Search:chi

‘Sharecropper’s Son’ is a soulful masterpiece and career-defining album
from Robert Finley, “the greatest living soul singer”, written by Finley and
co-written and produced by Dan Auerbach.
With songwriting by Finley, Auerbach, Bobby Wood, and contributions from respected country songwriter Pat McLaughlin, ‘Sharecropper’s Son’ also features
an all-star band, who have worked with everyone from Elvis to Wilson Pickett,
including guitar expertise from Auerbach himself.
Recorded at Easy Eye Sound studio in Nashville, Finley’s formidable vocals and
lyrical stylings take centre stage, sharing personal stories inspired by his Louisiana country childhood during the Jim Crow era south. His tales of pain and joy
uplift as Finley reflects on his belief that you are never too young to dream and
never too old to live.
The fire behind the conflagrant performances on ‘Sharecropper’s Son’ is ignited by 67 year old Finley, who has cited a range of vocal influences, including
Al Green, Jimi Hendrix, Ray Charles, Elvis, James Brown and The Beatles, all
inspiring his genre diverse approach. Finley stated, “I want people to understand that I can’t be kept in a box. I like to do all kinds of music - everything that
means anything to me, from gospel to blues to soul to country to rock ‘n’ roll.”
“A blind carpenter and army vet is revealed, belatedly, to be a herculean soulman.” – UNCUT

BLK JKS are a seminal force in the South African underground.
After an extended hiatus the Johannesburg foursome, championed by The Mars
Volta and TV On The Radio (amongst many others), return with a groundbreaking
new album.
Monster grooves meet guitar and brass driven afro-rock. Echoes of spiritual jazz, postapocalyptic funk, renegade dub and kwaito.
Features Malian guitarist Vieux Farka Tour and Beastie Boys accomplice Money Mark
on the track “Maiga.”
”This South African art-rock band traffics in complexity, cross-hatching not only rhythms
and textures but also the signifiers of genre”- The New York Times
“A prequel to 2009’s amazing After Robots … What occurs when you listen to Abantu is
that it is an Old Testament support to After Robots – where that album prophesied Afropunk, this album suggests the roots to that moment, an engrossing journey of Afrobeat,
fuzzy yet hugely suggestive drone and psych textures, and a bristling sense of both pride
and critique that sings through.” The Wire
“A dark and brooding number that simmers and smoulders as it goes, fueled by a driving
rhythm section and mournful horns.” - Brooklyn Vegan about single “Human Hearts”
“BLK JKS, an awe-inspiring exemplar of modern Africa’s indigenous sound, make a victorious return after an extended hiatus … They create something unique on this album.”
***** Morning Star

Hella Love, the Hardly Art debut from Marinero, is an album about closing a chapter. It’s Jess Sylvester’s grand farewell, and love letter to his hometown and the place he grew up, The San Francisco Bay Area, before relocating to Los Angeles after finishing his debut release. Using the moniker Marinero (which means “sailor” in Spanish), Jess Sylvester was drawn to this name as a means to honor his parent’s stories -- his father, a sailor, and mother, a Mexican-American who grew up in San Francisco. This record blends many worlds from beginning to end, and as you go deeper it hits harder. It’s his goodbye to The Bay. Pulling sonic influences from classic Latin American groups and international composers from the 60’s & 70’s: Los Terricolas, Ennio Morricone, Esquivel, Carole King and, Serge Gainsbourg Hella Love finds Sylvester fusing classical arrangements with a variety of different genres, evoking a sonic nostalgia blended with other contemporary artists like Chicano Batman, Connan Mockasin, and Chris Cohen. The album was written, played, and produced by Jess Sylvester with help from Bay Area engineer Jason Kick (Mild High Club’s Skiptracing) at Tunnel Vision and Santo Recording in Oakland, California. On the standout single “Nuestra Victoria,” Sylvester shares “It’s my way of talking about gentrification in SF, or specifically the Mission where my mom and family grew up. The song is about a bakery, or panaderia called La Victoria, and was a place where my mother and tias went growing up, a place I also went to that is no longer there.” It was one of the oldest Mexican-American businesses in SF and I wanted to honor it”. “Through the Fog” highlights Sylvester’s exploration of his influences from the Tropicalia movement, weaving bossa rhythms with lush percussion and orchestration. Using SF’s infamous fog as a metaphor for “tough times”, Sylvester expands that it is a dedication to his friends and family who have helped him get through substance abuse issues, heartbreak, and other painful experiences. “There are a few easter eggs in the lyrics for Bay Area folks or people who have followed my music in the past but it’s mostly about getting through something difficult with the love and support from the homies and fam.” The album’s title track, “Hella Love,” summarizes both of his parent’s stories of how they ended up in the bay. The first verse is about his father’s voyage out west as a sailor during the late ’60s while the second verse follows his mother’s experience moving to The Mission District when she was a young girl.


It’s difficult to classify or generalize about Marinero’s music or identity. To him, it’s important to let his music do the talking. “I’m Chicanx, a bay native, biracial, and I’ve luckily gotten to travel and spend time in Mexico and I feel like my personality and specific musical tastes come through on this album. More than these generalizations we often make, I’m just a human who can both fear and love, and I’m just hoping to connect with others to share optimism and experience joy and laughter, even if for a moment.” Lean your ear to the ground because Jess Sylvester has been many things and will continue to share his journey. It is clear this gifted creator has more to say.
-Luz Elena Mendoza

‘Kick The Ladder’ the anticipated debut album from Icelandic composer and songwriter Kaktus Einarsson, frontman of post-punk outfit Fufanu, will be released by One Little Independent on May 7th. It was produced by Kaktus, alongside Swiss electronic composer Kurt Uenala, and finished in New York City. It draws heavily on the concept of how we as a society relate to our surroundings, whether it’s environmental or personal.

