Buscar:car

Referred to as "one of Reggae's quietest superstars" Jackie Mitto aka "The Keyboard King" had a remarkable path in Reggae music, a protege of Sly Stone, he started his career as part of Studio One's in house recording band and later went on to work with artists such as Bob Marley, UB40, Barry White, Peter Tosh and Oscar Peterson. This album was the result of a rare occasion of being on tour in Africa and establishing musical connections with musicians from Ghana, recorded in Accra and mixed in London. Predominantly instrumental, this album is essential to any dub conscientious record collection, as it culminates the career of a Reggae legend whilst under new influences in West Africa resulting in an unmistakably characteristic modern dub sound. Re-issued on vinyl with remixes previously only availably on CD format.

Performance and Cocktails, released in 1999, includes “T Shirt Sun Tan,” the acoustic “She Takes Her Clothes Off,” and “Pick a Part That’s New.”. The name of the band’s second studio album comes from lyrics in the first featured song ‘Roll Up and Shine’, and is being released as a limited edition 140-gram Orange vinyl.

The live version of French pianist's covers album available for the first time on vinyl

Songs covered along with a couple of originals by the pixies • joy division • arcade fire • nirvana • depeche mode / also included: a new exclusive rework of the pixies 'where is my mind' by the toxic avenger

»In Words« is the first solo album by the Danish musician, composer, and visual artist Alexander Tillegreen. The album represents a series of varied electronic music pieces while also carrying examples of ongoing work with psychoacoustic phenomena. Composed partly of material taken from his artistic practice as an installation artist and his ongoing interdisciplinary artistic research into psychoacoustic phenomena, Tillegreen investigates subjective sonic perception and the negotiation of language. Particularly, these investigations are done through the use of the phantom word illusion, originally discovered by music psychologist Diana Deutsch. Parts of the album were conceived when Tillegreen was the first artist ever in resident at the Max Planck Institute for Empirical Aesthetics. Triggering the brain’s tendency to interpret language-based auditory illusions as meaningful information and as words within the mind of the listener, Tillegreen’s unique sound works unfold like a kaleidoscope of phonetic mirrors which render possibilities to reflect upon the listener’s own psychological and culturally situated linguistic embeddedness. Gender-distorted voice perception, speech and language borders are all challenged and thematized throughout Tillegreen’s work. The listener’s head and bodily movement drastically affect the listening and the word interpretation. Their psychological subconsciousness, recent events, memories, and expectations as well as the listener’s motion in space all become co-creative and co- composing factors in a reactive and choreographic process of listening. The polyrhythmic seriality of spatialized syllabic structures is accompanied by elements of heavy bass drops, high-frequency tensions, undulating synth lines, and hypnotic effects. Some of the many compositional potentials of the phantom word illusions are exercised and unfolded in selected tracks throughout the album. The notion of language borders is approached from an entirely different and even more “anti-logocentric” perspective on the “eponymous” closing track »Assimilate (in Words)«, where the listener experiences the struggle and collapse of interpersonal communication through conversation. Other parts of the album represent more diverse approaches to abstract electronic music. »In Words« morphs soundscapes into glacial, spherical passages of ambient backdrops, while at other times emphasizes raw tectonic blocks of hyper-panning drones that erupt into high-velocity outlets of energetic, granular fields. Tillegreen is alternating between cyclical, minimalist, hypnotic approaches and complex, glitchy polyrhythmic melodic structures that shift and melt into evocative ambiences. The phantom words and the nature of Tillegreen’s musical visions progressively demand more of the listener’s attention and represent the artist’s ongoing artistic work and scientific research into psychoacoustics and language. While »In Words« is a highly conceptual album, the musical bandwidth is extensive.

Following an inspiring moment during a back-to-back live appearance at Fool’s Gold Presents: A-Trak & Friends in Oasis Wynwood during this year's Miami Music Week, The Magician and long-time friend A-Trak have collaborated on the captivating new single 'Love On You' (ft. Griff Clawson).

