-Death-Metal-Bands, zusammen mit Cannibal Corpse und Morbid Angel. Nach ihrem letzten Album "Overtures of Blasphemy", das 2018 erschienen ist, kehren Deicide nun mit ihrem neuen Werk "Banished By Sin" zurück.
Deicide sind bekannt für ihre kompromisslose Musik, und dafür, dass sie in den mehr als drei Jahrzehnten ihres Bestehens einige der esten und härtesten Death Metal-Songs hervorgebracht haben. Erwartet die intensivste, brutalste und einprägsamste Florida Death Metal-Platte!
Saint of the Pit, Diamanda Galás" fifth studio album and the second in her trilogy, The Masque of the Red Death, is an urgent record. Its theme is essentially passion, in the sense of suffering, although here, and unlike the passion of Christianity, there is little to offer solace. Re-released on Galás" own Intravenal Sound Operations (ISO) after its initial release on Mute in November 1986, Saint of the Pit is a masterpiece of witness - ing, forged from grief and fury during the HIV-AIDS epidemic. While its precursor, The Divine Punishment (originally via Mute, now ISO), released only five months before in June 1986, invoked Old Testament laws around the clean and the unclean, as a way of raging against the inhumanity of systemic neglect of people with HIV-AIDS, this album is focussed on a more interior response.
A unique, dreamy Dutch-language indie-folk record reminiscent of Jessica Pratt and Joni Mitchell.
Catbug is the project of singer-songwriter Paulien Rondou who grew up in Duisburg, a Belgian village near Tervuren. After completing her 'Cabaret' studies at the Antwerp Conservatory, Paulien moved to her mother and stepfather's little farm in Westmalle. Although she left without any specific goal in mind, it didn't take long for the first wonderful songs to originate in this environment.
Catbug released her debut album Universe back in 2018. A record that immediately put her on the map within the Belgian music landscape. "Since the release of King Fisher, Catbug's first song, we have been sitting here on the edge of our seats", Radio 1 wrote about it at the time. Despite the fact that her musical career had clearly taken a direction, Paulien did not feel comfortable living the big city life. That said, it didn't take long before she left Antwerp behind to run the organic farm De Paardebloemhoeve in Malle. As it turned out, that farm was the ideal habitat for Paulien to work on her first Dutch-language album slapen onder een hunebed peacefully and quietly. This album was also well received in Belgium and was even picked up by Japanese label Think!Records. In one way or another, Catbug's music reached the Japanese label and, upon their request, several hundred vinyls were immediately sent out to Japan. In no time, all vinyls were sold out. Despite the fact that Catbug's lyrics are sung in Dutch, the people in Japan love her music.
Now, three years later, there's the brand new album Musjemeesje. The album has become an ode to all the birdson and around the farm, which again served as the breeding ground for all the new songs. One winter day in 2021, Paulien was given a pair of binoculars as a gift and decided to learn as much as she could about the birds on and around the farm. Soon she learnt to recognize the distinctive sounds and ways of flying of many different species, and a separate story began to form with each bird. There was something in them that Paulien identified with, and she wanted to try to map it out. This is where the idea was born of writing an album of songs about birds. "Birds always manage to uplift and inspire me with their crazy habits and their twittering. They reach out to the child in myself", Paulien added herself. For this album, Paulien worked with producer Aiko Devriendt again, who also did the mix. They recorded the album in pianist Guy Van Nuyten's studio and just like they did the last time, a conscious choice was made to keep it sober. Less is more. This resulted in a unique, dreamy Dutch-language indie-folk record reminiscent of Jessica Pratt and Joni Mitchell.
Coke Bottle CLear Vinyl. The breakout success of 2016's Puberty 2 saw Mitski hailed as the new vanguard of indie rock, the one to save the genre from the white dudes who've historically dominated it. But the often overlooked aspect of being a rising star is the sheer amount of work that goes into it. "I had been on the road for a long time, which is so isolating, and had to run my own business at the same time," Mitski explains, "a lot of this record was me not having any feelings, being completely spent, but then trying to rally myself and wake up and get back to Mitski. I was feeling really nihilistic and trying to make pop songs."We want our artists to be strong but we also expect them to be vulnerable. Rather than avoiding this dilemma, she addresses directly the power that comes from appearing impenetrable and loneliness that follows. "With a lot of the romantic infatuations I've had," she says, "when I look back, I wonder, Did I want them or did I want to be them? Did I love them or did I want to absorb whatever power they had? I decided I could just be my own cowboy figure that I so desire." In Be The Cowboy, delves into the loneliness of being a symbol and the loneliness of being someone, and how it can feel so much like being no one.
Field Music will release Limits of Language, their first album of new music for almost four years. Back in 2022, the touring cycle for the Flat White Moon album ended with a sense of finality. For the first time since the Mercury-nominated Plumb ten years earlier, Peter and David had no plan for what, if anything, would come next. However, after six years of continuation, they were clear that if Field Music was to carry on then it would have to be different, in both sound and scope.
Field Music will release Limits of Language, their first album of new music for almost four years. Back in 2022, the touring cycle for the Flat White Moon album ended with a sense of finality. For the first time since the Mercury-nominated Plumb ten years earlier, Peter and David had no plan for what, if anything, would come next. However, after six years of continuation, they were clear that if Field Music was to carry on then it would have to be different, in both sound and scope.
New music by The Mole. High Dreams contains four tracks, three originals and one remix from Circus Company favourite Dave Aju. The Mole savours dreaming and welcomes the mystical landscapes ofthe mind with High Dreams, a collection of uptempo dance pieces inhabited by ghosts and welcoming creatures from the deeps. This unpretentious collection cuts straight with the rhythms, and carries long with the arrangements. Dancefloor sizzle. Subsonic rumble. Ghosts! Your body moving requisites lie within this simple plate of wax. Turn up your amps and bathe in it. The Mole is known for his “hits” (Baby You’re The One, Hippy Speedball, In My Song, Lockdown Party) and his “work” with many Top labels (Perlon, Kompakt, Wagon Repair, Maybe Tomorrow, Ostgut Ton) is played by many Top DJs. Only his third release with Circus Company (Little Sunshine, The River Widens), this Ep is a reminder that the Mole is still at it, and a warning. There’s a new album upcoming.
And it sounds nothing like this…
With his 19th release with the label since 2003, Dave Aju is one of the pillars of modern Circus Company. Aju amplifies Losing Track, adding percussion and fresh, modern programming, giving the remix a whole new purpose while maintaining the erie cries, calling out, desperate - don’t leave me hang ’n … of the original. A certain go to for the Deep Heads.
Co-founder and ever-present member of The Chesterfields, Simon Chesterfield's first solo album "Simon Chesterfield" features the results of a year long project re-imagining six of his own compositons as an orchestral performance. Co-produced by Ben Scott Turner, Rob Ellis (PJ Harvey) and Simon Chesterfield, the album was orchestrated by Charles Harrison. An imaginative video of lead track "Something" available on Youtube will accompany this release.
An ensemble of Wessex musicians were gathered together for this project, several of whom have now signed up for some Simon Chesterfield live adventures, including a launch party for the album on Friday 11th October at the wonderful Lyric Theatre in Bridport, Dorset. The players are: Joe Atkinson, Matt Barge, Jenny Bliss, Simon Chesterfield, Rob Ellis, Charles Harrison, Emma Kingston, Seiko Nemoto, Nick Squires, Helen Stickland, James Thornton, and Ben Scott Turner.
Australian indie folk rock band The Paper Kites release Evergreen, a compilation featuring the band’s debut EP Woodland and follow-up EP Young North for the first time on vinyl. Notably the release includes standout single "Bloom" which has been certified platinum in the U.S.A, Canada, Australia, Italy & the Netherlands. It melds earthy instrumentals to create a perfect backdrop for the band’s trademark harmonies that have garnered them a dedicated audience and over 1 billion streams across their catalog.
Multi-instrumentalist and synth wizard Paul White readies his third album for R&S Records, offering up a cinematic journey on ‘Peace In Chaos’ that captures the current mood with its shadowy electronic prowess. With an unabashed love of 80s synth music and film scores, the South London based producer presents an album of perhaps his most pop leaning tracks yet, following on from 2018’s ‘Rejuvenate’ and 2014’s ‘Shaker Notes’. Across eleven tracks, White delves into a world of esoteric electronic pop, as waves of melodic synths wash over towering drum patterns and majestic bass, with White adding his own enigmatic vocals to many of the productions.
There are cult bands and then there's Souled American. In 1988, the Illinois group arguably invented "alternative country" with the album Fe. While the alt-country sound is widely recognized as Southern roots rock with an indie-punk sensibility largely defined by Uncle Tupelo's No Depression released two years later — Souled American's early music feels as if it was formed in a vacuum, inspired by the timestretching space of reggae. But over the course of the following decade, Souled American's music grew increasingly slow, insular and esoteric. Although Fe, Flubber and Around the Horn are inarguably more accessible, upbeat and even sometimes fun, if you've never heard this music before, it actually makes sense to start at the end.
Their last two albums Frozen and Notes Campfire will now be re-issued in limited, 30th Anniversary Editions with a fresh abundance of stories, technical information, musician credits, and cartoons that detail the unexpected origins surrounding these two early classics of “ambient Americana.” These records sound at once both old and new with brilliant melodies and profound performances stacked in unusual patterns like soft-hued bricks.
There are cult bands and then there's Souled American. In 1988, the Illinois group arguably invented "alternative country" with the album Fe. While the alt-country sound is widely recognized as Southern roots rock with an indie-punk sensibility largely defined by Uncle Tupelo's No Depression released two years later — Souled American's early music feels as if it was formed in a vacuum, inspired by the timestretching space of reggae. But over the course of the following decade, Souled American's music grew increasingly slow, insular and esoteric. Although Fe, Flubber and Around the Horn are inarguably more accessible, upbeat and even sometimes fun, if you've never heard this music before, it actually makes sense to start at the end.
Their last two albums Frozen and Notes Campfire will now be re-issued in limited, 30th Anniversary Editions with a fresh abundance of stories, technical information, musician credits, and cartoons that detail the unexpected origins surrounding these two early classics of “ambient Americana.” These records sound at once both old and new with brilliant melodies and profound performances stacked in unusual patterns like soft-hued bricks.
Recorded at British Grove and Abbey Road studios, Daphne Guinness’s fourth
album, Sleep, is unlike anything Guinness has produced before. Contemplative, self-
reflective, and personal, it represents her most beguiling body of work to-date; a
sleek sophisticated experience enhanced by an array of esoteric creative touches,
complementing its dancefloor rush.
Mixed by Ricky Damian, known for his work with Lady Gaga, Adele, Georgia Smith,
Dua Lipa, her creative connections include long standing collaborator Malcolm
Doherty and Tony Visconti (who scored the album’s strings).
The album’s scale is further amplified by collaborators, including Guy Pratt (Madonna, Michael Jackson) and Rob Shirakbari (Burt Bacharach, Dionne Warwick), plus a 34-piece string section.
The scope of her associations extends far beyond the core album. Daphne collaborated with Nick Knight of SHOWStudio for the video to early single ‘Hip Neck Spine’, and with the iconic filmmaker and photographer, David LaChapelle for the current single ‘Volcano’.
Magenta coloured vinyl, limited to 350 copies. Brand new LIVE ALBUM for the Californian super band featuring Brant Bjork, Nick Oliveri and Ryan Güt. An incredible double vinyl gatefold album with all the band's hits and two amazing Kyuss covers. Recorded live at Altroquando Treviso Italy by Matteo Pillon
Wojtek Mazolewski Quintet is returning with a new, refreshed lineup with a new full-length album, Beautiful People. The album was recorded in December "23 at Polish Radio"s S4 studio after a series of a dozen WMQ concerts Beautiful People is a soulful album heading into the realm of contemporary spiritual jazz while maintaining WMQ"s identity and Slavic tradition. The fresh material presents quality new energy, sound and composition of the band.
Lo-Fi-Indie-Garagen-Punkrock aus Wien! Nach dem 2023 erschienenen, großartigen Debütalbum "Goods for Conversation" (Bachelor Records) hier nun die erste 7"-Single des Wiener Trios. 60s Garage gewürzt mit einer Prise Surffeeling. On Top gibts noch den absolut charismatischen Gesang des umtriebigen Felix Schnabl aka Salamirecorder. Minimalistisch, schnörkellos, auf den Punkt. Nichts Aufgewärmtes. Alles frisch zubereitet. Ein top Doublesider der Lust auf mehr macht! Wenn man SALAMIRECORDER beschreiben müsste, wäre es wahrscheinlich wie ein schräger, leicht genervter Außenseiter, aber mit einem schmelzenden Herzen für Liebeslieder. Ein perfekter Mix aus 60s Back from the Grave Garage Punk und einer kleinen Prise frühen Trash Freakbeat Powerpop. oder so. Schräger, lauter, rocknrolliger Lärm halt.
Best of 1996-2019” , the very first Cassius Best Of.
Cassius , one of the seminal & most exciting French Touch pioneers.
20 track / 2LP Black gatefold sleeve with
Liner notes by Hubert ‘Boombass” Blanc-Francard about the story of Cassius and his beloved mate Philippe” Zdar”Cerboneschi who sadly passed away 5 years ago.
Covering all classics of all albums : from Cassius 1999 – I < 3 U So - Feeling For You – Toop Toop to Go Up & The Sound Of Violence & Don’t Let Me be.
Including some Boombass’sx favourites with some rarities.
By All Means Necessary is often discussed like it’s some departure from Criminal Minded. The moment KRS turned into “The Teacha” and became a politically minded, socially conscious wordsmith. In reality, this is who he already was. Misunderstanding and tragedy is what compelled him to not only refocus on the role he wanted to play in hip-hop, but create an album that gave way to a very important movement in hip-hop, too.
By All Means Necessary is an essential and definitive BDP and KRS album. It marks the moment where KRS wasn’t just concerned with being a great emcee but a teacher, too, continuing his exploration of sociopolitical subjects on BDP’s following three albums, as well as throughout his solo career.
What we hear on SICK! is the most realized version of Earl to date: a man with the same wandering spirit as before, but with a newfound command of his celebrity. This Earl is far more serene and grounded in who he really is. You feel his curiosity when speaking with him; his thoughts tend to land broadly and touch on everything from African literature to spiritual jazz and ’90s hip-hop before centering on himself. When asked to unpack his own narrative, he tends to speak in terms of we and not I, leaning on the group aesthetic to explain his own rise. The emphasis isn’t surprising, given Earl’s recent love of fellowship, but for an artist who made his name as a loner, his optimism is refreshing to hear. For an album born out of seclusion, SICK! is a moving ode to evolution. As always, Earl is a testament to the healing powers of honesty and self-awareness.
By 1973, Herbie Hancock already had both feet planted firmly in the future — some 50 years based on the vast, electronic funk he crafted during this period. How could he have known that this music would soundtrack block parties in the ‘80s and give ground to a burgeoning hip-hop culture? How could a man so steeped in the history of jazz be so untethered to form and genre that he created a sound all his own? Did he envision a world much like we’re living in now, where smartphones dictate our lives and musical compositions co-mingle without adherence to artificial marketing terms? Herbie likely wasn’t that prescient, but I wouldn’t doubt his genius. Based on the interplanetary trance funk of Sextant, his 11th studio album, such foresight wouldn’t be surprising. Then and always, Herbie was the master of the road less traveled. He was the light guiding his peers where they needed to go.
Let’s start with the scream. We tend to define our singers by how “great” their voice is, how deftly they can ascend and descend major and minor scales, and how they can turn up and turn down the emotion inherent in their voices. But when considering Wilson Pickett, it begins and ends with his scream. He could take you on a journey, he could butter you up, he could make you feel things in your vital organs, but you don’t get a nickname like “Wicked Pickett” because you’re a crooner.
Pickett’s “Hey Jude” forms the spiritual centerpiece and title track of his final trip up to the mountain-top, his last true masterpiece LP. He’d take forays to Philadelphia for the new sound of soul, and even go vaguely disco in the late ’70s. But for his final album of the ’60s, a decade where he dominated the soul charts, he’d unwittingly help start southern rock, and scream his way across one of the most recognizable tunes in the history of song. Not bad for 31 minutes and eight seconds worth of music.
erste Vinylveröffentlichung eines Metalklassikers der 2000er
Jahre
-remasterte Doppel LP im Gatefold mit 4-Seiten-Booklet
-enthält eine Manilla Road Coverversion und weitere rare
Bonustracks
-einige Mitglieder spielten später bei u.a. Manilla Road,
Savage Grace und Trance
Aus den Überresten des True Metal-Projektes SEDUCTION,
welches von einem Management initiiert wurde, entstand
2004 eine richtige Band: VIRON. Im Gegensatz zu SEDUCTION
klangen VIRON direkt erwachsener und bodenständiger.
Einflüsse des US-Metal und der NWOBHM mischten sich mit
Europäischem Metal, was 2004 durchaus etwas Besonderes
für eine deutsche Gruppe war. Der traditionelle Heavy Metal
kam nach Grunge, Crossover und Gothic langsam wieder auf
die Füße und VIRON waren bei dieser Entwicklung früh dabei.
Die erste, von der Band veröffentlichte EP, die auch schon
den Namen NWOGHM (New Wave Of German Heavy Metal)
trug, schlug im Underground ein wie eine Bombe und man
spielte noch ohne Plattenvertrag einige Shows, u.a. beim
Headbangers Open Air in der Nähe von Hamburg. Das rief
die Labels auf den Plan und man entschied sich 2006 für die
griechische Firma Sonic Age (aka. Cult Metal Classics). Die EP
wurde um weitere Songs, die im gleichen Studio (Kohlekeller
Studio) aufgenommen wurden, aufgestockt und zum Album.
Nach durchweg traumhaften Albumreviews folgten Auftritte
beim Sworbrothers Festival, United Metalheads und mit Bands
wie Sabaton, Custard oder Solemnity.
VIRON wechselten 2007 zu Metal Heaven Records und
veröffentlichten 2008 den erfolgreichen Nachfolger „Ferrum
Gravis“. Der damalige Slogan „Underground Metal für die
Massen“ passt wie die Faust aufs Auge, denn das druckvoll
aber natürlich produzierte Album schlägt den Spagat zwischen
der Undergroundszene und, nennen wir es „gängigem Heavy
Metal“. Insider würden vielleicht sagen „zwischen LaudaKönigshofen und Wacken“. Das zeigt auch die gekonnte
Coverversion des Manilla Road Klassikers „Dreams Of
Eschaton“. Leider zerfielen Viron einige Monate nach dem
Release von Ferrum Gravis, aber die Band wurde zu einem
Sprungbrett für drei Mitglieder von Viron, die später u.a. bei
Manilla Road, Trance, Savage Grace, Roxxcalibur, Bonfire und
Jameson Raid auftauchten.
Bevor sie eine richtige Band wurden, begannen Greenleaf als loses Kollektiv von Freunden, die von den 70er Jahren inspirierten Hard Rock und Proto-Metal spielten. Unter der Leitung des Gitarristen Tommi Holappa, Mitbegründer der europäischen Desert-Rock-Band Dozer, spielten in den verschiedenen Konfigurationen von Greenleaf Mitglieder von Lowrider, Truckfighters, Demon Cleaner, Dozer und anderen mit. Und trotz der wechselnden Besetzung schafften sie es, über 14 Jahre hinweg mehrere Alben mit hochkarätigem Riff-Rock in ihrer ursprünglichen, unstrukturierten Form zu veröffentlichen.
Zur Feier seines 10-jährigen Jubiläums veröffentlicht der in Island lebende australische Komponist Ben Frost auf Mute eine limitierte rote Vinyl-Edition seines Studioalbums 'A U R O R A'.
Die limitierte Vinyl-Edition enthält ein alternatives Artwork und einen exklusiven Download seines mitreißenden Live-Auftritts von 2014 im Berliner Berghain.
