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Janis is an album by Janis Joplin, released in 2023. Janis includes a.o. the following tracks: “Mercedes Benz”, “Rap On "try"”, “Dick Cavett T.V. Interview (1970)”, “Piece Of My Heart” and more. The album is a Coloured Vinyl, High Quality, Insert rock 2-LP.

Curren$y (aka Spitta Andretti) once again teams up with long-term collaborator and legendary producer Harry Fraud on Vices. This nine track album is a time capsule to the 1980s and taps into the nostalgia and style of that decade. The music and artwork of Vices is a continuation of their theme of jet-setting and smuggling illegal substances on jet boats through the marina (Cigarette Boats, The Marina, The OutRunners, and Regatta) and proves to be yet another instant classic from the duo. Entirely produced by Harry Fraud, with features from Benny The Butcher, G.T., Jim Jones, Larry June, Rome Streetz and Vico, this limited edition release is a must have.

The album Cresendo with Hansson & Karsson (With Bengan Dahlen) is a previously undiscovered gem from a recording by Club Cresendo at the Art Museum in Norrköping. It is the only known recording where Hanson & Karlsson are visited by Bengan Dahlen from Fläsket burnner, here on violin.

The album comes in two volumes from the concert with both well-known and newly discovered tracks that have not previously been released on record.

The album Cresendo with Hansson & Karsson (With Bengan Dahlen) is a previously undiscovered gem from a recording by Club Cresendo at the Art Museum in Norrköping. It is the only known recording where Hanson & Karlsson are visited by Bengan Dahlen from Fläsket burnner, here on violin.

The album comes in two volumes from the concert with both well-known and newly discovered tracks that have not previously been released on record.

One of a kind Auftritt von Night Ranger am 09. November 2022. Im Key Bank State Theatre in Cleveland traten sie während der gesamten Show mit dem Contemporary Youth Orchestra auf. CYO besteht aus mehr als 90 Musikern im Alter von 12 bis 18 Jahren, die mehr als 40 Schulen in Ohio repräsentieren. Es ist ein komplettes Orchester, Bläser-, Streicher- und Schlagzeugensemble. Das Orchester spielte an diesem Abend zusammen mit Night Ranger bei allen 15 Songs. Das 1995 gegründete CYO hat sich zum Ziel gesetzt, Studierenden die Möglichkeit zu geben, sowohl neue als auch zeitgenössische Orchestermusik aufzuführen. Eines der regelmäßigen Projekte des in Cleveland ansässigen CYO ist die Zusammenarbeit mit bekannten Pop- und Rock-Acts wie Jefferson Starship, Styx, Pat Benatar sowie Kenny Loggins u.a. für Orchesterkonzerte mit den Werken der Künstler. Es ist ein etwas anderes Arrangement ihrer Musik, bei dem das Orchester mit dem Komponisten zusammenarbeitet. Diese Show war anders als jede andere Night Ranger-Show, sie sammelte nicht nur Spenden, sondern die Band beschloss auch, den gesamten Auftritt zu filmen um den außergewöhnlichen Abend zu dokumentieren. Diese einzigartigen Interpretationen ihrer größten Hits wurden zum ersten Mal aufgeführt. Die Setlist kombinierte die Klassiker der Band, neue Songs und Coverversionen, ein wirklich einmaligen Night Ranger-Konzertereignis.

Synth pioneer and musical polymath, Wally Badarou is a genius. But you know that already. A vinyl version of his majestic Colors Of Silence has been craved by the Balearic cognoscenti ever since its low-key 2001 release. Indeed, when we first started work on Be With, we asked some pals with exquisite taste what their dream release would be. We asked Balearic legend Moonboots and, without hesitation, he said Colors Of Silence by Wally Badarou. We didn't know Wally had made this album. And most still don't. But that's about to change.

Colors Of Silence is ostensibly a new age album. As ever though, Wally's sophisticated synth textures and expressive keyboard runs are so full of character, so full of life, that this work of art transcends any easy genre categorisation. It's simply stunning, throughout. It sounds like A.r.t. Wilson or Suzanne Kraft, with traces of CFCF and Jonny Nash. But it was made a good decade earlier than the work of these modern giants. Sometimes, it doesn't seem far from some Larry Heard albums.

Island Records founder Chris Blackwell's friend Nathalie Delon asked Wally to provide music for the yoga DVD she was to release. Lack of time on both sides made them agree on using "quality demos" Wally had in his ideas bank. It's understandable why Colors Of Silence remains somewhat of a lost gem. As Wally explains: "Total lack of promotion made it an 'intimate' release, which was exactly what I was looking for: just a buzz-maker and time-buyer that would allow me to concentrate on the real thing as soon as I'd have time, which could also turn into a rare collecting item later, once the final versions made their way to success. You never know."

Over the years, Colors Of Silence has become a true cult record for the ambient/Balearic heads.

The beguiling but brief "Dance In The Dust" is the shuffling, hyper-percussive, hypnotic opener. It gives way to the deep serenity of "Amber Whispers". It's a gliding, divine, mini melodic masterpiece. It'll make you swoon in its extreme beauty. The bright and breezy "Where Were We" follows, a tropical, reggae-tinged bounce through the islands.

The uptempo groove is maintained on the keys-drizzled soca-funk of "The Lights Of Kinshasa" before Side A is rounded out with "Pictures Of You". It starts with stately, melancholic, unadorned piano and this alone would make for a beautiful song. But Wally always gives us that bit extra and he effortlessly introduces warm, dreamy pads and minimal, slo-mo percussion to augment a frankly stunning piece of work.

Ushering in Side B, Wally's mesmeric piano playing is to the fore again, in the intro to uber-chilled "Serendipity For Two". The playing becomes more mellifluous as the track progresses and adds warmth through exotic percussion, woodwind, sweeping synths and digi-drums. It has echoes of, er, Echoes. It segues seamlessly into the more propulsive, wavy "Smiles By The Millions". If you're not nodding and grinning along widely to the gently throbbing bassline underpinning this, we can't help you. The meditative "Higher Still" follows, cinematic in feel and ever so slightly sinister with the strings. It sounds particularly Badalamenti-esque, if you ask us.

That unmistakable, almost peculiar Badarou funk - so lyrical, so texturally rich and so rhythmically spacious - is all over "Oriental". Next up, "Days To Wonder" brings the serenity back, insistent yet melodic keys, as if played in a place of worship, coupled with birdsong, conjure a kind of instant nostalgia for halcyon days of youth. The contemplative "Dawn Of Europa" is a sombre, beatless, ambient journey whilst the glorious, too-brief "Crystal Falls" features soft percussion and sparkle before fully glistening with some gentle head-nod beats. Wally brings this incredible collection to a mellow, tender close with the graceful "Purple Lines".

There can be few artists more under-appreciated given their vast influence than Wally Badarou. His solo work practically defined the sound of the Balearic DJs of the 1980s, and thus the more sophisticated sound of dance culture thereafter. A synth specialist, Badarou was the long-time associate of Level 42. He was one of the Compass Point All Stars (with Sly and Robbie, Barry Reynolds, Mikey Chung and Uziah "Sticky" Thompson), the in-house recording team of Compass Point Studios responsible for a series of albums in the 1980s recorded by Grace Jones, Tom Tom Club, Mick Jagger, Black Uhuru, Gwen Guthrie, Jimmy Cliff and Gregory Isaacs. Badarou's keyboard playing could also be heard on albums by Robert Palmer, Marianne Faithfull, Herbie Hancock, M (Pop Muzik), Talking Heads, Manu Dibango and Miriam Makeba. He also produced Fela Kuti. Phew!

