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SIMON JOYNER - SONGS FROM A STOLEN GUITAR LP

Translucent Dark Red & Black Marbled Colored Vinyl. Seine Stärke ist ein Songwriting das musikalisch wie poetisch kratzt und schabt: am amerikanischen Traum, an dessen Wirklichkeit und den Menschen die ihn bevölkern. Immer wieder wurde seine spröde Musik und einfühlsamen Texte mit denen von Leonard Cohen, Lou Reed und Bob Dylan verglichen und somit Gewicht verliehen. Zu großer Bekanntheit führte das nicht, Simon Joyner bleibt ein outsider mit seinem Loner-folk, aber für die, die ihn entdecken bietet er ein Kraft von rauher Schönheit. Conor Obers von Bright Eyes nennt Joyner, der seit 1990 seine dunklen Americana Songs veröffentlicht, einen entscheidenden Einfluß. Simon Joyner's neuestes Album gerät noch dunkler und eindringlicher. Sein Thema hier ist Isolation, und er übernimmt es gleich auch als Grundlage für seine Produktion. Ihm war es wichtig, dass die beteiligten Musiker allesamt alleine waren um ihre jeweiligen Parts zu finden. Die Abgeschiedenheit der einzelnen Musiker auf Songs From A Stolen Guitar bietet somit weniger Spontaneität vieler früherer Arbeiten von Joyner, führt aber zu einer Art Silberstreifeneffekt: Joyners Songs, die hier sorgfältiger und vielleicht absichtsvoller produziert wurden als auf jedem seiner früheren Alben, kommen viel klarer durch und stellen sowohl seine schillernden Wortspiele als auch seine klare Vision in den Vordergrund. Ein Kritiker bringt einen Vergleich zu Neil Young und meinte "Wenn (sein 2012 Album) 'Ghosts' sein 'Tonight's the Night' war - zornig, nackt und bodenlos - dann könnte sich 'Songs From A Stolen Guitar' als sein Harvest erweisen." Songs From A Stolen Guitar wurde in verschiedenen Städten aufgenommen. Joyner nahm seinen Gesang und seine Gitarre live in Omaha auf; Bassist Wil Hendrix fügte seine Parts zu Hause in San Francisco hinzu, Michael Krassner nahm seine Gitarren- und Klavier-Overdubs zu Hause in Phoenix auf, und Schlagzeuger/Percussionist Ryan Jewell nahm in Colorado auf. Dieser musikalische Kettenbrief machte sich dann auf den Weg zurück nach Omaha, wo David Nance (Gitarren und Backing Vocals), Ben Brodin (Orgel und Vibraphon) und Megan Siebe (Bratsche und Backing Vocals) - getrennt voneinander - ihre jeweiligen Beiträge einspielten. Dieses Vorgehen zahlt sich aus. Die "virtuelle" Band spielt eine unterstützende, aber komplementäre Rolle und erzeugt immer das richtige Maß an Spannung, um diese emotionsgeladenen Geschichten zu begleiten und zu umhüllen. Das Zusammenspiel ist einfühlsam und kohärent, auch wenn es aus geografischer Entfernung und Abgeschiedenheit zusammengefügt wurde und oft wie Musik klingt, die durch den Nebel eines Herbstmorgens gefiltert wurde. Doch wenn es um Simon Joyner-Platten geht, zahlt man sein Ticket, um großartige Songs zu hören, und auch in dieser Kategorie enttäuscht Songs From A Stolen Guitar nicht. Eins der seltenen Alben, das nach dem klingt, worum es geht: die Kluft zwischen Einsamkeit und Alleinsein, die Grenzen zwischen Liebe und Hingabe, der Unterschied zwischen dem Tornado und dem, was er hinterlässt.

pré-commande14.08.2023

il devrait être publié sur 14.08.2023

26,85
Mystic Chords Of Memory - Mystic Chords Of Memory LP

Available for the first time on vinyl - a 20th anniversary release of The Mystic Chords Of Memory's seminal, unique DIY psych-folk debut. By Beachwood Sparks singer/songwriter Chris Gunst & Aislers Set's Jen Cohen. Mastered at Abbey Road. The seeds of this exquisite album are scattered among the tracks of Make The Cowboy Robots Cry - the LP Beachwood Sparks hung their hats on before a ten year break. A further step forward from west coast country psych towards something with folkier roots but new, mysterious and above all free. Chris and Jen's conjuring of magical, unforced, domestic spirituality. Recorded in a little wood cabin amongst the redwoods overlooking a running creek with a range of collected musical toys. Just give it 5 minutes once you’ve dropped the needle & you’ll be right there. Here’s Amanda Petrussich’s brilliant write up in Pitchfork - “With its soft melodies, sweet vocals, and scratchy DIY production, Mystic Chords of Memory is also an overwhelmingly intimate record, focused and domestic - much closer to Elliott Smith than former-benchmarks the Byrds and Buffalo Springfield…. The duo's wordy moniker was lifted from Abraham Lincoln's first inaugural address, a lecture delivered in the spring of 1861 and boldly eternalised at the base of Mount Rushmore... Appropriately, the band's sound is just as archaic as a truly striking political speech: Gunst and Cohen blend tinkling bells, melodica, harp, keyboards, bits of samples, tinny drums, and strummy guitars, presenting a vaguely contemporary update on the British folk phenomenon of the late 1960s with more blips. Mystic Chords of Memory is a surprisingly coherent re-introduction to Gunst, and his professional coupling with Jen Cohen has proven both a freeing and inspired move.” Two decades later it’s obvious how seminal a record they conjured up. They forged a path that came to define the wave of US indie that followed for a while. In our opinion, the original has a natural, guileless, effortless beauty that trumps them all. Without a whiff of Starbucks. "Mystic chords of memory speech I interpreted the meaning as the underlying psyche fabric we are all creating on this land together. Jen and I thought it would be a great name to inspire our music together. This was really close to post 9/11 times and we were thinking about all of this and also wanting to improve our own contribution to the psychological fabric of the world.” Chis Gunst.

