Buscar:city 2 city

Western Approaches, a fitting title for a band who's spent much of the last two years living their American dream, however you'll find its origins are a lot closer to home.

An old World War II Naval base in Liverpool city centre shares the same name and it's no coincidence. The album was conceived on the docks, a new location for the band and again much closer to home for the boys.

It seems the further afar they play the tighter their grip on their roots become, playing their biggest headline show to date in Bootle a small town in North Liverpool where some of the lads grew up.

Infinity Machine is a duo comprised of Juan MacLean - as in the Juan MacLean, longtime DFA traveler - and Gee Dee, also known as Greg Droggitis, a producer and DJ based in Brooklyn and 1/3 of the Earth Beat DJ troupe. The project name stems from a series of gatherings the two began hosting in various private spaces around New York City shortly after lockdown, though that description is a bit innocuous for the journeys traveled by its attendees. These events, billed as "psychedelic dance ceremonies" lasting 8 or 9 hours, began with a sound meditation to vibrational and acoustic instruments before eventually segueing into a "dance" soundtracked by a DJ set from Juan and Greg. Something clicked - that ceremonial tea! - and so Juan and Greg began playing and recording in their studio using the same approach: improvisation with equal attention placed on traditional acoustic (flute, guitar, gong) and more contemporary electronic (Yamaha DX-7) sounds. After awhile, there was literally three albums worth of material, each of them a voyage into the warm, liminal space between new age, ambient, drone and psychedelia. None of those genres quite fully describe what's across 001, 002, and 003 - available from DFA digitally and on a very limited run of cassettes (150 each!) - but if you've read this far then you're either the right kind of curious or just forgot what you were doing.

Infinity Machine is a duo comprised of Juan MacLean - as in the Juan MacLean, longtime DFA traveler - and Gee Dee, also known as Greg Droggitis, a producer and DJ based in Brooklyn and 1/3 of the Earth Beat DJ troupe. The project name stems from a series of gatherings the two began hosting in various private spaces around New York City shortly after lockdown, though that description is a bit innocuous for the journeys traveled by its attendees. These events, billed as "psychedelic dance ceremonies" lasting 8 or 9 hours, began with a sound meditation to vibrational and acoustic instruments before eventually segueing into a "dance" soundtracked by a DJ set from Juan and Greg. Something clicked - that ceremonial tea! - and so Juan and Greg began playing and recording in their studio using the same approach: improvisation with equal attention placed on traditional acoustic (flute, guitar, gong) and more contemporary electronic (Yamaha DX-7) sounds. After awhile, there was literally three albums worth of material, each of them a voyage into the warm, liminal space between new age, ambient, drone and psychedelia. None of those genres quite fully describe what's across 001, 002, and 003 - available from DFA digitally and on a very limited run of cassettes (150 each!) - but if you've read this far then you're either the right kind of curious or just forgot what you were doing.

Infinity Machine is a duo comprised of Juan MacLean - as in the Juan MacLean, longtime DFA traveler - and Gee Dee, also known as Greg Droggitis, a producer and DJ based in Brooklyn and 1/3 of the Earth Beat DJ troupe. The project name stems from a series of gatherings the two began hosting in various private spaces around New York City shortly after lockdown, though that description is a bit innocuous for the journeys traveled by its attendees. These events, billed as "psychedelic dance ceremonies" lasting 8 or 9 hours, began with a sound meditation to vibrational and acoustic instruments before eventually segueing into a "dance" soundtracked by a DJ set from Juan and Greg. Something clicked - that ceremonial tea! - and so Juan and Greg began playing and recording in their studio using the same approach: improvisation with equal attention placed on traditional acoustic (flute, guitar, gong) and more contemporary electronic (Yamaha DX-7) sounds. After awhile, there was literally three albums worth of material, each of them a voyage into the warm, liminal space between new age, ambient, drone and psychedelia. None of those genres quite fully describe what's across 001, 002, and 003 - available from DFA digitally and on a very limited run of cassettes (150 each!) - but if you've read this far then you're either the right kind of curious or just forgot what you were doing.

Consisting of 12 stunning tracks, A Wasteland Companion was made with 18 musicians and recorded in eight different studios in Portland, Omaha, New York City, Los Angeles, Austin and Bristol (UK). Ward's honey-soaked vocals, deft finger-picking, innate sense of melody and beguiling lyrics have already cemented his reputation as one of America's true musical treasures and A Wasteland Companion features some of the finest songwriting and most striking delivery of his career. With each and every recording Ward finds new ways to make the colors of his songwriting palate sparkle and his dexterous skills as producer, arranger, guitarist and singer seem to burst into even brighter bloom on each release.