'A U R O R A', das in den vergangenen Jahren nichts von seiner eindringlichen Kraft eingebüßt hat, wurde von allen Seiten gelobt und stand auf den Listen der Alben des Jahres von NPR, Rolling Stone, Clash, Crack, FACT, Stereogum und anderen.
Das von Frost zusammen mit Greg Fox (ex-Liturgy), Shahzad Ismaily und Thor Harris (ex-Swans) eingespielte und größtenteils im Osten der DR Kongo geschriebene Album verzichtet gänzlich auf Gitarre, Klavier, Streichinstrumente und natürliche hölzerne Intimität und bietet eine trotzige synthetische Welt aus wild geformten Klängen und galaktischen Interferenzen, stampfenden Fellen und reinem Metall.
Frost ist bekannt für seine bahnbrechenden Beiträge zu Komposition, Produktion, Klangkunst und Regie in den letzten 15 Jahren. Dazu gehören Soundtracks für Film- und Fernsehserien wie Fortitude, Raised by Wolves und die Netflix-Serien Dark und 1899 sowie Opernkreationen wie The Wasp Factory und The Murder of Halit Yozgat (die am Royal Opera House in London und an der Staatsoper Hannover aufgeführt wurden). Im Jahr 2024 veröffentlichte er sein erstes Studioalbum seit sechs Jahren mit dem Titel 'Scope Neglect', ein experimentelles, genreveränderndes Album, das aus Frosts Bewunderung für den Metal geschmiedet wurde, wobei er sich bewusst von dessen konventionellen Attributen entfernte.
Das neue Album des kroatisch-slowenischen Soul-Pop-Duos freekind., bestehend aus den beiden Jazzerinnen Sara Ester Gredelj (piano, voc) & Nina Korosak-Sercic (drums), kanalisiert die Essenz des goldenen Hip-Hop-Zeitalters, aber auf eine frische und innovative Weise, indem es Elemente aus Pop, Neo-Soul und Jazz einbezieht. freekind. Songs tragen eine starke Botschaft der Liebe und Hoffnung, ergänzt durch R&B- und Jazz-Grooves. Die Musikszene lernte das Duo 2020 mit einer ersten EP kennen, es folgten Auftritte auf europäischen Festivals wie Reeperbahnfestival, Eurosonic, Ljubljana Jazz Festival, Europavox oder Waves Vienna. 2023 erschien ihre Debüt-LP "Since Always And Forever" via Légère Recordings, aus der viele Songs auf Sendern wie FM4, RBB radioeins und Flux FM Berlin liefen.
One of the most charismatic frontmen in modern bluegrass, Woody Platt has played an important part in shaping the trajectory of bluegrass music over the past 20 years. As a founding member and lead singer for The Steep Canyon Rangers, Platt spent years touring tirelessly, many of them in collaboration with actor/comedian and banjoist Steve Martin, earning a GRAMMY award, multiple GRAMMY nominations, and international recognition in the process. But when the pandemic struck, the time at home caused Platt to rethink his personal priorities. He decided to put his touring life on hold and left the Rangers to spend more time with his young family. Fortunately for bluegrass fans, the end of Platts tenure with The Rangers has marked a new chapter in his musical life, one that he is celebrating with the release of his first solo album, Far Away With You. The album cements Platts place at the cutting edge where traditional and contemporary bluegrass meet, and his smooth baritone vocals, coupled with his ear for lyrics with contemporary themes create a sonic palette that honors his bluegrass roots even as he cultivates new growth.
Nach seinem erfolgreichen Coveralbum UNLEARNED (2013) erscheint mit dem neuen Longplayer A SMALL CONDUIT OF GREAT AFFAIRS jetzt endlich eine Zugabe. Wieder hat Scott Matthew eine breite Auswahl seiner persönlichen Lieblingslieder adaptiert. Hits und weniger bekannte Songs aus den verschiedensten Genres hat er dafür in seiner typisch akustischen Instrumentierung neu aufgenommen und mit seiner ergreifenden Stimme vertont. Darunter finden sich unter anderem "All The Lovers" von Kylie Minogue und "Live It Up" von Mental As Anything.
With two solo efforts under his belt and sold out headline tours in the rearview, iconic frontman, instrumentalist, and “one of rock’s finest vocalists” (KERRANG!), MYLES KENNEDY (Alter Bridge, Slash ft. Myles Kennedy & The Conspirators), is guided by a sense of keenly honed intuition on his third full-length album, The Art of Letting Go, out October 11, 2024 via Napalm Records. The album follows 2021’s acclaimed The Ides of March, which notched a total of four #1 debuts across three countries, topping the US Top Current Hard Music Chart, the UK Official Rock & Metal Chart and Official Independent Album Chart, and Canada’s Hard Music Albums Chart. Beyond generating 10 million-plus streams, it incited unanimous critical applause. RIFF hailed it as “a fantastic and must-listen record,” while Classic Rock Magazine attested, “The Ides of March confirms Myles Kennedy as a musical powerhouse
Austin, TX legends, The Sword, welcome in the Twelfth vinyl release in the Live at LEVITATION series. On June 27, 2024, the band announced they would reunite for a one-off concert on November 3 at the 2024 edition of LEVITATION in Austin. In celebration of this reunion, we pulled from the archive and this limited live release showcases the bands appearance at the festival with their 2015 and 2021 performances. These recordings are now immortalized on beautiful limited colored vinyl. "With the band originating in the great city of Austin, a city that's proven to be a nucleus for a wide range of distinct and eclectic musical acts, it only felt natural to be included on the Levitation roster in 2015 and again in 2021, adding our own flavor to its diverse landscape. What an honor it has been to be included at such a cool festival. We've had two memorable sets so far, playing alongside some truly amazing bands. When we began entertaining the thought of returning to the stage after a two year hiatus, playing a reunion set at Levitation became the only appropriate solution, to play in front of the fans in Austin Texas, where it all began. We're very excited! Being asked to be part of the "Live at Levitation" LP series is also a great honor. The tracks we selected from each performance, at Carson Creek Ranch and Empire Garage, captured a special energy and enthusiasm that only Levitation could provide. It truly means a lot to share these memories with everyone and be included in this series!" - The Sword LEVITATION and the LIVE AT LEVITATION Vinyl Series The first Austin Psych Fest was held in March 2008, and expanded to a 3 day event the following year. The event quickly developed into an international destination for psychedelic rock fans, with lineups spanning the fringes of indie rock, from up-and-comers to vintage legends, and capped off with headline performances from co-founders The Black Angels, along with Tame Impala, The Flaming Lips, The Brian Jonestown Massacre, Thee Oh Sees (in various forms) and many more. LEVITATION helped spark a movement, inspiring the creation of similar events across the globe and a burgeoning psych scene that would soon ignite. The series captures key moments in psychedelic rock history, and live music in Austin, Texas, pressed on beautiful limited edition colorful vinyl pressings - each an eye popping visual representation of the music contained within. The artists and sets showcased on Live at LEVITATION have been chosen from over a decade of recordings at the world-renowned event, and document key artists in the scene performing for a crowd of their peers and fans who gather at LEVITATION annually from all over the world.
"SUNSHINE is my Appalachian trail album. It’s the collection of songs I wrote after walking 1500 miles in 123 days, and all that unraveled as a result. The biggest change in my life, after living outside for 4 months, is that I haven’t lived anywhere since. I’ve been nomadic for three years now and this album is the result of that.
Single #1 Orbit
There are many things that have changed about my life since I wrote my last album, and one of those has been falling in love. I wrote Orbit after falling in love with my partner Milla. I was awe-struck, dumb founded, blinded by the light, however you want to call it. I could not believe my luck, and I wanted to write a song about it. I wanted the song to race fast like a heartbeat, and to get up in your face like feelings. The music video is about finding harmony with all the different parts of yourself.
For fans of Johnathon Richmond, Daywave, Paul Cherry, Beach Fossils
For Crown of Thorns, the dynamic, ground-breaking follow-up to 2021’s Royal Destroyer, The Crown made distinctly different creative choices to ensure that the LP’s 10 songs would stand as a unique collection. “For me, Cobra Speed Venom and Royal Destroyer are like siblings,” says guitarist Marko Tervonen. And while Royal Destroyer was termed a “a ridiculously catchy album,” The Crown wanted to “make sure that we would take a step forward, get a bit more out of the comfort zone on Crown of Thorns.” It's very few bands who have a revered and established career—The Crown celebrated their 30th anniversary in 2020 their first eight years spent as Crown of Thorns—yet up the ante continually. With 2018’s Cobra Speed Venom the band reached the same lofty heights as their 2002 landmark release, Crowned in Terror. And with the barbaric Royal Destroyer, and now, 2024’s powerful and unique Crown of Thorns, the metal vets rage with a rekindled fire and ferocity while honoring their roots.
In a simultaneous act of defiance and impishness, Sham Family are etching their name in the wet concrete out front of the establishment. Hailing from the vibrant music scene of Toronto, Canada, the dynamic quartet is emerging as a prominent voice in the contemporary post- punk landscape.
To know Sham Family is to witness them perform live in the flesh. From the very first note, the room teeters between collective catharsis and a sort of beautiful, focused chaos. Blisteringly loud and remarkably lush, their live show is not only a testament to the meticulous craftsmanship of their music, but a downright physical feat. Broken strings, sweat, and the occasional minor lesion are collateral damage that only serves to strengthen their ultimate goal: deliver the loudest, most captivating show utte rly possible. Catching the attention of the newly formed Wavy Haze Records, spearheaded by indie icons Born Ruffians, Sham Family were the first non-Ruffians to join the label’s esteemed roster.
In 2022, they released their debut self-titled EP: a strikingly raw introduction to their leave-it-all-on-the-floor brand of shoegazey punk. The release quickly gained traction, propelling Sham Family onto stages across the United States and Canada. Now, Sham Family are gearing up to release their highly-anticipated full-length album, A Deaf Portrait of Peace, in 2024. Produced by the renowned Graham Walsh (METZ, Debby Friday, Preoccupations, Alvvays), the record promises to embody the propulsive ener gy of their live performances while venturing into uncharted sonic territories.
2LP, Black Vinyl; The Monkees Take The Helm for their Billboard Chart Topping Third Album! The double platinum Original Album was Mastered From Tape by Kevin Gray. Second LP of Bonus Rarities from the Sessions Notes by The Monkees Scholar/Producer Andrew Sandoval
Japan's long running masters of psych/kosmische jamming return to Important Records for a vinyl outing featuring beloved original member Cotton Casino.
Trust Masked Replicants finds AMT in fine form, creating experimental psych-rock improvised around skeletal compositions. The group's leader, Kawabata Makoto, holds the group together while they navigate chaos infused, drone based jamming at the outer edges of human consciousness.
Side B, featuring the 20 minute track Asoko Ananda, is a classic side-long fast paced AMT burner combining sped up kosmische rhythms, filter sweeps, free-jazz piano, tabla drumming and vocal experiments. Asoko Ananda utilizes many of the group's skills, ascending to the height of their collective, mountainous ability.
Channeling prog, krautrock, modern composition and noise, Kawabata Makoto formed the Acid Mothers Temple in the early 90's. The group has gone on to release countless albums while touring the globe.
Das US-Soundtrack-Label Mutant veröffentlicht in Zusammenarbeit mit Milan Records den Original Soundtrack von LONGLEGS mit Musik von ZILGI.
Das Album enthält die Originalmusik, die Zilgi (aka Singer-Songwriter und Folk-Rocker Elvis Perkins) für den erschreckenden neuen Thriller von Regisseur Osgood Perkins geschrieben hat, in dem ein FBI-Agent auf der Suche nach einem geistesgestörten Serienmörder (Nicolas Cage)ist. So verstörend und alles verzehrend wie ein Alptraum, benötigte LONGLEGS eine Soundkulisse, die genauso fesselnd ist wie die Geschichte auf dem Bildschirm, was Zilgi dazu veranlasste, eine Palette aus dunkler, bedrohlicher Synthesizerarbeit, verzerrter Instrumentierung und unterschwelligen Sounddesign-Elementen zu schaffen. Zigli hat einen wahrhaft erschreckenden Hörgenuss geschaffen, der Soundscapes, Elektronik und disharmonischen Rock zu einem Portal zur Hölle vermischt, das noch lange nach dem Auflegen der Platte in Erinnerung bleiben wird.
Arriving on transparent blue vinyl, the fourth installation of Figure’s Hardspace series brings six new re-interpretations of Len Faki’s favorites via his Hardspace alias.
Starting with a true classic, the gem that is Josh Wink’s Sixth Sense picks up on the original’s tight plastic groove and creates some serious low end rumble.
A less obvious choice, Aoki Takamasa’s minimalist dub from Japan, gets a complete makeover in the Hardspace edit, using driving percussion to morph the pensive blueprint into an upbeat peaktime slammer.
One of the most iconic basslines of the last decade, DJ Yoav B’s Energize is a standout on its own but paired with the relentless groove of the high-energy Hardspace remix it unlocks new levels of rave potential.
Huxley’s Weapon 3 was maybe one of the darkest tunes ever released on the otherwise house-centric catalogue of UK label Aus, which Len Faki already played back when it was first released. The Hardspace Mix merges a feeling explosive force with the originals sultry ambiance, catapulting the track back onto today’s dancefloors.
Colourful, dubby synth stabs are what keeps the momentum on peak time roller Funktion by French producer Tuttle, which in its Hardspace version packs even more heat, as Faki employs his signature claps and tunes up the original’s enervating siren sound, squeezing out every last drop of energy.
Originally released in the 90ies, Mike Parker’s Shakuhachi Two is as techno as it gets. Only now sounding even more powerful and dynamic, as the Harspace Mix keeps all of the original goodness while stacking additional propulsive percussion for a sweaty floor workout.
OH TELEPHONE haben ihren Ursprung in den tiefen Tälern des Glarnerlands, wo sie dank dem Veka Club bestens sozialisiert und resistent gemacht wurden gegen jegliche Mainstreameinflüsse. Bookingagenturen schiessen nur so um sich mit Bands mit Psych in der Bezeichnung welche gerne die nächsten Oh-Sees wären und dabei ihren Sound grausig radiotauglich modellieren. OH TELEPHONE hingegen sind "the real shit", Garage-Psych wie er momentan von keiner Band besser gespielt wird. Ihre Schreie wirken nie berechnet sondern wie ein spontaner Ausbruch der Leidenschaft, ihre Gitarren durchlöchern jedes Trommelfell und wenn am Boden so einige Effektgeräte rumstehen wird nicht Shoegaze sondern Steptanz betrieben. Nun haben die beiden Masterminds hinter ihren früheren Bands SHOUTIN' MOE und THE OUTTA MIND ihren Wohnwagen nach Bern gebracht und dort die perfekte Mischung ihrer beiden früheren Bands gezüchtet, zusammen mit Gael am druckvollen Post-Punk Bass und dem kalifornischen Import Timothy U. am effizienten Schlagzeug. Für diese Aufnahmen auf dem Album sind sie ins Tiefe Süd Frankreich gefahren um mitLo Spider in sein Swamp lands Studio (the Monsters, the Spits, Scanners, the Lullies etc) dieses album einzuspielen den schluss fix hatt dann noch Jim Diamond dazu gegeben (The Dirtbombs, Electric Six, The White Stripes, The Sonics, The Devils) Aufgepasst! Abfeiern! (wicked wiggler)
Nach langer Wartezeit ist "Scott Matthew" - das selbstbenannte Debut des Singer-Songwriters aus 2007 nun endlich wieder erhältlich; und zwar nicht einfach nur wieder da, sondern als limitierte Special Edition in Blue colored Vinyl. Mit diesem Album wurde Scott Matthew schlagartig zu dem Namen, den man kennen muss - die FAZ sprach sofort von einer Ausnahmeerscheinung, der Rolling Stone zog den Vergleich mit dem frühen David Bowie, die Süddeutsche Zeitung fand diese Musik sanft, entrückt und hoch fliegend und ging soweit zu schreiben, hier ziele jemand auf das Universelle. Dass diese Einschätzungen richtig waren, kann man heute auch daran erkennen, wie gut diese Musik gealtert ist, nämlich gar nicht. Immer noch enthalten diese 11 Songs die Quintessenz dessen, was guter Pop-Musik ihren Unterhaltungs- und kulturellen Wert gibt: dass sie eingängig ist und gleichzeitig Tiefgang hat, dass sie Authentizität mit musikalischer Qualität verbindet, dass sie kleine und große Gefühle anspricht und aber sich und uns die Didaktik erspart. "Scott Matthew" ist zudem Startpunkt und Zeugnis dessen, was diesen Musiker zum Unikat macht - wir finden die sensiblen Arrangements, die traurig schönen Balladen-Texte, das tief-persönliche, die Ukulele, das akustische zarte und die Streicher, die Eleganz und den Schwulst und das Bescheidene, das Langsame. Eigentlich kann man Scott Matthew nicht verstehen, wenn man dieses Album nicht kennt. Und es ist zudem der heimliche Star und quasi Soundtrack des Films "Shortbus", der inzwischen zu einem Lieblings-Kultfilm der Independent-LGBTQ+ und Sex Positivity-Szene avanciert ist und zudem die Hommage an die Arty-Community des New York der Nuller-Jahre ist (und damit heute bereits nostalgiegeschwängertes Retro-Kino). Damit ist dieses Album Musik in seiner reinsten Form. Aber zugleich auch das Bindeglied zwischen Musik und Kunst und Popkultur und New York-Sehnsucht und Nostalgie und Cinema und LGBTQ+ und Mainstream und Arthouse. Und welches Album kann das schon von sich sagen. Und dabei so bescheiden bleiben.
The A side, Can't Call My Baby, showcases Adriana Flores' impressive lead vocals and comes straight off of Thee Sinseers debut LP that has already streamed almost 7 million times on Spotify alone in less than three months. The B side features a brand new, never before heard song from the band. Take A Chance emphasizes Joey Quinones' trademark crooning while the track urges you to take a chance on love before it's too late. The expressive notes of a harmonica shines throughout the song and blends classic Motown harmonics with Latin soul. Also Available From Thee Sinseers: For You / Si Llorarás 7”, Sinseerly Yours
Mal nicht aus Kingston, sondern aus Köln kommen fast 30 Jahre Erfahrung in Sachen Offbeat. Ihr satter Groove aus Two Tone, Ska und Dub braucht sich nicht vor den Größen zu verstecken, mit denen sie schon zusammen aufgetreten sind. Beim Album zum Bandjubiläum gehts Madness-mäßig zur Sache, die Toasters lassen grüßen und die Hotknives schauen auch mal rein. Kein Wunder, dass die Highlights ihrer Karriere so zahlreich sind wie die Stufen im Dom. Der Titelsong lässt keinen Zweifel daran, dass die Silberrücken vom Rhein "leader of the pack" sind. Also gebt dem Affen Zucker und euch den Skank, der die Socken qualmen lässt.
10 brand new songs mixed and mastered by Jack Endino (Nirvana, Soundgarden, Mudhoney, L7, Screaming Trees, Zeke...). Having past 28 years since the last long play (Fuzz Godz, 1996, a Kent Steedman production) and after the rebirthing of the band and come-back from the vaults of oblivion, La Secta take the right decision to record ten brand new songs now with the hand of Jack Endino (Nirvana, Soundgarden, Mudhoney, L7, Screaming Trees, Zeke...) behind the mixes and masterization, from his Seattle studio, not able to come to Spain due personal health issues. This fourth Long Play takes intense power, giving the sound another stratospheric dimension after Mr. Endino treatment. Ten songs surfing from psych rock and dark psychedelia through the Aussie Rock and raw folk to ranking psych jungle and the darker Stooges with some groovy garage, grunge and surround psychedelic elements. For fans of psych rock, dark psychedelia, aussie rock, raw folk, groovy garage, grunge...