pré-commande28.07.2023

il devrait être publié sur 28.07.2023

26,77
Mystic Chords Of Memory - Mystic Chords Of Memory LP

Available for the first time on vinyl - a 20th anniversary release of The Mystic Chords Of Memory's seminal, unique DIY psych-folk debut. By Beachwood Sparks singer/songwriter Chris Gunst & Aislers Set's Jen Cohen. Mastered at Abbey Road. The seeds of this exquisite album are scattered among the tracks of Make The Cowboy Robots Cry - the LP Beachwood Sparks hung their hats on before a ten year break. A further step forward from west coast country psych towards something with folkier roots but new, mysterious and above all free. Chris and Jen's conjuring of magical, unforced, domestic spirituality. Recorded in a little wood cabin amongst the redwoods overlooking a running creek with a range of collected musical toys. Just give it 5 minutes once you’ve dropped the needle & you’ll be right there. Here’s Amanda Petrussich’s brilliant write up in Pitchfork - “With its soft melodies, sweet vocals, and scratchy DIY production, Mystic Chords of Memory is also an overwhelmingly intimate record, focused and domestic - much closer to Elliott Smith than former-benchmarks the Byrds and Buffalo Springfield…. The duo's wordy moniker was lifted from Abraham Lincoln's first inaugural address, a lecture delivered in the spring of 1861 and boldly eternalised at the base of Mount Rushmore... Appropriately, the band's sound is just as archaic as a truly striking political speech: Gunst and Cohen blend tinkling bells, melodica, harp, keyboards, bits of samples, tinny drums, and strummy guitars, presenting a vaguely contemporary update on the British folk phenomenon of the late 1960s with more blips. Mystic Chords of Memory is a surprisingly coherent re-introduction to Gunst, and his professional coupling with Jen Cohen has proven both a freeing and inspired move.” Two decades later it’s obvious how seminal a record they conjured up. They forged a path that came to define the wave of US indie that followed for a while. In our opinion, the original has a natural, guileless, effortless beauty that trumps them all. Without a whiff of Starbucks. "Mystic chords of memory speech I interpreted the meaning as the underlying psyche fabric we are all creating on this land together. Jen and I thought it would be a great name to inspire our music together. This was really close to post 9/11 times and we were thinking about all of this and also wanting to improve our own contribution to the psychological fabric of the world.” Chis Gunst.

pré-commande28.07.2023

il devrait être publié sur 28.07.2023

26,68
JAYE JAYLE - DON'T LET YOUR LOVE LIFE GET YOU DOWN

Under the moniker of Jaye Jayle, Louisville guitarist/vocalist Evan Patterson has spent over a decade exploring the more abstract realms of the American singer-songwriter process. On his latest album, Don't Let Your Love Life Let You Down, Patterson continues to mine his unique strain of the meditative blues while finally breaking the shackles of defeat and passing into a realm residing between Western stoicism and mystic wonder. Like Leonard Cohen fronting some intermediary step between Spacemen 3 and Spiritualized, Don't Let Your Love Life Get You Down, conjures an aura of psychedelic grace and enveloping warmth through its pairing of pensive baritone poetics, druggy studio manipulations, and gospel-infused blues. Abetted by the production and mixing skills of Ben Chisholm (Chelsea Wolfe). Across the eight songs of Don't Let Your Love Life Get You Down takes the old American singer-songwriter template and imbues it with a kaleidoscope of synesthesia delights culled from a half-century's worth of fringe music. This aural grandeur reinforces the life-affirming radiance of Don't Let Your Love Life Get You Down. Though Jaye Jayle retains the hypnotic repetition and austere instrumentation of their past, the added layers and saturation of sound intensifies the immersive hallucinatory spirit only previously hinted at in their work. As with all Jaye Jayle records, it's still best suited for the hours after midnight, but it now holds the promise of dawn. Jaye Jayle is Evan Patterson, with him as always is Todd Cook, Corey Smith, and Neal Argabright. With special guest Chris Maggio, Victoria Fisher, Patrick Shiroishi, and Bonnie `Prince' Billy. RIYL Leonard Cohen fronting Spiritualized, Spacemen 3, JJ Cale, Lungfish, Angels of Light, Young Widows Ltd single colour vinyl LP!