Erstpressung auf "Red, White & Blue hi-melt on clear" Vinyl! Das japanische Quartett CHAI veröffentlicht mit "Wink" ihr drittes Album und ihr erstes für Sub Pop. Es enthält CHAIs sanfteste und minimalistischste Musik, aber auch ihr mit Abstand bewegendstes und aufregendstes Songwriting. "Wink" ist zudem ein extrem passender Titel: eine subtile, aber kühne Geste. Ein Zwinkern ist ein unbefangener Akt der Überzeugung. CHAI besteht aus den eineiigen Zwillingen Mana (Gesang und Keyboard) und Kana (Gitarre), Schlagzeugerin Yuna und Yuuki. Nach der Veröffentlichung von "Punk" im Jahr 2019 führten CHAIs Abenteuer sie rund um die Welt, sie spielten ihre hochenergetischen und beschwingten Shows auf Musikfestivals wie Primavera Sound und Pitchfork Music Festival und tourten mit Indie-Rock-Größen wie Whitney und Mac Demarco. Wie alle Musiker waren CHAI im Jahr 2020 gezwungen, die Struktur ihrer Arbeit und ihres Lebens zu überdenken. CHAI nahmen dies als Gelegenheit, ihren Arbeits-Prozess durchzuschütteln und ihre Musik an einen aufregend neuen Ort zu bringen. Hatten CHAI zuvor ihre maximalistischen Aufnahmen genutzt, um die Ausgelassenheit ihrer Liveshows einzufangen und die Reaktionen des Publikums im Auge zu behalten, konzentrierten sie sich nun darauf, die etwas subtileren und introspektiveren Arten von Songs zu entwickeln, die sie gerne zu Hause hören - wo sie zum ersten Mal die gesamte Musik aufgenommen haben. Inmitten des globalen Shutdowns arbeiteten CHAI quasi als Garage-Band und tauschten ihre Songideen - für die sie mehr Zeit als je zuvor hatten - über Zoom und Telefonanrufe aus, wobei sie ihre Einschränkungen in eine Stärke verwandelten. Während sich die Band an einen persönlicheren Sound anlehnte, ist "Wink" auch das erste CHAI-Album mit Beiträgen von externen Produzenten (Mndsgn, YMCK) sowie einem Feature des Chicagoer Rappers und Sängers Ric Wilson. CHAI ziehen R&B und HipHop in ihre Mischung aus Dance-Punk und Pop-Rock, während sie unbestreitbar CHAI bleiben. Ob in Bezug auf diesen neu entdeckten Sinn für Offenheit oder ihre Art, zu Hause zu komponieren, das Thema von "Wink" ist, sich selbst herauszufordern.

First solo album from Budapest producer "Norwell", includes 2 collaborations with Farbwechsel Label head honcho "Alpar". Analogue synthwave, kraut, kosmiche, drone... A real journey! Illuzio was inspired by the book "Mr. Vertigo" and especially by this part: "Deep down, I don't believe it takes any special talent for a person to lift himself off the ground and hover in the air. We all have it in us--every man, woman, and child--and with enough hard work and concentration, every human being is capable of...the feat....You must learn to stop being yourself. That's where it begins, and everything else follows from that. You must let yourself evaporate. Let your muscles go limp, breathe until you feel your soul pouring out of you, and then shut your eyes. That's how it's done. The emptiness inside your body grows lighter than the air around you. Little by little, you begin to weigh less than nothing. You shut your eyes; you spread your arms; you let yourself evaporate. And then, little by little, you lift yourself off the ground. Like so."

Timeless classics.

Three tracks from house music masters: Ron Trent and Chez Damier.
All "hard to find" versions. Enjoy!

Kogui aka Jay Ka delivery new EP on As It Is for Dub Techno, Chicago exeprience. Don't miss this out

Originally released as a 12” single in 1982, ‘Every Brother Ain’t A Brother’ was the final record from Brooklyn multi-instrumentalist and producer Freddie Thompson’s Panaché band. Built around a fully cleared sampled bassline from ‘The Message’ by Grandmaster Flash & The Furious Five, ‘Every Brother Ain’t A Brother’ plays out like a summertime stroll through New York in the early 80s. The streets are full of excitement, but as the lyrics, written by vocalist Denise Williams (not to be confused with Deniece Williams of ‘Let’s Hear It For The Boy’ fame) make it clear, they’re dangerous as well.

Thirty-nine years later, Isle of Jura is proud to present the first official 12” reissue of ‘Every Brother Ain’t A Brother’. A cult classic from the disco-rap era, the reissue includes the original vocal and instrumental versions of ‘Every Brother Ain’t A Brother’ plus a Jura Soundsystem special version with additional live percussion.

Originally made up of Freddie, his wife, the singer Debra Thompson and keyboardist Douglas Glover, Panaché formed at the behest of a local disco DJ, Carl Nelson. In the wake of Chic’s early singles, Carl felt a French name would give Freddie a competitive edge. “He explained it to us that it was a French word for style and elegance. Panaché, a step above chic,” Freddie reflects.

Business minded, Freddie formed his own label, Roché Records and joined SIRMA - The Small Independent Music Manufacturers Association. “It was very hard for the independent manufacturers to get airplay and distribution at the time, so we all came together,” he remembers. Through SIRMA, Freddie met Joe and Sylvia Robinson from Sugar Hill Records, who several years later, let him sample ‘The Message’ for ‘Every Brother Ain’t A Brother’.