Geteyes Einflüsse sind vielfältig und spiegeln seine Liebe zum melodischen Sampling wider. Zu seinen Hauptinspirationen gehören so berühmte Acts wie Madlib, J Dilla, Kankick, Hi-Tek, Mo Kolours, Afta1, KNLO und Iman Omari. In Frankreich haben Künstler wie Onra, Astronote und Barrio ebenfalls einen Einfluss auf Geteyes Schaffen gehabt. Das neue Album ,KID" ist der Höhepunkt eines lang erwarteten physischen Projekts mit dem Musiklabel Dooinit. Inspiriert von seiner kürzlichen Vaterschaft, erforscht Geteye eine eklektische Mischung aus Jazz, Soul, Funk und brasilianischer Musik, um einen einzigartigen Vibe zu schaffen. Das Projekt beinhaltet einige starke Kollaborationen mit Künstlern wie ETO und Guilty Simpson, aber es ist der Track ,Deep Fake" mit dem französischen Rapper Mr JL, der Geteye besonders gefällt. Diese Zusammenarbeit ist die Verwirklichung eines künstlerischen Traums und sein Gast wertet das Instrumental auf. Kurzum, ,KID" bietet eine persönliche und kreative musikalische Erfahrung, die die Authentizität und Unschuld der Kindheit einfängt.
Spiral In A Straight Line ist das sechste Studioalbum der beliebten Post-Hardcore-Band Touché Amoré.
Produziert von Ross Robinson (Korn, Glassjaw, Slipknot) und mit Features von Lou Barlow und Julien
Baker.
Leadsänger Jeremy Bolm sagt, dies sei eine „Platte über Vorwärtsbewegung, während alles um einen herum
destabilisiert wird.“
Spiral In A Straight Line ist das sechste Studioalbum der beliebten Post-Hardcore-Band Touché Amoré.
Produziert von Ross Robinson (Korn, Glassjaw, Slipknot) und mit Features von Lou Barlow und Julien
Baker.
Leadsänger Jeremy Bolm sagt, dies sei eine „Platte über Vorwärtsbewegung, während alles um einen herum
destabilisiert wird.“
Color Vinyl[25,63 €]
Nach seinem Country Debüt „Whitsitt Chapel“ und Jelly Rolls anschließenden Kollaborationen mit Stars
wie Eminem, Post Malone oder Machine Gun Kelly war die Vorfreude auf das nächste Album groß. “Get
By” - die dritte Single des Albums „Beautifully Broken“ steht von Anfang an im Rampenlicht. Als Titelsong
für die Trailer Premiere der zweiten Staffel von „Tulsa King“ wurde „Get By“ innerhalb einer Woche von
4.3 Millionen Drama- und Krimifans gehört. Zuvor konnten wir bereits in den Fan-Favorit „Liar“ und „I
Am Not Okay“ hineinhören. In “I Am Not Okay” erzählt Jelly Roll von dem Teufel auf seinem Rücken und
den Stimmen in seinem Kopf, was den Kern des Albums gut zum Ausdruck bringt. Der Award-winning,
Grammy nominierte Nashville Sänger und Songwriters schreibt in „Beautifully Broken“ über schwere Zeiten,
Akzeptanz und Hoffnung nach dem Motto: „It’s not okay / But we’re all gonna be alright“. Im Zeichen
des Albums spendet Jolly Roll alle Gewinne der Album-Vorbestellungen in den USA an Organisationen, die
Individuen helfen, Sucht oder psychische Probleme zu bekämpfen.
Das Album ist als CD und auf Vinyl erhältlich.
Black Vinyl[25,63 €]
Nach seinem Country Debüt „Whitsitt Chapel“ und Jelly Rolls anschließenden Kollaborationen mit Stars
wie Eminem, Post Malone oder Machine Gun Kelly war die Vorfreude auf das nächste Album groß. “Get
By” - die dritte Single des Albums „Beautifully Broken“ steht von Anfang an im Rampenlicht. Als Titelsong
für die Trailer Premiere der zweiten Staffel von „Tulsa King“ wurde „Get By“ innerhalb einer Woche von
4.3 Millionen Drama- und Krimifans gehört. Zuvor konnten wir bereits in den Fan-Favorit „Liar“ und „I
Am Not Okay“ hineinhören. In “I Am Not Okay” erzählt Jelly Roll von dem Teufel auf seinem Rücken und
den Stimmen in seinem Kopf, was den Kern des Albums gut zum Ausdruck bringt. Der Award-winning,
Grammy nominierte Nashville Sänger und Songwriters schreibt in „Beautifully Broken“ über schwere Zeiten,
Akzeptanz und Hoffnung nach dem Motto: „It’s not okay / But we’re all gonna be alright“. Im Zeichen
des Albums spendet Jolly Roll alle Gewinne der Album-Vorbestellungen in den USA an Organisationen, die
Individuen helfen, Sucht oder psychische Probleme zu bekämpfen.
Das Album ist als CD und auf Vinyl erhältlich.
Vehement reagiert der Trompeter aus Tel Aviv auf den turbulenten Geist einer unruhigen Zeit und führt seine
Band durch eine fünfteilige Suite, die eine ganze Bandbreite an Emotionen durchwandert – abwechselnd
hoffnungsvoll, verzweifelt, erzürnt und zutiefst melancholisch. Die melodische Direktheit des abschließenden
Stücks „The Seventh“, komponiert von Avishai Cohens Teenager-Tochter, bietet einen tröstlichen Kontrast
zur Intensität der Suite. Dazwischen wendet sich Cohen dem eindringlichen Adagio assai aus Ravels GDur-Klavierkonzert zu, das seit langem zu den Höhepunkten des Live-Sets der Gruppe gehört. Ashes to
Gold wurde im November 2023 in den Studios La Buissonne in Südfrankreich aufgenommen.
VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von
den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.
Erstmals in audiophilem Glanz: ”Baker’s Holiday”, Chet Bakers swingende Hommage an Billie Holiday
von 1965. Das Album enthält eine Reihe von Songs, die Baker noch nie zuvor eingespielt hatte und präsentiert seine unverkennbare Trompete und auf vier Titeln auch seinen charakteristischen Gesang. Unterstützt
wird er von einer Saxofon-Sektion und einer vierköpfigen Rhythmusgruppe, zu der auch Pianist Hank Jones
gehört. Die farbenfrohen Arrangements stammen von Jimmy Mundy.
Zur Feier des 35. Jahrestages von Chris Isaaks bahnbrechendem Album ”Heart Shaped World” erscheint
nun eine 12” Reissue. Sein drittes Studioalbum, das im Sommer 1989 veröffentlicht wurde, enthält seinen
Durchbruchshit ”Wicked Game”, der auf Platz 6 der Billboard Hot 100 landete. Lee Chesnut, Musikdirektor
bei WAPW in Atlanta, spielte den Song zwei Wochen lang wiederholt, nachdem er eine Version auf dem
Soundtrack zu David Lynchs Film ”Wild at Heart” von 1990 gehört hatte.
Isolation Berlin sind Max Bauer (Gitarre/Orgel), David Specht (Bass), Simeon Cöster (Schlagzeug) und
eben Tobias Bamborschke (Gesang und Gitarre).
Nach einer EP-Collection und drei Alben ist „ELECTRONIC BABIES“ nun ihr viertes Album und erscheint am 11.10.2024
Seit die Selbstinszenierung des Einzelnen zum Ultimum erklärt wurde, sind Bands aus der Mode gekommen.
Zeitgeistigen Aspekten steht die Band ISOLATION BERLIN jedoch mit Sicherheit gleichgültig gegenüber.
Stattdessen kreieren sie ihr eigenes Genre und nennen es treffend Protopop. Tobias Bamborschkes Gesang
ist eindringlich, melancholisch, mitunter nihilistisch. Das Spektrum der Band reicht von Pop über Rock
bis zum Chanson. Und es ist gewiss kein Zufall, dass Sven Regener von Element of Crime auf dem neuen
Album als Trompeter in Erscheinung tritt. Auch die Shoegazing-Anklänge des Plattencovers kommen nicht
von ungefähr.
Aber viel wichtiger sind das Leid, die Wut und der Humor in der Musik von ISOLATION BERLIN. So
etwas findet sich heutzutage nur noch selten.
Aufgenommen, arrangiert und produziert haben Isolation Berlin „Electronic Babies“ in ihrem eigenen ProtoPop-Studio.
Für zwei der elf Titel hat sich die Band allerdings Moses Schneider als Co-Produzenten hinzugeholt. Das
will was heißen, denn bisher haben ISOLATION BERLIN Produzenten strikt abgelehnt und stets alles komplett selbst gemacht. Dass sie dazu in der Lage sind, haben sie längst bewiesen und beweisen sie auch auf
diesem Album wieder.
Cassette[10,88 €]
The Funeral Portrait stands to represent the outcasts from all walks of life. The misunderstood, the weird, neurodivergent, LGBTQ+, marginalised or otherwise given an unfair hand in life. To offer a sense of community, a place to belong and a space where they can feel safe and accepted for their differences. The band members all grew up as 'the weird kid' who was saved by music and alternative culture, so they now feel obligated to return this favour to the younger generation. This message is shouted to the masses through their over-the-top theatrics and dramatic, almost blown out presentation. The Funeral Portrait believes in the power of Devotion to their Music and to their unwavering fanbase, The Coffin Crew. The ritual is beginning and they want everyone involved. Join them to share your devoutness; excuses for not attending are forbidden.
'Celebration Of ignorance' is the third full length studio album of Tripped.
A nasty collection of heavy kickdrums including a collab with the RABBeAT & Doormouse + A remix of a legendary Celsius track.
ALBUM NOTES:
While humanity seems to get more stupid over time, (blame social media brainwashing & misinformation)
It is tough to deal with life and everything that comes on our path in general.
The intention of this album as always, is my creative outlet.
I do hope however that it can help you to place some emotions and let go of some frustrations.
This one is for the real people. People who dance like no one is watching with nothing but a smile, the dreamers, the eccentrics and outcasts who care about the world and aspire to be better every day.
Ignore the fakes and forget the digital word for a while & listen to some gabber kickdrums.
Starting with an Acid bath from Bass Température this collab between Vinyl Bleu and Bass Addict is perfect.
SourD kicker then bring a mental progressive dark Tribe tune. A pure kick design again :)
Numéro Bleu then comes with a Techno or Tekno asking the question of a style. A beauty.
Luche & Faya finished the job with a Trance trip : superb twirler.
ENJOY !
b A2 - SourD - Drogue Dure
[b] A2 [SourD] - Drogue Dure
Paul Heaton will release a brand new solo album ‘The Mighty Several’ on 11th October featuring new single ‘Fish ‘n’ Chip Supper’ (out now). Produced by legendary producer Ian Broudie of the Lightning Seeds and recorded at Blueprint Studios in Salford, ‘The Mighty Several’ features 12 new original songs, performed by Paul and his band + a number of special guest singers including Heaton’s regular live vocalist Rianne Downey as well as Yvonne Shelton and Danny Muldoon (all of whom are pictured on the album sleeve alongside Paul). Heaton has also announced a huge November/December UK tour including shows at Leeds First Direct Arena, Glasgow OVO Hydro, Liverpool M&S Bank Arena & Nottingham Motorpoint Arena ending in London with a show at the famous Eventim Apollo, Hammersmith. Special guests on all dates will be The Zutons
Born from of a relentless global tour schedule, Samara Joy took her touring band, made up of other rising young jazz musicians, into the legendary Van Gelder Studios (the venerable studio from which A Love Supreme and so many of the great catalog records from Impulse and Blue Note were recorded) in February of 2024. Recorded across three days, Samara and her musicians were able to capture an incredible snapshot of who she is today and the promise of tomorrow. It’s a collection of standards, as well as one original and some of her first forays into lyric writing and features her singular voice, alongside arrangements and playing from this tight knit young group. The recording is this story of the community she’s created with a new generation of young players and serves as a studio rendering that delivers on the promise of the live show so many fans have seen them perform over the last year.
Come Play With Me present the fourth edition of their compilation album, Side By Side, Vol. 4, supporting women, marginalised genders, LGBTQ+ artists and people of colour with ties to the North of England. The compilation features seven tracks spanning a range of genres including Alternative Rock, R&B, Jazz and more. shaene sensitively captures the feeling of falling back into sync with a distant best friend on the compilation’s lead single “tom”. Set to a backdrop of synthetic soundscapes, fingerpicked and distorted guitars, Maddie Lara’s “Let Go” marks an impressive debut for the Merseyside-based artist. The compilation will be available both digitally and on vinyl via the CPWM website and select stores, alongside all major streaming platforms. With special thanks to our selection partner Future Yard, Arts Council England for their continued support, as well as our judges on this callout Amber Strawbridge, Beth Heaton and August Charles. Due to the random nature of eco-mix vinyl, produced out of leftover wax, the vinyl may not match the featured promotional image.
One of the most charismatic frontmen in modern bluegrass, Woody Platt has
played an important part in shaping the trajectory of bluegrass music over the
past 20 years. As a founding member and lead singer for The Steep Canyon
Rangers, Platt spent years touring tirelessly, many of them in collaboration with
actor/ comedian and banjoist Steve Martin, earning a GRAMMY award, multiple
GRAMMY nominations, and international recognition in the process. But when the
pandemic struck, the time at home caused Platt to rethink his personal priorities.
He decided to put his touring life on hold and left the Rangers to spend more time
with his young family. Fortunately for bluegrass fans, the end of Platts tenure with
The Rangers has marked a new chapter in his musical life, one that he is
celebrating with the release of his first solo album, Far Away With You. The album
cements Platts place at the cutting edge where traditional and contemporary
bluegrass meet, and his smooth baritone vocals, coupled with his ear for lyrics
with contemporary themes create a sonic palette that honors his bluegrass roots
even as he cultivates new growth
ANTON NEWCOMBE and DOT ALLISON just announcedthat they will be releasing an album together under the moniker All Seeing Dolls. ''Parallel' will be out in February 2025. Upfront they share the single 'That's Amazing Grace' (backed with "Siren's Echo iron Lung") and make available this 2-track 10" as a limited teaser. Anton Newcombe is the founder, the sole constant and the creative mastermind at the centre of one of music's most fascinating bands; Brian Jonestown Massacre. He's a frontman, songwriter, composer, studio owner, multi-instrumentalist, producer, engineer, father and force of nature. There have been 21 BJM albums over the last 30 years, each embarking on their own mind-expanding adventure and exploring the outer realms of rock'n'roll; psychedelic rock, country-blues, snarling rock'n'roll, blissed-out noise-pop and more. Newcombe has established himself as a once-in-a-lifetime talent, a revolutionary force in modern music and an underground hero. Dot Allison released her debut solo album Afterglow in 1999. Over the years she has strived to keep the listener on a journey - and herself too. She revolts against what she has done before, to evolve and not just occupy the same space. That journey has taken her from Afterglow's broad church (trip-hop, Tim Buckley-esque ballads, dance tracks, chilled psychedelia) to the sultry synth-pop of We Are Science (2002), the lush, baroque Exaltation Of Larks (2007) and the eclectic, rootsy drama of Room 7½ (2009). After a hiatus to raise her family she returned with the graceful acoustic folk record Heart-Shaped Scars (2021) and the haunting, barely there beauty of Consciousology (2023). The range of guest stars on Allison's records is equally broad: where else would you find a cast list that includes Kevin Shields, Hal David, Paul Weller, Pete Doherty and Darren Emerson. Likewise, Allison's own guest roles with the likes of Massive Attack, Scott Walker, Slam, Philip Shepard, The Babyshambles & Pete Doherty, underlining the huge respect her peers hold her in.
Limitierte Edition: weisses Doppel-Vinyl im Klappcover! Leidenschaftlich, anglophil, anachronistisch, maximalistisch und barock, "La Vita Nuova" wurde als eine Elegie der Begierde geschrieben. Nach ihrer Fertigstellung wurde sie zu einer Beschwörung. Aufrichtig und leidenschaftlich hat Maria McKee ganz einfach ein seligmachendes Erwachen erlebt, und in einem Crescendo der Prosa erschließt ihr neues Album "La Vita Nuova" diese Geschichte und skizziert eine bedeutsame und transformative Zeit in ihrem Leben, die vor Jahrzehnten begann, als sie in ihrem Wohnzimmer vorm Kamin mit ihrem älteren Bruder, dem verstorbenen, großen musikalischen Erneuerer Bryan MacLean, Mitbegründer der bahnbrechenden LA-Band Love, sang. Auf dem Weg dorthin war sie Leadsängerin der bahnbrechenden Americana-Band Lone Justice, veröffentlichte eine Reihe stimmungsvoller und eklektischer Solo-Platten, schrieb Chart-Hits, die die Charts toppten, und inspirierte die Hingabe einer treuen kultischen Fangemeinde, bevor sie scheinbar verschwand. Ihr letztes Studioalbum "Late December" wurde 2007 veröffentlicht, seitdem sind dreizehn Jahre vergangen. "La Vita Nuova" ist eine Hommage an Dantes Werk über die unerwiderte Liebe. Obwohl der unbewusste Impuls für die Entstehung dieses Albums darin bestand, den Schock einer der bisher größten persönlichen Herausforderungen für McKee, der Auflösung und Neuerfindung ihrer Ehe, zu verarbeiten, sind die Lieder progressiv und lyrisch dicht. Die Produktion ist orchestral und opernhaft und orientiert sich an McKees Lexikon der Ikonen - John Cale, Scott Walker und David Bowie. Es handelt sich also um ein Werk, das ein hohes Maß an Konzentration erfordert. Man muss vielleicht mehr als einmal zuhören, um sich mit der konfessionellen Erzählung zu verbinden, die im Subtext gehalten wird, und um zu verstehen, dass die "Muse", oder "Beatrice" des Albums innerhalb der Prosazeilen auch ein herzzerreißendes Phantom von McKees jüngerem, idealistischem Selbst ist. Und eine Metapher für die Jugend im Allgemeinen. Das spiegelt sich in den eindringlichen, kaskadenartigen melodischen Klängen der Joni Mitchell, die "I Should Have Looked Away" andeuten, und in der ergreifenden, nostalgischen Wehmut des Titels "Effigy of Salt" wider. McKee ist inzwischen nach London umgezogen. Die Orchesterarrangements des Albums wurden von McKee komponiert und arrangiert, die keine formale klassische Ausbildung hat und keine einzige Note liest. Aber genau das ist die Natur der kreativen Katharsis, die im Allgemeinen mit einem eigenen Willen arbeitet.
2000 pressed. First time on vinyl for the gorgeous 'Late December', with a second LP featuring rare recordings from her Live Acoustic LA tour in 2006, the package includes new liner notes and a download of the studio album and live show. An album that's broader than Broadway, a panoramic view of life, love and loss filled with drama and theatricality. Plus a live set that's heart-on-sleeve time, bringing together songs from Lone Justice, plus covers of the traditional country anthem 'The World Is Not My Home', Richard Thompson's 'Has He Got A Friend For Me' and three songs that show the bittersweet beauty of her brother Bryan MacLean's song writing. In total, it's Kurt Weill, Springsteen, it's the million-selling global hit 'A Good Heart' delivered by the songwriter herself in all its Phil Spector-like baroque beauty.
DE MANNEN BROEDERS ist die erste Zusammenarbeit feat. Colin van Eeckhout und der flämischen Folk-Ikone Tonnie 'Broeder' Dieleman aus Zeeuws.
Ersterer ist der Frontmann der belgischen Post-Metaller AMENRA, einer Band, die für ihre überwältigende Härte in Sound und Gefühl bekannt ist.
Letzterer ist ein holländischer Folksänger, dessen Musik von der Kultur seiner seeländischen Heimat inspiriert ist und der bereits mit Baby Dee und
Bonnie Prince Billy zusammengearbeitet hat. Als die beiden sich trafen, spürten sie sofort eine Verbindung.
Das Ergebnis ist das 9-Track-Album Sober Maal (was übersetzt 'nüchternes Mahl' heißt und sich auf die Praxis bezieht, eine einfache Mahlzeit zu
essen, um Dankbarkeit zu üben), das unter dem Namen DE MANNEN BROEDERS veröffentlicht wird. Es wurde in weniger als fünf Tagen in der
Doopsgezinde Kerk aus dem 18. Jahrhundert in Middelburg in den Niederlanden geschrieben und aufgenommen.