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. Special thanks must go to Apiento from Test Pressing who first introduced us to Wally and facilitated all those early zoom meetings. It couldn't have happened without his help. Not least on pulling the art together, too, which features striking original photography by Mads Perch. Benji Roebuck of Roebuck Press did his thing brilliantly in art working the whole package to completion. All in all: essential.

Orbiting Human Circus' new album is called Quartet Plus Two. What is Orbiting Human Circus? It is the continuing evolution of Julian Koster (Neutral Milk Hotel, The Music Tapes), whose music and storytelling under this moniker have encompassed immersive theater and a Night Vale Presents podcast, as well as more traditional albums. Central to the album are the "two" referenced in the title: North and Romika, the singing saws, whom Koster doesn't "play" so much as encourage. "I think saws sing like angels," says Koster. "I always have. Since I was a little boy. When you encourage them to sing, they do so earnestly and beautifully. It's an honest and real sound." The origins of Quartet Plus Two are as magical and seemingly unlikely as everything else in Koster's career. While walking through New York's Central Park, he stumbled upon Gauvain Gamon and Kolja Gjoni_a standup bass player and drummer, respectively_playing Gershwin and Mingus, and a musical partnership was born. Pianist Benji Miller rounds out the titular quartet, with Koster's longtime collaborators Robbie Cucchiaro (horns) and Thomas Hughes (orchestral arranging and chimes) of The Music Tapes also contributing to the record. The music they make together is at once familiar and unrecognizable, as Koster and Orbiting Human Circus interpret jazz compositions by Irving Berlin, Duke Jordan, George and Ira Gershwin, and others, alongside Koster's three originals. The use of the term "composition" is intentional and speaks to Koster's relationship with the music of Quartet Plus Two in far more evocative terms than "cover" or "standard." "To me it was always magical that there were these people called `composers' who created symphonies and popular songs for other people to breathe into life and existence all over the world and throughout time," he explains. "They traveled into our homes as sheet music, endless recorded interpretations, or were passed from hand to hand, village to village, like folk tales, changed by every hand that touched them. That music was something that came to life in our own living rooms and lives, songs that our grandmothers might have sung in a choir that we might sing just as earnestly. I just think it's nice, and I would love to share that feeling in any way we can."

Orbiting Human Circus' new album is called Quartet Plus Two. What is Orbiting Human Circus? It is the continuing evolution of Julian Koster (Neutral Milk Hotel, The Music Tapes), whose music and storytelling under this moniker have encompassed immersive theater and a Night Vale Presents podcast, as well as more traditional albums. Central to the album are the "two" referenced in the title: North and Romika, the singing saws, whom Koster doesn't "play" so much as encourage. "I think saws sing like angels," says Koster. "I always have. Since I was a little boy. When you encourage them to sing, they do so earnestly and beautifully. It's an honest and real sound." The origins of Quartet Plus Two are as magical and seemingly unlikely as everything else in Koster's career. While walking through New York's Central Park, he stumbled upon Gauvain Gamon and Kolja Gjoni_a standup bass player and drummer, respectively_playing Gershwin and Mingus, and a musical partnership was born. Pianist Benji Miller rounds out the titular quartet, with Koster's longtime collaborators Robbie Cucchiaro (horns) and Thomas Hughes (orchestral arranging and chimes) of The Music Tapes also contributing to the record. The music they make together is at once familiar and unrecognizable, as Koster and Orbiting Human Circus interpret jazz compositions by Irving Berlin, Duke Jordan, George and Ira Gershwin, and others, alongside Koster's three originals. The use of the term "composition" is intentional and speaks to Koster's relationship with the music of Quartet Plus Two in far more evocative terms than "cover" or "standard." "To me it was always magical that there were these people called `composers' who created symphonies and popular songs for other people to breathe into life and existence all over the world and throughout time," he explains. "They traveled into our homes as sheet music, endless recorded interpretations, or were passed from hand to hand, village to village, like folk tales, changed by every hand that touched them. That music was something that came to life in our own living rooms and lives, songs that our grandmothers might have sung in a choir that we might sing just as earnestly. I just think it's nice, and I would love to share that feeling in any way we can."

The composer behind one of the most sensational breakthroughs in Danish music invites you on a crackling, ever-changing and deeply personal journey. His third album Atmospherics drops after a decade in which Mike Sheridan has searched deeply to find and capture his inner sound.
Films, theatres and art museums have benefited from Mike Sheridan‘s sense of sound and melody for the past 10 years. An album has been a long time coming because, in the wake of his breakthrough at the age of 16, he needed to listen extra closely to his inner sounds.
With Atmospherics, he unfolds the music in a meeting between who he once was and who he is today.
Three years ago, he began to create what is now the album Atmospherics. The term refers to electrical disturbances in the atmosphere, such as during a thunderstorm, which can interact with and distort wireless signals. Here, the title refers to both the sound of the album itself, where computer collages, classical instruments crystal clear melodies and heavy rhythms collide, and to the electronic processing and reworking. But really, he thought it would be a quiet release, almost devoid of melodies. Themes and music slide in and out of each other on the album. There are moments of dub, techno, pop and modern compositional music.
There are sounds and beats that crackle, dissolve, replace each other, or connect with each other in new ways.In this way, Atmospherics can be listened to as a long exhalation from an artist who has dared to hold his breath longer than most.
Atmospherics features both Danish and international guests such as Agnes Aldén (a singer, songwriter and producer from Falun, Sweden), Indra Rios-Moore (a singer, songwriter and arranger, from the Lower East Side of Manhattan), BYLJA and Janus Rasmussen - as well as a host of Sheridan‘s regular musicians.
The artwork for Atmospherics is created by visual artist Nicolai Howalt.

NEA Jazz Master, Toots Thielemans, is widely considered to be the preeminent jazz harmonica
player. It is safe to say that before him, the harmonica in jazz was simply not done, and Thielemans
can be credited with legitimizing the instrument in the genre. Born in Brussels, Belgium in 1922.
Theileman’s excelled on accordion as a small child, before picking up the guitar as a teenager after
hearing Django Reinhart. Along the way, he taught himself to play harmonica as a hobby. In 1948,
during a visit to the US, he sat in on guitar with a jazz group at small club in New York and was
“discovered.” Engagements soon followed with the likes of Benny Goodman, Charlie Parker, Miles
Davis, Oscar Peterson, Dizzy Gillespie, Quincy Jones and more. As the story goes, in response to a
musicians’ union restriction, Thielemans was forbidden to play guitar at a gig. So, he pulled out his
harmonica. The rest, as they say, is history. He went on to have a long and prolific career on the
instrument, as both a band leader and session musician. With his unique sound, he became a go-to
for film scores in the 1970s (The Pawn Broker, Midnight Cowboy). Perhaps most notably, Thielemans
is unconsciously known to generations for having played the melody on Sesame Street’s famous
closing theme. Organized as a purely jazz session, the date here prominently features a young Joanne
Brackeen on piano. It is perhaps Brackeen’s presence that makes this set so interesting. As an
avant-garde player she provides the vehicle for Thielemas to explore more advanced ideas. The
album covers a wide range of material, including two originals by Brackeen, alongside standards by
Coltrane, Ellington, Mercer and Mancini.