In 1979, Panaché scored some radioplay when they covered ‘Not On The Outside’ by ‘60s D.C R&B group The Moments. Emboldened, they brought onboard backing vocalists and recorded their only album. This Is Panache saw the band blurring the boundaries between soul, jazz-funk and disco and become a sought after collectible.

By 1982, Debra had stepped back, and one of Panaché’s backing singers was center stage, Denise Williams. “Denise was good with writing poetry,” says Freddie. "She had one called ‘Every Brother Ain’t A Brother’. It was about the unrest that was going on in the city at the time. I thought I could do something with that.”

After releasing ‘Every Brother Ain’t A Brother’ in 1982, Panaché quietly moved from center stage to behind the scenes. Over the last thirty-nine years, Freddie has continued to work in the music industry as a session musician and producer. “As soon as we stopped trying to become stars as Panaché, we became busy working in the industry,” Freddie laughs.

It was 2017 when, chilling in the sunny Marseille in Provence, we first listened to this beat in Suif’s Studio. The French producer (Siska / Watcha Clan) had chopped a 70’s Anatolian hit and had turned it into a soul instrumental. We gently moved that diamond onto our hard disk and few months later we sent it to one of the deepest soul voices out there, known by the name of Cw Jones. Incredibly (although it seems a legend it’s actually the truth), Cw Jones connected that much with the vibe that he came up with the lyrics in complete freestyle and yes, the first take was the one! Although we have been listening to this piece for a long time now, every time we play it it’s an instant classic, and we’re so proud to be able to offer this gem to you, pressed on our most appreciated vinyl format, the 7″ inches. Enjoy, we hope you’ll feel the magic as we do <3

Advanced Nature is the second offering from Chicago’s indy electronic label Tres Dias. Completed during a global pandemic this project for Michael Fabiano and Juanne had been a long time coming. The two artists had spoken about wanting to release a record together after years of working side by side in Chicago’s underground music scene. So with the time available during the wildest year in modern history they succeeded in creating a life during wartime record. With hints of industrial, ebm, acid and techno fueling the record. The two aimed to thrust back a bold tapestry of sounds. From sonic visions of a dystopian future to shamenistic prayer infused house. The two managed to flush out a record that has a raw juxtaposition that's grounded in a solid foundation. Chicago based producer Michael Fabiano debuts with the slinking, somber industrial sounds of Aesthetic Existence. Plastic Process wades into warehouse territory with its swirling, hypnotic synth lines and brooding bassline. Juanne continues with Before Midnight, a static charged minimal acid track that stabs and reaches out for more. Finally Juanne ends with Design Your Drugs, a strictly dark room magic piece that unleashes ritualistic vocals and a raging bassline that doesn't hold back.

color/ltd

Columbia, South Carolina’s Chaz Bundick (aka Toro y Moi) rose to the fore of the music blogosphere in summer 2009 when he and a few peers made their hazy bedroom recordings the most talked-about sound of the season. Critics across the board took notice of the range of his compositions, and his debut album, Causers of This, showcased his ability to make elements of Brian Wilson’s pop, 80s R&B, and Stone’s Throw hip hop coalesce into a distinct sound that’s as suitable for a dancefloor as it is a pair of headphones.

When Chaz first signed to Carpark Records, the plan was to release two records in 2010 — one electronic and one with live instrumentation — and although it didn’t quite fit into the same calendar year as his debut, Underneath the Pine is that latter offering. This release sees him following the same creative urges to completely different ends. Having spent the year listening to film composers like Ennio Morricone and François de Roubaix, Bundick returned to his home in Columbia, the birthplace of many Toro tracks of yore, to bring his new ideas to fruition. The result of these sessions is an album evocative of R. Stevie Moore’s homespun ruminations, David Axelrod’s sonic scope, Steve Reich-ian piano phrasing, and the pervasive funk of his first record. Underneath the Pine announces a new phase for an artist whose talent defies classification.

Demon Records is proud to present a new series of vinyl reissues from American singer-songwriter Black Francis / Frank Black
• First released in 2005, Honeycomb is the tenth studio album by Frank Black. For almost a decade, Frank Black discussed
making a “Black On Blonde” album with producer Jon Tiven. In 2005, Black travelled to Nashville and recorded with legendary
local session musicians including Steve Cropper, Reggie Young, Anton Fig and Spooner Oldham.
• Now available on vinyl for the very first time, this reissue features the complete album pressed on 140g translucent-honey vinyl,
housed in a printed inner sleeve featuring photographs by Michael Halsband.
• Stand out tracks include ‘I Burn Today’, ‘Lone Child’ and the title song ‘Honeycomb’.

‘Copycat Killer’ is a 12” featuring four exclusive
new versions of songs from Phoebe Bridgers’
wildly acclaimed ‘Punisher’ album.
Collaborating with arranger Rob Moose (Sufjan
Stevens, The National, Bon Iver, Vampire
Weekend, Jay-Z), these are brand new orchestral
arrangements of the songs ‘Kyoto’, ‘Savior
Complex’, ‘Chinese Satellite’ and ‘Punisher’, all
given a luscious revamp that is sure to delight any
fans of Phoebe’s album and serve as perfect
gateway for new listeners into what makes her one
of the most special artists of 2020 and beyond.

Pioneers of the British music scene, ‘Blackest Blue’ will be the band's 10th studio album in a discography that spans three decades. 2020 saw Morcheeba unable to tour or perform live, which gave Skye Edwards & Ross Godfrey “time to write songs and really get to hone them,” as Godfrey puts it. “There weren’t so many pressures so we could really take our time getting the songs right,” adds Edwards.