Klanglich ist Sober Maal eine eindringliche, emotionsgeladene Reise, die sich in einer vergangenen Welt verwurzelt fühlt, aber dennoch völlig
eigenständig klingt und eine melancholische, aber dennoch hoffnungsvolle Note hat. Der Gesang von Colin und Tonnie verschmilzt mit dem Chor und
einer sparsamen Auswahl an Instrumenten, darunter ein Banjo, ein Klavier, eine Drehleier und die mächtige Zentralorgel - alles vermischt mit den
Klängen und dem Echo der Kirche.
* After the stunning success of their critically-acclaimed third album Sharpener, which reached number 3 in the jazz charts and number 14 in the independent music charts, London’s brass juggernauts Hackney Colliery Band blaze back onto the scene with their first collaborative album, ushering in a whole new era for the band.
* Featuring collaborations with a host of key names in jazz and world music including amongst others the father of Ethio-jazz Mulatu Astatke, British jazz funk legend James Taylor, trombonist Dennis Rollins, UK saxophonist Pete Wareham and Beninese singer-songwriter and Grammy Award-winner Angélique Kidjo, Hackney Colliery Band have effortlessly transformed their explosive live energy into 11 original recordings that push the groove and form in an accomplished manner.
*On ‘Collaborations: Volume One’, writers Steve Pretty, Olly Blackman and Luke Christie have between them penned the outfit's most dynamic material to date. ‘Mm Mm’ (feat. Angélique Kidjo and Roundhouse Choir) merges Beninese grooves with wah pedal trumpet textures, and the rousing call-and-response between Kidjo’s soaring vocal and the exhilarating choir adds a richness and depth to the composition.
*On ‘Snowfire’, innovative Norwegian pianist Bugge Wesseltoft brings a euro/nu-jazz feel to the album, while Dennis 'Funkybone' Rollins adds his trademark virtuoso trombone to the carnival-flavoured ‘Ricochet’.
*There’s an energy, respect for tradition and the exuberance of London in Hackney Colliery Band’s work, best exemplified in the evocative and downright thrilling James Taylor collaboration ‘Hypothetical’, with Taylor’s Hammond organ recalling the Acid Jazz era in which he made his name.
*New single ‘Netsanet’ (feat. Mulatu Astatke) is a deep exploration of Mulatu's trademark Ethio-jazz, while ‘Crushing Lactic’, composed by Tom Rogerson (fresh from a recent collaboration with Brian Eno) has a frenzied flow, with big horns and driving rhythm section.
*Elsewhere, Pete Wareham (stalwart of the London jazz revival) lends his free-flowing sax to ‘What’s Gone Before’, leading us into a powerful communion of jazz and brass as Mulatu Astatke’s ‘Derashe’ takes the listener down a vibrating rhythmic path while accompanied by blasts of horns and Mulatu’s trademark vibraphone.
*Two spoken word compositions (‘Why Yellow’ and ‘Climbing Up My Own Life Until I Die’) featuring York born writer and comedian Rob Auton lend an introspective voice to ‘Collaborations: Volume One’.
*A band never content to rest on its laurels, Hackney Colliery Band already have a number of collaborations in the works for ‘Volume Two’, and with further live shows planned for 2019, including the album launch at the famous Ronnie Scott’s Jazz Club, 2019 looks set to be HCB’s biggest year yet, both live and on record.
* Steve Pretty, the band’s frontman said: “It’s hard to believe that 2019 is our tenth anniversary, but now we’re ten years older it felt like the right time to get back to our jazz roots. It’s been such a privilege to work with so many of our musical inspirations both old and new on this record, and we’re super excited to be ushering in the next ten years with this new collaborative spirit: this is called ‘Volume One’ for a reason…”
"Mama Africa," released in 1983 is now available on 1LP Red Recycled, is a celebration of African heritage and a call for unity and liberation. This album features a mix of upbeat tracks and heartfelt tributes to the African continent. The title track, "Mama Africa," is a poignant ode to the motherland, while songs like "Glass House" and "Not Gonna Give It Up" convey messages of resilience and determination. "Mama Africa" highlights Peter Tosh's ability to blend social consciousness with melodic reggae rhythms, reaffirming his role as a powerful voice for the African diaspora and global justice.
Zum 20-jährigen Jubiläum erscheint das Debüt-Album einer der erfolgreichsten Indie-Pop- Bands der 00er Jahre erstmals auch auf Vinyl. 2004 waren Schubladen noch wichtig. Popmusik war noch nicht dieses eklektizistische, sich aus universell verfügbaren, entkontextualisierten Quellen speisende Internet-Monster. Wer also beispielsweise deutschsprachigen Gitarrenpop spielte, musste sich positionieren: Bewegte man sich eher in der diskursverliebten, kopflastigen Tradition der Hamburger Schule und hoffte auf "Indie-Credibilität"? Oder wollte man Teil der immer größer werdenden Deutschpop-Industrie werden, vornehmlich repräsentiert von "female fronted" Bands wie Mia, Juli oder Silbermond (nicht zu vergessen die stets gut gelaunten Jungs von von Sportfreunde Stiller), die - mal mit eher studentisch-intellektueller Grundierung, mal mit eindeutig schlagerhafter Geste - das Gefühlige in den Focus rückten. Es gab aber auch Acts, die sich nicht entscheiden wollten. Auf der Insel hatten es die Bands der Britpop-Welle schließlich vorgemacht. Hier ging es mit cooler Haltung, jeder Menge Subversion, aber eben auch goldenen Melodien und echten "Hits" in höchste Popstar-Gefilde. Wieso nicht auch in Deutschland Anspruch, Originalität und Gefälligkeit miteinander in Einklang bringen? Hier kommen nun also Anajo ins Spiel, eine 1999 gegründete Band aus dem provinziellen Augsburg, die 2004 mit ihrem Debüt-Album "Nah bei mir" genau diesen Sprung zwischen die Stühle wagte - und dafür mit sehr viel Liebe bedacht wurde, auch wenn die Indiepolizei nicht immer einverstanden war. "Nah bei mir" ist eine durch und durch leichte Platte, die mit catchy Sounds und Melodien bisweilen gewichtige Themen verhandelt: Überwindung tiefer Trauer ("Der Vorhang geht auf"), Entfremdung ("Einmal noch schlafen"), bittere Enttäuschung ("Die Tränen sind immer noch meine") - immer aber präsentiert mit einem süffisanten Lächeln auf den Lippen. Als wahre Meister beweisen sich Anajo auf dem Album in der schwierigen Disziplin der unblöden Partysongs: Auch nach 20 Jahren überkommt einen beim Hören so skurril-absurder Feger wie "Monika Tanzband", "Honigmelone" oder "Ich hol dich hier raus" noch diese unbändige, mitreißende Freude.
It has now been four years since our return to earth in "2020 back to earth". There we had found a cold and inhospitable place, humanity was inexorably channeled on the path to extinction. We therefore decided to flee immediately in search of another planet where we could dwell.
We therefore came to New Babylon, a planet inhabited by humanoids but also by monstrous and ravenous creatures. There are "giants" that march about raising immense clouds of dust, stealing and plundering everything from people. Giants much like our corporations, they know no defeat and have no weaknesses, at least apparent ones.
There are old warriors like jarek who wait for war to feel like heroes, to feel alive. They find their dimension within the battle, where the line between hero and assassin magically blurs.
There are pyramids erected by men who think they are gods and turn the things life gives them into weapons and death, changing their use and meaning. Little men who think themselves omnipotent, burying knowledge of how life works under piles of lies.
We find a myriad of slaves, surrendered to live in huge troughs. They toil at nothing and find meaning in nothing. They prefer a convenient lie to an inconvenient truth.
In short, we realize that we have arrived in a world very much like earth. We are aliens but in a certain way we feel at home. We want to know, to understand, to evolve. We don't recognize ourselves in this deceived humanity, we don't give in, we believe. Nature, life is wonderful but when one thing loses its usefulness life gently explains to it that it is time to make room for something else. This existence has already explained to the dinosaurs.
Kayleth continue their journey, never stopping because who seeks will find itself.
"New Babylon ranks next to Space Muffin as Kayleth’s best album for me and one that contains some of their best grooves of their career to date." - Outlaws Of The Sun
"Sit down and really take in We Are Aliens as it’s a joy to listen to, but are the aliens we think exist, just like us? Let Kayleth take you on their journey of discovery." - The Sleeping Shaman
"On this album the Italian five manage to translate heroism into wild and wonderful sounds, often sounding even more like a grungier, metal version of Monster Magnet, mixed with mix a definitive love for Kyuss, Orange Goblin and a prog rock outfit like Riverside." - Stoner Hive
"It’s a call to arms for the dreamers and the rebels, a reminder that no matter how dark the journey, there is always light to be found. This album is a must-listen for anyone into psych stoner rock!" - Witching Buzz
"New Babylon is a triumph. It’s an album that demands to be listened to in full, each track a journey through heavy riffs and cosmic themes." - Iron Backstage
"Listening to a piece like 'New Babylon's Wall,' you can appreciate the richness and sonic fertility of the group, with beautiful melodies enriched by the right amount of electronics, starting from a psych conception of the stoner sound, and there is no lack of prog elements, all with beautiful melodies. As mentioned earlier, a sci-fi band in both approach and essence." - InYourEyesEzine
"KAYLETH doesn't reinvent anything, but they absolutely crush it by the rules!" - Rock'N Force
"Stoner rock has rarely sounded as original, diverse and intoxicating as it does here!
Metan Noise is a legendary Czech label. Toolbox gave a hand with the pressing of this release to Mechoz because it's a special one, featuring a fresh concept.
The music style is progressive, staying true to the classic CZ Tek tradition, but with a distinctively trance-like vibe. Ultimately, the record brings something new, blending classic with fresh sounds!
Following a run of chamber recordings, Samuel Reinhard returns with a suite of electroacoustic collages.
"Movement", the New York–based composer’s latest offering, is built from notes softly held. In his ongoing investigation of musical duration, perception, and attention, Reinhard deemphasizes progress through an embrace of repetition and negative space, inviting listeners to linger in time. Instrumental recordings are arranged according to a predetermined system, iterating fragments of sound in overlapping intervals of various sizes. Delicately layered snippets of decaying piano are joined by cello (Leila Bordreuil), bass flute (John Also Bennett), double bass (Vincent Yuen Ruiz), baritone sax (Michael Biel), and harp (Shelley Burgon). This breadth of instrumentation, arriving as individual notes stretched and overlapped, is treated not as an opportunity for immersive coalescence, but rather a gentle augmentation of texture, free-floating counterpoint. Notes are accompanied by the traces of the bodies and actions that produce them: a hand pressing a key or an arm keeping a bow aloft; breath filling an instrument’s body or glancing off its surface; a string vibrating and then softening to stillness. In sum, we hear resonance in the process of being sustained, as well as in the release that follows.
Für 'Love Is' aus dem Jahr 1992 taten sich die britische Pop-Ikone Kim Wilde und ihr Bruder Ricki, der Produzent, Autor und Musiker war, mit dem legendären amerikanischen Plattenproduzenten und Songwriter Rick Nowels zusammen. Zu dieser Zeit war Nowels auf dem Höhepunkt seines Erfolgs mit Belinda Carlisle - seine Arbeit für Belinda und Kim war der Beginn einer herausragenden Karriere, die Madonna, Lana Del Rey, Dua Lipa, Florence & The Machine und andere umfassen sollte. 'Love Is' macht mit einer der besten Kim Wilde-Singles aller Zeiten, dem gemeinsam von Rick Nowels und Ellen Shipley geschriebenen 'Love Is Holy', den Anfang, und von da an ist es eine stets selbstbewusste und stimmige Sammlung klassischer Pop-Songs. Weitere Singles aus 'Love Is' waren 'Who Do You Think You Are', 'Million Miles Away' und 'Heart Over Mind'. Auf dieser Sammleredition auf gelbem Vinyl sind drei Bonustracks enthalten: die Single-B-Seite 'I've Found A Reason' sowie zwei Songs, die 1993 für MCAs 'The Singles Collection' aufgenommen wurden, nämlich 'In My Life' und ein Cover des Bee Gees/Yvonne Elliman-Klassikers 'If I Can't Have You'.
"The BBC Collection’ is an all-encompassing collection of the many recorded performances of Rory Gallagher at the BBC. Featuring eighteen CDs worth of radio concerts and sessions from 1971 to 1986, roughly 75% of this material has not been officially released before. Also included is two Blu Ray discs of BBC TV concerts and studio performances from 1973 to 1984, all of which has not been officially released previously.
Amassed from the BBC archives and Rory Gallagher’s own transcription discs and off-air cassette recordings, the boxset spans 16 years of his career (1971-1986), taking in highlights such as the 1977 dual television and radio broadcast Sight & Sound concert, Rory’s headlining set at the Reading Festival in 1980 to the emotional ‘At Midnight’ concert live from the Ulster Hall in Belfast, 1984.
A ‘best of’ from this collection will be available on 2CD and 3LP, titled “The Best of Rory Gallagher at the BBC”
These releases celebrate the importance of the artist Rory Gallagher, who was possibly the most recorded musician of the 1970s by the BBC.
“(‘Tore Down’) That was the first song I ever heard played…It’s a BBC recording of Rory Gallagher playing at the Paris Theatre in London in July 1972. And I was in the audience, aged 15, and those opening bars were enough to make me realise that this was something I wanted to do again and again… ‘Tore Down’ was my introduction to live, loud, amplified blues and when Gallagher had finished, my 15-year-old self could not contain his excitement. He ran down to the front to shake Rory’s hand…When the BBC did eventually broadcast the concert, I taped it by leaning the microphone from my clunky cassette recorder against the speaker of our old transistor radio and I listened to that tape over and over again” Nick Hornby, Author"
The sacred mushroom played rock music heavily influenced by the blues. Their only self-titled LP released in 1969 on the audio fidelity records label, has be remastered and released again by Akarma Records. The original album is reproduced beautifully and a colorful story about the group by an unknown historian is included on the back cover of the LP.
All the songs are originals with the exception of a Ray Davies song titled 'I'm not like everybody else.' Considering the date that this was recorded, it sounds surprisingly vibrant and hardly outdated. In any event, this is great music. It's a splendid tribute to the blues and how rock music gave the style the respect and admiration that it justly deserved.
This is crank-it-up-loud blues rock that you will surely enjoy if you happen to get into either style of music.
2024 Repress
Seasons are changing - energy is shifting. The next Frenzy release is here, presenting the next-best-local talent on the block: Levzon. This born-to-be gearhead from the outskirts of Amsterdam began experimenting with electronic music as a youngster. Immersing himself in a variety of genres throughout his early years, he decided to take the next step and provide an output for his vision on techno as 'Levzon'. For our next Frenzy adventure, he is going all out for the first time, profiling his sound through a 4-track heavy-hitting EP with old-school-induced cuts and loopy basslines, including two remixes by like-minded associates.
Imagine an era where speed has no limit and the night knows no dawn. That's about the atmosphere 'Mambata' is creating at the start of the A-side. Followed by drum-led 'Bang the Drums', Levzon continues to ride the wave of heat, pressure, and movement. The adventure doesn't end here yet: talent on the rise Phil Berg is providing a perfectly executed dubby remix of 'Bang The Drums' Enter the B-side where a body-heavy peak time experience is awaiting you with 'Baraa'. A true weapon on the dancefloor. At the end of his story, Levzon leaves us with the beautifully composed 'Baila', casting a subtle rhythm of basslines with funk-induced vocals within a more subtle tempo. To close off the record in style, Ruiz OSC1' provides a remix of 'Baila' - throwing her 90s rave techniques into the battle.
Visionary art-pop duo Faux Real (a.k.a. Los Angeles-based Franco-American brothers Virgile and Elliott Arndt) release their debut album "Faux Ever" on City Slang.
Faux Real’s long-awaited debut album "Faux Ever" is a self-described “11-piece symphony for head-banging and longing,” the album sees the fraternal duo continuing to play on the outskirts of language and sound, exploring themes of heartbreak, labor, and the home with harmonies and humor, playful beats, and en franglais. Recorded between Paris, New York, London, Los Angeles, and Provence, "Faux Ever" thrusts Faux Real’s sultry, surreal, and unclassifiable sound towards a glossier pop horizon, an existential sonic pastiche with a glistening digital sheen. "Faux Ever" also includes such certified bangers as the bold, glitchy, and infectious “Rent Free” and the acclaimed “Faux Maux,” both available everywhere already alongside self-directed official music videos streaming now on YouTube. Known far and wide for their DIY, Iggy Pop-meets-Eurodance live performances, Faux Real are building anticipation for "Faux Ever" with international shows in the UK/EU and US.
Format: 140g Crystal Clear Vinyl
About Faux Real:
Elliott and Virgile Arndt founded Faux Real in 2018, blending post-punk, glam rock, and a taste for pop grandeur, fashioning a truly inimitable musical experience. From their increasingly accomplished studio output to mesmerizing, unprecedented live performances, Faux Real invite the audience to join them an enthralling post-realist expedition through contemporary pop culture with razor-edged satire, inspired boy band choreography, and a charged sensuality that has fast earned them a fervent fan following that includes among their number such iconic stars as Duran Duran, Beck, Paramore, Metronomy, and Wet Leg. Now, with the imminent arrival of Faux Ever, Faux Real continue to gleefully ignore boundaries and barriers, assuring the journey is as exhilarating as the ultimate destination.
"Wer hätte gewollt, dass wir eine neue Extrem-Metal-Band gründen? Nun, vielleicht tatsächlich jemand, aber das ist diesmal nicht der Fall, denn wir haben etwas ganz anderes auf dem Teller..." Die nachdenkliche Stimme gehört dem außergewöhnlichen Gitarristen Markus Vanhala (Insomnium, Omnium Gatherum). In der neuen düsteren Band CEMETERY SKYLINE wird Vanhala von Keyboarder Santeri Kallio (Amorphis), Schlagzeuger Vesa Ranta (Sentenced, The Abbey), Bassist Victor Brandt (Dimmu Borgir und viele mehr) und Sänger Mikael Stanne (Dark Tranquillity, The Halo Effect) verstärkt. "Mit CEMETERY SKYLINE begeben wir uns in bisher unbetretene musikalische Richtungen - in jene dunkleren Gassen, die uns am Herzen liegen, die wir aber bisher nicht wirklich durchwandert haben. Und wir sind kollektiv sehr begeistert!" Eines der Schlüsselwörter, Gothic, wurde bereits erwähnt. "Wir alle teilen eine tiefe Liebe für den Goth-Rock der 80er und 90er Jahre - egal, ob es sich um eher synthiegetriebene oder härtere, gitarrenlastige Sachen handelt. Du kennst das mit den besten Bands von The Sisters of Mercy bis Type O Negative", sagt Santeri Kallio, der sich das Songwriting mit Vanhala teilt. "Aber ist CEMETERY SKYLINE eine Gothic-Band? Vielleicht bis zu einem gewissen Grad, aber das ist sicherlich nicht die ganze Geschichte. Wenn ihr die vielfältige Musik von CEMETERY SKYLINE irgendwie beschreiben müsst, tut uns einen Gefallen und nennt uns Botschafter des melodischen, melancholischen und dunklen Rock. Danke." Der Inhalt der Texte ist tief in eine düstere Gothic-Atmosphäre eingebettet. Das von Stanne geschriebene Konzept - zum ersten Mal in seiner bemerkenswerten Karriere verwendet Mikael während des gesamten Albums Clean Vocals - taucht unwiderstehlich in die paradoxe Welt der "nördlichen Einsamkeit" ein. "Die Texte sind tief verwurzelt in der selbstgewählten Einsamkeit der nordischen Menschen, ihrem anti-sozialen Verhalten und ihrem düsteren Sinn für Humor... Beim Schreiben der Texte habe ich mir diese Besonderheit zu Nutze gemacht, die man als den skandinavischen Gothic-Lifestyle bezeichnen könnte", sagt Stanne. "Nordic Gothic" ist erhältlich als: Ltd. CD Digipak, als 180g LP sowie als digitales Album.