Frozen reeds presents the only recorded duo playing of two legendary musical figures. Derek Bailey and Paul Motian – two longstanding pioneers of distinct strains of improvised music – came together for a brief period of collaboration in the early 1990s. Tapes of their two known live performances (one at Groningen’s JazzMarathon festival in the Netherlands, the other a year later at New Music Cafe, NYC) were recently unearthed in the Incus archives, and their contents will surprise and delight fans of both supremely idiosyncratic musicians.

The Groningen concert (1990) is released on vinyl, while the New York date (1991) is included with the digital download, free of charge for all purchasers. A conversation between Bill Frisell and Henry Kaiser on Bailey, Motian, their intertwined backgrounds, and the significance of these recordings is included as sleeve-note insert.

“This is one of those moments that we’re always hoping for, and it's so rare. And it's so hard to talk about, because it's so beautiful. It's like you're seeing some new species of plant that you never knew existed or something.” – Bill Frisell

Each player bringing decades of crucial experience to their encounters – with histories taking in vast swathes of the development of jazz and free improvisation – these fleeting shared moments provide some of the most riveting playing in the career of either.

There is precious little recorded evidence of Motian as a free improviser, but his mastery is beyond any doubt in these recordings. From knife-edge precision to textural haze, Motian’s palette is astounding, but perhaps even more impressive is his confidence in the non-idiomatic conversation itself. Pushing far beyond the established vocabulary of free percussion, his playing allows a measured degree of repetition to take form, giving rise to almost song-like structures. The covert influence of the drummer’s work on the post-rock genre (just taking its first nascent steps in the early 1990s) is made overt here.

In turn, Bailey allows some of his most unashamedly melodic passages to unfold without a mote of his trademark contrariness or antagonism. Patterns that would be acerbically disrupted elsewhere are allowed to settle, with variations of note and timbre introduced more gradually than is typical of his playing. When forceful changes in dynamics or tone do arrive, they do so in such close tandem with Motian’s rhythmic and textural transitions as to beggar belief. The guitarist’s duos with percussionists (Jamie Muir, Han Bennink, John Stevens…) arguably provide some of the highlights of his discography. ‘Duo in Concert’ represents a strong addition to the list.

An elegant sense of construction pervades the sets, as the duo ably fulfil the promise of free improvisation: carving out hugely compelling, expertly balanced, and thrillingly paced music as if from thin air.

As a father and touring musician I made this album to keep my kids company in my absence, hopefully for them to sing along with in their mom’s car. These songs evoke memories of my mother playing her Martin parlor guitar and of my father, at the family turntable, telling stories about Furry Lewis and Gus Cannon or explaining a song’s meaning. I wanted to share these childhood favorites with my kids. This collection of childhood favorites was recorded for fun, at home, with family and friends in the spirit of sharing. Everyone is welcome. I wanted to share these songs with my kids and my friend’s kids as well as expose my daughters to the joy of learning, performing and recording music that my father shared with me. The recording was largely done in 2017 during dinner parties, sleep overs and play dates, either in a family style social setting or while the kids slept. After burning rough mix CDs for the family car, I set the project aside until 2023. Finishing the album with fresh ears album benefitted from my film score work done in 2020 and 21. I love letting projects simmer on the back burner until the time is right. The perspective of time can’t be bought or faked. My daughters sang on the album, both in 2017 and in 2023. Overdubbing my daughters on top of their younger vocals, 6 years later, was a unique sensation and document of their youth. You can hear my youngest daughter sneeze and improvise wordless melodies but my oldest daughter stole the show after her first overdub party, taking me aside and asking “don’t you get paid for singing on a record?” - Luther Dickinson

Bathed in a green haze, the crowd oozed to the mutant rock and roll roaring from the basement's dusty depths — everything and everyone was sweaty and sticky. But as Speedy Ortiz crammed into the back corner, their grins just inches away from ours, D.C.’s Dougout became a moshed-and-sloshed sauna of 20-somethings delirious on rock euphoria.

After spending much of the new millennium bored out of my skull by network soap indie, Speedy Ortiz — not to mention its pals in Pile, Ovlov, Grass is Green and the rest of New England’s burgeoning basement scene — was rock's wild howl. The songs were unpredictable, yet weirdly memorable, swaggering with a winky and wry sense of self. Riffs would twist with a topsy tenderness, then slam a ruptured discord. Sadie Dupuis' sphinxian-yet-sensitive lyrics were not only matched but accentuated by her coil-sprung vibrato. How could Speedy Ortiz not immediately become my new favorite band?

What began as a short-lived solo project recorded in Dupuis' off-hours as a rock camp counselor became a four-piece band in Northampton, Mass., by the end of 2011: Dupuis on guitar and vocals with drummer Mike Falcone, bassist Darl Ferm and guitarist Matt Robidoux. They made cool mixtapes, cracked inside jokes and gushed about teenagers that opened for them on tour. They freaked out (via LiveJournal) when they met the bassist from Polvo or Helium's Mary Timony, but also rolled their eyes at '90s indie-rock comparisons. The band's first single — the gender-bending got-laid grunge yowler "Taylor Swift'' — elicited that rare response of the simultaneous giggle and headbang. The Sports EP amped up the taut yet rubbery riffery.

Released July 9, 2013, Major Arcana is filled with wedding chapel exorcisms, oiled-down attractants and criminally twisted puny little villains — this is Dupuis' haunted lexicon as she scales the toxic Aggro Crag of a breakup. And while Dupuis wrote these songs, the band's convulsing arrangements and diverse influences sprawled the squigglier edges of feedbacked fuzz to mete out matters of the heart. Falcone — who, it's worth noting, has a knack for vocal harmony — swung as much as he smashed the drums. In easily tipoverable songs, Ferm's burly bass and percussive overdubs gave the unruly glee its momentum. Robidoux ripped skronky guitar solos and countered Dupuis' riffs with decorative splatter. Over a four-day marathon session at Sonelab in Easthampton, recording engineer Justin Pizzoferrato sparked the studio imagination of Speedy Ortiz — not only leaning into gritty tones but layer-caking dense dynamics that made these songs pop and pulverize.

For all her sweet-toothed seething, Dupuis was not easy on herself. Everyone's allowed the idiot growing pains of your 20s and the misery that follows, but I can only imagine the emotional exhaustion that playing these songs on the road, night after night, must have wrought. "But you left something on my lips: a mark so sick," she repeats over the doomy destruction that ends the album. Thinking back to the many Speedy Ortiz shows I caught in those early years, including an unofficial after-after party for my own wedding, "MKVI" often served as the noisy down-and-out closer — heads would bang in solidarity as the crowd became co-authors in the chaos, the biting phrase now a hex, Speedy Ortiz forever our coven. —Lars Gotrich

To celebrate the 10th Anniversary of Major Arcana, Speedy Ortiz release a remastered edition on Carpark Records.