pré-commande14.07.2023

il devrait être publié sur 14.07.2023

24,24
Adam Green - FRIENDS OF MINE (20TH ANNIVERSARY) LP 2x12" Deluxe Edition

Am 9. Juni 2023 wird Capitane Records Adam Greens "Friends of Mine" anlässlich des 20-jährigen Jubiläums des Albums neu auflegen. Für Fans von Green und seiner Band The Moldy Peaches mag es schwer zu glauben sein, dass es schon zwanzig Jahre her ist, dass in den frühen 2000er Jahren eine neue Generation von Künstlern, Interpreten und Songwritern die Indie-Rock-Welt in Flammen setzte. Innerhalb von gefühlt nur wenigen Monaten versorgten Bands wie The Strokes, The White Stripes, The Libertines und The Moldy Peaches das Indie-Publikum mit neuen Versionen und Interpretationen des Rock'n'Roll-Kanons, Mit Einflüssen, die sowohl Standards wie The Velvet Underground, Television, The Stones, The Doors, The Stooges, Leonard Cohen, The Modern Lovers und Bob Dylan als auch neuere Künstler wie Beck, Daniel Johnston, Nirvana, Sonic Youth, Will Oldham, Pavement und The Silver Jews umfassten. Die Ergebnisse variierten zwischen geradlinigem Rock'n'Roll und Punk mit einem vom Folk inspirierten Songwriting-Bewusstsein. Vorbei waren die zerrissenen Jeans und Flanellhemden von einst. Enge Hosen und Lederjacken regierten den Tag...und die Nacht. Nach erstem Solo-Album und dem Erfolg seiner Band The Moldy Peaches (die 2001 zusammen mit The Strokes bei Rough Trade Records unterschrieben und anschließend mit ihnen auf Tournee gingen) schrieb und nahm Adam Green Friends of Mine auf, das bahnbrechende Album, das eine neue Richtung in seiner Karriere einschlagen sollte. In Abkehr von den selbst aufgenommenen 8-Spur-Analogaufnahmen seiner früheren Alben wandte sich Green einem Sound zu, der zu dieser Zeit eindeutig als Hi-Fidelity-Sound bezeichnet werden konnte, komplett mit Band und einer Streichergruppe (mit Arrangements von Jane Scarpantoni). Friends of Mine orientierte sich an den Werken von Serge Gainsbourg, Scott Walker und Frank Sinatra, während der lyrische Inhalt wie von der symbolistischen Poesie und dem Surrealismus von Brecht und Dylan abgeleitet schien. Das Ergebnis war etwas völlig Neues, eine Platte, die sowohl rührend traurig als auch sardonisch, satirisch, lässig und sogar laut lachend komisch sein konnte. Songs wie "Jessica" oder das Titelstück wurden zu Hymnen für eine neue Generation junger Indie-Rock-Fans in Europa, in Deutschland wurde Adam Green besonders gefeiert, von Indiekids, der Musikkritik, im Feuilleton und auch fast sogar in der Klatschpresse. Capitane ist stolz darauf, Friends of Mine nun als Doppel-LP bzw. 2CD und limitiert erstmals als farbige Einzel-LP wieder zu veröffentlichen. Die Deluxe-Edition enthält auf einer zweiten Disc Outtakes, B-Seiten und Live-Versionen und Linernotes zu den Songs von Green, die neue Einblicke in seine oft kryptische lyrische Methodik sowie Anekdoten aus der Entstehungszeit der Songs bieten. Ebenfalls gibt es Auszüge aus einem Gespräch zwischen Green und Dan Myers (Produzent), Steven Mertens (Bassist), Matt Ramono (Schlagzeuger) und Larissa Brown (Zeit). Die fünf alten Freunde tauchen tief in die Produktion von Friends of Mine ein und tauschen Geschichten über die vergangene Zeit aus. Die 2023er-Ausgabe von Friends of Mine ist ein Fenster zu einem wesentlichen Teil unserer jüngsten Vergangenheit und ein Zeugnis für einen Künstler, der den Test der Zeit bestanden hat. Adam Green ist immer noch dabei - genau so sleazy, weird & funny wie vor 20 Jahren!



Doppel-LP, zweite Platte mit B-Seiten, Demos, Outtakes und Liveversionen, klassisch schwarzes Vinyl im Klappcover, bedruckte Innenhüllen mit neuen Linernotes plus 4-seitigem Insert mit Interview! Definitiv Deluxe!

pré-commande09.06.2023

il devrait être publié sur 09.06.2023

30,46
ADAM GREEN - THAT FUCKING FEELING

Der Anti-Folk-Hero/Indie-Crooner Adam Green ("Friends Of
Mine", "Jessica Simpson", "Emily", Moldy Peaches etc.)
veröffentlicht seine letzten witzig-bissigen Songs "That Fucking
Feeling" nun nochmal über Capitane Records und erstmals auf
LP. Es ist eine rasante und auf den Punkt gebrachte Platte
geworden. Wie auch schon der Vorgänger ENGINE OF PARADISE
überschreitet die LP kaum die 20-Minuten-Marke, aber die die
zehn Songs - nur wenige länger als zwei Minuten - sind ein
Ausbund an hochnervöser, verspielter Kreativität zwischen
Leonard Cohen, Scott Walker und Ben Lee. Mal bis auf Stimme
und Gesang runtergebrochen, mal opulent mit Streichern
arrangiert können die Songs es locker mit den Großtaten der
älteren und jüngeren Vergangenheit Greens aufnehmen. "Ich
wollte etwas veröffentlichen, das zu Hause aufgenommen
wurde. In den guten, alten ,Moldy Peaches"-Tagen habe ich
alles am Küchentisch meiner Eltern aufgenommen. Aber es ist
jetzt auch schon 20 Jahre her, dass ich so einen Song
veröffentlicht habe. Ich habe ein paar Songs in Quarantäne
aufgenommen, die ich direkt in den Laptop eingesungen habe
und ich mag, wie direkt sich das anfühlt." Die CD-Version wurde
limitiert im Mai 2022 über das Künstlereigene Label
veröffentlicht, jetzt gibt es zur Neuauflage der CD auch Viny

pré-commande24.02.2023

il devrait être publié sur 24.02.2023

21,81
Avishai Cohen - Sensitive Hours - Shaot Regishot (180Gr. Black LP)

"SHAOT REGISHOT" ("Sensitive Hours"), das Gold-Album, das Avishai Cohen zwischen "GENTLY DISTURBED" und "AURORA" auf Hebräisch aufgenommen hat und bisher außerhalb Israels unveröffentlicht war, ist jetzt überall auf CD und Vinyl erhältlich. Zum ersten Mal in seiner Karriere ist dieser Release kein Instrumentalalbum, sondern ein Album mit wunderschönen Liedern, die Cohen selbst geschrieben hat und selbst performt - stark vom Jazz und von traditioneller Musik beeinflusst, getragen von einer Stimme mit vielen Akzenten und unglaublichem Charme.
...Ein unverzichtbarer Meilenstein in seiner ohnehin schon reichen Diskographie.