Erste offizielle Veröffentlichung auf Vinyl! Kim Wildes sechstes und letztes Studioalbum für MCA Records erscheint endlich auf Vinyl in Form dieses liebevollen 2LP-Sets auf weißem 140Gr. Vinyl. 'Now & Forever' wurde 1995 ursprünglich nur auf CD und Kassette veröffentlicht. Kim und ihr Bruder und Producer Ricki entfernten sich dabei vom Pop-orientierten Sound früherer Alben und gingen einem zeitgenössischeren elektronischen Soul-Vibe entgegen. Eine Zusammenarbeit mit dem in London ansässigen DJ-Produzenten und Remixer C.J. Mackintosh (M/A/R/R/S, Nasty RoxInc.) bei vier der Tracks half dabei, ein Album zu schaffen, das Einflüsse aus Gospel House, Dance und Loop-Beats enthielt. Zu den weiteren Autoren und Mitwirkenden gehörten Pam Sheyne, die später 'Genie In A Bottle' für Christina Aguilera mitschrieb, und Tony Swain, der als eine Hälfte von Swain & Jolley R&B-beeinflusste Klassiker für Imagination produzierte. Über diesem fesselnden neuen Klangbett lieferten die Wildes eine Reihe sofort eingängiger Melodien, nicht zuletzt auf den beiden Singles 'Breakin' Away', und 'This I Swear'.
FIRST EVER INTERNATIONAL RELEASE OF RYUICHI SAKAMOTO'S LANDMARK 1983 ALBUM "CODA," HIS RENDITION FOR SOLO PIANO OF THE 'MERRY CHRISTMAS MR. LAWRENCE' SOUNDTRACK. FEATURING REMASTERED AUDIO AND NEW LINER NOTES BY ANDY BETA.
Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Coda", issued in Japan in 1983 as a solo piano version of the "Merry Christmas Mr. Lawrence" soundtrack. The album, which was never been released outside of Japan until now, sees Sakamoto on acoustic piano reinterpreting fascinating versions of his famous soundtrack including the classic theme and "Germination," which was later used in the "Call Me By Your Name" soundtrack. This reissue has been remastered by Seigen Ono's Saidera Mastering studio in Tokyo and boasts the original artwork plus a 4-page insert with new liner notes by Andy Beta.
NoLand sounds like a story already experienced. A series of lyrical landscapes infused with deviant pop sonorities.
In the second album on Knekelhuis, Reymour gives us the keys to three years of life's passages through mist and clearings, delving deep into their innermost selves and emotions.
By merging new inspirations with new encounters, they weave and unravel their tale.
Color Vinyl 12" + 7"[26,26 €]
Hugo Race (Dirtmusic, Fatalists, ex-Bad Seeds) and Michelangelo Russo (True Spirit), fuse rock, blues, ambient and electronic sounds on their raw, compelling new album "100 Years".
In 2017, the duo released John Lee Hooker's World Today (Glitterhouse/Gusstaff Records), a tribute to the blues legend's delta blues legacy reinvented in a swirling mix of analog grit and deep trance pulses.
100 Years showcases the duo's sonic chemistry against Race's stark songwriting. Inspired by the raw majesty of early blues recordings, the album was recorded in two days in a non-stop live Hugo Race & Michelangelo Russo - 100 Years session. Amplified harmonica, open-tuned guitars, smoky vocals and primal foot beat walk us through a landscape of dreamlike devastation, a hypnotic wall of sound suspended in time and space celebrating endurance and redemption, hand-made from ancient roots. "Tradition does not mean passing the ashes, but the fire."
100 Years. Recorded November 1 & 2, 2023.
Engineered by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne.
Mastered by Giovanni Versari at La Maesta, Milano.
Published by Peermusic.
PRESS about former album:
Rock'n'Roll Monuments, Greece:
"Race and Russo's pioneering electronic atmospheres give the historical Blues something you never imagined possible."
Rolling Stone, Germany: 'Dark Eros and transcendental blues…'
Musikreviews.de, Germany: "A psychedelic ghost blues of a profound sort, a mature, sensitive interpretation of the music and lyrics of John Lee Hooker. (Race and Russo) have blown us away in slow motion, economically instrumented and with painfully beautiful intensity. "
Q, London: "A darkly singular experience then, and one of the best records (Race) has ever made..."
The Music, Australia: "A collection of bluesy, brooding songs from a talented singer-songwriter with three decades of musicianship under his belt."
Eclipsed, Germany: "Hypnotic rhythms and haunting guitars, this album tingles under your skin..."
Focus Kultur, Germany: "No one else makes music like this, and that in itself is an achievement..."
Rock and Folk, Paris: 'This traveler without borders advances through a menacing atmosphere of no-wave electro-acoustics. Here is the spirit, and he does not forget
the body and the soul ... '
Tom Tom Rock, Italy: "An almost epic attack, worthy of the soundtrack of an apocalyptic post-nuclear catastrophe film… a talking blues of the third millennium, filtered by years of psychedelia and industrial music - and the Berlin years of Hugo Race can certainly be felt - hypnotic and dark, but precisely for this reason enveloping and fascinating. A record in which the music of the legendary bluesman is completely transfigured, without, however, the fidelity to his "spirit" and his "message" being questioned in the slightest. In short, JLH is alive and fighting with us, if we find the strength to follow him."
Hugo Race (Dirtmusic, Fatalists, ex-Bad Seeds) and Michelangelo Russo (True Spirit), fuse rock, blues, ambient and electronic sounds on their raw, compelling new album "100 Years".
In 2017, the duo released John Lee Hooker's World Today (Glitterhouse/Gusstaff Records), a tribute to the blues legend's delta blues legacy reinvented in a swirling mix of analog grit and deep trance pulses.
100 Years showcases the duo's sonic chemistry against Race's stark songwriting. Inspired by the raw majesty of early blues recordings, the album was recorded in two days in a non-stop live Hugo Race & Michelangelo Russo - 100 Years session. Amplified harmonica, open-tuned guitars, smoky vocals and primal foot beat walk us through a landscape of dreamlike devastation, a hypnotic wall of sound suspended in time and space celebrating endurance and redemption, hand-made from ancient roots. "Tradition does not mean passing the ashes, but the fire."
100 Years. Recorded November 1 & 2, 2023.
Engineered by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne.
Mastered by Giovanni Versari at La Maesta, Milano.
Published by Peermusic.
PRESS about former album:
Rock'n'Roll Monuments, Greece:
"Race and Russo's pioneering electronic atmospheres give the historical Blues something you never imagined possible."
Rolling Stone, Germany: 'Dark Eros and transcendental blues…'
Musikreviews.de, Germany: "A psychedelic ghost blues of a profound sort, a mature, sensitive interpretation of the music and lyrics of John Lee Hooker. (Race and Russo) have blown us away in slow motion, economically instrumented and with painfully beautiful intensity. "
Q, London: "A darkly singular experience then, and one of the best records (Race) has ever made..."
The Music, Australia: "A collection of bluesy, brooding songs from a talented singer-songwriter with three decades of musicianship under his belt."
Eclipsed, Germany: "Hypnotic rhythms and haunting guitars, this album tingles under your skin..."
Focus Kultur, Germany: "No one else makes music like this, and that in itself is an achievement..."
Rock and Folk, Paris: 'This traveler without borders advances through a menacing atmosphere of no-wave electro-acoustics. Here is the spirit, and he does not forget
the body and the soul ... '
Tom Tom Rock, Italy: "An almost epic attack, worthy of the soundtrack of an apocalyptic post-nuclear catastrophe film… a talking blues of the third millennium, filtered by years of psychedelia and industrial music - and the Berlin years of Hugo Race can certainly be felt - hypnotic and dark, but precisely for this reason enveloping and fascinating. A record in which the music of the legendary bluesman is completely transfigured, without, however, the fidelity to his "spirit" and his "message" being questioned in the slightest. In short, JLH is alive and fighting with us, if we find the strength to follow him."
"Immense Intense Suspense" war und ist immer noch ein Meilenstein des Death Metal, heute noch genauso relevant wie 1994!Was erhält man, wenn
man Demilich, das erste Album/EP von At The Gates und Nocturnus in einen Mixer gibt, um sie in ein gewaltiges, abscheuliches Monster zu
verwandeln, das die Majorsciences zum Weinen bringt und sie sich fragen lässt, warum man etwas erschaffen hat, das sie so herausfordert? Nun...
dies. In der Tat scheint dies das Einzige zu sein, was einer auditiven Form von Cthulhu nahe kommt... Das Full-Length-Debüt dieser
Doom/Avantgarde-Metal-Band bietet sowohl Originalität als auch Integrität und wird als klassisches Album angesehen.Phlebotomized begannen als
Grindcore-ähnliche DeathMetal-Band und veröffentlichten ihre frühen Demos, die so klangen. Irgendwann beschloss die Band, ihren Stil zu ändern,
denn "Immense, Intense, Suspense" legt Wert auf Melodien und symphonische Passagen. Das tat der bösen, bedrückenden Stimmung, die sich durch
die Musik zieht, keinen Abbruch. Das Album nimmt auf, was Demilich auf "Nespithe" geschrieben hat und baut darauf auf.
Die legendären Symphonic-Black-Metal-Titanen Dimmu Borgir werden ihr von der Kritik gefeiertes Album Eonian auf einer Coke Bottle Clear Gatefold Doppel-LP wiederveröffentlichen. Ursprünglich am 4. Mai 2018 auf die Welt losgelassen, markiert Eonian ein bedeutendes Kapitel in der geschichtsträchtigen Karriere der Band - eine dunkle, atmosphärische Reise durch die mystischen Gefilde von Zeit und Existenz.
Diese spezielle Wiederveröffentlichung von Eonian erweckt das Album auf Coke Bottle Clear Gatefold-Doppelvinyl zu neuem Leben, mit sorgfältig remasterten Tracks, um ein noch intensiveres Klangerlebnis zu bieten. Das Doppel-LP-Format ermöglicht es den Fans, noch tiefer in die grandiosen Klangwelten von Dimmu Borgir einzutauchen, wo epische Orchestrierung auf die rohe Kraft des Black Metal trifft.
Egal, ob Sie ein langjähriger Fan oder ein Neueinsteiger in die dunkle Faszination von Dimmu Borgir sind, die Neuauflage der Doppel-LP Eonian ist ein Muss für Ihre Sammlung.
The word “resistance” is deeply embedded in the ethos of techno. For her debut release on the Tresor Records, the British artist and Tresor resident, IMOGEN, explores the concept of resilience; a related and equally vital concept.Taking its name from a theological term meaning a fundamental change of mind or spiritual conversion, Metanoia is fuelled by IMOGEN’s processing of what she describes as one of the most challenging years of her life.Any struggle against injustice or misfortune takes time and effort which requires finding a fortitude within, not only to surpass the hardship itself but to not lose ourselves to despair or bitterness in the process.IMOGEN’s journey is summed up in the lead track, The Way She Moves-resilience is, after all, a persistence to continue, to move forward. The struggle against hardship is laid out in track titles like Tired Bonesand Growing in the Darkbefore a sense of catharsis is reached in Breathe Againand Melancholy Flower. The music similarly mirror her experiences, passing through sadness, anger, before ultimately landing at acceptance and a newfound drive for self-actualisation and greater interoception; after all, the end goal of any resistance is liberation.
Die Band, die ihre ursprünglichen Wurzeln im Thrash-Metal und Screamo immer noch stolz auf ihren Ärmeln trägt, hat ihren Sound stetig weiterentwickelt und euphorische Elemente aus Post-Rock und Shoegaze mit spektakulärem Effekt eingebaut. "Eunoia", ein Wort, das das gegenseitige Wohlwollen zwischen einem Redner und seinem Publikum beschreibt, nimmt diese Dichotomie von Ruhe und Chaos auf und destilliert sie noch weiter, indem es die Band wirklich in ihrem Element zeigt, sowohl auf der Bühne als auch im Studio. Das Album besteht nur aus Songs, die die Band auf der Bühne spielen kann und will. Es wurde um die Idee herum geschrieben, nach Hoffnung und Inspiration im täglichen Leben zu suchen, während man sich machtlos gegen das Gewicht der Welt fühlt. Die Leadsingle ,Beyond the Raindrops" war einer der ersten Songs, die für das Projekt geschrieben wurden, wurde aber erst in letzter Minute aufgenommen. Der epische Halftime-Groove und die schwebenden, klangvollen Gitarren sind ebenso melancholisch wie großartig, und Tetsus zu Herzen gehender Text wurde im Moment geschrieben, als ehrliche Antwort auf die eindringliche Melodie des Songs. In anderen Stücken wie Whiteout" werden die frenetischen Ursprünge von Envy mit einem pochenden Schlagzeugsolo, das eine stakkatoartige Post-Hardcore-Gitarrenarbeit einleitet, und einem Gesang, der wild zwischen gutturalem Gebrüll und einem Ansturm von gesprochenen Worten schwankt, kanalisiert. Der Eröffnungstrack 'Imagination and Creation' wird von ENVY als ,ein Schritt vorwärts in die Zukunft, der die Vergangenheit als Nahrung nutzt" beschrieben. Blastbeat-Drums und kreischende Gitarren treiben eine trotzige und ansteckend hoffnungsvolle Gesangsmelodie ins Ungewisse, während eine Band mit einer so geschichtsträchtigen Vergangenheit lernt, das Jetzt zu schätzen, um sich für das zu wappnen, was als nächstes passiert. "Eunoia", ENVYs achtes Album, ist wahrhaftig ein Meilenstein; die perfekte Balance zwischen Aggression und Begeisterung, in der das wiederbelebte Lineup der Band ein latentes Gefühl der Machtlosigkeit angesichts einer zerbrochenen und zunehmend gespaltenen Welt erforscht.
Die Band, die ihre ursprünglichen Wurzeln im Thrash-Metal und Screamo immer noch stolz auf ihren Ärmeln trägt, hat ihren Sound stetig weiterentwickelt und euphorische Elemente aus Post-Rock und Shoegaze mit spektakulärem Effekt eingebaut. "Eunoia", ein Wort, das das gegenseitige Wohlwollen zwischen einem Redner und seinem Publikum beschreibt, nimmt diese Dichotomie von Ruhe und Chaos auf und destilliert sie noch weiter, indem es die Band wirklich in ihrem Element zeigt, sowohl auf der Bühne als auch im Studio. Das Album besteht nur aus Songs, die die Band auf der Bühne spielen kann und will. Es wurde um die Idee herum geschrieben, nach Hoffnung und Inspiration im täglichen Leben zu suchen, während man sich machtlos gegen das Gewicht der Welt fühlt. Die Leadsingle ,Beyond the Raindrops" war einer der ersten Songs, die für das Projekt geschrieben wurden, wurde aber erst in letzter Minute aufgenommen. Der epische Halftime-Groove und die schwebenden, klangvollen Gitarren sind ebenso melancholisch wie großartig, und Tetsus zu Herzen gehender Text wurde im Moment geschrieben, als ehrliche Antwort auf die eindringliche Melodie des Songs. In anderen Stücken wie Whiteout" werden die frenetischen Ursprünge von Envy mit einem pochenden Schlagzeugsolo, das eine stakkatoartige Post-Hardcore-Gitarrenarbeit einleitet, und einem Gesang, der wild zwischen gutturalem Gebrüll und einem Ansturm von gesprochenen Worten schwankt, kanalisiert. Der Eröffnungstrack 'Imagination and Creation' wird von ENVY als ,ein Schritt vorwärts in die Zukunft, der die Vergangenheit als Nahrung nutzt" beschrieben. Blastbeat-Drums und kreischende Gitarren treiben eine trotzige und ansteckend hoffnungsvolle Gesangsmelodie ins Ungewisse, während eine Band mit einer so geschichtsträchtigen Vergangenheit lernt, das Jetzt zu schätzen, um sich für das zu wappnen, was als nächstes passiert. "Eunoia", ENVYs achtes Album, ist wahrhaftig ein Meilenstein; die perfekte Balance zwischen Aggression und Begeisterung, in der das wiederbelebte Lineup der Band ein latentes Gefühl der Machtlosigkeit angesichts einer zerbrochenen und zunehmend gespaltenen Welt erforscht.
This Limited 2 LP set covers all the original versions of songs that inspired the Rolling Stones on their album, “Blue & Lonesome”, along with 27 remastered originals from England’s Newest Hit Makers in the early sixties. You can hear The Stones' versions of Muddy Waters' "I Just Want To Make Love To You" and Slim Harpo's "I'm A King Bee" appeared on England's Newest Hit Makers, Chuck Berry's "Come On" on their debut single, Dale Hawkins' Susie Q" on 12 X 5, Marvin Gaye's "Hitch Hike" on Out of Our Heads and Howlin' Wolf's "Little Red Rooster" on their second no. 1 single. Howlin’ Wolf’s “Little Baby” (‘Stripped’ 1995). There’s Allen Toussaint’s “Fortune Teller” (‘Got Live If You Want It’ 1966), Muddy Waters’ “Mannish Boy” (‘Love You Live’ 1977), The Coasters’ “Poison Ivy” (‘No Stone Unturned’ 1970) and the closing track on the album is “You Better Move On” from southern soul singer Arthur Alexander (‘December’s Children’). The blues as chosen by five young (blues)-rockers from London.
Jason Kolàr (Stroom) returns to Dauw on this collaboration with Japanese musician Fumitake Tamura (Leaving Records). 'Ōki-sa' documents the duo's encounters during Kolàr's Japan tour in September 2023.
Fumitake Tamura and Jason Kolàr met in Tokyo during Kolàr’s Japanese tour in September 2023. Sharing a mutual admiration for their previous works, they decided to meet at Soundbar Patrol in Sangenjaya for a series of improvisational sessions.
The album contains a chronological sequence of ideas recorded on those summer afternoons, seamlessly connected by raw textures, lo-fi synths, and abstract beat-filled sound collages.
The title Ōki-sa was Kolàr's idea, a phonetic form of the Japanese word for 'size.' Fumitake found the Japanese phonetics of macrons and hyphens, which are not usually used in Japan, so visually interesting that they were adopted for the title.
Language communication is always subject to misreading and misunderstanding, even between speakers who share a mother tongue. Communication using sounds, which have no clear meaning, is even more prone to misreading and misunderstanding than language. Acknowledging this, they engaged in an intuitive process, with no prior discussion about references or guidelines, freely exchanging ideas and allowing the music to evolve organically.
This record aims to capture a three-day intersection of language and musical miscommunication, while also reflecting personal bonding and human connection.
B&W[50,38 €]
"Waxwork Records is honored to present the release of the Original Motion Picture Soundtrack to George A. Romero’s horror classic, NIGHT OF THE LIVING DEAD. Written, filmed, and released in 1968 by a rag tag group of Pittsburgh based misfits, NIGHT OF THE LIVING DEAD is an American independent horror film that follows the story of seven people trapped in a rural farmhouse that is besieged by a large and growing group of living dead ghouls. The film is regarded as a cult classic by critics, film scholars, and fans and has garnered critical acclaim. The film has been selected by the Library Of Congress for preservation in the National Film Registry and is deemed “culturally, historically, and aesthetically significant”.
Filmed and released on a shoestring budget, NIGHT OF THE LIVING DEAD became a smashing success earning over 250 times its budget. The film is a first of its kind and ushered in a new way of writing, directing, and filming horror films. The overused script of romantic, fantastical tales of otherworldly monsters and creatures was completely flipped and tossed aside by visionary George A. Romero. As the film’s writer and director, Romero created a new, obvious threat, and one that is universally recognizable - Our very own neighbors. Due to an unseen force beyond man’s control, the recently deceased arise from the dead in seek of living human victims. These ghouls kill and feast upon the flesh of their victims, and the only way of stopping them is by destroying their brains.