With 2 solo albums («Digital Pixel » in 2016 and « Bass Attack » in 2018 ), a dozen of EPs and more than 800 shows performed all over the globe, the most international French beatmaker in the world of Reggae is back on November 2023 with his brand new album « Step Up », in which he pushes further the fusion between Reggae and Bass Music. With « Step Up » Manudigital made his music evolves toward more electronic and hybrid productions. He navigates between musical genres like no one does, inviting guests from all over the world. Armed with his bass, MPC and synthesiser, Manudigital surrounded himself with no less than 17 hand-picked artists to make his productions their own. « (…) I was already working on my upcoming album and I thought I would keep this small Reggae loop to take it to another style, fully electronic which has given my new album’s DNA » - Manudigital about the track « Step Up » The album opens with the eponymous explosive track « Step Up » featuring veteran Jamaican deejay Joseph Cotton and British Drum & Bass MC Bellyman, author of the successful YouTube video series « Carz Barz ». Among the artists of the British underground musical scene, Reggae/Soul genius Liam Bailey has been invited on the Pop-infused Digital Reggae track « Enough » which will delight the lovers of soulful Reggae. Manudigital also reminds us Reggae has always be his first love and, after having produced Alborosie and Protoje’s hit « Strolling » a few years ago, he proposed the Sicilian MC to collaborate with Jamaican artist Yami Bolo on the track « Reggae Music and Love ». A big tune built upon a classic digital riddim in the Jamaican way, a catchy chorus carried by the high voice of Yami Bolo and the legendary flow of Alborosie of the verses. Cult band Asian Dub Foundation’s singer Ghetto Priest takes also part of the project with « Rasta Corner », MC Caporal Negus joins Manudigital on « Dub and Bass » and on tour, and Jolly Joseph sings on « The world is Hell » for the Reggae Dub tracks of the album. In terms of surprises, Manudigital takes pleasure in inviting benchmark artists in each musical genres, walking through Lo Fi Hip-Hop’s path with the Dancehall President aka Skarra Mucci on « Fi Di Youths », Baile Funk with Punjabi-American rapper Alo Wala and their song « Love on Tap » or even Afrobeat with Dynamq for the last song « Piki Piki ». Finally, whereas Manudigital will soon celebrate his career 10th anniversary and as his name resonates in sound systems from all over the world, we appreciate each risk taken and each nod to Reggae Culture, wondering what his next shape will be. First parts of response on November 17, 2023 with the release of

Niemals war der Entstehungsprozeß eines SONGS:OHIA Albums so wesentlich in seinem Gesamtgefühl wie bei "Didn't It Rain", dem mittlerweile sechsten Album der Band, das von Edan Cohen aufgenommen wurde. Das gesamte Album wurde live ohne Overdubs eingespielt, die gesamte Band spielte in einem Raum. Kaum eine Armlänge voneinander entfernt, teilten sich die Sänger Jason Molina, Jennie Benford und Jim Krewson ein einziges Mikrophon. Das Resultat ist ein Sound voller Wärme und Persönlichkeit, der an Aufnahmen aus den frühen und Mitte der 70er Jahre erinnert. Von einem gleichnamigen Song von Mahalia Jackson inspiriert, kommt der Titeltrack als wunderschöner Song über die Höhen und Tiefen des Lebens. Jason Molina hat eine Platte geschaffen, die noch persönlicher und heilender ist, als seine vorangegangenen Arbeiten; was für Neil Young "After The Goldrush" war, ist für Molina "Didn't It Rain".

Walt Disney Animation Studios’ “Wish” is an all-new musical-comedy welcoming audiences to the magical kingdom of Rosas, where Asha, a sharp-witted idealist, makes a wish so powerful that it is answered by a cosmic force—a little ball of boundless energy called Star. Together, Asha and Star confront a most formidable foe—the ruler of Rosas, King Magnifico—to save her community and prove that when the will of one courageous human connects with the magic of the stars, wondrous things can happen. Featuring original songs by Grammy®-nominated singer/songwriter Julia Michaels and Gramm winning producer/songwriter/musician Benjamin Rice.

Wiederveröffentlichung zweier Alben in farbigem Vinyl (140g).
Wir feiern das 5-jährige Jubiläum des Debütalbums der australischen Blues-Rock-Gruppe – benannt nach
den beiden Brüdern, die sie gegründet haben. Mit den Songs „Crying Shame“ und „Shiny Moon“. Das
Album wird zum ersten Mal auf orangefarbenem Vinyl veröffentlicht.
Run Home Slow ist das zweite Album der Teskey Brothers aus dem Jahr 2019. Die australische Band
besteht aus zwei Brüdern (Josh und Sam Teskey) und ihren Freunden Liam Gough und Brendon Love. Auf
der Bühne ist die Band so stark wie keine andere in der Branche und bringt Bläser und Tasten ins Spiel,
um eine Show zu liefern, die mit meisterhafter Kontrolle auf und ab geht. Man kann nur vermuten, wie
weit die Teskey Brothers mit ihrer Musik gehen werden, aber alle Anzeichen deuten bisher darauf hin, dass
die Liebe für diese besondere Combo auf der ganzen Welt groß sein wird. Zum ersten Mal auf grünem
Vinyl präsentiert.

Wiederveröffentlichung zweier Alben in farbigem Vinyl (140g).
Wir feiern das 5-jährige Jubiläum des Debütalbums der australischen Blues-Rock-Gruppe – benannt nach
den beiden Brüdern, die sie gegründet haben. Mit den Songs „Crying Shame“ und „Shiny Moon“. Das
Album wird zum ersten Mal auf orangefarbenem Vinyl veröffentlicht.
Run Home Slow ist das zweite Album der Teskey Brothers aus dem Jahr 2019. Die australische Band
besteht aus zwei Brüdern (Josh und Sam Teskey) und ihren Freunden Liam Gough und Brendon Love. Auf
der Bühne ist die Band so stark wie keine andere in der Branche und bringt Bläser und Tasten ins Spiel,
um eine Show zu liefern, die mit meisterhafter Kontrolle auf und ab geht. Man kann nur vermuten, wie
weit die Teskey Brothers mit ihrer Musik gehen werden, aber alle Anzeichen deuten bisher darauf hin, dass
die Liebe für diese besondere Combo auf der ganzen Welt groß sein wird. Zum ersten Mal auf grünem
Vinyl präsentiert.