The result of this time is a refined 10 track album that fuses previous incarnations and sound of the band - such as downbeat, chill, electro-pop & soul - into one cohesive record that dives deep into the soul of the band’s genre-mashing musical heritage. As usual, the band didn’t approach the album with any pre-conceptions, and instead created an organic journey that represents everything great about Morcheeba.

Edwards’ lyrics are primarily focused on positivity and overcoming personal adversity that lies within. ‘Sounds Of Blue’, is a stunning cut that puts Skye Edward's sultry vocals to the forefront, floating high above an ethereal backdrop.

The album includes features with Duke Garwood (known for his work with Mark Lanegan, amongst others) and Brad Barr (The Slip, The Barr Brothers). “

Morcheeba’s global reach is impressive, taking them to every corner of the world . Their signature chilled electronic/organic sound has been border-hopping ever since the London-based band emerged as a household name. The past year has been one of introspection for the duo, as they take stock of their renewed global fan base and look forward to being able to play the new album live in the not too distant future. “This was the first time since I was a teenager that I’d spent a year off the road and I enjoyed the tranquility, although I missed playing my guitar in far off lands,” says Godfrey.

Chicago legend Gene Hunt lands on Elorf imprint with The Next Phase Ep. Certified banger!

Demon Records is proud to present a new series of vinyl reissues from American singer-songwriter Black Francis / Frank Black
• First released in 2004, Frank Black Francis is an album of early versions and reworkings of songs from across the Pixies
catalogue. Available on vinyl for the very first time, this reissue features the complete collection pressed on two 140g white vinyl,
housed in printed inner sleeves with an introduction by Frank Black Francis.
• LP 1 contains an acoustic solo demo tape from March 1987 which Black Francis recorded with engineer Gary Smith ahead of the
very first Pixies recording session. Highlights include early versions of future classics such as ‘The Holiday Song’, ‘Caribou’ and
‘Nimrod’s Son’.
• Recorded in 2003, LP 2 features Frank Black’s reworkings of Pixies songs with Keith Moliné and Andy Diagram (of David
Thomas and Two Pale Boys).

“John Andrews is picking flowers from each corner of his life and
presenting you with an unusual bouquet. His imaginary band ‘The
Yawns’ are back! Third time’s a charm. In hockey terms, they call it a
‘hat trick’ and you know who’s always wearing a ratty old hat? John
Andrews. Three years in the making and we have Cookbook, the third,
and most colorful record from your favorite New Hampshire based
craftsman.
“Unknowing folks usually assume he lives in New York City or
Los Angeles but confer with John for five minutes and if he’s in the
right mood he’ll talk your ear off about the granite state and the old,
seedy colonial barn where he’s tracked his records with his weird and
wonderful friends.
“Take a listen to his previous effort, 2017’s Bad Posture. It was the
grassroot slacker’s pie in the sky. His head was stuck in the past. He
probably excessively listened to ‘Cripple Creek Ferry’ and he most
likely wasn’t keeping up with household chores. Time moves on,
but just look at him now! All grown up yet likely still feeling those
growing pains. After a few more years of traveling we now have
Cookbook, fresh out the oven…phew! About nine or ten new tracks,
but who’s really counting?
“The lyrics are simple and endearing, inspired by mid-century love
songs. His inspirations are all across the board. If his subconscious
was a bootleg taper, life would be the show.
“At any rate, it doesn’t sound like a record made in New
Hampshire, but make no mistake, this is a dyed-in-the-wool Yawns
record, refreshingly straightforward yet full of character. It’s less of a
crowded honky tonk, and more of an empty, poignant speakeasy. You
can finally relax indoors after a weary day out in the cold. Have you
ever seen that painting of dogs playing poker? It might as well be what
they were listening to as the bulldog pushed his chips forward.”

Osaka-born and New York-based pianist Erika Dohi is a multi-faceted
artist with an eclectic musical background. From highly polished
raditional classical to bold improvisation, she is a dynamic performer
whose timeless style and unidiomatic technique sets her apart in
contemporary NYC avant-garde circles.
Dohi’s vast repertory is impressive but what makes her truly such a
barrier-defying artist is what lies ahead. ‘I, Castorpollux’, Dohi’s debut
solo album, is a profound personal excavation set to a gripping
andscape of wild, genre-fluid composition, a virtuosic but emotionally
generous convergence of the technical and the spiritual. With
understated piano and keyboards at its centre, ‘I, Castorpollux’ is
equal parts hazy nostalgia, science-fiction soundtrack and
electroacoustic experimentation.
The project features contributions from Channy Leaneagh (Polica),
Andy Akiho and Immanuel Wilkins, among others, and is produced by
William Brittelle.
The central theme to the album is the ‘split-self’ and variable
perceptions of time that Dohi has faced at formative moments in her
ife. She experienced the 1995 Kobe earthquake at age 7. Hiding
under a table during the worst of it, she later emerged to find the
world around her crumbled. In her immediate vicinity, a fixture of her
childhood remained standing. The Tower of the Sun, a type of three
aced time machine itself from Expo 70, designed by artist Taro
Okamoto, is a trail-marker on Erika’s journey, a stand-in sigil to
unlock the mysterious sounds of her work, with 70s synths and retro
sci-fi aesthetics permeating the album’s narratives.
Much of the album was written while living in Texas where the split
between her Asian self and the idea of being an American
necessitated a near mountain of self-discovery to reconcile how she
elt and who she was within the social backdrop of a strongly
conservative environment. It is no wonder that the character of the
Dioscuri, Castor and Pollux from Greek and Roman mythology
esonate so deeply with her, or Haruki Murakami’s Two Moons and
heir strange light.
From her contributions to various projects and her participation in the
Artist in Residency collaborations, Erika has become a staple of the
37d03d community.