Introducing the anticipated 7" re-release of the Equasions single 'It's So Hard To Say "So Long"' & 'World Of Lonliness'. A timeless soul/funk single recorded in San Antonio in 1971, revered by sweet soul collectors internationally, has now become available for the first time in over 50 years through Symphonical Records, in partnership with band leader/songwriter, Robert Williams.

This limited repress is a testament to the sound of San Antonio. The Equasions were immersed in the city's defining impression, performing alongside other local acts Royal Jestors, Sunny & The Sunliners, The Primes, Joe Jama plus many more, all of whom worked to carve out the Alamo sound, one that resonates continues to inspire today.

The 5-piece vocal group, led by Robert Williams, consisted of Vernon Shannon, James Hartfield, Ricky Cotton, and Lamar Sumter. Brackenridge High School graduates, the group were formerly known as 'The Volumes', with their first single being released on Manny Guerra's imprint, 'Garu'. Two years later, the group switched members and formed their new name, recording their single at Joey Internationals studio.

Robert remarks that both songs were written as a universal message; for no one in particular but everyone can relate to. 'It's So Hard To Say "So Long"', is a poignant sentiment to lost love, yet hope created through beautiful harmonies, whereas 'World Of Lonliness' is a psychedelic reflection of society of the era, which Robert mentions remains true today.

Danish imprint Inherent Futurism returns with its second release in 2024, entitled 'Merger' and made up of a selection of cuts from the Copenhagen Electro Alliance. Inherent Futurism is the new label launched by Morten Kamper, an intrinsic member of the Copenhagen electronic music scene and the man behind the city's 313vinyl_collective record store. He launched the label with a reissue of the Autobot-1000 '3 Dimensions Of Space', a hidden gem from 2001 and the golden era of Electro. Here though, he brings things closer to home and revisits an array of select compositions from the Copenhagen Electro Alliance, compiled together to make up the aptly titled 'Merger'. The package is made up of twelve tracks across two twelve-inch vinyl from artists in the alliance, Nixxon, Brain Enterprise, Deimos Defender and Kruzh'em. As the name of the Copenhagen Electro Alliance collective would suggest, the aesthetic leans heavily towards experimental sounds and draws influence from the soul of Detroit electro, which paved the way for the future of the genre. The twelve-track collection explores all of the classic Electro tropes from punchy and crunch 808s, intricately intertwined synthesizer melodies, murky bass lines and dynamically unfolding, heavily modulated constructions, some leaning towards dance floor friendly while others lay more in the realm of sonic exploration of futuristic music.

Der in den USA aufgewachsene Christian Kjellvander (sprich: "Schjellwander") kam schon als Jugendlicher mit der texanischen Alt-Country-Szene in Berührung, die ihn nachhaltig beeinflusste. Als einer der bekanntesten Singer/Songwriter Schwedens veröffentlichte Kjellvander neben mehreren CDs mit seinen Bands Loosegoats und Songs of Soil auch zahlreiche Soloalben.

Adeen Records is on a roll right now and this time out they welcome the Detroit hero that is Marcellus Pittman for a new and beguiling four-track 12". Known for his work with The 3 Chairs collective as well as his solo jams, this Motor City mainstay opens up with 'You Always Hank Bank One Time' which is a real mental maze of rickety loops and blurts of degraded synth. 'Another Spring Lover' is another rusty and lo-fi piece of archetypal Detroit house that is very clearly machine music but with a unique sense of human soul. 'I'm Gonna Be The Everything' is a raw drum track with sparse, heartwarming chords and 'Slick Nickle Pladium Investment' is a knackered downbeat hip-hop closer. Magnificent.

(Incl. Bel Air Ltd., Tal Fussman, Jules Wells, Alex Troniq, Fanu, Voltaire, Carlos Nilmmns, Inner Ray) The usual wide range of electronic music all hand-picked by Laurent Garnier.

Minas 'Num Dia Azul' is a sublime slice of private press bossa nova meets jazzy MPB perfection. Warm and bubbling with youthful spirit, the music is simultaneously loose in swagger, yet slick and tight. The album was originally released in 1983 and reflects the great music coming out of Rio at the time, yet 'Num Dia Azul' wasn't recorded in Rio, but actually in the USA.