From 2015 to 2018, Waxwork Records worked closely with the remaining members of the independent production company that made NIGHT OF THE LIVING DEAD, Image Ten, to produce a definitive soundtrack album featuring all music from the film. Much of the film’s music was thought to be lost or destroyed but was located in its entirety and faithfully restored and re-mastered for vinyl. This special release of NIGHT OF THE LIVING DEAD features the complete soundtrack, double LP “Black & White Hand Poured” colored vinyl, all new artwork by Robert Sammelin, a booklet featuring never before seen production photos, liner notes by Daniel Kraus (co-author of THE SHAPE OF WATER with Guillermo Del Toro), liner notes by Night Of The Living Dead’s dialogue recorder and sound engineer, Gary Streiner, and deluxe packaging."
Captures a night at London’s well known vintage venue Bush Hall when the stage was shared with Jerron ‘Blind Boy’ Paxton. Takes you on a musical journey through Mississippi and Louisiana performing music by artists such as Memphis Minnie, Blind Boy Fuller, Rev Gary Davis. Acoustic duo project of Sister Suzie and Andy Twyman. Part of a growing movement in the UK presenting stripped back acoustic blues. Be ready to be transported back to the 1920s with a show of early folk blues evoking the playfulness, power and soul of the music and the people who created it. The duo are singer/songwriter, guitarist, occasional member of Dana Gillespie’s Blues Band and sometime one-man-band Andy Twyman, and Sister Suzie, singer/songwriter and frontperson of The Right Band; both busy and popular artists in their own right. They have toured the UK and Europe extensively.
Nothing In Rambling as the project name is taken from a Memphis Minnie song which Sister Suzie describes as “very poignant – and like so many in that era, it sounds deceptively cheery and upbeat, but the lyrics are dark, telling a tale of danger and bravery in taking to the road rambling especially as a black person. and the struggles that women, especially black women, faced in that era.” Sister Suzie published a dissertation “Women In The Blues, Pre-1960’ detailing the struggle that women, especially black women, had against the ‘patriarchy’ and in their own sexual liberation. The latter element was often written about observing the ‘racy’ side of life, and on songs such as ‘Me And My Chauffeur’ and ‘Kissing In The Dark’ Sister Suzie takes the cue to deliver with particular juke joint panache. PRESS / ADDITIONAL SALES POINTS: Launched at The Sound Lounge (Sutton) September 12th - Feature published in September issue of Blues In Britain magazine - Reviews in Rock n Reel, Blues In Britain, Blues Matters - Radio play on IBBA and RMR stations - Live shows, and Festival appearances through 2024 – Red Rooster, Ealing Blues, Upton Blues, Tenby Blues, Glastonbury
Soul Men, now available on 1LP black vinyl, is the iconic third album from legendary R&B duo Sam & Dave. Originally released in 1967, this timeless record features the Grammy Award-winning anthem "Soul Man," a track that helped define the sound of soul music and remains a classic to this day.
2024 Repress
Dark Entries is honored to finally present the first ever official vinyl reissue of Space Museum by Solid Space. Solid Space was the British duo of Dan Goldstein (keyboards, vocals) and Matthew 'Maf' Vosburgh (guitar, bass, keyboards, vocals) formed in 1980. Dan and Matthew met at the age of 11 while attending school in north London. In late 1978 at at the age of 14, they formed Exhibit 'A' with Paul Platypus' and Andrew Lunchbox' Bynghall. They recorded two EPs in 1979 and 1980, self-released on Irrelevant Wombat Records and appeared on 'The Thing From The Crypt' compilation. After the dissolution of the group, Mathew started taking his guitar over to Dan's house where he'd play his Casio MT-30 and they would record songs. Eventually a second hand drum machine and Wasp synthesizer were acquired from classified ads in Melody Maker and the Solid Space sound was born. By this time they were just turning 18 and finally found the freedom to make the music they'd had in their heads. Over the course of the next two years the band assembled eleven bedroom recordings that would become one of the most cherished DIY obscurities of its kind. Their debut album 'Space Museum' was released in 1982 on cassette by In Phaze Records. All of the songs were mixed by label boss Pat Bermingham on 8-track tape at The Shed, in Ilford, which was literally a garden shed. The band's music and lyrics were heavily indebted to science fiction, in particular the 1960s television series Doctor Who. 'Space Museum' is an unveiling of atmospheric, minimalist post punk supported by bright melodies. The music combines drum machines and synths with acoustic guitar and toy drums whilst also experimenting with samples between tracks. Lyrics deal with space travel and a general sense of dejection. Representing a bubbling spirit within the underground, they foreshadowed an entire world of independent music which would emerge across the 80's and well into the 90's. For this reissue we've included two bonus tracks from the band's archive, Platform 6' originally released on the B-side of the second single by Exhibit 'A', this song features only Dan and Matthew and is the first Solid Space track ever recorded. Tutti Lo Sanno' is a cover of In Phaze label mates Marine Girls, though the lyrics have been changed to suit the gender of the new singer.Each song has been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is sleeved in a replica of the cassette artwork featuring the Cybermen and Jamie from the Doctor Who episode "The Wheel in Space". Every copy includes a double sided 11x11 insert with lyrics, notes and never before seen photographs of the band taken by Maf as well as a postcard featuring an original advert for the cassette.
Rarely has there been a better album opener than Fun n' Frenzy, a shimmering yet abrasive mix of Subway Sect dustbin lid guitar, No Wave twitchiness, a hint of psychedelia and a crooning vocalist intoning poetic, abstract lyrics that conveyed existential menace. Continuing with Revelation, Crazy to Exist and single tracks like Sorry for Laughing, The Only Fun In Town was an extraordinary achievement - eclipsed by the groups split. It remains an early 80s high point. Those who haven't heard it should; those who have might tempted by this latest upgrade, which features remastered sound and different extras'. Josef K 'The Only Fun In Town' (Jon Savage - Mojo 2014)
Crepuscule presents a new limited coloured vinyl edition of The Only Fun In Town, the influential debut album by iconic Scottish guitar group Josef K, originally released on Postcard Records in July 1981.
500 copies only of TWI 052 have been pressed for release in 2019, with Disc 1 on black vinyl and Disc 2 on gold vinyl, matching the iconic sleeve artwork by Krysia Klasicki.
Speedily recorded in a small studio in Brussels, The Only Fun In Town was a defiantly abrasive, serrated long-player in the mould of the second Velvets album, Josef K having already shelved a more conventional recording. Sharp-edged pop singles abound - It's Kinda Funny, Sorry for Laughing, Revelation - along with rattling Haig/Ross twin guitar classics such as Fun 'n' Frenzy, Heart of Song, Forever Drone and The Angle.
The Only Fun In Town topped the independent charts on release and remains a canonical post-punk album. This remaster arrives housed in a handsome gatefold sleeve, and by way of bonus tracks also features several Postcard single A and B sides including Radio Drill Time and Chance Meeting. Side 4 features all four tracks from JoKay's celebrated John Peel Session in June 1981, including Heaven Sent and The Missionary.
'Josef K were The Sound of Young Scotland, together with Orange Juice ' (Paul Morley)
2024 Reissue
After 16 years this album will be released the first time on vinyl at Gusstaff Records in limited edition of 500 copies.
It was the 9th album of Hugo Race & The True Spirit, one of the most important in his very long history of solo activity.
Hugo Race, formerly of The Wreckery and Nick Cave and the Bad Seeds and now an internationally based producer, composer, performer and author, delivers intense sonic soundscapes that merge folk, experimentalism, electronica and rock. Originally from the 1980's Melbourne post-punk music scene, Hugo's ever-expanding network of collaborations, bands and multimedia projects are spread over several continents.
Red Recycled[31,51 €]
"Mama Africa," released in 1983 is now available on 1LP Red Recycled, is a celebration of African heritage and a call for unity and liberation. This album features a mix of upbeat tracks and heartfelt tributes to the African continent. The title track, "Mama Africa," is a poignant ode to the motherland, while songs like "Glass House" and "Not Gonna Give It Up" convey messages of resilience and determination. "Mama Africa" highlights Peter Tosh's ability to blend social consciousness with melodic reggae rhythms, reaffirming his role as a powerful voice for the African diaspora and global justice.
Bridge was to be the Edinburgh-born Kieran Warren’s debut release circa 1994 on Metatone - a short-lived techno label by J. M. Adkins (Electro Music Union) and Damon D'Cruz (Jack Trax, Chill). As fate had it, Metatone folded before the album got printed, and the music was lost in time. That is, until Adkins tipped the Cold Blow boys off while they were working on his anthology, the 2019 double LP "Electro Music Union, Sinoesin & Xonox Works 1993-1994".
Atonal’s Cithare EP last year was the world’s first glimpse at the fuzzy, warm techno archives of Kieran Warren. As a sequel, Cold Blow has restored and compiled their vision of the ‘94 “Bridge” while tapping into the same demo archives that were being scoured through by Metatone in their day.
Essential for the fans of early Aphex Twin, the album moves between warm melodic techno cuts and nostalgic ambient pieces before reaching the grand finale of Arkanoids, an 8-minute ambient epic straight from the school of Selected Ambient Works 2.
Housed in full, cosmic artwork designed by Ed Cheverton. Mastered by Keith Tenniswood.
The Jaffa Kid joins the Cold Blow roster with a marvelous self-titled EP of hard-hitting, atmospheric techno and ethereal braindance. These analogue productions will undoubtedly evoke nostalgia in the fans of the styles’ formative years, accentuated by the warm and crisp mastering by the legendary Ed DMX. This is a record for the clubs and the armchairs alike.
At 15 years of age Danny aka DJH worked at Dance Force Records, his Dad’s record shop, at the weekends in Kings Lynn. He also built himself a basic studio in the back of the shop where he linked up with a local customer and started to make music. These tracks would form an EP called The Bass Project which went on to be one of the most sought after hardcore records, being offered for up to £750 a copy. Not bad for a 15 year old kid who made his one and only release back in 1993.
This is the 3rd and final release for the DJH series whilst he takes a sabbatical from music, leaving us with 4 heavy hardcore tracks, with that authentic early 90’s feel with ‘Bad Boy Sound’ being a firm favourite of Jay Cunning over recent months on his Kool FM show. Sourcing original samples and memories from his time embedded in the scene as a teenager, this whole EP pays respects to the analogue dance scene that paved the way for all forms of UK bass music that followed.
Ren Schofield’s long running electronic project Container returns with his first release since the Creamer EP in 2021. Rolling straight out of the pandemic Schofield has since played a large number of live shows all over the planet, rilling up audiences with a heady mix of method and mania. Now is the time to unleash a new studio offering.
Yacker presents what is undoubtedly an electronic record but one imbued with a spirit more aligned with rock music. Always hijacking the electronic music scene for his own unique and twisted path here we see a further extrapolation on his original blueprint for DIY noise techno adding a more physical and muscular edge to the standard hysterical proceedings. The drums retain an almost human, somewhat muscular feel with a sweaty and suggestive ‘real drums’ feeling.
Schofield cites inspiration on Yacker as the Nirvana song ‘Oh, The Guilt’, the Mindflayer album ‘It’s Always 1999’, and the Rah Bras song ‘Sooop Toe Pump Girls’. Container has always danced the absurd space between serious and stupid, with Yacker all elements are turned up to eleven as he delivers a pristine field guide to furious frenzied fun.
Yacker strikes an even balance between heavy, relentless, joyful, silly, and sloppy. Think Lollapalooza 1996 held at Berghain 2006 and you are somewhere on the way to formulating this fresh new insanity from one of the contemporary electronic music scene's more playful pioneers
This is the very first reissue of the much in demand double sided killer single released in 1970 on the Upsetter label. Both tracks were produced by Lee Perry.
The A side is a beautiful yet wicked cover of LET IT BE by the Beatles, produced by Lee Perry and performed by the Soulettes.
The B side is BIG DOG BLOXIE, an even whackier version of the A side by Lee Perry.
ABOUT THE SOULETTES:
The Soulettes initially comprised Alpharita Anderson, born in Cuba, her male cousin Constantine Walker and her school friend Marlene Gifford and started recording as backing vocalists at Studio One from 1964 including the first Wailing Wailers’ hit “Simmer Down”. They also backed Lee Perry on a series of dirty songs such as ‘Rub & Squeeze’ and ‘Doctor Dick’. Under their own name The Soulettes were moderately successful have a string of minor hits such as ‘Opportunity Knocks’ and the lovely ‘Friends And Lovers’. Alpharita married Marley in in 1966 and the Soulettes disbanded. In 1969, Rita Marley re-formed the Soulettes with Nora Dean (later replaced by Hortense Lewis) and Cecile Campbell, Cornel’s sister.
The new line-up with Nora Dean and Cecile Cornell started working Lee Scratch Perry for a couple of songs including the outstanding cover of the Beatles’ ‘Let It Be’ which became their main hit in 1970. Following the group’s demise around 1973, Rita joined Marcia Griffiths and Judy Mowatt to form the I-Threes whom became the de facto female backing trio for Bob Marley…
Not much to say on this one, Mattias Ostling aka Rolando Simmons is back on AF. You should know what you're in for: undeniably beautiful acid stuff, somewhere between propulsive and melancholy, lush but fidgety 4/4 beats...'Terrestrial Ultra-Doula EP' is a 4-track adventure that deftly dabbles in rave, IDM, techno and beyond in classic RS style. In his own words "Every completed project is the failure of an original idea and the triumph of a successful adaptation. These tracks were inspired by a dream and my subsequent reflections on it. Playing music for others is an act of alchemy that can alter thought patterns and life paths to varying degrees. It is a formidable power to wield." Ostling is one of those artists who works in a specific continuum but adds his own touch here and there--and when it comes to reverb-drenched, acid-lashed, wound-up IDM pitter-patter, not many can do it as well, or as elegantly, as this. Word, you're gonna need this one.
Rooted in the New Orleans tradition and the essence of hip hop, Hip Horns Brass Collective unleashes its powerful sound in KREWE, their debut album. KREWE takes the brass band genre beyond its boundaries, diving into the underground with danceable rhythms like boombap and bounce, full of influences such as afrobeat, gospel and funk. The lyrics, filled with references to hip hop culture, flow in an explosive mix of English, Spanish, and Catalan, sharing their love for the tradition of rap and African American music. KREWE is a manifesto of the positive side of hip hop, a tribute to the unstoppable strength of the collective that a brass band represents in contrast to the solitude of the individual, and a homage to the legacy of hip hop and the vibrant tradition of New Orleans
2024 Repress
Michael Gray’s ‘The Weekend’ has become more than just a seminal clubbing anthem. ‘The Weekend’ has become a soundtrack for many a night out, an evergreen, life anthem for a whole generation, a record that has stayed popular since the naughties through its sheer brilliance and been brought back to the attention to a new generation through social media like TikTok.
Now the worldwide dance hit has had new life breathed into it new live strings/dance version from Michael himself.
As Michael goes on to say in his own words:
“I have been working with live strings and horn sections a lot recently and it occurred to me to try ‘The Weekend’ as a totally different concept while keeping the integrity of the original…and it worked!
I got chills when I first heard Stephen Hussey’s (Soul to Soul) arrangement. I think it makes Shena’s lead vocal (and Xavier’s backing vocals ) sound so good!
When I made the record back in 2004 I didn’t realize how much this record would endure and appeal to younger and younger generations in its original form alone. I still get a buzz, particularly when I see DJ’s such as Claptone and Low Steppa playing it to huge crowds. Radio play has been amazing over the years too.
It makes me smile that there are thousands of TikTok videos to it as well!
2024 reissue
Official reissue of this techno classic by Desert Storm, one of the most important records from the early Soma catalogue, now repressed 30 years after the original release. Also including Psycho Drums remix.
Next up on Funnuvojere Records is label boss Massimiliano Pagliara’s highly anticipated ‘Hooking Up’ EP. Featuring four distinct club belters, each one is crafted to suit different moments of the party. The new EP once again truly showcases Massi’s deep understanding of the dancefloor.
The title track, ‘Hooking Up’, is a cosmic pop song infused with Chicago house influences, embodying Pagliara’s signature style at its best. The track is a journey through lush melodies and infectious rhythms, capturing the essence of Pagliara’s sound and setting the tone for the rest of the EP.
‘Last Kiss (On Acid)’, is a pulsating acidic banger designed for late-night parties where the energy is high, and the walls are dripping with sweat. ‘Fave Rave’ is characterised by its dirty bass line that conjures the foggy, intimate atmosphere of a packed dance floor.
Closing the EP is ‘Poseidon’s Dream’, a cheeky Italo disco hit that brings a playful, nostalgic, but no less energetic finish to the release. With its catchy melodies and upbeat tempo, the track is the perfect way to end the night on a high.
Drawing inspiration from David Hockney (a favourite artist of Pagliara), French artist Grav Jonz crafted the beautiful artwork. Hockney’s influence permeates not only the artwork but also serves as the muse for the entire EP, weaving his unique artistic spirit throughout.
As we approach the threshold leading us back to the Black Lodge on our transformative 8th journey, we are escorted through and beyond the mystical portal by the vigorous and fierce forces of Sneaker. Portrait in House is a collection of 3 resonant works, which are unified into a singular vision within its uncanny language that is rooted deeply in the foundations of Jak, New Beat, EBM, and Wave. Existing inside the liminal spaces of where light meets dark, we are presented with a documentation of dissonance and harmony. We begin our voyage with Jihad, a sluggish and slogging piece that unforgivingly drags us through the grime and the dirt in a ritualistic fashion that would have the ghost of Georges Bataille dancing in circles. Voices call out and howl into the dark as the drum patterns of the 707 rhythmically grasps onto its anarchic components. In the dark, we can see the light beyond the known universe. In the words of Sneaker "The name is not our message, but a document of an evident, traditional concept in (y)our world." As we find ourselves sprawled out on the ground following the 1st sonic stanza, a menacing voice bellows and warns that this is a Sax Track. Referencing Chicago icon Lil Louis, this work juxtaposes classical elements of house music together with the bare knuckled spirit of Jak. A magical spell led by disharmonious Portasound FM keys in conversation with a teetering sub bass, where at its core, this plus this, equals something that is uniquely familiar and unfamiliar at the same time. A number fit for any uncanny ritual that will fall under the night sky. Bringing our cosmic procession to a close we pick up the pace with a commanding number titled, Dance On, a no holds barred work that will possess your soul in the name of Jak. Flangers wail unforgivingly alongside a pulsating 101, as samples of the human voice are chopped up and arranged into a conversation that hypnotically calls for our bodies to be transformed into soft machines, while powered by ceremonious motions that are generated from the liberating process of ritual movement. We command you to dance! Words by Justin Aulis Long
Big Crown Records is proud to present the reissue of one of Brooklyn’s most sought after “holy grail” soul records, YIA Talent Hunt Winners. Youth in Action, Inc. (YIA) was formed in 1963 when the Central Brooklyn Coordinating Council received a grant to develop a youth services program in the Bedford-Stuyvesant community. It was originally organized to identify and address the social problems that were leading to the high crime rate in Bed-Stuy. Recently the Smithsonian Museum of African American History released an archive of footage filmed by a community activist, which shows the real-world effects of the group’s efforts: young people engaged in sports, the arts, and other activities to better themselves and their world. The appearances by Jackie and Bobby Kennedy point to the group's relationship to the Great Society programs of President Lyndon B. Johnson. What there is no mention of in either the NMAAHC’s collection of YIA materials nor in the Brooklyn Public Library’s also extensive collection is this talent show and the record that came to be because of it.
Local vocal groups chose tunes to cover from the era (1964 - 1968) ranging from The Rascals to The Intruders, from The O’Jays to Billy Stewart. All of these groups were backed by a local act called The Thrillers Band. The winners of the talent contest were then invited into the studio to record their versions which would be pressed up on this record and given away to local radio and TV stations. The hope of the whole thing was that this would help the young groups get discovered by producers and record labels and start their professional music careers. The intro to the album is Reverend Horace Tyler congratulating the winners and asking them “to just remember, when you reach the top and become our big stars of tomorrow, don’t forget YIA”.