Australia post-punk duo The Native Cats - bassist Julian Teakle and singer and electronics operator Chloe Alison Escott (who released solo album Stars Under Contract via Chapter in 2020). Spiritual forebears to the current wave of speak-singing post-punk a la Dry Cleaning and Sleaford Mods, The Native Cats have grown a sizable cult following from their home in Tasmania (Australia's remote and chilly island state) since the late 2000s. Their minimal bass and drums rumble is offset by Chloe's lyrics which twist, confound and linger. The band have toured the US and played Memphis' legendary Goner Fest, been written up by the likes of Stereogum, NPR and Brooklyn Vegan, and performed at the Sydney Opera House. In 2020, they were riding a growing wave of recognition and admiration following their best run of records to date, culminating in killer double A-side single Two Creation Myths. But the pandemic and Australia's extended lockdowns brought with them a period of intense loneliness, isolation and despair. Chloe's confidence as a lyricist, singer and performer was at an all-time low. Even in those low times, the apparition of Native Cats LP #5 just kept on calling out. Julian never stopped recording instrumental demos and emailing them to Chloe. Chloe never stopped writing, and even began revisiting lyrics that had previously felt too raw or revealing to include.. Small moments of inspiration grew into more substantial ones. The band committed to weekly songwriting sessions, started to accept invitations to perform again, and had crowds fall instantly in love with their new songs. Recorded with producer Ben von Fürstenberg, The Way On is the Way Off takes a meticulous, painterly approach to the band's heavy, scorching songs. Every element is chosen for its thematic resonance and emotional impact. Chloe's lyrics arise from deep-rooted trauma and identity issues she is finally facing head-on, as well as reflections on post-punk history and lineage - the title of the album is drawn from the rules and principles David Thomas wrote for his band Pere Ubu. With the setbacks and self-doubt now a distant memory, The Way On is the Way Off is everything The Native Cats believed it could be when its completion seemed impossible, and everything they have been working towards since the day they began.

10 year anniversary edition of the 6th Baby Woodrose album limited to 500 copies on clear vinyl. All Baby Woodrose albums have a different vibe and with Third Eye Surgery they have made their space rock album. For the first time Lorenzo Woodrose integrates the heavy psych of his side projects Dragontears and Spids Nogenhat with the fine song writing of Baby Woodrose. No matter how much the fuzz guitar is wailing or the echo machine is tripping, there's always a good song hiding beneath the rumble. Several of them clocks in at 6 minutes so there are only 9 songs on Third Eye Surgery. Songs like Nothing is Real and Love Like a Flower have an Eastern flavour thanks to the sitar of Vicki Singh while Just a Ride sounds like a trip to India in more than one way. Even though the central songs on Third Eye Surgery like Waiting for the War, Bullshit Detector and the title song are very spaced out there are also a few tunes that sticks out. Dandelion is a sweet and melancholic psychedelic pop song and is also a duet with Emma Acs while Honalie is a dreamy ballad that makes time stand still. Almost. Third Eye Surgery has been recorded in the Black Tornado studio in Copenhagen and is engineered by Anders "Evil Jebus" Onsberg and produced by Lorenzo Woodrose. The artwork is made by German artist Kiryk Drewinski who has worked with the band several times before and also did the artwork for the demo collection Mindblowing Seeds and Disconnected Flowers released in 2011.

The earth rotates, seasons change_there is but one long day_ Time is a beguiling, indistinct entity_sometimes standing still, sometimes bending back upon itself with premonitions or memories of the future. Growing out of a pen pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, Gloria de Oliveira and Dean Hurley passed thoughts and music back and forth that would eventually form their collaborative album, Oceans of Time. The result is an aural tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond stars. The duo's partnership is an effortless merge, yet it's the steady presence of de Oliveira's vocals that endows the record with its sense of potency. Throughout the album, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, her lyric and melody are purposely aimed in order to illuminate the truths deep within oneself_a process that ties us all to the universal. The Danish philosopher Soren Kierkegaard, a professed influence, wrote about the truth as something that was inherently subjective, less about the concrete reality of what is believed and more about how it is experienced by the believer. Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic landscape of each track on the album, lending a layered ether that envelops, frames and holds de Oliveira's vocals. With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dreampop of 4AD acts like Cocteau Twins and Lush. The album feels especially attuned to the connections between the physical and transcendental realms, and the best dreampop has a way of making the veil between two worlds feel just a little bit thinner. Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly_

The earth rotates, seasons change_there is but one long day_ Time is a beguiling, indistinct entity_sometimes standing still, sometimes bending back upon itself with premonitions or memories of the future. Growing out of a pen pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, Gloria de Oliveira and Dean Hurley passed thoughts and music back and forth that would eventually form their collaborative album, Oceans of Time. The result is an aural tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond stars. The duo's partnership is an effortless merge, yet it's the steady presence of de Oliveira's vocals that endows the record with its sense of potency. Throughout the album, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, her lyric and melody are purposely aimed in order to illuminate the truths deep within oneself_a process that ties us all to the universal. The Danish philosopher Soren Kierkegaard, a professed influence, wrote about the truth as something that was inherently subjective, less about the concrete reality of what is believed and more about how it is experienced by the believer. Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic landscape of each track on the album, lending a layered ether that envelops, frames and holds de Oliveira's vocals. With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dreampop of 4AD acts like Cocteau Twins and Lush. The album feels especially attuned to the connections between the physical and transcendental realms, and the best dreampop has a way of making the veil between two worlds feel just a little bit thinner. Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly_

Kaisei’s music is played by many of the scene’s tastemakers so it was about time he got his first EP released. Beyond the Bridge is releasing a 4 tracker of experimental and genre bending sonic bombs as a nod to the free tekno days.

After a hiatus of quite some time, the Belgian duo composed by the world renowned model Kim Peers and post-metal band Amenra’s guitarist Mathieu Vandekerckhove, is finally back with a new full-length album.

Four years have passed since their debut Benevolence. Meanwhile Skemer took the time to let all sides of their personality grow and eventually explode. You remember their minimalist cold wave deconstructions equally made of brutal and erotic components. A duality deeply rooted in the band’s music as well as in their line-up and obviously their live shows, where romantic and ethereal atmospheres collide with the gothic side of electronic and techno music. This is even more present on their new LP Toasts & Sentiments.

Eleven new cuts where every side of Skemer’s nature gets its own share of expression only to leave you wrapped in one pitch black cloak. A few episodes in the duo’s native language Dutch, add even more mystery to the occult receipt.

Get in the introspective, tranche insistent riff on the opening track Eyelashes and get catapulted, quite literally, on the dark side of the moon. Keep on wandering the alien surface with Seen and its solemn gait. Pick up your pace with the pounding drums of Easy To Embrace and Kiss Me Kill Me. Go down the stairs to the dungeon of the club culture with lead singles Overgave and Out Of Favor claustrophobic electro. Remain bogged down in the darkness with New Born Babe, get slapped by Apocalypse’s industrial trance crescendo. Rest and collapse with the final track’s texture of ambient synths and reverberating guitars.

It may have taken four years for Skemer to present their new creation but it was definitely worth the wait. Walk the night with us.