Recorded in North Carolina just after Patricia and Orlando Haddad had graduated from the North Carolina School of the Arts, the record was only released for the Brazilian market on their own Blueazul Records imprint. As with most private press labels, they could only afford to have it pressed in small quantities. To add to its later obscurity, hundreds of copies were also destroyed in a house fire. They say cream always rises to the top, and fast forward to the 2010s, the word amongst collectors and DJs was spreading about this mythical under-the-radar recording. People from across the globe were contacting Patricia and Orlando for more information, hoping to secure themselves a copy. Luckily the original tapes had remained with the artists and were in great condition, so in 2016 the pair ran a successful Kickstarter campaign to have it remastered and repressed.

For this Mr Bongo 2023 re-issue, we have tried to keep it as close to the original 1983 version as possible, both in the packaging and audio presentation. The CD version comes with bonus tracks. We are super proud to keep Patricia and Orlando's serene recordings in the circulation that they deserve to be. One for fans of Brazilian artists such as Burnier & Cartier, Edu Lobo and Joyce. We are sure those fans will lose themselves in the alluring textures of 'Num Dia Azul'

‘Elusive Truth’ was the second full-length record by D.C.-area doom rock Spirit Caravan led by the all time heavy lifer Scott ‘Wino’ Weinrich (The Obsessed, St. Vitus, Shrinebuilder, Probot). Originally released in 2001 and now remastered. “On this, Spirit Caravan's second foray into the long-player format, the band has collectively slowed down the tempo, and dropped the mood into even more contemplative territory. As the grandfather of modern stoner rock, Wino has certainly dipped his guitar picks in LSD this time around. Even though the engineering and production is bone dry and bottom heavy, Wino's psychedelic guitar work -- especially his stinging, busy leads -- has been ratcheted up a few clicks, even if the overall aesthetic is darker, and the superb musicianship from the trio simplified. The listener may be reminded of Hawkwind powered by an enormous diesel engine. As a title, Elusive Truth may indicate Wino's searching nature as a musician, and his attempt to continue down the sonic path through darkness, and through light. With this album, the listener is most certainly in darker territory.”

Back in stock!

NULLPTR never fails. Since emerging in 2016 with the Optical LP, Eddie Symons' project has become a byword for top-draw contemporary electro productions. After triumphantly returning to Sheffield's Central Processing Unit with 2020's Future World full-length, NULLPTR follows that album up with a new quartet of machine-funk slammers. Striking a balance between highwire, twitchy rhythm programming and some deft textural work, the Terminus EP demonstrates exactly why the NULLPTR name is so respected in the world of electro.

The first half here almost showcases the two sides of the NULLPTR sound in microcosm. Opening track 'Connected' zips along like one of the racers from a Wip3out game. The 808s are all booming breakbeats and hissing-piston hats, with a jittery synth bassline nipping in and out of the spaces left vacant by the drums. Atop these swirl eerie keyboard pads, the reverb from them draping across the rest of the instruments like fog above a city. By contrast, following cut 'Mesospheric Cruise' is the yin to 'Connected's yang. Where its predecessor was tense and coiled, this lilting number is expansive and open like a primetime Virginia joint - though the point where the wistful house pads strip back to foreground the twinkle-toed electro beat still has a pleasing crunch to it.

The B-side of Terminus serves dystopian snap from the off. Genre masters Drexciya are invoked by 'Syndicate'. The needle-gun bassline here turns itself inside-out across these five minutes, and all the while the tune is laced with some evocative shadow-realm synth pads. A similar energy courses through the EP's closing title-track, a cut which also brings into play a booming four-to-the-flour that gives it an unstoppable sense of forward-motion. Like 'Connected' and 'Mesospheric Cruise' - indeed, like all of the NULLPTR material that Central Processing Unit has brought us down the years - these jams will sound positively devilish when deployed in a dark basement.

The Terminus EP sees electro don NULLPTR (Eddie Symons) deliver four slices of unadulterated machine-funk heat.

RIYL: Virginia, Cardopusher, Drexciya, Silicon Scally

You just moved to the big city, you end up at a party where you don't know anyone and someone walks up to you and asks: "Hey, are you alone here?". That is exactly the feeling that Porcelain id describes on their debut album Bibi:1, short for the Arabic pet name Habibi. Porcelain id is the pseudonym under which Hubert Tuyishime (they/them/their) has been unleashing unique songs since 2020.