Avishai Cohen (Kontrabass, E-Bass, Keyboards, Klavier, Gesang)
Und mit:
Shai Maestro (Klavier), Mark Guiliana (Schlagzeug), Amos Hoffman (Oud), Karen Malka (Gesang), Lenny Ben Bassat (Fender Rhodes, Schlagzeug, Keyboards, Programmierung), Alberto Pinto (Flöte), Bjorn Samuelson (Posaune), Lars Nilsson (Flügelhorn), Adam Sheflan (Gitarren), Avshalom Sarid (Bratsche), Tal Isenberg (Bratsche), Pavel Levine (Bratsche), The late Yitzhak Simcha (Gebetsgesang), Hila Zaharur (Gesang), Dana Adini (Gesang), Rea Bar Ness (Schlagzeug), Eyal Heller (akustische Gitarre), Gil Luis (elektrische Gitarre), Itamar Doari (Perkussion), Ran Salem (Altflöte), Oded Meir (Posaune), Itamar Doari (Cajon), Ilan Salem (Flöte), Steve Davis (Posaune), Jonathan Volchuk (Posaune), Din Din Aviv (Gesang), Ilan Kachka (Schlagzeug), Zohar Fresko (Schlagzeug), Ora Cohen (Gesang), Maya Belzitzman (Cello), Omer Valber (Leitung)

pré-commande20.01.2023

il devrait être publié sur 20.01.2023

20,13
INGREDIENT - Untitled

Ingredient is the elegant collaboration of Toronto poets, composers, producers and dear friends Ian Daniel Kehoe and Luka Kuplowsky. Their self-titled release is an enigmatic electronic avant-pop record attuned to the micro and macro perspectives of the natural world. Ingredient is an album whose lyrics are more poem than lyric, and whose songs exist in a merger of house music, philosophically-minded lyricism and contemporary R&B. One might recall electronic and art-pop luminaries such as Yukihiro Takahashi, The Blue Nile, and Arthur Russell, or connect it to contemporaries like Nite Jewel, Westerman and Blood Orange. A distinct world of dance, of questions, of secrecy and ultimate softness.

Eight years of friendship forges strange telepathy.

In the summer of 2020, Ian Daniel Kehoe was entrenched in a new feeling of heaviness; psychosomatic symptoms had started to proliferate; stress made new pores across the body, bending sensitivity into pain. His days were met with confusion, detachment, sleeplessness and pain without causation. Disfigured, he felt that what had been central and centering was blown out to the periphery of things. In a moment of self-preservation he reached out to his dear friend Luka Kuplowsky to make an album together. For Kehoe, it was an instinctual grasp for the anchoring truthfulness of deep friendship and the potential for a dedicated creative collaboration. Kuplowsky’s presence was light, supportful and curious, eager to explore musically the sounds they were mutually drawn to: house music, ambient pop, dub. The duality between Kuplowsky and Kehoe – between the Aflight and the Unmoored – is a portrait of a friendship whose exchanges came easy and produced an outpouring of song. Creation and therapy crisscross. In email correspondence that catalogs their process of collaboration, affection abounds: “feels bare without the Luka Licks”, or “Love you so much”, or “Kinda just overwhelmed with deadliness coming in at all angles.” When their voices first come in together on “Wolf,” that harmony arrives in a dramatic avant-pop sound that is bold and wondrous.

Kuplowsky and Kehoe both arrive at Ingredient as established artists whose works are committed to language’s propensity to provoke and mystify. Kuplowsky’s 2020 album Stardust is an idiosyncratic and otherworldly blend of pop and jazz romanticism grounded by Cohen-esque vocals and a stirring philosophical curiosity. Kehoe’s entrance into the new decade has hatched four records of pop experimentation, most recently 2022’s Yes Very So, a euphoric and bold album of poetic synth-pop and meditative ambient instrumentals. Kuplowsky and Kehoe’s union as Ingredient is a beautiful and unusual chemistry that integrates their distinct approaches while bringing forth a newness: a sound that alternates between cinematic technicolor and dubbed out fogginess; a lyricism that exchanges their lucid and clear poetics for a playful and obtuse verse. The album intuitively taps into the opposing emotional states of Kuplowsky and Kehoe during the conception of the record, contrasting the buoyancy of trumpeting keyboards (“Resurface”), angelic synthesized voices (“Come”), and rolling bass (“Photo”) with the record’s underlying darkness of whirring buzzsaw textures (“Transmission”), whooping sirens (“Wolf”) and murky ambience (“Illumination”). Lyrically, this duality arises in the record’s flux between openness (“Variation”, “Raindrop”) and existential dread (“Wolf”). “Illumination” most clearly crystalizes this opposition, reconciling the verses’ neurotic yearning for enlightenment with the chorus’ liberating doctrine of negation: “no more devotion… no more delusion”. Amidst the gradations of light and dark, Kuplowsky and Kehoe trade indelible, lush melodies as though their voices are made of a substance that melts easily one into the other. The harmony of poetry, sound, and texture cuts through your brain fog like a wet diamond.

Ingredient’s self-titled record was assembled by Kuplowsky and Kehoe over the course of six months in a home studio they frequented daily. Amidst synthesizers and drum machines they composed, re-composed, and workshopped a wide array of music, ultimately focusing on a set of eight songs that lived in a shared musical and philosophical world. Recording days often ended in basketball games at a local court or a rooftop commune over a pot of tulsi tea and a crossword puzzle. Kuplowsky brought in the Blue Cliff Record – the classic anthology of Chan Buddhism – whose inscrutable and sublime insights remained constant throughout the recording process as an activator of reorientation and reflection. While Kehoe was frequently rendered physically immobile by bouts of anxiety, a patience and mutual caring governed the pace of their creation; rest, stretching and meditation became equally important as the act of arrangement. Invited into their intimate circle of composition was Thom Gill, whose heavenly voice uplifts “Variation” and “Raindrop,” and Karen Ng, whose alto sax simmers and dances around the funky strut of “Raindrop.”

The lyrics on Ingredient reflect the persistence of change, the infinite variability of nature where randomness and divergence are no accidents. In Daoism, duality, in the form of Yin and Yang, is not contradictory as it is in Western idealist philosophy, but rather composes the eternal and lived paradox of our changeless-changing universe: changeless because all is change, and changing because the dynamism of the Dao makes each moment transformational. Kuplowsky and Kehoe refract this way of seeing the world, as in Variation: “Variation in the natural world / there it is.” Ingredient is an experience of the manifold ways of saying there it is of the transformational world, and there it is, unfolding. Elsewhere, change and ephemerality is addressed through the record’s preoccupation with non-human perspectives, reorienting the listener to the wolf, the mouse, the emerald frog, the centipede, the bird, the fly in the lamp. The album cover visualizes this fascination with the striking image of a reddish-orange frog atop a defamiliarized landscape of dark green leaves. Mirroring the exploratory process of the record’s collaboration, the frog also signals the amphibian’s natural inclination to leap into boundless potential. Kuplowsky and Kehoe’s lyrics manifest philosopher and ecologist Timothy Morton’s concept of “the mesh,” drawing attention to the “vast, entangled web” of interconnectedness that connects all life forms and interweaving the songwriters’ shared wonder into the Animal’s unknowability. As Luka narrates in the breakdown of the dance-floor ready “Photo,” “the closer we observe things, the further they retreat into abstraction.” In Ingredient’s ecosystem, perception is a reversible fractal where the world’s minutest details mirror the shape of the cosmos.

