quête:classic man

Ambolley is revered as the Simigwahene in Ghana – The King of Simigwa-Highlife. Because of his deep, soulful, and funky Highlife sound, he is also sometimes referred to as the “James Brown of Ghana.” And not without reason. His blend of Highlife, Funk, Jazz, Soul, and proto-Rap was and is still exhilarating. He learned music from outstanding artists like Sammy Larteh and Ebo Taylor, with whom he played In the Uhuru Dance Band. Together they founded the Apagya Show Band in 1974. Now, after more than 40 years active in music and his numerous albums, Gyedu-Blay Ambolley is a living legend, too. Gyedu-Blay Ambolley exploded on the music scene in 1973 with a jazzy, funky, and soulful Highlife sound he called SIMIGWA-DO. Building his own Simigwa style and leaving traces around the world, today the versatile, irrepressible and highly revered singer, composer, bandleader, multi-instrumentalist, producer, and “musical-life-force” has more than 30 music albums to his credit. On his new album "GYEDU-BLAY AMBOLLEY AND HI-LIFE JAZZ" you can hear his versions of some classic Jazz tunes like "Round Midnite", "Love Supreme", Footprints" and "All Blues" as well as some new compositions by the Simigwa - Man himself.

Heavy horror punk icon WEDNESDAY 13 has climbed his way to the top of the horrendous heights of rock, punk and metal with his electrifying solo music and as frontman of renowned horror punk supergroup Murderdolls, amassing a colossal cult-following along the way. In 2022, the undisputed harbinger of metal horror returns, following up on 2019’s acclaimed Necrophaze (#2 US Heatseekers) with Horrifier – a brand new slathering of 10 terrifyingly grim and groovy anthems to get blood pumping and brains melting! Showcasing a blend of styles from the band’s 20-year career, Horrifier manages to weave an underlying sonic thread reminiscent of WEDNESDAY 13’s roots – a raucous blend of ballistic metal and macabre heavy rock that’ll have new and diehard fans alike ascending from the depths. As always, various tracks on the album are inspired by classic horror flicks, this time circling cult-favorite slasher John Carpenter’s Halloween and the iconic Christine supernatural thrillers.

Quality over quantity. That’s what characterises Shamek Farrah and Norman Person’s recorded output. They may have a small discography between them but it’s a stable of recordings that centrally locate them in the development of the black jazz of America. BBE Music is delighted to present a new edition of a rare, relatively unknown, and unheard gem. Recorded between 1988 and 1991 across a series of concerts, ‘Live’ was released in 1991 and was only available for sale at their gigs. Issued on audio cassette on Farrah’s private Heritage Industries label, ‘Live’ is a raw, uncompromising selection of deep, conscious jazz featuring three original compositions and two covers: ‘Aisha’, written by Person, was inspired by Person’s daughter and is a majestic joyous groove that extends out into a percussive jam; ‘Negative Forces’ is a fiercely paced hard bopper worthy of the Jazz Messengers. Written by Person, he tells how “it had to be like a torpedo, man. It had to come out strong and fight against those negative forces”. The one Farrah/Person co-write on the album is ‘Timeless Beings’, a short freeform improvisation that creates a distinct moment of space and light in an otherwise intensely focussed, yet highly accessible album. The two covers on the album reflect the instruments of the co-leaders: sax and trumpet. ‘Footprints’, the classic written by the Newark Flash himself, Wayne Shorter, and first heard on ‘Miles Smiles’ in 1967 is delivered deftly by Farrah and co. Here, the band pays a respectful yet adventurous rendition, with some superbly colourful piano from Sonelius Smith. The second cover is a tribute to the great trumpeter Clifford Brown, who died in a car accident in 1956, aged just 25. ‘I Remember Clifford’ written by Benny Golson, is handled with suitably delicate reverence. “I still listen to Clifford Brown today,” says Person. “He’s still my teacher.” On ‘Live’, saxophonist Farrah and trumpeter Person - friends for decades - capture an energy and vibration that is infused with the spirit of their youth – whether drawing on the hard bop of the late 50s and early 60s or the Afrocentric spiritual jazz of the early 70s, of which Farrah is intimately linked via his albums on Strata East, ‘Live’ is a document of two masters at work. ‘Live’ has flown under the radar to many a fan of prime black conscious and spiritual jazz but now BBE brings back this astonishing set by two giant talents accompanied by a group of musicians who shine with brilliance and verve. Available for the first time on CD, digital, and double vinyl set cut at 45rpm by the Grammy-nominated The Carvery mastering studio, ‘Live’ also comes with an extended interview with Shamek Farrah and Norman Person by Tony Higgins.

Welcome to the FLIP SERIES. It's a new series where a group or an artists are sharing an album together.

Japanese Jazz trio Nautilus are starting with the A-Side. Label head Oonops is working with them since 2017 and this is their eighth common project. He selected two of his favourite tunes from Nautilus back archive which are called "In The Rain" - a cover version of an old soul classic by The Dramatics from 1971 as well as "Kudu" by Eddie Henderson from 1976 (both previously only available on the Japanese market). Additionally there are three new cover versions which Oonops desired to get arranged: "Manhã" by Azymuth, "The Bottle" by Gil Scott-Heron and "Be Thankful For What You Got" by William DeVaughn! All classics and new reinterpreted in the typical Nautilus way.