"The Twits" wurde von der Band im Februar 2023 innerhalb von nur acht Wochen in einem provisorischen Heimstudio auf Mallorca aufgenommen und von Marta Salogni abgemischt. Nach einem Kinderbuch von Roald Dahl benannt, zeigt sich das Songwriting von bar italia in rauen, mystischen, ungebürsteten und gelegentlich düsteren Arrangements. Songs wie "my little tony" mit seinen harten Riffs und dem kathartischen Sound ist ein klassischer Indie-Banger für die große Bühne. In anderen Momenten wagt sich die Band auf bisher unbekanntes Terrain, auf dem sie eine hypnotische Dissonanz ihrer Stimmen schaffen. "Jelsy" zum Beispiel spielt sich wie ein Gespräch zwischen Freunden über wehmütigen, summenden Country-Blues ab, wobei die Stimmen abwechselnd tröstlich, ironisch und hoffnungslos sehnsüchtig sind. Der geschmeidige, langsam brennende Walzer "Twist" besticht durch seine nackte Lyrik und scheint jedes Bandmitglied zu einem individuellen Bekenntnis einzuladen. Während "Tracey Denim" von seinen kompakten 2-3-minütigen Songs lebte, besticht "The Twits" durch seine eher offenen und mitunter uferlosen Kompositionen. "glory-hunter" nimmt z.b. spielerische Wendungen, bevor es an einem völlig anderen Ort endet, als es begonnen hat. Das abschließende "bibs" ist ein seltener Fall, in dem alle drei im Einklang zu hören sind. Eine Prozession geradezu geisterhafter Akkorde mit einer zerreißenden Rückkopplung bildet den Abschluss des Albums. Das im Mai veröffentlichte Matador-Debüt "Tracey Denim" von bar italia wurde schnell zum Gesprächsthema der weltweiten Indieszene. Publikationen wie The Guardian ("eines der Alben des Jahres 2023 bisher"), The Times ("excellent debut album"), The Observer ("Artist To Watch"), NME ("a lasting impression that"s all of their own making"), The Quietus ("endlessly evocative") und Pigeons And Planes ("quickly establishing themselves as one of the most enticing upcoming bands") feierten das Album. Im Juni gaben bar italia ihr Live-Debüt in den USA mit fünf ausverkauften Konzerten in New York sowie vier in Los Angeles und auch ihre Debüt-Show in Berlin war binnen kürzester Zeit ausverkauft. Über einen der New Yorker Auftritte schrieb Brooklyn Vegan: "Live spielt die Band ganz natürlich und großartig auf, mit Songs wie "Punkt", "Changer" und "Nurse!" (...), die Post-Punk der frühen 80er mit Indie-Rock der 90er und einem Hauch Trip-Hop mischen".

180-gram 45 RPM double LP
Mastered by Ryan K. Smith at Sterling Sound from the original analogue master tape
Pressed at Quality Record Pressings and RTI
Gatefold old-style "tip-on" jacket by Stoughton Printing

In The Right Place is the sixth, and biggest-selling album of the late iconic music legend, six-time Grammy-winner, and Rock And Roll Hall of Fame inductee, Dr. John. Dr. John, the stage name of Malcolm John Rebennack, Jr., was one of the most original, distinctive and influential voices to ever come out of New Orleans. His career spanned six decades as a songwriter, composer, producer and performer. His unique blend of music carried his hometown of New Orleans at its heart.

His colorful musical career began in the 1950s when he wrote and played guitar on some of the greatest records to come out of the Crescent City, including recordings by Professor Longhair, Art Neville, Joe Tex, Frankie Ford and Allen Toussaint. Dr. John headed west in the 1960s, where he continued to be in demand as a session musician, playing keyboards on records by Sonny and Cher, Van Morrison, Aretha Franklin and The Rolling Stones' Exile On Main St. During that time he launched his solo career, developing the charismatic persona of Dr. John The Nite Tripper. A legend was born with his breakthrough 1968 album Gris-Gris, which introduced to the world his unique blend of voodoo mysticism, funk, rhythm & blues, psychedelic rock and Creole roots.

1973's In The Right Place contained the chart hits "Right Place Wrong Time" and "Such A Night." In addition to his six Grammy wins (1989, 1992, 1996, 2000, 2008 and 2013), he has received six other Grammy nominations over the years. In 2007 he was nominated for "Sippiana Hericane," his Hurricane Katrina benefit disc.

AllMusic says that with In The Right Place, Dr. John struck mainstream paydirt, especially with his hit single "Right Place Wrong Time" bounding up the charts and initiating listeners into New Orleans-style rock (the song hit No. 9 in 1973 on the Billboard Hot 100 songs chart).

Also including Allen Toussaint's "Life," and a funky little number entitled "Traveling Mood," which shows off the good doctor's fine piano styling, and with able help from the Meters as backup group, In the Right Place is still a fine collection to own.

With mastering by Sterling Sound's Ryan K. Smith direct from the original tape, and two sides of premium 180-gram vinyl (pressed by the best — Quality Record Pressings and RTI), our 45 RPM edition of In The Right Place emphasizes Dr. John's gravelly bayou drawl and sonically creates the hoodoo-infused stage persona he brought to his performances.

After Hurricane Katrina Dr. John immediately stepped up to the plate with generous relief fund-raising concerts and recordings. In 2007 he was inducted into the Louisiana Music Hall of Fame and Blues Hall of Fame. In 2008 he released City That Care Forgot, winning him a Grammy for Best Contemporary Blues Album.

His numerous other awards included the Louie Award from the Louis Armstrong House Museum and the Jazz Foundation of America's Hank Jones Award, presented in October 2016 at "A Great Night in Harlem" which pleged $1 million to help musicians recovering from the 2016 Louisiana flood.

We are so pleased to bring you this deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic Series) reissue of the timeless Dr. John classic In The Right Place. Cue it up and prepare to be transported.

Record producer and electric bassist Dan Horne returns to his Lone Palm a.k.a. Liberty Hair Farm studio in Echo Park, Los Angeles for the vinyl release of his debut full-length studio album, Count The Clouds. Recorded in 2020 - 2021 before his touring schedule kicked back into high gear with Circles Around the Sun and Grateful Shred, Horne unveils Count The Clouds, featuring eight songs with the multiinstrumentalist vibin’ out on all the guitars, drums, pedal steel, and keys. A flashback to mid-1960s psychedelic folk, Count The Clouds includes special guests Ny Oh from Harry Styles’ band, Raze Regal, and Frank LoCrasto. Horne is gaining recognition on the Echo Park scene as a producer at Lone Palm a.k.a. Liberty Hair Farm working with artists Mapache, Chapin Sisters, Pacific Range, AllahLas, and others. On the national live music circuit, he’s a founding member of Circles Around The Sun, the Dead tribute band Grateful Shred (who’s selling out venues all across the country), and a key player with bandleaders Jonathan Wilson, Ben Kweller and Conor Oberst

Repress!

When Black Pumas made their self-titled debut in 2019, the Austin-bred duo set off a reaction almost as combustible and rapturous as their music itself. Along with earning a career total of seven Grammy Award nominations (including Album Of The Year) and winning praise from leading outlets like Pitchfork and Rolling Stone, singer/songwriter Eric Burton and guitarist/producer Adrian Quesada achieved massive success as a live act, touring large theatres all over Europe and North and South America and delivering a transcendent show Burton aptly refers to as “electric church.” As they set to work on their highly awaited sophomore album, the band broadened their palette to include a dazzling expanse of musical forms: heavenly hybrids of soul and symphonic pop, mind-bending excursions into jazz-funk and psychedelia, starry-eyed love songs that feel dropped down from the cosmos. Wilder and weirder and more extravagantly composed than its predecessor, Chronicles of a Diamond arrives as the fullest expression yet of Black Pumas’ frenetic creativity and limitless vision.