The album - inspired by their move from a quiet provincial town to Antwerp - is the soundtrack to walking into city traffic during rush hour and trusting to get out of the chaos in one piece. It is an ode to exciting encounters with complete strangers and to the friends you can come home to afterwards. A story about being a stranger in a city you've romanticized for so long, the rejection that comes with it, and the false nostalgia with which you look back on it all later on.

At first hearing, the completely English-language Bibi:1 may seem like a brusque farewell to the autobiographical intimacy and lo-fi singer-songwriter music on the previously released EPs Mango and Reprise, and especially on songs like Vlaanderen. But to Porcelain id it feels like an organic evolution. One towards more abstraction, experimentation and electronics, but never detached, and still building on the core of Porcelain id.

The new sound is the result of an intense collaboration with producer and partner in crime Youniss Ahamad, who, despite their different musical backgrounds, immediately felt challenged after Porcelain id's legendary elevator pitch: 'I want to make something that is situated between Nick Cave and the Bad Seeds and Yeezus by Kanye West'.

Together they drew the blueprint for Bibi:1 in Youniss' home studio. Track by track, without looking back. A sporadic, but rigid process that added to the intensity of the album. In the studio, the songs were taken to a higher level. The two invited a pack of talented friends and young musicians to the studio to add parts, a stark contrast to the solitary approach of previous EPs. Aram Abgaryan (recording engineer/synths/vocals), Nard Houdmeyers (guitar), Tim Caramin (drums), David Idrisov (bass), Alban Sarens (sax) and Emma Hessels (vocals) came by. Aram Santy was at the controls during the mixing sessions.

The result sounds like the ultimate symbiosis of Porcelain id and Youniss. Lofi, but ambitious. Fragile, but rough. Poppy, but disruptive. Sometimes challenging. Then welcoming again. Sometimes even danceable. Each song forms a small vignette that is part of a diverse, but coherent unity. Adam Coming Home and Low Poly are closest to the melancholy of Porcelain id's earlier work, while Lights! strikes a new path. First single Man Down, on the other hand, is inspired by the Antwerp students who drown every year and sounds like a wandering nightly stroll through the city. For Brilliant, David Idrisov was asked to 'play bass as if Chet Baker were not a trumpet player, but a bass player', a bizarre assignment that he accomplished with verve. And Cellophane flirts with emo trap and was sung with raspberries between the teeth, to simulate the effect of grills.

Nach der überraschenden Rückkehr 2023 für eine Reihe feierlicher, ausverkaufter Konzerte in UK und Europa starten die Post-Rock-DIY-Helden The Boxer Rebellion in ein vielversprechendes Jahr 2024, das noch einmal in die Tiefe geht und ihre neue 'Open Arms' EP einläutet, ein pulsierendes, kristallines Mantra, das in limitierter 500er Auflage auf cremefarbenem Vinyl erscheint. Neue schimmernd-epische Songs wie 'Powdered Sugar' und 'Lightness Out Of Darkness' oder das kathartische 'As Man As Alive As The City' bestätigen, dass die Band nicht nur zurück ist, sondern auch in einem Ausbruch dringender, aktualisierter Kreativität eine klare Linie von ihrer Vergangenheit zur Gegenwart zieht.

SONIC'S RENDEZVOUS BAND: Detroit 70s legends including Fred "Sonic" Smith of The MC5 and Scott Asheton of The Stooges. SONIC'S RENDEZVOUS BAND recorded in 1978 only two studio tracks which are in this LP, including the mighty "City slang" plus other tracks recorded live in Detroit in 1978 with excellent quality of sound. A total must for all fans of The Stooges and The MC5 as well as Bored!, Radio Birdman, The New Christs, The Hellacopters, etc. This album has been previously released under the name "Too Much Crack".

Maya Youssef is a multi-award winning musician and composer from Syria. She is hailed as ‘queen of the qanun,’ the 78-stringed Middle Eastern plucked zither. Maya’s intense and thoughtful music is rooted in the Arabic classical tradition but forges pathways into Western classical and contemporary styles. It explores the emotional and healing qualities of music.

The 'Finding Home' is a journey through memories and the essence of home both within and without in the search of that place of peace, comfort, and healing which manifests in everyone in a unique way.

Maya wrote this album during a time of spiritual awakening. Over time she has come to accept the loss of her homeland and in the process of grieving (which she explored in her Album Syrian Dreams in 2018) Maya has found a much greater sense of home in the most spiritual sense.