The Magician - known for his seminal Magic Tapes compilation series - heads up Potion Records and is a veteran of high-profile collaborations with Kolombo and Samaran, amongst many more. He has a mystic touch and spellbinding sound full of emotion and has taken it to places like Ushuaia Ibiza, Tomorrowland, and CRSSD festival in San Diego while also holding down his influential residency at Elsewhere Brooklyn. Here, he works with A-Trak, a.k.a. Alain Macklovitch, a legendary talent on the decks, president of Fool's Gold Records and a quintessential cultural connector. His 25-year career has seen him take turns as an internationally renowned DJ and World Champion turntablist, as well as being one half of the Grammy-nominated duo Duck Sauce and The Brothers Macklovitch, all of which have meant he continues to reshape the very role of the DJ as tastemaker and storyteller.

Their sublime 'Love On You' (ft. Griff Clawson) is an uplifting dance track that radiates positive vibrations. The rhythm section is married to tender piano chords and plenty of subtle synth details that bring it to life. The standout feature is the well-treated vocal that sounds fresh and futuristic but comes laden with a bittersweet sense of emotion that hooks you in and is sure to be sung back by vast crowds worldwide.

Support from: Purple Disco Machine, Junior Sanchez, Feenixpawl, Swanky Tunes, Olugbenga, ROOG (Hardsoul), Mr. Belt & Wezol, Judge Jules, Sugarstarr, Keanu Silva, Dots Per Inch, DJ Phantasy, Micha Moor, Patric La Funk, Borgore, Don Diablo, Claptone.

A blistering advancement of the knife-sharp hooks and urgently efficient post-punk structures that they’ve spent over a decade refining since their formation in 2011, the band’s fourth album – and second on Specialist Subject - emerges from a period of flux for the band’s chief songwriting partnership of Emma Wigham (drums/vocals) and Mark Jasper (guitar/vocals). First came a move north to Yorkshire from their native London. “We had decorated a tiny, rented house in Mytholmroyd” Jasper explains. “We setup a practice room in the top of a mill nearby and tried to write music, which we did amid stress about money, and a fear of having made the wrong decision. We had left our jobs, friends and a nice but absolutely tiny flat in London behind, and moved to a small village in West Yorkshire.” Although they found the location to be beautiful, the transition from city life to rural turned out to be an odd fit – too much so, it turned out. From this relatively short stay in West Yorkshire, however, came a more permanent change as the couple welcomed their first child Ivy into the family. Although, they’re hesitant to put too much of Streams and Waterways influence on the shoulders of their young daughter – she arrived a year and a half into the album’s conception – there’s no denying that its themes of loss, birth, and being part of this eternal, momentary life were brought into sharp focus following their new arrival. “Streams and Waterways is about the struggle of looking at the clock, realising it’s actually going pretty damn fast and knowing that really you have no control over anything” Jasper confirms. Perhaps that explains the way that opener The Valley doesn’t even introduce itself before careering into a full-throttled, three-minute scuzzy rager that would approach the descriptor anthemic had it not been kicked and scuffed along the way; it’s maybe why the wiry, ferocious Choice You Make feels like a charge into a storm despite the uncertainty of what you might find. It’s perhaps why even when Witching Waves allow themselves respite on the pared down Open A Hole, there’s a churning anxiety that lies below the acoustic guitar and harmonising vocals: in many ways musically and thematically Witching Waves are relinquishing the control that’s always been a fixture of their music – with all the thrilling and nervous fallout that comes from that. Although the pair have since returned south (having relocated to Exeter), Streams and Waterways also serves as a document of their foray northwards. The surviving artefact from Jasper’s never-to-be-finished studio that he’d began to build in Yorkshire – following the ending of his London-based Sound Savers studio – the record is also the first to feature current bassist Will Fitzpatrick, who joined initially live on their support tour with Australian punks Camp Cope. Fitzpatrick – a key component of Liverpool’s DIY scene for two decades – quickly became a key part of the writing process. Recording sessions were done during periods of lockdown that allowed congregation, Jasper recalling a still unborn Ivy kicking hard during an early mix playback of It’s A Shame’s layered noise rock assault. “The song was about my past, a much harder time. But my future was egging me on” he says. It’s a neat summation of Streams and Waterways and its representation of the discomfort of life amidst the compulsion to ride on its journey regardless. It’s a record that finds Witching Waves looking into the future more than ever before, but still bristles with the rush of being in the moment – because ultimately, despite what may have happened or may yet come, the band’s strongest trait remains being able to keep you feeling in the present.