According to the Dao, the path to healing starts by reorienting perception away from the self and toward the self’s subsumption in Totality. For Kehoe, collaborating with Kuplowsky became the reorientation necessary for the self-preservation he was seeking, opening up a shared creative practice to navigate and soften the complexity of his psychological shattering. The album begins with Kuplowsky intoning “colossal faith” which bounces around the stereo field in a cloud of echo, and it is the enormity of “faith” that centers both Kuplowsky and Kehoe’s collaboration and their inquisitiveness in the vast mysteries of our very being. Truth in Ingredient is not an essential nugget, but a bending of the light – it is the equivocal entanglement of how we are in nature as nature, but with a plea or prayer under our breath that marks our felt distance from what we are a part of: “carry me towards the mountains of my birth / returning to the nest / the silence of the earth.”

pré-commande15.11.2022

il devrait être publié sur 15.11.2022

22,65
Lola Marsh - Shot Shot Cherry LP

Lola Marsh

Shot Shot Cherry LP

12inch0602438922901
Decca Records
28.10.2022

Das israelische Duo Lola Marsh releast mit „Shot Shot Cherry“ am 28.10.22 ihr drittes Studioalbum.
Lola Marsh besteht aus der Sängerin Yael Shoshana Cohen und Multi-Instrumentalist Gil Landau. Sie
komponieren Musik, die clevere Texte mit tiefgründigen Harmonien verbindet. 2016 veröffentlicht die IndiePop-Band ihre Debüt-EP „You’re Mine“, wodurch sie in kürzester Zeit international große Bekanntheit
erlangten. Im Sommer 2017 erschien ihr Debütalbum „Remember Roses“, dessen Singles „Sirens“ und
„You’re Mine“ es an die Spitze der Spotify Charts schaffen.
Auch in Hollywood ist das Duo gefragt. Ihre Songs wurden schon in zahlreichen Filmen und Serien benutzt,
darunter Kevin Costners Film „Criminal“, die Serien „Better Call Saul“ und „Station 19“, sowie den Netflix
Produktionen „Purple Hearts“ und „Atypical“.
Über das neue Album sagt Sängerin Yael Shoshanna Cohen: „We don’t have just one direction of emotion.
There will be sad songs, there will be up-tempo song, there will be the cinematic ones.”
Neben den emotionalen und melancholischen Indie – Songs finden auch feine Dance-Floor Vibes mit starkem
Beat und Synthesizer ihren Platz. Das Duo schafft eine gute Balance auf „Shot Shot Cherry“. Der Mix
an Songs reflektiert eine ganz besondere Mischung an Gefühlen und Emotionen der Musiker. Geschrieben
im Lockdown, hatte das Duo mit Ängsten und Sorgen zu kämpfen und gleichzeitig den Wunsch, endlich
wieder tanzen gehen zu können. Das Album wird als CD und Vinyl erhältlich sein.

pré-commande28.10.2022

il devrait être publié sur 28.10.2022

25,17
Aesop Rock & Homeboy Sandman - Triple Fat Lice

Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

Initially released in 2017 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Triple Fat Lice is finally available to fans everywhere. The third in a series of EP releases, Triple Fat Lice features production from Cohen Beats, Oh No, Ben Boogz (of 2 Hungry Brothers), Quelle Chris and M Slago. The original cover art was designed by renowned illustrator Jeremy Fish.

pré-commande14.10.2022

il devrait être publié sur 14.10.2022

25,17
AESOP ROCK & HOMEBOY SANDMAN - TRIPLE FAT LICE LP

Initially released in 2017 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Triple Fat Lice is finally available to fans everywhere. The third in a series of EP releases, Triple Fat Lice featured production from Cohen Beats, Oh No, Ben Boogz (of 2 Hungry Brothers), Quelle Chris and M Slago. The original cover art was designed by renowned illustrator Jeremy Fish. Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists Which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