This first volume of Wagram's Wanted: Jazz series is a high quality mix of the great Jazz artists. Including Charles Mingus, Dizzy Gilespie, Art Blakey and more!

Repress

The 10th release on BLKMARKET MUSIC features Payphone, with ‘Unicorn System.’ From the founders of Toronto’s Payphone Studios and members of the Hypnotic Mindscapes crew and record label, the Payphone trio make their label debut with 4 hardware-heavy tracks. This elusive 3-member live-act take a functional yet improvisational approach, influenced by years of chasing the wonk during late-night jam sessions.

Kicking-off the EP is the retro futurism of ‘Don E = Dark O’ - a melancholic, chiaroscuro-esque house-meets-techno track harking back to a bygone era of rave. The A2 ‘Fool Circle’ shifts gears into the afterhours with an infectious, metallic groove. On the flip, aquatic-deep techno cut ‘Sea Sex Librarian’ dubs things out with trippy vocals and a booming round baseline. Rounding out the EP, ‘Get Outta 84’ conjures cinematic dystopia with deep electro-infused breaks.

All tracks written & produced by Cosmic JD, Ryan W, and Tro

The Place Beyond the Pines is Derek Cianfrance 2012 crime drama film. The critically acclaimed film reunites Cianfance and Ryan Gosling, whom had previously collaborated on 2010’s Blue Valentine. It also stars Bradley Cooper, Eva Mendes, Rose Byrne and Ray Liotta.
The daring movie is a sweeping emotional drama powerfully exploring the unbreakable bond between fathers and sons. It tells the story of a motorcycle stunt rider (Gosling), who considers committing a crime in order to provide for his newborn child, an act that puts him on a collision course with a cop-turned-politician (Cooper).

Mike Patton, American singer-songwriter and multi-instrumentalist best known as the lead singer of the alternative metal/experimental rock bands Faith No More and Mr. Bungle, delivers a sweeping and brooding score. Like a red thread, his music guides the audience through this multi-generational story often linking characters and locations.

Tape

The arcane enigma from the caucasian mountains that is Natalie Beridze, treats us with a reflective concept album, her 9th solo album, focussing on buried chapters in her own work history.

“I sought after material, piled up on my old hard drives; - various sound debris, recorded and produced in the past. I recycled them beyond recognition and fudged them together into new samples to compose this album.

Mapping Debris is a term used during an investigation of a plane crash.
Special agency collects millions of infinite small pieces of shattered metal and wiring from the crash site. They later try to reconstruct an original fuselage of the plane from assembled debris, in order to recreate its story and reveal the reason that lead up to the catastrophe.



Mapping Debris is a manifestation of dematerialization in physical domain and time: shedding skin turning into dust, decaying objects, corrosion, atrophy, rot, nonsense and factual forgetfulness, which mirrors chilling fear of perishing, losing integrity, memory of events, images, smells and sensation of touch of those, who have already perished in their earthly archetype.
Yet in the aftermath of realization, one no longer dwells in colossal dead weight of inevitability of the end. The pattern perishing has a golden thread on one end - the one that makes us dwell in ceaseless possibility of rebirth, translation and remembrance.

This album is a continuation of series of works I have dedicated to my parents lives, as well as their death...”

It is an intricate poetic net one enters while surrendering to Natalies music. The spiky grit and her heartwarming, harmonic swashes that touch you like a hug, belong inseparably together and spread that multilayerd consolation, manifesting the force of music in its most glistening form. (Thomas Fehlmann/ Natalie Beridze)

“Some of the most extraordinary songs I’ve heard in years.” Brian Eno

Les Disques du Crepuscule presents The Salt Garden (Landscaped), an album of extended pieces by acclaimed quiet music ensemble Fovea Hex, featuring longform remixes by British songwriter and producer Steven Wilson and Serbian soundscape artist Abul Mogard, as well as a previously unreleased mix by Peter Chilvers.

Formed in 2005 by Irish musician Clodagh Simonds, Fovea Hex have since released 3 albums (Neither Speak Nor Remain Silent, Here Is Where We Used to Sing and The Salt Garden), drawing favourable comparisons with Nico, This Mortal Coil, Ligeti and even Schubert.

The Salt Garden (Landscaped) is pressed on crystal clear vinyl, and comes packaged with a CD version featuring 4 tracks in total. The outer sleeve is printed in white reverse board and features an image taken by Crepuscule designer Joel Van Audenhaege during a recent trip to Greenland. The inner bag offers detailed liner notes as well as an interview with Clodagh.

As well as Steven Wilson and Abul Mogard, other high-profile admirers include film director David Lynch, who invited the group to play at his Cartier Foundation exhibition in Paris in 2007, and Brian Eno, who has described Clodagh’s work as “some of the most extraordinary songs I’ve heard in years.”

The Salt Garden (Landscaped) gathers together 3 long ambient remixes of tracks from the Salt Garden EP trilogy, originally released between 2016 and 2019. The core album is pressed on crystal clear vinyl and showcases ‘Solace’ and ‘Is Lanza Light & Given’, both re-worked by musical polymath Steven Wilson. “I’ve long been a fan of Fovea Hex,” explains Steven, “which for me is some of the most sublimely beautiful music ever recorded. It’s a mix of electronic and acoustic sounds played on instruments ranging from state-of-the-art to ancient and arcane.”