Ross Mc Millan Aka Carlos Nilmmns Started His Career Over 10 Years Ago With Skylax Records. From His 1st Ep "Red" It Is a Statement. a Subtle Mix of House, Techno All Embellished With Striking Cinematographic Landscapes. There Followed a Multitude of Releases on Skylax (Blue Ep) but Also Ornaments, 4lux or Even Circus Company. He Has Just Recently Released 2 Fabulous Remixes for the Soul of the Makossa Man Project (Warehouse Classic 5 & 6). and It Is Logically in View of the Incredible Level He Has Reached in the Development of His Remixes That We Offered Him to Make a New Ep. There Is in This New 12 Inch His Very Personal Touch to the Deep and Sensual but Also Latin House Influences That Surely Would Not Have Denied the Maw but Also the Great David Mancuso (The Loft) Who if He Were Still Alive, We Think Would Have Loved This Ep (Rip). Indeed, Ross Also Manages to Integrate Into His Songs Cinematic Landscapes Worthy of Lalo Schifrin of the 1970s While Maintaining a Club Aspect. Latin Tapes Is One of the Most Beautiful House Bangers We've Heard in a Long Time, a Real Ode to Party and Life. No Love Lost Is Eyeing Moodymann, Mcde and the Brilliant and Forgotten Trus'me. Hootenanny Looks Nothing More or Less Than Isaac Hayes From His Blaxploitation Period. Everything Else Is on the Same Level: City of Love, Sunset Over Antoni De Portmany (Balearic Nights) & Life in the Loire. the Real Question Would Be to Know How He Manages to Obtain This Sound So Classy, ​​the Impression That He Is Accompanied Throughout the Ep by the Philadelphia International Rhythm Section (Gamble & Huff) an Orchestra of Seasoned Musicians. Probably One of the Finest House Records (Or Even Just Music) to Be Released This Year by a Talent as Singular as It Is Elusive. This 12 Inch Is a Masterpiece of Elegance and Refinement....

Nach dem jüngsten Erfolg ihres aktuellen Albums "I Don't Know" melden sich bdrmm mit einer 7" zurück. Darauf enthalten ein neuer Track, "Mud", sowie ein Remix des Albumtracks "Be Careful", überarbeitet von den Kollegen von Fila Brazillia aus Hull. Fila Brazillia haben bereits mit allen möglichen Musikern zusammengearbeitet, von Radiohead über Harold Budd, Black Uhuru, Twilight Singers und The Orb. Aufgenommen mit ihrem langjährigen Kollaborateur Alex Greaves (Working Men's Club, Bo Ningen) während der Album-Sessions in den Nave Studios in Leeds, zeigt "Mud", wie die Band ihren dynamischen und ausladenden Sound weiter ausbaut, mit einer gewaltigen Produktion und atmosphärischer Instrumentierung, unterfüttert von den halllastigen Vocals der Band.