pré-commande14.10.2022

il devrait être publié sur 14.10.2022

19,96
Titus Andronicus - The Will to Live

LP comes with a Side D etching in triple gatefold jacket + full album download. The Will to Live was produced by Titus Andronicus singer-songwriter Patrick Stickles and Canadian icon Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter’s Hotel 2 Tango recording studio in Montreal. Drawing on maximalist rock epics from Who’s Next to Hysteria, Bilerman and Stickles have crafted the richest, densest, and hardest hitting sound for Titus Andronicus yet. All at once, the record matches the sprawl and scope of the band’s most celebrated work, while also honing their ambitious attack to greater effect than ever before. “It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA,” quips Stickles, “but the pursuit of Ultimate Rock knows no borders. ”For his recent stretch of personal stability, he credits a newfound domestic bliss and steadfast mental health regimen (“Lamictal is a hell of a drug”) as well as the endurance of what has become the longest-running consistent lineup of Titus Andronicus—Liam Betson on guitar, R.J. Gordon on bass, and Chris Wilson on drums. On the crueler side of the coin, however, The Will to Live was created in large part as an attempt to process the untimely 2021 death of Matt “Money” Miller, the founding keyboardist of the band and Stickles’ closest cousin. Stickles explains: “The passing of my dearest friend forced me to recognize not only the precious and fragile nature of life, but also the interconnectivity of all life. Loved ones we have lost are really not lost at all, as they, and we still living, are all component pieces of a far larger continuous organism, which both precedes and succeeds our illusory individual selves, united through time by (you guessed it) the will to live.” “Naturally, though, our long-suffering narrator can only arrive at this conclusion through a painful and arduous odyssey through Hell itself,” he qualifies. “This is a Titus Andronicus record, after all.” When Titus Andronicus made their long-awaited return to the stage in 2021, it was to celebrate the anniversary of their landmark breakthrough The Monitor, and the act of playing that material before an ecstatic audience left the band determined to deliver an album that would reach for those same lofty heights, relying this time less on the reckless fire of youth and more on the experience and perspective at which a band only arrives with a thousand shows under their belt. Through this golden ratio, Titus Andronicus have arrived at the peak of their creative powers. From its adrenalizing opening instrumental “My Mother Is Going to Kill Me” to its wistful closing benediction “69 Stones,” The Will to Live conjures a vast landscape and sends the listener on a rocket ride from peak to vertiginous peak. Rock fans will find themselves a feast, whether they crave barn-burning rock anthems such as “(I’m) Screwed” and “All Through the Night,” rapid-fire lyrical gymnastics (“Baby Crazy”), symphonic punk throwdowns (“Dead Meat”), or an adventurous excursion into the darkness that delivers thrills as it breezes boldly past the 7 minute mark, “An Anomaly.” As if that wasn’t enough gas for the tank, The Will to Live features sterling contributions from members of the Hold Steady, Arcade Fire, and the E Street Band, as well as duets with the aforementioned Betson, former Titus Andronicus drummer Eric Harm, and Josée Caron of the Canadian rock band Partner. The album comes packaged with gorgeous triple-gatefold artwork by illustrious illustrator Nicole Rifkin, a Hieronymus Bosch–inspired triptych which mirrors the three-part structure of the narrator’s perilous voyage across the corresponding three sides of vinyl. All together, this esteemed ensemble, with Stickles and Bilerman determined and defiant at the helm, have found The Will to Live—now, the question is… will you?

SIDE A 1. My Mother is Going to Kill Me 2. (I’m) Screwed 3. I Can Not Be Satisfied 4. Bridge and Tunnel SIDE B 5. Grey Goo 6. Dead Meat 7. An Anomaly SIDE C 8. Give Me Grief 9. Baby Crazy 10. All Through the Night 11. We’re Coming Back 12. 69 Stones SIDE D Etching

pré-commande30.09.2022

il devrait être publié sur 30.09.2022

28,99
72TM - Mutations EP

72Tm

Mutations EP

12inchTMSEP001
TMS Records
14.03.2022

New imprint and musical project from Benjamin Diamond (french iconic member of Stardust and voice of the hit "Music Sounds Better With You") & Ulysse Genet!

Two numbers referring to the year 1972.

And in two numbers, everything is said.

The project is simple and ambitious, it is the soundtrack of life passing by, of our lives, of theirs: those of two boys who became two men, both born the same year. 1972. And contrary to its commercial destination, the «TM» sometimes af fixed to these two letters appears here rather like a real mental tattoo, if not a purely aes thetic gesture, as if to tell us: these sounds, these feelings, these immaterial emotions, were deposited in the dark recesses of these two brains, these two minds, before passing through their bodies, passing through their fingers, then through the keyboards, the ins truments, to transform themselves, to turn into sounds, which, themselves, through the alchemy of creation, become music.

And this music is the soundtrack to these two lives: Benjamin Cohen. Ulysse Genet. And these two lives which at one point crossed, met. And from this crossing was born 72. From these two experiences, from these memories, from the memories of the two artists, music is revealed. Four tracks for the moment, instrumental, mixing the reminiscences of hip hop, the echoes of the ‘ambient’ created by Brian Eno, the techno vo lutes of Detroit, and more particularly those of Carl Craig. Without forgetting the roots of what has been called the French Touch... this unique musical adventure revealing France abroad in a singular way, in which Benjamin Cohen has actively participated.

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14,66

Last In: 4 years ago
Coast To Coast - Coast To Coast

Our second LP this month is an unreleased magical modern soul LP from the band Coast To Coast, the full story below by band leader Mark Beiner...


I met Ben iverson in 1976 when I was 17 years old. I was a junior at Newtown High School in Elmhurst, Queens. At that time, I took a part time job as a Produce Clerk at Walbaum's Supermarket on Northern Boulevard in Jackson Heights, Queens, where I met Ben Iverson who was the "Frozen Food Manager." In between the music, this job was steady income, and he and his Wife, Diane, started a family and raised two Daughters, Tonia and Cytherea, whom I am still in contact with today.

Back then, I remember going to work early just to talk to him about his musical background and his time spent in the 50's and 60's with the Ohio Doo Wop Group, "The Hornets", or better known as, "Ben Iverson and The Hornets." However, Ben was somewhat quiet and at a loss for words when I questioned him with regard to "Ben Iverson and the Nue Dey Express", as well as his short career as Manager and Songwriter for Brooklyn's own, "Crown Heights Affair" in the early 70's.

Between the 50's and 60's, "Ben Iverson and The Hornets" shared billing at music events with recording artists such as, The Drifter's, Bill Haley and The Comets, Pat Boone, Etta James, Mary Wells, Nancy Wilson, Jackie Wilson, Sam Cooke, Aretha Franklin, Lloyd Price and Al Green. Many of these names got their start in the 50's, which Ben met at music concert events hosted by Radio Disc Jockey, Alan Freed. Alan was truly the first Concert Promoter for Doo Wop, Rhythm & Blues, and early Rock & Roll.

In 1978 after Ben and I discussed getting together and composing music, I started writing poetry and expressing in writing my break up with my college girl friend, Paula Vasta. Paula's middle name was Marie, so in kidding around, I would call her "Paula Marie." Ben thought my lyrics were "powerful" and wanted to put them in music. Thus our first recorded 45 rpm record called "Paula Marie", backed with "I Want You Dear." This launched our musical partnership and within a year, the Coast to Coast Band was formed. Ben and I went on to writing two albums worth of material, which in turn gave us a lot of time and presence on stage at our live gigs.