As well as the two tracks reworked by Steven, the bonus CD enclosed with the vinyl album also finds room for ‘We Dream All the Dark Away’, the widely-acclaimed re-interpretation by Abul Mogard of ‘All Those Signs’ from the Salt Garden II EP. By turns haunting and sinister, but always beautiful, the piece features vocals by both Clodagh and Brian Eno, as well as cello by Kate Ellis, and modular synth and effects by mysterious soundscaper Mogard.

An additional special bonus track on the CD is an unreleased remix of lesser -known 2015 digital single ‘By the Glacial Lake’ made by musician Peter Chilvers, best known for his collaborations with Brian Eno, Karl Hyde, Chris Martin and Tim Bowness.

“I feel truly honoured!” says Clodagh Simons, who began her career in cult folk-psyche band Mellow Candle, and since then has guested on albums by Mike Oldfield, Thin Lizzy, Russell Mills, Matmos, Current 93 and Steven Wilson. “It’s been fascinating to witness how these pieces have been so imaginatively and skilfully revisioned in the hands of Steven, Abul and Peter. Each piece has emerged into a completely fresh new light, with a different vibrancy, yet remains grounded in what was there before.”

Sam Goku returns to Atomnation with a stunning debut album titled East Dimensional Riddims. The 11 tracks record is a journey into his hugely characterful club sound complete with ambient and subtle use of instruments from his Chinese heritage. Sam Goku - born Robin Wang - was born in Düsseldorf, yet his upbringing was Chinese for the most part. It is the contrasting influences of those two cultural backgrounds that play out in his music and lend it a truly unique character. The album is a fine fusion of East and West, house and techno, power and emotion that really showcases the unique production talents of Sam Goku. Following up on the EPs Tanggu, Every Step and Paradise Drum, this new album is the sound of an artist evolving, maturing and finding his own sound. It’s a cohesive work that is as emotional as it is physical and thought provoking.

10Questions is a record label by Dam Swindle's Lars Dales and graphic designer Bas Koopmans. After an amazing first release, 10Questions ventures deeper into Italo territory with signing one of the scene's longest running duo's: 'PBR Streetgang'. PBR has been known for big dancefloor tracks, whether it's house or disco, they always deliver. This EP will surely add to this legacy.

The title track 'Dayskipper' sets the mood with it's 707 drum programming and rolling Italo bassline. The track slowly progresses to show it's dancefloor pedigree. A catchy synth hook combined with synth choir stabs drives the theme home. What makes this a standout track is that the hook is not an obvious one. The ominous chords are very well crafted and will cut through you like a knife through butter.

'Dayskipper' shares the A side with 'Knockout'; a track that is both a tribute to the early history of house and a contemporary piece of music in one. The 'Moog' style bassline sets the mood for a playful approach but it's the addition of the vocal hits and the piano hook that drives that theme home. Add a pinch of hip-house and you have the recipe for a good time.

On the third track (and a full side on the record) 'Chi-Lite' you can hear that PBR still knows how to get the most out of a house beat. The theme however is more a dreamy proto house track than anything else. The syncopated synth stabs set the perfect mood for the DX7 style bells that are played on top. PBR masterfully shift from floating moments to dancefloor energy within a matter of minutes.


10Questions is a label build on the concept that the record and record sleeve are an integral part of the full experience of an EP. The artist is given a questionnaire and depending on his/her answers the artwork is made. This way the music and art co-exist in the same creative universe, that of the artist and the label alike.

Olafur Arnalds' highly anticipated second full-length album '...and they have escaped the weight of darkness', continues his mission to lure an indie-generation of pop and rock fans into an emotive world of beguiling electronic chamber music and delicate classical arrangements. The sense of an organic crossover recording is reinforced by the involvement of co-producer Bar?i J?hannsson of eccentric pop/rock/electronica-formation Bang Gang. Bar?i has successfully coloured the brittle minimalism of previous releases through the addition of an array of new instruments.

Those expecting a mere continuation of the minimal melancholia of his previous albums are therefore in for a surprise, as the record may be the most uplifting and richly orchestrated work of his career: "The album has a very clear theme", Arnalds relates, "which is that there is always light after darkness. To me, it has a more positive note than my previous works." When ?lafur saw how the opening scene of a Hungarian indie film metaphorically described a solar eclipse, he instantly connected it to the concept, naming the album after a key line of the film's introductory monologue. Staying true to this positive note, '...and they have escaped the weight of darkness' will herald another intense year for ?lafur Arnalds, with the album being accompanied by a world tour, starting in China in March 2010.

Born in the suburban Icelandic town of Mosfellsb?r, a few kilometres outside of Reykjav?k, the 23-year old composer has always enjoyed pushing boundaries with both his studio work and his live-shows. His new opus is set to again challenge his fan base, which is still growing rapidly. Over the past eighteen months Arnalds has advanced from a former support-act for Sigur R?s to an internationally respected artists in his own right. He was privileged to be invited to write the 'Dyad 1909' score for award-winning choreographer Wayne McGregor, aired on BBC Four and on ITV1's South Bank Show. 'Found Songs', a collection of pieces each written, recorded and released in a single day via the Erased Tapes label website, as well as the video for 'Lj?si?' have since managed to generate half a million downloads and video views.