Doctor Who – Revenge Of The Cybermen was the season 12 finale first broadcast on April 19th, 1975. As with so much television music of the 1960s, ‘70s and ‘80s, the original master tapes of Carey Blyton’s score for Revenge of the Cybermen were not retained. The only surviving copy is a set of four 7”, 7.5ips “composer’s copy” domestic 1/4-inch tape. It is from those digital transfers that this release is taken. Sadly, and to Carey’s obvious and understandable disappointment, the completed music did not meet with the complete approval of the production team, and much of it was not used. Peter Howell of the BBC Radiophonic Workshop added some electronic embellishments and arranged some additional cues for parts two and three but some of that was also left on the proverbial cutting room floor.
For this release, Carey’s original score is presented (and heard here for the first time) as written. This is followed by the additional, alternative, and “enhanced” cues, all of which were also on Carey Blyton’s tapes.
“This is undoubtedly one of the most distinctive, mysterious, misunderstood, and even controversial scores in Doctor Who history, and it delights me to finally bring it, complete, to your ears!” Mark Ayres - compiler and producer

NOTON IS PLEASED TO RELEASE RAY COLLECTOR - A LIMITED EDITION VINYL FEATURING RECORDINGS SOURCED FROM TAPES PRODUCED BY CARSTEN NICOLAI' FOR HIS 2023 SOLO EXHIBITION STRAHLEN/RAGGI AT FONDAZIONE MODENA ARTI VISIVE.
IN FEBRUARY 2022, CARSTEN NICOLAI DISPATCHED TEN PARCELS FROM BERLIN TO VARIOUS DESTINATIONS. EACH PACKAGE CONTAINED A BLANK MAGNETIC TAPE CASSETTE, AN ILFORD DELTA 3200 ISO 1000 BLACK-AND-WHITE FILM, AND A KODAK ISO 800 COLOR NEGATIVE FILM. ALL PARCELS WERE ADDRESSED TO THE SAME RECIPIENT, MR. NEMO, THE UNFORGETTABLE CAPTAIN OF THE SUBMARINE NAUTILUS IN TWENTY THOUSAND LEAGUES UNDER THE SEA. THE IDEA WAS FOR THE RECIPIENTS TO RETURN THE PARCELS TO THE SENDER. EACH PACKAGE HELD MAGNETIC TAPES AND PHOTOSENSITIVE FILMS THAT WOULD BE EXPOSED TO ELECTROMAGNETIC WAVES AND RADIATION DURING THEIR JOURNEY. UPON THEIR RETURN TO THE SENDER, THE LATENT IMPRESSIONS WERE DEVELOPED, DIGITIZED, AND THUS MADE BOTH VISIBLE AND AUDIBLE.

Red Vinyl

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

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

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

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

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

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

Our next EPMmusic release comes to you both digitally and on vinyl with a hefty four-tracker that sees Mark Broom and Patrik Carrera team up for the "ZZZZ EP".

A prolific music artist with over 150 releases under his belt, Mark Broom is best known for Techno but has also crossed music genres with numerous monikers and collaborations on labels including Rekids, Warp, Ifach, M-Plant, Cocoon and Glitterbox, as well as recently reigniting his mighty Beard Man label.

Patrik Carrera's connection to Broom has seen him release on Beard Man, as well as other highly regarded Techno labels like Modularz, Mindtrip, Mord and his own Paranoid Dancer. He's an artist with an astute approach to composition and a sound firmly rooted in the analogue domain. His fascination with vintage and modern analogue electronics are the foundation of his work.

Their "ZZZZ EP" pulls no punches, delivering four peak-time Techno tracks that could each be EP openers in their own right.