The regular Coast to Coast Band members consisted of Ben Iverson on Lead Vocals, Rhythm Guitarist and Co-Executive Producer, Joe Crowley, who is known today as "New York Congressman Joe Crowley." Carl (Woody Wood) Morton on Bass Guitar, Jimmy Johnson on Keyboards. Woody and Jimmy used to hang and play rap in its early days with "Run DMC" in St. Albans, Queens. Lead Guitarist, Lou Jimenez, currently owns his own recording studio, Music Labs in Elmont, Long Island. On Drums, Eddie Byam, on Alto Sax, Jay Cohen, who in the 70's used to record for "Gary U.S. Bonds." Gary Pevols on Trumpet. On Bone, Scott Burrows, Trumpet player, Steve Becker, whom we lost to Testicular Cancer at the age of 25, along side Neil Levine, Stan Stockley, Tom Russo and additional members that came and went that we used for live gigs and studio recordings.

In addition, special recognition goes out to our Producer, Recording Engineer and Multi-sound Recording Studio, Owner, Dave Weiner and staff. Dave and I launched Multi-Sound Records under the Multi-Sound label in 1980.

Last, of course myself, Mark Beiner, where I served as Executive Producer, Songwriter, Business/Marketing Manager, and background vocals.

Unfortunately, Ben Iverson passed away on March 21, 2008, and cannot be here to share this with us, but his music and voice still lives on!

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22,23

Last In: 4 years ago
WILLIE DUNN - CREATION NEVER SLEEPS, CREATION NEVER DIES

- The definitive overview of one of Canada's unsung musical heroes - Rare/previously unreleased recordings, photos, and interviews - Lyrics, discography, and filmography - Audio re-mastered by John Baldwin Mastering - Artwork by Christi Belcourt and Alanna Edwards - Liner notes by Kevin Howes (Voluntary In Nature) - Contributions from the Dunn family, Bob Robb, and Alanis Obomsawin (OC) // How did you first experience the poetry, music, and film of Willie Dunn? In a Montreal coffeehouse during the mid-1960s? On a CBC Indian Magazine broadcast with host Johnny Yesno? At a Toronto record store or Native Friendship Centre at the turn of the 1970s? Waiting outside of the Mohawk Nation Longhouse? Maybe in your parent's record collection on the Rez? A White Roots of Peace gathering? Pow wow? The Mariposa Folk Festival? Or was it that Save James Bay Benefit back in '73? On a good friend's stereo? Sitting around a crackling campfire? How about an old NFB film reel or VHS tape in high school? Or while attending Manitou College? A German concert hall in the 1980s? Maybe a direct action protest on the colonial streets of Canada? Busking in Ottawa during the 1990s? College radio? At Willie's celebration of life service in 2013 alongside Alanis Obomsawin and Willy Mitchell? LITA's Grammy-nominated Native North America (Vol. 1) compilation or the very anthology you hold in your hands? There should be no judgment for coming to things when you do. All that's important is remaining open to life-changing messages such as these_ Willie Dunn shared truth through song and celluloid. His original composition, "I Pity the Country," is an unparalleled statement on the greed and hate created by humankind, recorded in 1971 and still unfortunately needed today. "It's like the reason you're supposed to make music," said Kurt Vile about the song to MOJO Magazine in 2015. With "Charlie," Willie was the first to deliver the devastating story of Chanie Wenjack and the Canadian residential school system to the music community, nearly 50 years before the much-celebrated Secret Path, yet ignored outside of Indian Country and the folk festival circuit. Dunn's film technique, featured in 1968's The Ballad of Crowfoot (NFB), predates the "Ken Burns effect" to great effect. Are you catching the drift? Willie Dunn was not only a trailblazing leader in his time, but well ahead of the curve, simply without the PR push and big money backing of major label players. "He was our Leonard Cohen," said singer-songwriter Eric Landry about his musical hero. The only difference is that Willie refused to play the Hollywood showbiz game. In talent, he is Cohen, Dylan, and Cash rolled into one and along with Buffy Sainte-Marie, Floyd Red Crow Westerman, and A. Paul Ortega, brought a new set of perspectives and realities to the folk music tradition. Willie spoke directly to his people and Mother Earth through his creations, not only from experience but by examining his roots and connecting with the world in which he lived. We are humbled to help honor Willie Dunn. May he never be forgotten_ PEACE

pré-commande19.03.2021

il devrait être publié sur 19.03.2021

39,71
Cool Ghouls - At George's Zoo

Cool Ghouls

At George's Zoo

12inchMELO127LP
Melodic
12.03.2021

Cool Ghouls - a band fledged in San Francisco on house shows, minimum wage jobs, BBQ's in Golden Gate Park and the romance of a city’s psychedelic history turns 10 this year. What better a decennial celebration than the release of their fourth album, At George's Zoo!

How did San Francisco's fab four arrive at George's Zoo? The teenage friendship of complimentary spirits Pat McDonald (Guitar/Vox) and Pat Thomas (Bass/Vox) serves as square one. The Patricks were munching on Eggo-waffle-sandwiches and downing warm vokda in suburban Benicia (San Francisco bay) years before McDonald would hear George Clinton address his fans as "Cool Ghouls". The boys played their debut gig as Cool Ghouls at San Francisco's legendary The Stud in 2011, but there's no doubt the musical moment cementing the band's trajectory was much earlier at the 18th birthday party for boy-wonder Ryan Wong (Guitar/Vox) - at the Wong household.

You might remember the Ghouls' earliest days... McDonald’s hair hung luxuriously past his waist, Thomas dreamt of no longer having to crash on friends' couches to call SF home and Wong looked forward to turning 21. Cool Ghouls' Pete Best, Cody Voorhees, thrashed wildly – but briefly - on the drums and Alex Fleshman (Drums), who still claims he's not really "a drummer", turned out to be a really good drummer. Thomas would sleep pee on tour. Those were golden days!