In many ways, the new record is clearly inspired and informed by these events. Several of the pieces were, in fact, written on and off throughout his tour and benefit directly from the intensity of the live situation and the emotional roller-coaster-ride of life on the road: "The first half of 'Gleypa okkur' was written in a sound check in Munich, for example", Arnalds relates, "while the second part was scored in Braunschweig, Germany." On the other hand it is the result of meticulous studio work, of refining compositions in close co operation with compatriot Bar?i Johannsson, known for his eccentric personality and unique electro-acoustic sound: "I definitely wanted to do something a bit different this time, something more. Working with a producer was a part of that." The enthusiasm translates to arrangements displaying a new sense of sonic diversity.

?lafur Arnalds has created an even more open and spacious sound and taken his distinct style to a new level. Compared to his previous works, '...and they have escaped the weight of darkness' makes use of diverse instrumentation ? drums, guitars, voice, Rhodes, a selection of subtle synthesisers, alongside Arnalds' trademark piano as well as Tony Levin on bass. Traditional terminologies become void on his latest offering, which blends contrasting elements into an original, entirely organic new language and a sensitive ballet of the mind.

Arnalds fusion of 21st century electronics and classical vocabulary thereby continues to decisively unwrap the sealed-off world of classical music.

Extra Credit is the project of three of electronic music’s greatest exponents; legendary NYC DJ and producer Justin Strauss, London DJ and producer Marcus Marr and Hot Chip’s Joe Goddard; one of dance music’s greatest polymaths.

Soul/Disco/Funk single here for the first time ever on vinyl!
The independent label Six Nine Records Ltd. UK, based in Newcastle upon Nekita's diverse musical journey has taken her through chorus groups, musical theater, Hartt School of Music, Gospel in church, and mentoring and performing with many independent artists.
“Won’t Stop Loving You” is a beautiful mid-tempo track and “Best Shot” a brilliant mover, both with lyrics which matter, both blessed with the divine voice of Nekita Waller and both on vinyl for the first time!
Tyne, proudly presents Nekita Waller and her first release on the label!
There was never a question that music would be a part of Nekita Waller's life. From her stage debut as a child at the famous Apollo Theater in Harlem, to singing the American national anthem to thousands of spectators at professional sporting events as an adult, music defines Nekita's life.
Definitely not to be missed as it is a limited UK press with small hole
and full colour printed picture cover!

Limited edition to 500 copies vinyl + 16 pages comic.

Record Kicks presents the reissue of the rare and in-demand Calibro 35 EP Dalla Bovisa a Brooklyn on vinyl. The EP includes an original Calibro 35's comic and is limited to 500 copies, which makes it an instant collector's item.

Originally recorded in 2012 in Brooklyn during the sessions for their third studio album Any Resemblance, Dalla Bovisa a Brooklyn (literally 'from Milan's district Bovisa to Brooklyn') came out in that same year as a limited edition 10". The EP contained an original comic by Italian gurus Gianfranco Enrietto and Marco Philopat that tells, between reality and fiction, the experience of Calibro 35 in the Big Apple. Rapidly gone out of stock, the original copies are rare to find and change hands for big money amongst record collectors and Calibro fans. Following the re-release of the first 3 Calibro 35 studio albums, now also Dalla Bovisa A Brooklyn sees the light again on the superior 12" format that includes a restored colored version of the original 16 pages comic. From the opening "Broccolino funk" to the last track, the 6 minutes of the afro-funk winner "Bushwick, Nigeria", on the six tracks on the EP the band sounds as groovy as ever, serving another funk-filled journey, full of fuzz guitars, distorted organs and brooding bass lines.

Active since 2008, Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their thirteen-year career, they were sampled by Dr. Dre on his Compton album, Jay-Z, The Child of lov & Damon Albarn; they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 now count on a number of aficionadosin every corner of the planet.

Ibadan announces the release of volume 4 in the Leads & Bites series, presenting an exciting selection of soon-to-be timeless dance floor favorites. Up first is house DJ and producer Massiande, one of the most captivating talents from South America and notable Housewax alumnus. “Mainline” comes on strong, delivering punchy synth lines and fat beats with an undeniable Chicago spirit. Sharing the A-side is “Lens House” by The Prince of Dance aka Elbee Bad, an edgy sleeper track with eclectic rhythms and a perfect balance of all the classic elements. Kicking off the B-side are heroes of the hour S.A.T. - Sydenham, AYBEE, and Trent - with “Yaphet,” a low-key offering that gradually unfolds into the trio’s signature blissed-out, energetic vibe. MLiR and Arnau Obiols wrap it up with “Calanda,” a genre-defying foray into organic vocals and experimental sounds - nervy, mysterious, and with hints of downtempo electronica.

‘Spoiled Love’ is the debut album from Buzzy Lee (aka Sasha Spielberg). Spoiled Love is unapologetically confessional, The album is about the cycle of an unhealthy relationship, the understanding that one might play a part in that themselves, coming to terms with it and then returning to a state of childhood adolescence following it. These songs started breathing on the coast of Northern California, sat through the traffic of Los Angeles and then found their way to Northern Italy where she crafted and recorded them with longtime friend and collaborator Nicholas Jaar over three trips.