“‘Bashed Out’... will also likely be her breakout... get ready to hear a lot more from her.” - Stereogum  This Is The Kit is the much beloved musical project of Kate Stables, born in England and based in Paris. ‘Bashed Out’ was produced Aaron Dessner, a member of The National known for both minting indie icons (Sharon Van Etten, Local Natives) and, more recently, becoming a producer to stars like Taylor Swift and Ed Sheeran. Dessner’s former client Sharon Van Etten called This Is The Kit her “favorite new artist” in Pitchfork.  The backing band gathered for ‘Bashed Out’ combines the talents of This Is The Kit’s touring members alongside session players drawn from the Brooklyn music scene: Bryce Dessner, Thomas Bartlett (Doveman, The Gloaming), Matt Barrick (The Walkmen) and Ben Lanz (Beirut, The National) made key contributions.  Since this LP’s initial release Kate made significant contributions to The National’s 2019 album/film ‘I Am Easy To Find’ and became a touring member on subsequent live dates. In 2020, ‘Bashed Out’’s title track became a streaming hit after an impactful needle drop in a key episode of Netflix’s ‘Sex Education’ series.  This music is honest, human and humane - a folky-lovely slowrumble. It’s rock but of the groovy, hangover-friendly, stoner variety. Stables’ voice hearkens back to the singer-songwriter era - her distinctive, cutting vocals up front in the mix.  The Line of Best Fit has the band as an “essential fixture of British folk music for the past 10 years… one of a handful of truly innovate songwriters working with the British folk template today.”  For fans of Joni Mitchell, Bon Iver, Sharon Van Etten, Father John Misty, Gillian Welch, Laura Marling, Natalie Prass, Jose Gonzalez.  This is the first time ‘Bashed Out’ has been widely available on vinyl since 2019.  ‘Green Eyed Muddy Puddle’ eco-vinyl variant.  Heavy touring in UK, Europe and North American to support the June 2023 release on Rough Trade, ‘Careful Of Your Keepers’.

Roots run deep on "Candid', the first LP by Munich-based producer Polygonia and drummer Simon Popp. The record is a perfect blend of their distinct voices, with Popp's drumset and his signature percussion sounds buzzing around Polygonia's bold and blooming productions.

Comprised of live material recorded at Munich's ZIRKA in late 2022 and over several studio sessions in-between touring duties, 'Candid' is a meadow of herbal Electronic, mystic at times, but joyful nonetheless.

George Coleman (born March 8, 1935) is an American jazz saxophonist best known for his work with Miles Davis and Herbie Hancock in the 1960s. Coleman was born in Memphis, Tennessee and learned to play the alto saxophone in his teens. After his work with Ray Charles, George started working with B.B. King in 1953 and switched to playing the tenor saxophone.

George Coleman was a member of legendary outfits such as Max Roach’s quintet, The Slide Hampton Octet, Miles Davis’ Quintet and The Chet Baker Quintet. The list of his collaborations is impressive to say the least, Mr. Coleman recorded and performed with greats such as Freddie Hubbard, Herbie Hancock, Charles Mingus, Ahmad Jamal, Idris Muhammad, Pharoah Sanders, Ornette Coleman, Melvin Sparks, ArtBlakey…and many others.

Coleman was named an NEA Jazz Master, was added to the Memphis Music Hall of Fame in 2015, and received a brass note on the Beale Street Brass Notes Walk of Fame. George Coleman’s performances were included on classic recordings released by prominent labels from the likes of Blue Note, Atlantic, Prestige, Strata-East, Muse, Verve and Impulse!

On the album we are proudly presenting you today: Amsterdam After Dark (Recorded in 1978 at the famous NY Sound Ideas Studio and released on Timeless Records in 1979) the listener is treated to six majestic tracks of the highest caliber and features a remarkable outing of advanced musicianship by jazz-giants in their prime, delivering an inspirational gem of an album.

The all-star line-up includes Sam Jones (Dizzy Gillespie, Duke Ellington, Ben Webster) on bass, Billy Higgins (Donald Byrd, Thelonious Monk, John Coltrane) on drums and Hilton Ruiz (Roy Brooks, Rashaan Roland Kirk, Sonny Rollins) on piano. Most players featured here were also part of the legendary ‘Eastern Rebellion’ collective responsible for releasing multiple ground-breaking albums over several decades.

Amsterdam After Dark shows off George Coleman’s mastery of the sax, his brilliant vintage techniques and deep soulful tones. Coleman plays from the heart and is on top of his game. Expect both original compositions as well as standards, beautiful ballads with elegant (yet fierce) solos alternating between the instruments, growling blues-oriented themes…this is a contemporary sounding Hard Bop & Post-bop crossover album and a must have for any self-respecting jazz fan or collector!

Mick Jenkins, lyrical hip-hop mastermind and Chicago's Finest, returns with the album "The Patience." He chose to title it "The Patience" because it was that patience that he needed to get to the point in his career where he is now.

Waiting to get free from a label that didn't share his vision was very frustrating, especially since he had to consciously hold back his musical gems in order to release them in collaboration with a partner and team that believed in his art and supported him in his vision for his music.

During this time, Mick worked on his upcoming amazing body of work that has evolved into something very special. Mick at times compares himself to a star chef, brewing up lyrics, seasoning each line to perfection. The album is bursting with offbeat rhymes, sophisticated grooves and complex metaphors. On 'The Patience', the artist shows in an impressive way that he is one of the best in his genre.

Features on the album include JID, Freddie Gibbs, Benny The Butcher and Vic Mensa, who are no less eloquent as rappers and round out the record excellently. Also the production, peppered with live instruments and many jazz influences, makes the hip-hop hearts beat faster.

Banger of a Freetek and hardcore sound !
All benefits goes to association "Fédérer Entraide Sri Lanka.
A school in Sri Lanka.

Das neue Flamingods-Album 'Head Of Pomegranate' wurde vom Grammy-gekrönten Produzenten Ben H. Allen (Animal Collective, Deerhunter, M.I.A.) aufgenommen. Die Londoner Band kreiert seit über einem Jahrzehnt unverwechselbare, genreübergreifende Musik. Das Durchdringen von Genres wie Psychedelia, New Wave, Electronica und Punk – oft innerhalb desselben Songs – ist ihre Spezialität, ebenso wie das Talent, Einflüsse aus dem einzigartigen kulturellen Erbe und die Liebe zum UK Rock'n Roll der 70er Jahre zu vermischen. Opener und erste Single 'Dreams (On The Strip)' geben mit stimmungsvollen Synths, düsteren Drum-Machines und dem euphorischen Refrain den Ton vor. Es ist eine neue Ära für die Band und sie möchte, dass wir dies von Anfang an wissen.

AUDIOBOOK, das neue Projekt des vielseitigen Multi-Instrumentalisten Sam Gendel und der bildenden Künstlerin/Filmemacherin Marcella Cytrynowicz, besteht aus 13 alphabetisch benannten Tracks, wie Botschaften aus dem Weltall oder ausgegrabene uralte Runen. An manchen Stellen melodisch und cartoonhaft, an anderen glitching und etwas nervtötend, ist es ein visuelles Werk und Instrumentalalbum in einem seltsamen Zwischenraum zwischen irdisch und Jenseitigem. Ein Puzzle, das nicht danach verlangt, vollendet zu werden, sondern zum Spielen einlädt. Cytrynowicz und Gendel arbeiten seit 2020 regelmäßig zusammen, wobei Cytrynowicz sowohl die Fotografie als auch Musikvideos und Bildmaterial, und Gendel die musikalischen Partituren beisteuert. AUDIOBOOK ist das Zusammentreffen von etwas eindeutig Analogem in einer Klanglandschaft, die auch in einem 90er-Jahre-Sci-Fi-Soundtrack zu Hause sein könnte, das parallele Spiel einer bildenden Künstlerin und eines produktiven Musikers, abstrakte Kunst und Klang, die sich berühren.