“As any Syrian will tell you, there is this overwhelming sense of loss and an overwhelming sense of grief. Because that world which existed before the war started, despite it naturally having problems, was a beautiful world with a booming economy, artistic scene, film festivals and visiting international artists, Damascus was the third safest city in the world. The loss of that world was heart wrenching and, in a way, steered me towards a universal concept of home.

The main trigger that made me create Syrian Dreams was the Syrian war and the loss of my homeland. And it's only by embarking on that spiritual journey of constant meditation and of finding home within God and within myself that I started to feel consolable and started to feel that I have my own home within me. I felt that the world is my home and humanity is my home. With my latest album I want to take people through a transformative journey, where they land in that place of home for them. No matter how that will look like for each person.” Maya Youssef

In den letzten vier Jahrzehnten hat Béla Fleck immer wieder neue Wege beschritten, die noch kein Banjospieler zuvor gegangen ist - eine musikalische
Reise, die ihm 16 Grammys in neun verschiedenen Bereichen eingebracht hat, darunter Country, Pop, Jazz, Instrumentalmusik, Klassik und
Weltmusik.
Sein neuestes Projekt ist nicht anders und dennoch völlig originell, denn Fleck erweitert und erforscht George Gershwins Rhapsody in Blue, indem er
dem legendären Komponisten huldigt und gleichzeitig einen amerikanischen Klassiker pünktlich zu seinem hundertjährigen Jubiläum neu definiert.
Wie seine bahnbrechenden Projekte zuvor wurde auch Rhapsody in Blue durch Flecks Mischung aus Inspiration, Unerschrockenheit, Disziplin und
Respekt vor dem Ausgangsmaterial von einer bahnbrechenden Idee zum Erfolg geführt. In diesem Fall wurde der Samen in seiner Kindheit in New
York City gepflanzt, als er George Gershwins Rhapsody in Blue zum ersten Mal hörte. Seine Liebe zu diesem Stück wuchs im Laufe der Jahre, obwohl
er erst vor kurzem, während der Pandemie, mit der Bearbeitung der Musik begann.
Zufälligerweise fällt die Veröffentlichung des Albums am 12. Februar 2024 mit dem 100. Jahrestag der Uraufführung von Rhapsody in Blue zusammen.

East Los Angeles quartet Levitation Room’s floaty, cosmic songs are always a trip. Since forming nearly a decade ago, they’ve self-produced dizzying, otherworldly music that’s connected with fellow travelers in the hallucinogenic world of outré rock music. Led by singer and guitarist Julian Porte along with founding members Gabriel Fernandez (lead guitar) and Johnathan Martin (percussion), the band has enchanted live audiences at Desert Daze and on tour with like-minded groups Post Animal and Psychedelic Porn Crumpets. The band’s vivid sound has found them placed on popular playlists like Modern Psychedelia and the legendary superproducer’s Danger Mouse Jukebox. Their 2015 debut, “Friends,” has surpassed 18 million streams. Joined by new member Kevin Perez (bass) in 2021, Levitation Room have continued to expand their colorful, unearthly sound, a process that has culminated with the vibrant new album Strange Weather. Collaborating with former Brian Jonestown Massacre keyboardist Rob Campanella, Jason Kick (Mild High Club), and Black Crowes’ Joel Robinow, Levitation Room take a new step in their story and vision with Strange Weather. The record’s lyrical narratives—about love in the park, life in the city, and the fact that “The world today is such an illusion”—are appropriately steeped in ’60s sonics and a dreamy, lo-fi atmosphere. It’s spacey, celestial guitar music for escaping into, and “it feels just like heaven.” Join Levitation Room on their new voyage.

lim. to 250 Copies ww!

"The world is rich, the world is colorful. So why not show it in all its complex diversity and contrasts? Why, when you go in one direction, do you have to follow it further and can't just go in all directions at once? These are all questions that Berlin-based Turkish singer Basak Yavuz may have asked herself when she began recording her new album "Raum 610."

Basak Yavuz doesn't take much time to get down to business. Right away in the opener "Promised Lands," different stylistic elements like jazz, rock, funk and hip-hop chase each other as if it were a matter of life and death. The message is unmistakable: this is about energy. The energy of the big city. Crowds on the sidewalk, congested streets, noise from construction sites, cyclists and drivers yelling at each other, barking dogs, screaming children, shattering glass, a new surprise around every corner. Basak Yavuz does not hide, but picks up the tempo of the Moloch and makes it her own pulse with all its fractures and border crossings. She is not afraid to overload her songs, but confidently juggles the explosiveness of creative oversaturation." (Wolf Kampmann)