Previously unissued 1999 live set from Alex Chilton (The Box Tops/Big Star) and Hi Rhythm Section Hi Rhythm Section has performed on seminal recordings from Ann Peebles, Ike & Tina Turner, O. V. Wright, Otis Clay, and Al Green Packaging contains liner notes from Memphis Mayhem author and Producer David Less “I never saw him have so much fun on stage. Without rehearsal, Alex called songs and the band locked in. The horn section consists of top Memphis session guys who huddled together when each song was called creating parts on the fly. The pure joy of playing this music so freely with such legendary musicians comes across in every groove of the record.” —David Less, from his liner notes Memphis is a city with music in its blood. When Fred Ford, co-founder of the Beale Street Music Festival, was diagnosed with cancer, David Less organized Fredstock, a fund raiser to help with his medical bills. Less contacted Memphis legend Alex Chilton (The Box Tops, Big Star), who was living in New Orleans, to ask him to participate. Alex said he didn’t have any musicians to play with in Memphis, so Less suggested the Hi Rhythm Section (the band behind classics from artists including Ann Peebles, Ike & Tina Turner, O. V. Wright, Otis Clay, and Al Green). Alex replied, “That will work.” This previously unissued live set contains versions of soul classics from The Supremes and Otis Clay, rock numbers from Chuck Berry and Little Richard, and even a cover of the KC & The Sunshine Band title track. Available on CD, Digital, and LP

The Süddeutsche Zeitung hailed Johanna Summer’s performance
at the Young Munich Jazz Prize in 2018 as “a small sensation.”
The pianist, born in Plauen in Saxony in 1995, had encompassed
the whole gamut, from jazz freedom to classical rigour. The critic
from this respected newspaper marvelled at her “amazing gift to
make well-known melodies sound so convincingly her own, they
develop a real sense of creative urgency.” Summer’s winning of
the prize itself became almost incidental; far more significant was
the fact that this competition heralded the arrival of one of the
most interesting new pianists in European jazz.
For her debut album, Summer has chosen to make compositions
by Robert Schumann the point of departure for her journeys into
pianistic fantasy. Schumann’s cycles of piano pieces
‘Kinderszenen’ (scenes from childhood) and ‘Album für die
Jugend’ (album for the young) had been familiar to her since
childhood, not just as player and listener but also - because
Schumann was from nearby Zwickau - as works by someone from
her region of Germany. From an early age she was enchanted by
both the melodic and the pictorial aspects of these short pieces.
And yet, to make her own adaptations of seven of the pieces was
a far from a simple task: “I worked for a long time on re-casting
them, trying out all of the pieces in all keys and in a lot of different
time signatures, creating several miniature interpretations and
finally arrived at this selection, which I shaped into a cohesive
sequence with a single arc.”
The depth of her involvement with the original Schumann pieces
comes across strongly on the album. As does her impressive and
complex personality as a jazz musician with a very wide range of
expression: romantic passages and an instinct for melody but also
powerful grooves and exciting innovations. And all imbued with a
sense of how to tell stories through music, a mature and clear
vision of dramaturgy, dynamics, tension and atmosphere. A
sentence written by Schumann seems to predict exactly the kind
of new life that Johanna Summer has breathed into these pieces:
“How infinite is the realm of forms, with everything that can be
used and worked on for centuries to come.”

Chicago blues exponent George “Buddy” Guy released multiple albums with renowned vocalist Junior Wells. One of those albums is this live acoustic album, Last Time Around: Live at Legends. The sessions were recorded in 1993 at Buddy’s world-famous Chicago blues mecca Legends. It features acoustic renditions of songs like “She’s Alright”, “I’ve Been There”, “Hoochie Coochie Man” and “Key To The Highway”. Originally recorded in 1993, the album was released in 1998, the same year that Wells passed away. It is now available on vinyl for the very first time.

The American Negro is an unapologetic critique, detailing the systemic & malevolent psychology that afflicts people of color. It should be evident that any examination of black music is an examination of the relationship between black & white America. This relationship has shaped the cultural evolution of the world and its negative roots run deep into our psyche. With an elaborate orchestral and soulful display, The American Negro re-invents the black native tongue: a politically conscious LP with a prescription to eradicate hate in America. "The American Negro is the most important creative accomplishment of my life. This project dissects the chemistry behind blind racism, using music as the medium to restore dignity and self-worth to my people": Adrian Younge is a multi-instrumentalist, film composer and producer with an analog studio and record store in Los Angeles. He is a member of The Midnight Hour and has produced for entertainment greats ranging from Jay Z, Kendrick Lamar and Wu Tang Clan. He's composed for television shows such as Marvel's Luke Cage (with Ali Shaheed Muhammad), and films including Black Dynamite. He owns the boutique record label, Linear Labs, and is co-owner of Jazz Is Dead. When he's not working on scores for major studios or networks, he's making albums that speak to his own artistry. For The American Negro, Younge not only wrote, but played every instrument of the album's rhythm section; he also orchestrated a 30-piece orchestra and recorded them in his analog studio.

Repress

Dakar, Senegal. From this hostile land Midnight Menace is the latest KAOS assigned and one of its kind. You all with your support to the label via bandcamp fixed his computer so he can deliver this first one as an introduction. His Schranz/hard techno beat dives into a trance-mission direct to your brain in order to make your body shake.

Moving on to France JKS is half of Jawbreakers his techno rave music is really influenced by iconic figures from the 90's rave culture (Dave the Drummer/ Stay up Forever) name track is a retrotesque beat with a powerful bass-line moving between trance, body music and electro clash. With a ton of class.

Next one on the list delivering one of those weirdo tracks that from time to time we love to showcase on our compilations. DJDJ debuts with a darkroom alike anthem. Job Sifre and DJ Dorien punishing with a high intensity Body music song, taste their Bloody Mary.

Closing this record P.E.A.R.L goes pure HEARTCORE, with his already known Spanish primitivism, a gabber kick and a dismounted amen break dissolves into a mood melody to chill a floor at the peak ready for the next explosion.

This are HEARTCORE ESSENTIALS pls use them responsibly.
#oftenplusneverminus8