Red Vinyl

For the first time in their diverse second act, they allow themselves to be a rock band, freed of adornment and embellishment. As much as Carlson’s guitar has always been the focal point of EARTH’s music, it’s been surrounded by consistently diverse instrumentation. Here the dialog between Carlson and Davies drumming remains pivotal, underpinned by the sympathetic bass of Bill Herzog (Sunn O))), Joel RL Phelps, Jesse Sykes and the Sweet Hereafter) and thickened by additional layers of guitar from Brett Netson (Built To Spill, Caustic Resin) and Jodie Cox (Narrows). Perhaps the largest left turn on Primitive And Deadly, though, is the prominence of guest vocalists Mark Lanegan and Rabia Shaheen Qazi (Rose Windows) who transform the traditionally free ranging meditations of EARTH into something approaching traditional pop structures.
On “Rooks Across the Gates,” a song stylistically the closest to the folk inspired modality of Angels Of Darkness, Carlson stretches out into some of his most lyrical playing to date, creating an almost symbiotic relationship between his performance and the vocals of old friend Mark Lanegan. “From the Zodiacal Light,” meanwhile, takes the late 60s San Franciscan/freaked-out jazz-rock transcendence of The Bees Made Honey In The Lion’s Skull and quickly re-appropriates that sound into a musky torch song for the witching hour.
This contradictive tension between a band pushing itself ever-forward whilst surveying their history is reflected in the albums twin recording locales. The foundation of the record was laid in the mystic desert highlands of Joshua Tree, California where EARTH recorded hour after hour of meditations on each track's central theme at Rancho de la Luna. Upon returning to Seattle these were edited, arranged and expanded upon at Avast with the help of long-term collaborator Randall Dunn (who was previously at the helm for the Hex, The Bees Made Honey In The Lion's Skull and Hibernaculum sessions).

Rochester emo band CARPOOL released their debut album Erotic Nightmare Summer to widespread critical acclaim in 2020, and have now reissued the LP along with their signing announcement to SideOneDummy Records! Pressed on Blood Red and Black Splatter Vinyl! “Erotic Nightmare Summer is a pretty undeniable collection of mathy, anthemic emo/punk – somewhere in the middle of Joyce Manor, Algernon Cadwallader, Cap’n Jazz, Dogleg, etc. If you like any or all of those bands and haven’t heard this yet, that’s worth changing.” —Brooklyn Vegan

Chicago rock ensemble Red Red Meat hit hard with 1995’s Bunny Gets Paid. Arguably the band’s most complete album, the record pairs Stones-indebted blues-rock roots with beautiful songs, sounding miles removed from the era’s grunge and radio-friendly alternative rock tropes. Recorded at Idful Studios in Chicago’s Wicker Park by producer Brad Wood (Smashing Pumpkins, Liz Phair, Tortoise), Bunny Gets Paid finds Red Red Meat’s core members, Tim Rutilli, Brian Deck, Ben Massarella, and Tim Hurley, straddling the line between their most accessible set of songs and a desire to explore a kind of “alternate fidelity,” employing layers of distortion, natural reverb, and room ambience. “At the time, I felt like we’d made a classic rock record,” Rutilli says. “I was like, ‘This is our Astral Weeks.’” But listening back 20 years later, Rutilli recognizes the band’s ambition, a desire to break songs down to their barest, most primitive elements to “see what survives.”

90 Day Men spent a decade boldly in conflict with the world, catering to no one and careening toward its own abyss. Forged by Midwestern teens amid a late-90s spike in angular indie rock, the band wrote itself into the lexicon of Chicago music history. Eschewing trend and time, 90 Day Men was as ornate as it was alienating, transcending genre and embracing the strange. This 5LP set, remastered by Heba Kadry, collects the band's three studio albums and a previously unreleased 2001 Peel Session, plus EPs, singles, and outtakes, all detailed within a 68-page oral history curated by Joan of Arc's Tim Kinsella.

90 Day Men spent a decade boldly in conflict with the world, catering to no one and careening toward its own abyss. Forged by Midwestern teens amid a late-90s spike in angular indie rock, the band wrote itself into the lexicon of Chicago music history. Eschewing trend and time, 90 Day Men was as ornate as it was alienating, transcending genre and embracing the strange. This 5LP set, remastered by Heba Kadry, collects the band's three studio albums and a previously unreleased 2001 Peel Session, plus EPs, singles, and outtakes, all detailed within a 68-page oral history curated by Joan of Arc's Tim Kinsella.