Flash forward to today and everything is up in flames. No shows, parties or bars. Cool people are streaming out of SF. It's been 2 years since the last time Cool Ghouls have even played. The STUD is gone, The Eagle Tavern is for sale and The Hemlock has been demolished for condos. Your boss is an app. Fascism is no-knocking down the door. There's a pandemic.

Fortunately for us, the Ghouls got an album in before it all went to shit, and they made it count. At George's Zoo includes 15 of the 27 tunes they managed to eke out while simultaneously working through major life moves. It was a 5-month, all out, final sprint down the homestretch (to Ryan's moving day) with affable engineer Robby Joseph, at his makeshift garage studio in the Outer Sunset (pictured on the cover). Instead of recording the entire album over a few consecutive days - like they'd done with Tim Cohen, Sonny Smith and Kelley Stoltz for the first three LPs - the band took it slow by working through a few songs each weekend after rehearsing them the week before. Robby would cue up the tape, McDonald would throw some steaks on the grill and they'd get to work - much to the neighbor, George's, chagrin.

These guys have a real commitment to elevating as songwriters, musicians and ensemble players. It's always been for the music with Cool Ghouls and this long-awaited self-produced outing is a track by track display of the ground they've covered and heights they can achieve. Their vocals and trademark harmonies are front and center and out-of-control-good. Ryan's guitar solos are incredible. The horns by Danny Brown (sax) and Andrew Stephens (trumpet) hit in all the right places. Maestro, Henry Baker (Pat Thomas Band / Tino Drima), plays keys throughout. There's even a mesmerizing string section ("Land Song") by sonic polyglot, Dylan Edrich.

None of this growth is to the detriment of the fun, natural, feeling that fans have come to expect from the band. This is a fully realized Cool Ghouls album. It paints a remarkable portrait of SF's homegrown heroes and the many corners they've explored over the last decade. The songwriting, harmony and playing are nothing if not solid. The lyrics are keen. Robby's recording and mixing sound great start to finish and even better after mastering by Mikey Young. It's a triumphant addition to their catalogue. Recommended for Stooges and Beach Boys fans alike. Listen and see!

Yes, many things have changed since 2011. Who knows what the 20's will have in store for life on Earth, let alone the Cool Ghouls? We at least know that 2021 has At George's Zoo for us, a beautiful keepsake from the Before Times when we used to stand in living rooms together while bands played.

pré-commande12.03.2021

il devrait être publié sur 12.03.2021

19,79
JILALA - JILALA

Until Now, Jilala has been a much sought-after phantom in relation to their better-known musical and spiritual contemporaries, The Master Musicians of Jajouka. Culled from three and a half hours of 1965 recordings by writers/artists/poets Brion Gysin and Paul Bowles, the first batch of Jilala recordings were released on a 1965 LP that was scarce even upon its initial release. The second batch of Recordings, which this LP has drawn from, came in the form of a CD by Baraka Foundation in 1998, which is also now long out of print. The Jilala brotherhood -- like the better-known Jajouka culture -- has pre-Islamic roots in Sufi mysticism that span across northern Africa from Morocco to India. Jilala shares the kinds of small, portable instruments historically favored by nomadic cultures. Even among the more ardent aficianados of "world music" these recordings have seldom been heard. In the original liner notes Ira Cohen provides a breakdown of the Jilala ensemble: "The instruments used are the shebaba, a long transversal cane flute, which leads the way; the bendir, a handheld drum resembling a tambourine without cymbals; and the karkabat which is a double castanet made of metal. On this record there are usually three flutes, six drums and one pair of castanets." In conjunction with the qraqaba -- an iron analog to the wooden castanets featured heavily in the Flamenco music of the Roma people that also flourished over the centuries mere miles to the north in southern Spain. These bendir drums provide a range very similar to that covered in contemporary popular music by the bass drum, snare, and cymbals that make up standard drum kit. The Trance-inducing grooves were major influences on such bands as Led Zeppelin, Agitation Free, Can and the Rolling Stones. The collective rhythms are often reminiscent early hip hop. oFirst time these tracks appear on vinyl - Pressed on 180 Gram Black Vinyl o Recorded by Brion Gysin & Paul Bowles in Morocco 1965 o Limited Edition of 300 Copies - DMM: Direct Metal Mastering o New Liner Notes by Peter Wetherbee o Contains insert of original liner notes from 1965 Jilala LP o Long out of print in any format for over 20 years.

pré-commande05.03.2021

il devrait être publié sur 05.03.2021

28,45
PHILIPPE COHEN SOLAL FEAT. ANGÉLIQUE KIDJO & MO LAUDI - AFRO BOLERO

An exchange between several voices of African artists (the Congolese Flamme on guitar, the late Cameroonian Hilaire Penda on bass, the Beninese Angélique Kidjo on vocals, and the dj singer producer
from South Africa Mo Laudi on the mike) gathered for the dance and celebration of this World Heritage work. The most popular anthem of classical music revisited in Afro Pop mode for crowds around the world. About this project, the producer Philippe Cohen Solal (ex-Gotan Project) tells: « When Mo Laudi, a Paris-based South African DJ, joined me in the studio, he delivered a great rap full of positive energy and geopolitical rhymes, from Patrice Lumumba to Biko and from Congo to São Paolo. Then Queen Angelique Kidjo, like a divine diva, fervently sang her hymn "Lonlon" in the Mina language, where the Afro literally meets the Bolero. We will not forget the fine team that allowed me to concoct this sacred cocktail: Flamme Kapaya,
outstanding Congolese guitarist, the Parisian DJ-beatmaker Lazy Flow and the late Hilaire Penda, Cameroonian bass player who unfortunately left us since. Benin, South Africa, Congo and Cameroon meet in Paname, the capital of World Sound, but the musical adventure did not stop there. The remixes take us straight to London with Poté, to Berlin with Daniel Haaksman and to Johannesburg with the super-group Batuk formed by the godfather of the African electro Spoek Mathambo, the kwaito maestro Aero Manyelo and the Mozambican singer Manteiga. At a time when travel is prohibited or
not recommended, let us be glad that music does not need certificates or passports and knows no borders ».

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11,39

Last In: 5 years ago
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