What this album may lack in fidelity and production it more than makes up for in charm. The engineers at the recording sessions pump in pre recorded applause and screaming to give the it the feel of the day of the contest while the young groups sing their hearts out, clearly giving their all. From today’s perspective, soul music fans will lose it over the choices of covers on this record and the killer, raw, innocent performances of them by these local Brooklyn groups. The Channels 4, Carla & The Carlettes, The United Souls, Sharon Seabrook & The Starlettes, and The Destinations all won that day and got to take place in this record. It makes you wonder, and even pine for the performances of the groups who didn’t make the cut, even if just to find out what tunes they covered, or better yet, were their original songs written by some of them for this contest?
It is with great pleasure that we make this available to the public again. This is a truly rare record, and an awesome piece of New York History.
A trio of innovative troubadours, Tryp Tych Tryo is the expression of three legends trading blows, in the singular, in the bilateral movement throughout this sonic stew and as tripartite working, pivoting, layering through modes and counterpoint to create Warsaw Conjunction. An album where each member lays their cornerstone into the foundations, abstractly sketching their complementary, supportive voices with each able to freewheel their own weather front across the record's terrain. Warsaw Conjunction is the project’s first album. The release in collaboration between friends and labels, On the Corner and Lanquidity Records, presents us with Natcyet Wakili FKA Edward Wakili-Hick on drums, Wojtek Mazolewski on electric and acoustic double bass and Tamar Osborn on flute, baritone saxophone and delay effects. Mazolewski led the production, with support from the other musicians.
Eaux proudly announces a new collaborative mini-album from label boss Rrose and Polygonia. Containing six tracks and over 40 minutes of music housed in a fully printed sleeve with artwork by Jon-Paul Villegas, the record focuses squarely on the dancefloor while infusing it with the kinds of psychoactive drones, intricate polyrhythms, and relentless modulations that have come to identify both of their approaches to sound. Featured heavily are their shared interests in sonic shapes that resemble natural forms and conjure tactile feelings, in this case related to themes of skin-like surfaces and circulatory systems experienced simultaneously on a micro and macro level. While several of the tracks hover in a flexible tempo range between 125 and 130 bpm, "Stretcher" reaches up to 142, and the closing track "Vena Cava" trades the kick drums for spectrally processed percussion and endlessly diverging high-frequency pulses.
The story behind the release starts in 2022, when Rrose reached out to Polygonia after noticing that her tracks were appearing in their sets more frequently than any other artist. Never before had Rrose proposed a collaboration with someone they hadn't met before, but there was such an obvious connection in their approach to sound that it felt necessary. As it turns out, Polygonia had only become interested in techno after hearing Rrose perform at a festival in 2018. It all made sense, and they began sharing sketches and unfinished ideas with each other, trading them back and forth until they reached completion. Without any announcement of their collaboration, the two artists have since been asked to share the stage together several times. It seems there are other people out there sensing a connection...
Bios:
RROSE
Rrose is an alias of the multi-disciplinary artist Seth Horvitz, born and raised in California, and currently based in London. Active since 2011, the Rrose project explores the intersection of hypnotic techno, experimental composition and psychoacoustic phenomena with a meticulous touch. The first major breakthrough was 2012's "Waterfall" for Sandwell District which followed "Motormouth Variations," a collaborative project with composer, improviser, and activist Bob Ostertag. After the shuttering of Sandwell District, Rrose established Eaux, a home for further solo productions and collaborations. Building on his studies in electronic composition and history at Mills College, Rrose's electronic pieces blur the lines between thrillingly claustrophobic club tracks and destabilizing sound art explorations. In 2015, she released an extended version of James Tenney's postcard composition "Having Never Written a Note For Percussion" for solo gong, and in 2018 collaborated with Charlemagne Palestine on "The Goldennn Meeenn + Sheeenn" for two grand pianos. These works overlapped with the development of Rrose's singular techno: EPs like "Vanishing Pools," "The Ends of Weather" and "Arc Unknown" as well as 2019's debut LP "Hymn to Moisture" and last year's follow up "Please Touch." Rrose is also active as a touring DJ and live performer, equally comfortable commanding sweaty warehouse dancefloors and seated audiences in historic concert halls. Appearances include Unsound, Atonal, Semibreve, Dekmantel, Mutek, Sonic Acts, Nuit Sonore, Mostra, Parallel, Theatre Graslin, Nextones, and Berghain.
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POLYGONIA
Polygonia represents a multidisciplinary music and art project conceived by Lindsey Wang from Munich, Germany.
She draws inspiration from her many years of practicing various acoustic instruments and her keen interest for other cultural forms of expression, which she translates into the digital language of electronic music and art.
Her productions' soundscape exudes a mystical, organic quality, featuring intricate and compelling rhythms. Polygonia's sound palette ranges from energetic, groovy Deep Techno, Downtempo, Grey Area to textural and/or harmonic Ambient. Besides, she is not afraid to include influences from the genres House, Drum and Bass, Electro etc.. In addition inspiration from nature play a major role in many of her productions. Exemplary for her style are for instance her 'Otro Mundo' EP (2023) on Bambounou's Bambel Imprint, her 'Bloom' EP (2022) on the American record label Sure Thing, the release 'Deformed Human Nature' (2021) on her own label IO, as well as the album 'Abbilder einer vergessenen Welt' (2021) on the Korean label Huinali.
Her DJ and live sets too reflect her passion for different genres. Depending on the time of day and setting, Polygonia shows a different musical side. What unites all her dance music sets is the hypnotizing effect that invites to completely lose oneself in the world of sounds for a longer period of time. Several voices from the audience also confirm that the musician always tells a complex story within her mixes, allowing for very clear highs and lows. In the same set there can be very harmonic passages, which provide emotional moments and on the other hand extremely texture-heavy dark tracks, which establish a connection with the subconscious and put the listener in a kind of trance.
Polygonia has already visited numerous of prestigious venues. She is now a regular at Tresor or Berghain in Berlin and additionally started her residency in 2023 at Munich-based BLITZ club.
»lacuna and parlor« is anchored in the left-field chamber music and incidental recordings that have long accented more eaze’s roving sound. Composed with one ear pressed to the rich textures of instrumental recording environments, this is a resonant and tactile collection tinged in rephrased space and skewed time.
Taking the rudiments of tonal music theory as her conceptual base, more eaze formed the compositions around her own manipulations of these core principles. Simple chord progressions stretch over minutes rather than seconds, for example, while elsewhere specific tonal signifiers were deleted from harmonic progressions, altering the expectations of these tropes.
These and many other bespoke techniques underpin compositions that span Americana-inflected ambient ballads and jaunty string recitals. With wistful vocals, bursts of improvisatory noise, loose chatter and overdubbed room sounds flowing in and out of the mix, more eaze invites us to lounge and linger in these lacunate moments, at once heard, felt and imagined.
Mighty Vertebrate is the International Anthem debut from Anna Butterss. The Adelaide born bassist / composer has been a first call for LA tour and studio work since relocating there in 2014 – racking up credits with notables across the experimental, jazz, and pop worlds alike – but their most notable contributions to the burgeoning LA scene have been as a member of both Jeff Parker’s ETA IVtet and rising proto-trance supergroup SML, who Pitchfork says “represents the thrilling next phase of a vibrant L.A. community.”
“I had just gotten off of a bunch of touring at the end of 2022 and just wanted to write music,” says Butterss. “The best way for me to do that, I’ve found, is to set myself a discreet and focused task."
I’m going to make a song where the bass doesn’t function in the role of a bass.
I’m going to work on this for an hour and then I’m going to stop.
I’m going to make a song that uses groups of three-bar phrasing.
I want to sample something and make it into a song.
I’m going to start with a drum machine.
The music itself reflects that structure beautifully, with the material being tightly
composed and melodically realized by Butterss well in advance of production concerns. Here they reconvene a group of trusted longtime collaborators to bring their compositions to fruition: Ben Lumsdaine (drums, guitar, production), Josh Johnson (sax), and Gregory Uhlmann (guitar), plus a smoking guest appearance from Jeff Parker. The breadth and scope of the results might have been difficult to achieve otherwise. From the Robbie-Shakespeare-in-groove-mode intro to the album opener “Bishop” to the spacious cinematic doom of “Seeing You”, there is a lot to wrangle into one cohesive concept. On Mighty Vertebrate, Butterss and crew do just that.
Timeless soul, 'Cool Cool' is the standout title track from James Alexander Bright's recent album. It's an immediately enchanting gem, with tendermusicianship and a stripped back production highlighting James' voice, pitchedsomewhere between Eddie Chacon, Beck and Michael McDonald. Athens of theNorth's in-house band East Coast Love Affair add a delightfully psychedelic Balearicpiquancy with an beautiful dub version on the flip.
'Cool Cool' has been enjoying a plethora of worldwide support; seeing James insession for Gilles Peterson, suppling a Block Party mix for Huey Morgan, interviewedby Bandcamp Weekly, and played across tastemaker shows on stations includingBBC 6 Music, FIP, Jazz FM, KCRW, KEXP, Les Inrocks, NTS, Soho Radio, Triple R,WDET, WNXP.
The past six years has seen James release a veritable treasure trove of music:'Mallorca' and 'Strange Folk' EPs, debut album 'Headroom', joyous second 'Float', analbum of collaborations and reworks with cosmic Americana-disco DJ/producer duoFlying Mojito Bros, and a new project with Groove Armada's Tom Findlay as Bright &Findlay. 'Cool Cool', his third solo album since 2020, was released on 26th July 2024.
Black Vinyl[25,17 €]
Mit The Hard Quartet hat sich eine Band zusammengetan, der man mit Blick auf ihre Mitglieder wohl den ein oder anderen Superlativ zuschreiben kann. Immerhin tummeln sich hier mit Stephen Malkmus, Matt Sweeney, Emmett Kelly und Jim White vier Musiker und Songwriter, die mit prägenden Größen des Indierocks assoziiert werden: Pavement, Chavez, Ty Segall, The Cairo Gang, Bonnie "Prince" Billy, Guided By Voices, Cat Power, Dirty Three und Bill Callahan sind nur ein Bruchteil der musikalischen Institutionen, bei denen die vier ihre Finger (und Stimmen) im Spiel haben. Über das selbstbetitelte Debüt von The Hard Quartet wird m Netz schon seit Bekanntwerden der Gründung der Band angeregt spekuliert: "Es ist einfach ein vertrauensvolles Umfeld, in dem alle bereit sind zu sagen: Komm wir werfen unseren ganzen Kram in einen Topf und machen daraus etwas Größeres", so die Band dazu. Dass es trotz der getrennten musikalischen Biographien so gut läuft, ist aber sicher auch der Tatsache zu verdanken, dass sich die Wege der Vier schon zuvor immer wieder gekreuzt hatten. "Ich habe eine geradezu vorzeitliche Geschichte mit Stephen und Jim", so Matt Sweeney. "Nun, zumindest reicht sie bis in die Neunziger. In jüngerer Vergangenheit war es dann Emmett, der einen wirklich tiefen Eindruck bei mir hinterlassen hat. So sehr, dass es die Art verändert hat, wie ich übers Spielen denke." Das Album vereint die Stärken von Malkmus, Sweeney, Kelly und White, oszilliert zwischen sonnigem Slacker-Rock und Noise-Experimenten und dürfte alle mit einem Faible für die goldene Ära des US-Indierock begeistern.
To mark the 10th anniversary of Gidge's landmark album Autumn Bells on Atomnation, the label has assembled a brand new box-
set reissue. This deluxe and expanded edition features a 58-page photo book, poster, the original double album plus a nine-track bonus vinyl with alternative edits and demo tracks from the time, all on transparent wax. The exclusive, limited edition boxset comes first on September 27, then all tracks come digitally in mid-November.
Gidge is the Swedish duo of Jonatan Nilsson and Ludvig Stolterman, who has also taken all of the photos in the booklet. As
friends since high school, they have a deep connection, a great understanding of one another and a shared love of Nordic
woodlands. The spirit of the northeastern forests they grew up around has always coloured their music and lent it an organic,
ethereally, otherworldly edge that conveys feelings of inner peace.
Their brilliant debut album Autumn Bells captured all that in nine accomplished tracks that picked up critical praise from the music
media and millions of online streams. More importantly, it also won them a dedicated fan base who appreciate the art of Gidge's
craft and the sensitivity of their sound. Despite the early success of the album and the three more that have followed since, this
humble pair have chosen to remain low-key. They play only a few shows a year and consciously haven't chased wider commercial
acclaim.
Xylitol is the alias of Catherine Backhouse, producer and DJ under the name DJ Bunnyhausen. She was a resident DJ at Kosmische, the now dormant Krautrock club and is a fan of jungle and hardcore. She currently co-hosts the radio show Slav To The Rhythm, which focuses on vintage central and eastern European pop and electronica and she's also co-writing a book on Yugoslavian pop culture. 'Anemones' is a total project from the cover to the music. Backhouse is fascinated by early botanical illustrations of anemones and other aquatic fauna, and how the act of taxonomy reveals as much about human psychology, desire and sublimation as it does about the organic specimen as a thing in itself. Each track is a microcosm of this 'other life', an allegory for the extraordinary potential latent within bodies that the dancefloor has the power to activate. Using early jungle and garage as starting points to connect dots and open up contrasts between dance music and vintage electronics, Backhouse finds a sweet spot which, in her words "feels like something that's simultaneously still and ancient yet propulsive and ecstatic." Not afraid of letting the the hiss and flutter of the music show, 'Anemones' holds attention with ancient bubbling synths and gracefully drifting arpeggiations, occasionally brought to heel by charming melodies, all accompanied by breakbeats that explode like fireworks. 'Anemones' has a lively and unpolished aesthetic that's a kindred spirit to Nondi_'s 2023 album of smeary, water-damaged footwork, 'Flood City Trax'. 'Moebius' pits the spaced out neon chords of the track's namesake against absolutely tearing breaks, allowing time for this almost overwhelming combination to become near enough transcendental, while the bleeping melody and sad slavic chorus motif in 'Okko' feels like an artifact from an alternative future. The Drexciya meets 2-step garage of 'Dobro Jutro' creates a welcome respite at the album's midpoint before the flow builds up again to 'Daša' with its glassy sounds from a lost radiophonic workshop miniature meeting bruising kicks and snares. Meanwhile 'Iskria' has purring synth chords and 8-bit melodies evoking the cosmonaut age. The subliminal influence of the Yugo era is felt in DIY synthesis and Mitteleuropean melody and seen in song titles such as 'Jelena', 'Miha', 'Daša' (named after novelist Daša Drndič) and 'Iskria' (taken from the fictitious Balkan region in Ottessa Moshfegh's bleak fable 'Lapvona'). 'Anemones' very effectively folds experimental genres from different times and places into a very enjoyable new sound.
This release is part of the Move-E series, but not only that, it is a certified classic. Originally released on a white label in the early 90's, this EP was much sought after then, and remains a personal favourite of many Djs for its eclectic take on early jungle and the incredible combination of samples and sound styles.
(Limited to 500 copies, 180 gram pressing, splattered vinyl + sticker) (Van Bellen, Chiller Twist, Mike Monday remix + original remastered for 2024) Airwave, a legend in the scene, is revisiting his iconic Velvet Girl moniker with the reissue of the timeless single "Velvet.
We are thrilled to present a special release that takes you back to the golden era of clubby trance! Airwave, a legend in the scene, is revisiting his iconic Velvet Girl moniker with the reissue of the timeless single "Velvet." Once also released on Positiva's sublabel Additive, "Velvet" now returns in an exclusive 2 x 12" splattered 180 gram audiophile vinyl package.
This collector's edition includes the classic original mixes alongside stunning remixes by Van Bellen, Chiller Twist and Mike Monday. Don't miss this chance to own a piece of history, meticulously preserved in a format that every true fan will cherish.
Dj Terrace absolutely smashed it with the first in his "postal" trilogy - the much loved "Tracked" EP. He follows it up with "Signed" and once again brings his usual clever mix of old skool jungle and modern production, hitting a place which few artists manage to reach, keeping it both authentic and underground. A 4 tracker with no filler, Signed is an essential part of any modern jungle Djs collection...
2024 Silver Vinyl Repress!
On the label (A-Side):
This special release is dedicated to Detroit DJ Legend Ken Collier. His untimely passing deeply touched me personally, as he was one of a small few who always supported me & my music. Because of Ken Collier, Detroit developed a dance scene, which inspired artist & producers to make dance records, which gave birth to Techno, which has provided careers for many of you in the business today. So I dare ask all you techno producers, djs, record labels, record shops, techno magazines, clubs which play techno music, and fans of techno to pay respect to Ken Collier just as you would our other fine music innovators.
Side B:
However, this special compilation isn't about techno, it's about H.O.U.S.E. sounds - broadcasting it to you live from the inside in lovely Ste - re - o!!. This record contains no artist or track listing because i don't want this to be about who made the tracks, track titles, or even who wrote this commentary. This record is my personal tribute to him and how he has motivated me to make my contributions to house music. Thank you Ken Collier, for helping me grow not just as a dj or record producer, but as a person. Every dj and dance artist here in Detroit owes thanks to you for going out into the musical forest, chopping down trees, thus paving the way for us to build HOUSE!.
"In Loving Memory Of Detroit DJ Legend Ken Collier"
2024 Repress
For Frenzy's third release, and the first solo release, the Uruguay-based William Arist is introducing us to his world of 'tribal techno'. Hailing from the city of Montevideo, this Southern-American-born artist already is a talent to watch overseas. Through their like-minded vision of electronic music, William bonded strongly with our Amsterdam-based Frenzy crew over the last couple of years. This warm connection evolved into Frenzy 03 - showcasing pure dance floor eclecticism that only William can deliver, including two remixes by no other than VIL and rising star Kenji Hina aka Alarico.
The A side instantly kicks off at full good vibe-throttle with two productions that reminisce about those iconic Love Parade moments during the very first days of rave culture. Balancing on the edge of house and techno, 'Chaka Chaka' loops the listener into a straight sense of movement. With rhythmic drums and uplifting vocals, 'Days' feels like stepping into an after hour dance-floor at the beach while the morning sun rises through the exotic vegetation. On the B side, William leans towards a more hypnotic sound. With a great tempo and a dark yet subtle mood, 'Tero' sets the tone for those murky clubbing moments where the boundaries dissolve and bodies merge. Slowly climbing out of the deep, 'Gultural' stays on the same energy level while adding dubby hints and a taste of freshness.
To top it off, the release is provided with two remixes that leave no room for interpretation. Portuguese producer VIL turned 'Chaka Chaka' into a true peak-hour beast while Italian multi-talent Alarico shows his versatile skill set with a speedy house remix of 'Gultural' under his Kenji Hina alias.
Readers of encyclopedic tomes are obviously familiar with exploding animals – there are numerous reports of torn-apart toads (even in Hamburg, Germany!), actual ants exploding altruistically – but humans that decide to jointly detonate, and with no harm done, that’s rare: Kobe’s own o'summer vacation are unique (and volatile) like that, and they’re back to light the fuse for the second time, presenting 13 more musical quarter sticks that have already blown up venues in Europe and Japan.
“Keep it lean, keep it mean,” they say, and that’s what this band loves to take to the extreme: breakneck concision and collective combustion meet freeform noise punk hazards on o'summer vacation's second (not quite) full-length – as the Kobe-based three-piece’s “Electronic Eye” is set to arrive on October 11, 2024. Following a bunch of trips to Berlin, Munich etc., the Japanese fire starters have found a new home with Alien Transistor, and it’s the perfect launch pad for their latest set of guitarless pyrotechnics. Going right for max q (maximum dynamic pressure), “Electronic Eye” is (unlike those Starships) actually supposed to explode right after lift-off ;)
Even though there have been some line-up changes since the group recorded its sophomore album, the energy caught by producer Shinji Masuko (DMBQ, Boredoms) is still unmatched: a very physical and hard-knocking barrage of mosh-inducing madness that leaves you speechless + inevitably twitching towards the pit. Mastering was done by Masaki Oshima aka Watchman (Melt-Banana).