Miguel Atwood-Ferguson lebt in seiner Heimatstadt Los Angeles und ist einer der herausragenden Musiker, Orchestratoren, Arrangeure und Komponisten unserer Zeit. „Les Jardins Mystiques Vol.1“ ist sein lang erwartetes Debütalbum. Es präsentiert uns eine leidenschaftliche Liebeserklärung und ein Reich der schönen Möglichkeiten.

Es gibt eine Fülle von Möglichkeiten, sich Miguel Atwood-Fergusons Musik zu nähern - und es gibt keine Grenzen, wohin sie jemanden führen könnte. Als Komponist, Arrangeur, Multiinstrumentalist und Produzent hat er an mehr als 600 Alben und Soundtracks für genreübergreifende Künstler:innen gearbeitet, darunter Flying Lotus, Thundercat, Anderson .Paak, Mary J. Blige oder Seu Jorge. Seine Klangpalette umfasst Jazz, Klassik, Hiphop, Electronica, Avantgarde, Pop und vieles mehr. Zu seinen gefeierten Live- und Aufnahmeprojekten gehören die innovative orchestrale Neuinterpretation des Repertoires von J Dilla, „Suite For Ma Dukes“ (2009), seine produktiven Werke mit seinem langjährigen Freund und Kollaborateur Carlos Niño, darunter das improvisierte Album, „Chicago Waves“ (2020), auf International Anthem, und seine Gruppen wie das Quartetto Fantastico und das Miguel Atwood-Ferguson Ensemble. „Les Jardins Mystiques“ ist ein Projekt, das Miguel Atwood-Fergusons musikalisches Universum offenlegt und mit anderen teilt. Es hat sich über ein Dutzend Jahre hinweg entwickelt, wurde größtenteils von ihm selbst finanziert und zeigt seine ausgesprochen elegante Musikalität (u. a. auf Geige, Bratsche, Cello und Keyboards) sowie seine freigeistigen Dialoge mit mehr als 50 Instrumentalist:innen. ‚Volume 1‘ ist hierbei bloß der erste Teil eines geplanten Triptychons, das insgesamt ganze zehneinhalb Stunden origineller und erfrischend ausladender Musik umfassen wird. Atwood-Ferguson verband sich mit seinen Gastmusiker:innen auf vielfältige Weise: durch gesellige Studiodialoge, durch Fernkommunikation während der Pandemie und durch die Energie von Live-Auftritten in seiner Heimatstadt, darunter im Del Monte Speakeasy (das herrlich belebende, von einem Klavier begleitete „Dream Dance“) und im Bluewhale (u. a. „Ano Yo“ mit dem temperamentvollen Alt-Saxophon von Devin Daniels und den kosmischen Harmonien von „Cho Oyu“). Bennie Maupin, der legendäre US-Multi-Blasinstrumentalist, zu dessen Repertoire auch Miles Davis' Fusion-Opus „Bitches Brew“ gehört, spielt Bassklarinette auf der hinreißenden Eröffnungsnummer „Kiseki“. Im Laufe seiner illustren Karriere hat Miguel Atwood-Ferguson mit Künstler:innen wie Rihanna, Ray Charles, Lana Del Rey, Lady Gaga, Anderson .Paak, Dr. Dre, Kamasi Washington, Mary J. Blige, will.i. am, Big Boi, Arthur Verocai, Bonobo, Lianne La Havas, Kaytranada, Moses Sumney, Seu Jorge, Common, The Roots, The Cinematic Orchestra, Jamael Dean, Shafiq Husayn, Adrian Younge & Ali Shaheed Muhammad, Carlos Niño, Bilal und viele mehr zusammengearbeitet.

Black Truffle is thrilled to present a previously unheard performance by rudra veena master Ustad Zia Mohiuddin Dagar, recorded in the North Indian city of Vrindavan at the Druhpad Samaroh festival in 1982. Z.M. Dagar was a nineteenth-generation descendant of the Dagar family of musicians, famed for their profoundly meditative approach to the tradition of Hindustani court music. Perhaps the most revered members of the family were the brothers Mohinuddin and Aminuddin Dagar, who played a key role in reawakening interest in dhrupad in the mid-20th century. The great exponents of the tradition from whom Z.M. Dagar descended were all singers, and dhrupad is essentially vocal music. However, as Z.M. Dagar explained, the veena family of instruments plays an important role in the education and practice of dhrupad singers, especially as an aid to mastering the fine microtonal nuances of pitch essential to the genre. Introduced as a child by his father to the rudra veena, a large and low-pitched veena amplified by two enormous gourds, Z.M. Dagar became the first modern dhrupad musician to perform with it as an instrumental soloist, giving his first recital at the age of 16. Devoted to the instrument throughout his life, he made innovations to its design and materials, as well as introducing novel techniques (such as playing without the use of the traditional wire plectrum, resulting in the remarkable warmth of his tone). In the great Dagar family tradition, his approach to the various ragas that make up the dhrupad repertoire was stately, slow, and considered, with a great emphasis on the alap, the heavily improvised exposition section. True to form, in this recording of Dagar performing the night raga Yaman Kalyan, the alap section stretches out to more than forty minutes of slow-motion bliss, a frozen tanpura drone hovering above Dagar’s gracefully bent notes and elegantly twisting phrases. In the alap’s first half, Dagar’s figures are so intently focused on the lower reaches of the rudra veena’s range that they register more as shudders and moans than melodic patterns. As the performance continues, he slowly climbs in pitch, though continuing with the same intent focus on the articulation of single notes and subtle microtonal variations. This leads to the jod section of the performance, which, though still accompanied only by the tanpura, gradually takes on a more rhythmic character. Developing almost imperceptibly over the course of nearly thirty minutes, the jod moves from the stillness of the opening alap to a rapid pulse that announces the closing section of the piece, where Dagar is joined by Shrikant Mishra on the pakhawaj (a double headed hand drum). Where many performers use the final section of the raga as an exercise in unrestrained virtuosity, Dagar and Mishra subtly weave a web of finely shifting accents and hypnotic melodic variations, bringing the recording to a fitting conclusion while remaining within the meditative space occupied by the performance as a whole. Adorned with beautiful archival photographs of Dagar taken by Swedish percussion legend Bengt Berger and accompanied by detailed notes from Bradford Bailey, Vrindavan 1982 is a stunning document of music unmatched in its patient focus and mysterious emotional depth. .

After glowing reviews of Dreaming Forever 001 and club plays from Ben UFO, Skatebard, Michael Mayer and many more, we are very proud to announce 002.
 
 Berlin based DJ Marie Lung is a regular performer at some of the best venues in the house and techno capital. After discovering Marie Lung’s set on HÖR and being blown away by her performances on the channel consistently, we contacted the artist to see if she had any demo tracks for us.
 
 The resulting tracks were two timeless and evocative house records that we play constantly in the Dreaming Forever offices. A spaced out remix from the inimitable Vril and a super classy rework from Matthias Reiling, one half of Session Victim, makes up the release.
 
 We are proud to release Marie’s inaugural record.