Opening with sizzling hi-hats and heavy ripples of breathless bass, singer Ami presents a non-sequitur kind of lullaby over the math rock-style interlocutions of “宿痾 (Shuku - A)” – which at 6+ minutes makes up more than a quarter of the album. A shapeshifting frenzy of voice (Ami), unbridled, pedal-powered bassline insanity (Mikkki, formerly Mikiiiii), and hot-blooded drums (Manu, meanwhile replaced by Karry), the album features mosh-inducing blows (previously released “Luna,” “Anti Christ 大体 Super Star”), 30-sec mini noise punk anthems (“竦(shou)”, “Days Go By Fast”), and continues to surf at breakneck pace up and down scales (“@ The”), which often feels like catharsis served with a hammer (“Ultra”). Whereas some tracks are bigger more song-y than others (“Song#2,” that full-throttle “Poodle”), “Vs I” is on time like Tierra Whack (exactly 60 seconds of pick-grinding action), and “Rage” indeed feels like Zack is about to join the party – only to see Ami wipe the floor with pure onomatopoetic fire. Finally, “Aloooooone” and “Humming” (that opening lilt!) are sure going to be live favorites, shifting up and down via hardcore speeds and various break-downs.
Quite hotheaded and terminating things on a high note, o'summer vacation point out that the quick-fire lyrics of their “songs have no meaning. It’s called onomatopoeia in English. Ami, our vocalist, does not like to communicate her thoughts through her music.” Although she considers her contribution “a part of the instrumentation,” they still have strong messages and concerns (unrest, discontent, willingness to shake, wake up, enliven anyone near the audible bomb crater): “That doesn’t mean we don’t have a point of view, but we choose to express ourselves through sound rather than words. Generally, but not exclusively, we are anti-racism, anti-war, gender-free, angry at the companies we work for and their bosses, etc., which are very common sentiments held by so-called rock bands.”
It’s only three ingredients, just like sonic gunpowder: bass, drums, voice – but they tend to explode a few bars into each new track. In a perfect world, there’d be giant colorful clouds of dust gracing the sky over each venue they descend upon.
* From Karma Recordings comes their eigth EP. They are continuing their trend of getting their heroes from the 90’s to remix the original sound. The massive rave icon Ellis Dee, one of the biggest producers on the planet brings his unique blend of piano sounds to the hands in the air anthem Warehouse Crew by DJ KOS, as well as featuring the original. DJ Ande has gone a little different with his hardcore tune Trip Home Pt 1 which is a nod to the classic hardcore tunes Trip to the Moon by Acen. To round things off web ring back DJ Terrace to hammer home a wicked tune in Top Gun which makes this another belter of an EP not to be missed.
»Chromacolor« is one of those records that immediately feels like home even though it is hard to locate stylistically. Written and recorded by Hanno Leichtmann in Berlin and Madeira between 2020 and 2022, it draws on rhythmic minimalism as a guiding principle and might call to mind organic, instrument-based ambient music, but also incorporates jazzy moments as well as Annie Garlids multi-layered vocals that permeate through these nine pieces.
The foundation for Leichtmann’s Chromacolor project was laid when the prolific Berlin-based producer, musician, and drummer borrowed a vibraphone and a Fender Rhodes from two friends. Combining their unique sonic affordances with those of a Guitaret, an electric lamellophone, he further expanded his sound palette by inviting other musicians—Anthea Caddy, Sabine Vogel, Tobias Delius, Els Vandeweyer, Sabine Ercklentz, Mike Majkowski, Andrei Ladeishchikov, Oona Farchy, Gonçalo Caboz as well as Rafael and Hugo Andrade—to play small but vital parts in the production of the album.
The opener »Kisses and Wine« masterfully sets the tone for an album that is as inviting as it is challenging. Working with relaxed repetitive rhythms, Garlid’s anthemic vocals and a sprinkle of saxophone and flute tones courtesy of Delius and Vogel, respectively, as well as tender piano notes played by Leichtmann, it evokes a lot with only few means: a certain melancholy, but also an elevated atmosphere that feels both exuberant and restrained.
Leichtmann’s elegant study of the power of repetition, minute rhythmic shifts and subtle use of melodic and harmonic elements creates ambiguities and polyvalences like these throughout the entire record, up until its understated finale, aptly titled »A Beautiful Day«—a drone-jazz piece, if you will, both longing and joyful.
As an album, »Chromacolor« is hard to pigeonhole, but rich and rewarding. All it takes is immersing yourself in it.
Longtime enthusiasts of ambient music have much to celebrate as Rafael Anton Irisarri's cherished out-of-print cassette, "Midnight Colours," returns in a meticulously remastered edition and makes its inaugural debut on vinyl. The significance of this album's announcement is accentuated by its historical resonance, coinciding with the same day in 1952 when the world bore witness to the first-ever test of the hydrogen bomb.
"Midnight Colours" is far more than a mere album; it's an exploration of the enigmatic relationship between humanity and time. Conceived as a sonic interpretation of the Doomsday Clock, which symbolizes the world's existential vulnerabilities, Irisarri's work beckons listeners to contemplate the gravity of our existence and the delicate balance that envelops it.
"I wanted to capture the essence of humanity's relationship with time, both the anxiety and the serene beauty that coexists within the shadows of the night," explains Irisarri. "The vinyl format adds a tactile dimension to the experience, inviting listeners to physically engage with the music."
Known for his contributions to the ambient and electronic music genres, Irisarri often explores themes of introspection, nostalgia, and the interplay between sound and emotion.
Recorded in 2017, when the Clock was at 2½ minutes-to-midnight (and at the time, the second-closest to midnight since the Clock's inception in 1947), "Midnight Colours" permeates with the melancholy of memories resurfacing as one approaches the end of life: the regrets, the closure, the uncertainties, the anxieties.
Originally released as a limited tape on the beloved Atlanta-based label Geographic North, "Midnight Colours" swiftly garnered praise and acclaim within the ambient music sphere. Now, with this newly remastered edition on his own Black Knoll imprint, fans, both longstanding and newfound, can rediscover the album's captivating beauty in unprecedented clarity and depth.
"I've wanted to release 'Midnight Colours' on vinyl since it first came out, and I'm thrilled to finally be able to. The remastering process, brilliantly done by Stephan Mathieu, has breathed new life into the work, and I'm eager for listeners to experience it in this format."
The reissue of "Midnight Colours" features band-new artwork and design by the renowned Mexican visual artist Daniel Castrejón. A frequent collaborator and friend of Irisarri, Castrejón's imagery impeccably complements the album's mood and themes, extending a compelling invitation for listeners to explore its aural world visually.
This landmark release serves as a testament not only to Irisarri's enduring impact on the ambient music genre but also as a long-awaited gift to those who have patiently anticipated the album's vinyl debut.
Hailing from the Democratic Republic of the Congo, Afropop, funk, rock and jazz outfit Jupiter & Okwess returns with the explosive ' Na Kozonga' album, a blast of energy that bewitches the body and feeds the spirit . Their latest invites guests from around the world
From the samba of carioca Rogê to the rap of Brasilian pioneer Marcelo D2 , via the horns of New Orleans' Preservation Hall Jazz Band or the voice of the militant Chilean singer Ana Tijoux , the guitar riffs of French guitarist Yarol Poupaud or soulful voice of American vocalist Maiya Sykes , Jupiter & Okwess have no fear of strange encounters, nor the craziest journeys.
Produced in Los Angeles at the studios of Mario Caldato Jr (Beastie Boys, Seu Jorge, Beck, Bjork, Blur, John Lee Hooker, Manu Chao).
They have toured the US including Central Park Stage, NewOrleans Jazz & Heritage Festival and Outside Lands. They performed on NPR's Tiny Desk and they were booked on Bonarroo 2020 before its cancellation.
Jupiter & Okwess previous album is also available on CD/LP. 'Kin Sonic" was voted Best Album by the NY Times in 2018 and a pick on Obama's playlist that year.
l 12: Bolingo (Ça Va Saravá) feat. Rogê
Mayday is the third LP by Montreal-based artist, Myriam Gendron. It follows her earlier, critically acclaimed albums, Not So Deep As A Well (2014) and Ma délire - Songs of love, lost & found (2021). Myriam began exploring the complex folk traditions of Quebec (and beyond), with Ma délire, which combines traditional and original songs with arrangements that make space for avant-garde musical interludes by such folks as guitarist Bill Nace (Body/Head) and renowned jazz percussionist Chris Corsano. Mayday presents an even more syncretic fusion of the elements Myriam uses to create her sound. Most of the songs are original, sung in both English and French, and they blend traditional and avant elements with abandon. She is often accompanied on this album by the guitarist Marisa Anderson and drummer Jim White (Dirty Three, Xylouris White), whose work provides a quietly aggressive sort of free-rock base. Additional players include Montreal bassist Cédric Dind-Lavoie, Bill Nace and saxophonist Zoh Amba. Mayday is a thoroughly thrilling effort that manages to create new vistas of sound while maintaining a feel that is both intimate and familiar. The music here certainly possesses a richly serious tone, but Myriam Gendron (like Leonard Cohen) is able to infuse her darkness with a subtle, powerful light that reminds us that even the most pitch-black night is but a transitional state. Beautiful work.
Monsieur Van Pratt is well known to anyone who likes their disco on the hot side. He heads up the Super Spicy Records label and is now back with a new entry into the Super Spicy Recipe series alongside plenty of other top names. He opens up the EP with a groovy masterpiece featuring a powerful bassline and captivating vocals. Hotmood's 'Like That' showcases the energetic prowess of the Mexican then Julps, from Mexico City's Departamento, debuts with a hypnotic deep cut. On the flipside, Groovy Kds keep the party alive with 'Get Down,' while The Magic Track delivers pure dancefloor magic. Closing out the 12", The Velvet Stripes serve up a super funky and potent finale.
DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, SMan, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche
Kicking things off on Toolroom’s next 4-track vinyl sampler series is Mark Knight’s hugely successful rework of Groove Armada’s seminal classic ‘Get Down’. Considered one of the holy-grail records of their back catalogue so it’s an absolute honour for us, and Mark Knight, to be re-presenting this incredible record to a new audience. Fusing those unique vocals from Stush and classic Groove Armada synth line, coupled with the energy and insatiable groove of a Mark Knight record, this is a sure-fire dance floor weapon for 2024! Next up are a fan favourite of the label, the mighty duo Illyus & Barrientos who make their long overdue return with ‘When You Gonna’. Tracks such as ‘Shout’, ‘Promise’ and most famously, ‘So Serious’, propelled them to be one of the most exciting and sought after acts in the World. This record is trademark Illyus & Barrientos and reflects their personalities as artists perfectly. Think high energy house music filled with fun and peak-time dance floor vibes! Leading the charge on the b-side is an incredible collaboration from 2 heavyweight house artists, working together for the very first time! David Penn has a career spanning over 25 years. He was recently crowned the #1 house artist on Beatport and boasts over 1 million monthly listeners across leading streaming platforms. OFFAIAH appears on Toolroom for the first time in his career under this alias, although he was a firm part of the original Toolroom Family line up as Michael Woods. So this is a SPECIAL ONE! The record screams sun-drenched terraces, pool parties and chilled cocktails! A huge bass line, infectious tribal vocals and some lush house pianos for good measure. Last but not least, Long-standing Toolroom Family member and fan favourite, Ben Remember returns to the label with ‘Waiting 4 You’. As with all of Ben’s records, this is super creative and super original. Based around an infectious disco vocal sample and all created using out-board, analogue studio gear which gives the track a real gritty
undertone.
Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio
You may not have heard of Long Beach O.G. Greg Royal aka Pür Royale, but you're definitely familiar with his work. With a resume of remix, production, engineering, and editing work ranging from Dr Dre's "The Chronic" to Bobby Brown's "My Prerogative", to the dub version of Patrice Rushen's "Feels So Real", Greg left an indelible mark on contemporary black music from the mid-80's to mid-90s.
In 1993 however, a one off 100 copy house 12" self titled as "Royal Phenomena" on the surface didn't seem to quite fit with the more traditional hip-hop and r&b output of his extensive discography. I only found out it existed through connecting with another unsung west coast pioneer, Aaron Paar, for Must Have's 2016 Teflon Dons compilation. Greg is credited as a mixing and recording engineer on practically every release on Aaron's own consistently excellent label Worldship. After listening to Aaron tell his story, it was clear Greg's studio experience and mentorship were key elements in the development of Aaron's signature tough SP-1200 house sound. "Royal Phenomena" remains an elusive connecting point for LA hip-hop and underground deep house, and Greg and Aaron remain friends and frequent collaborators.
Aaron put me in touch with Greg, who miraculously kept his original DAT tape recordings of these unique house excursions and was happy to finally share them with a wider audience. Blending hip-hop production techniques, west coast Latin sleaze, midwestern minimalism, and a dash of UK bleep, the LA underground house sound remains singular.
'a masterclass in hardcore dancefloor and bittersweet feeling...Alex Crossan is both acclaimed and not feted enough' **** The Observer
Available on his own Pond Recordings, Curve 1 is a love-letter to club spaces, and the music and people who fill them.
Mura Masa’s forth album is a full-circle moment. Departing from the pop-leaning narrative and who’s-who guestlist of his most recent records, Curve 1 heads back down the rabbit-hole of club music that’s alternately euphoric, introspective, nostalgic and future-facing. Full of tension and release, ambiguity and playfulness, the significance of Curve 1 is left up to the individual: whether enjoyed solo or in the sweat of a packed room, here is music as enigmatic and layered as its author.
Mura Masa himself introduces Curve 1 as 'a manifestation of an attitude I’ve been cultivating in my personal life; ignore everything. All the content, all of the attention economy, all of it. In doing that, the really meaningful and vital parts of what’s around you make themselves known and unignorable, demanding your energy. It’s my first offering as an independent artist through my own record label, and as such I wanted it to be as free and anti-narrative as possible. Impressionistic. Music as entertainment has in many cases, to me, become very advertorial and excessively sentimental in terms of creating narrative around albums and artists. I wanted to strip this away as much as possible to leave room for the music to create its own meaning in the lives of people who form connections with it. It's hard for me not to explain away the intricacies and ideas contained within these records after having theorised and tolled and executed them over the course of nearly three years, but I think it’s far more fitting of the album’s intent to say simply: listen to it in the dark.'
Curve 1 pulls Mura Masa into focus as one of this generation’s most influential figures. Aptly reflecting his rare standing at the heart of youth culture, Mura Masa recently co-wrote long standing collaborator PinkPantheress’ single ‘Turn It Up’, as well as creating a series of remixes for Troye Sivan’s ‘Honey’. From producing global hits like ‘Boy’s a liar Pt.2’ to seminal records like Shygirl’s Mercury-nominated Nymph, it’s a juncture that has also seen Mura Masa embark on a new chapter of his own. He has set up his label and a creative hub and arts space - The Pond - in Peckham as a base for emerging artists and likeminded creatives, which will launch officially next year. Across his three critically-acclaimed solo albums, Mura Masa has built an audience who will follow wherever his genre-defying work goes next; with 2 billion streams, headline festival sets around the world, and live shows ranging from Alexandra Palace to Warehouse Project.
Curve 1 marks a back-to-your-roots approach whilst also highlighting the trailblazing young star’s recurring theme: to capture ‘that’ curvature in pop culture, to make it Mura Masa’s own, and to push things forward.
'Curve 1 has a club focus, no f—ks attitude and production that’s mature, lush — simply put, it’s just cool.' billboard
'a scintillating love letter to club culture and sounds' Wonderland
'the Grammy-winning producer throws a total curveball. Ditching his usual dreamy pop, Mura goes full hardcore dance. From techno to vintage rave' **** The Mirror
'Get sweaty as Mura makes it messy' **** The Sunday Express
'a total curveball...intense but full of hooks' **** The Daily Star
'Mura Masa has always been ahead of the creative curve, but with his new album, the tenured producer is consciously forging a path inspired by his newfound independence.'
'a grab-bag of sounds from a brilliantly restless mind' Rolling Stone
The deluxe edition of Ministry's "Twitch" highlights their early industrial sound with tracks like "Just Like You" and "Over The Shoulder." It includes remixes and extended versions such as "All Day Remix" and "Over The Shoulder (12” Version)." This edition offers a deeper dive into the band's innovative and brooding style.
ride a horse do archery tell the truth
Speckled Dragon Egg Color Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.
2025 Repress
Originally released in 2002 the Martin Solveig remixes of Madan by Salif Keita is one of those rare releases that even now, 22 years on still gets played everywhere from festivals in Croatia to super clubs in Ibiza. Anyone who has graced any dancefloor in the past 20 years will no doubt instantly recognise this one!
Afro house with a French touch, Salif Keita, often referred to as the 'Golden Voice of Africa' lends his impeccable vocals to flawless production by Martin Solveig.
Until now the only way to obtain a copy on vinyl would be to pay close to £50 on second hand market. For the first time since its original release in 2002, South Street International have remastered and officially reissued this modern classic. Both the Exotic Disco Mix & Exotic Disco Dub are included here, one side each & cut loud for maximum enjoyment.
Zenwerk is an eclectic tech trancethusiast from Belarus, though based in Warsaw, Poland, where he has already established himself as a leading artist and party promoter.
Ne Quid Nimis:
Ne Quid Nimis is Latin for "nothing in excess" – the track is a perfectly balanced subaquatic blend of peaceful yet progressive trance and muffled bloopy sonics. Inspired by the mountains hikes, this tribal trip into the rainforest creates a drifting atmosphere of a celestial and dynamic ride meant to pass a healing power of nature alongside joyful turbulence and inspiration. Ethereal vibrations & deep sound textures create a dreamy universe of wonder and bright hopes for the future.
A2 ‘Dew Kissed Silk’ is a 4x4 walk in trance delirium across predator footprints which becomes satisfactory – silk is being kissed by dew, though not soaked with. This contemporary vanguard trance/breakbeat hybrid creates a perfect mental equilibrium.
Rising Bristol star JOELY brings 2 hot B side tracks which show how hot a talent he is at such a young age. Hive Mind creates a playful grit which will get a dance floor moving in the early hours of a set, providing a steady rhythm which never wavers. Jungle Walk takes us down a darker, ethereal path which will make any soundsystem wobble with the thick wonky textures that JOELY expertly weaves in. Mind this gap.
After recent explorations into ambient and pop under his full name, Sacha Renkas switches back to his Antenna moniker for ALT013. The Kiev-born, longtime Rotterdam-based artist uses a rough-around-the-edges, hiss-laden palette to construct his intricate, pensive club tracks. Often recording on the fly, he embraces the limitations and quirks of the hardware he works with, curating the happy accidents that come with them and that help make his music feel as alive as it does. It is emotional and imaginative in spirit, yet raw, almost instinctive in its rendering. Renkas cites the new wave and synth-pop from his youth and the sounds coming from Chicago and Detroit, as well as the Dutch West Coast he encountered later on, as inspirations. The sensitivity and hands-on approach associated with these are also tenets throughout his work. The ''Another Wave EP,'' a selection of tracks created over nearly a decade, further substantiates this approach. Made on multiple MPCs, Juno synthesizers, and an Akai S900, and mixed on a Mackie 16-channel mixer, it blends, among others, elements of first-wave techno and European proto-trance. Opener ''Alisa'' stacks angular sine melodies and formant basslines one upon another yet flows like silk, its balance immaculately kept in check. On ''Everyone M1,'' the bass organ patch from which the track derives its title finds itself amidst a lo-fi flux of capricious arpeggiators, ethereal pads, and decocted drums. ''Another Wave'' is a carefully sculpted slow burner, collected in its unfolding. Wisps of melody, gated pads, and whisper seem to wind between its drum patterns; the tension looming beneath this patchwork never entirely reveals itself. ''Quasar'' blends signature dramatic chords and off-rhythm bells with a creeping acid bassline and more kaleidoscopic drum patterns. It closes an EP distilled in its form, confident in its intent, and nowhere too bothered by genre boundaries or other formal constraints.