For the flip side Oonops selected his favourite tunes by traditional Japanese singer Anna Sato & Nautilus drummer Toshiyuki Sasaki. They released two common digital albums named "Message & Message 2 - Reincarnation" and now found on this mini sampler on 12"-vinyl for the first time.

"Manhã" played by Gilles Peterson (BBC Radio 6 Music)

For all fans of this band: stay excited because a debut live tour for Germany in May 2022 is planned! credits released September 2, 2022

Arranged by: Toshiyuki Sasaki
Drums: Toshiyuki Sasaki
Keys: Mariko Nakabayashi
Bass: Shigeki Umezawa

A1 written by: The Dramatics
A2 written by: Azymuth
A3 written by: Gil-Scott Heron
A4 written by: Patrice Rushen
A5 written by: William DeVaughn

Flipside:
Drums arranged by: Toshiyuki Sasaki
Vocals arranged by: Anna Sato

Artwork and layout: Glueset
Photography Nautilus: Orie Ichihashi
Photography Anna Sato & Toshiyuki Sasaki: Rino Kojima
Conceptual project idea: Oonops

Death. Sex. Doomed Romance. These three simple phrases define the sound and thematic presence of Panic Priest. The musical project of singer, songwriter, and multi-instrumentalist Jack Armondo (of “dark pop” outfit My Gold Mask), Panic Priest is centered around Armondoʼs deep, crooning vocals while weaving together dreamy guitars and synths. For fans of New Order, Tears for Fears, The Sisters of Mercy, and Clan of Xymox.

Panic Priestʼs long awaited sophomore effort Second Seduction is a significant sonic expansion on the projectʼs signature sound (which was first unveiled by way of the debut self-titled offering in 2018). Co-produced and engineered by Brian Fox (Wingtips, Ganser), the new album intertwines classic genres such as darkwave, post-punk and goth while a richly layered modern synth-pop sensibility elevates the album to something larger than simple nostalgic recreation. Performed and composed almost entirely by Armondo (with key contributions by Twin Tribes, Vincent Segretario of Wingtips and Gretta Rochelle of My Gold Mask), Second Seduction is simultaneously personal yet fantastical. A cathartic account of Armondoʼs real life experiences, stemming from personal heartbreak, life as a non-monogamous individual and even current political anxieties, be prepared to once again be tempted and lured into the world of Panic Priest. Midnight Mannequin Records is proud to present this deluxe reissue of Second Seduction, pressed on limited edition “Kiss Me Dead” ghost white (frosted clear) 140 gram vinyl. Includes OBI strip and insert with lyrics and liner notes.

(Extended Reissue)

Double vinyl LP | Extended reissue
All tracks remastered from the original master tapes.

And here it is! For the first time ever, Zoo Folle in its full, extended glory.
This double LP contains both the soundtrack as released in 1974 (sides A and B) and previously unreleased gems (sides C and D).

Back in 2016 we put out the first official reissue of Zoo Folle. It sold out in a matter of months, leaving many vinyl collectors hungry for more. Quite serendipitously, the following year we found ourselves digging through Giuliano Sorgini's personal archives to prepare what would become Africa Oscura and stumbled upon a few mysterious reels that could be traced back to Zoo Folle. Imagine our joy when we realized that they contained the complete recording sessions of the original soundtrack, including unreleased material and never-before heard alternate versions! It was a no-brainer to start planning this extended reissue.

Already a phenomenon among collectors and experts, not only does Zoo Folle it keep winning more and more recognition, but, together with The Living Dead at Manchester Morgue and Under Pompelmo, it has established Sorgini as one of the great Italian composers of his generation.

And this is no coincidence. Zoo Folle is Sorgini's most committed and personal work. It reflects at once his beliefs as an animal rightist and his deep friendship with TV director and long-time collaborator Riccardo Fellini (brother of La Dolce Vita director Federico). It was Fellini himself who asked Sorgini to score his documentary on the living conditions of animals in zoos in Western metropolises (Rome, London and Paris in particular).

Originally broadcast by RAI in three primetime episodes, Fellini's exposé sharply contrasts the lives of caged animals with the freedom they experience in nature and wildlife reserves such as the Amboseli National Park in Kenya, Africa.

For his part, Sorgini offers perhaps his grandest score ever – a magnificent, multifaceted soundtrack that brings together a variety of instruments and the best musicians available at the time, from the lavish string orchestra recorded at the Fono Roma studios (a dream come true for someone who had not penetrated the inner circle of A-list composers like Morricone), to the angelic voice of Edda Dell'Orso, who conveys the sweetness and melancholy of the African sunset in Red, Old Skies.

Also performing on the soundtrack are exquisite soloists – all long-time friends of the composer. Nino Rapicavoli, for instance, whose flute adds a magical touch to the psycho-funk of Mad Town and the groove of Slaves, as well as Enzo Restuccia, whose afro-tribal percussions have made Ultima caccia a legendary track especially among lovers of Balearic grooves, and Enrico Ciacci, whose classical guitar soars beautifully over the nostalgic and poignant Chains. Not to mention the fact that Sorgini himself laid down the foundation tracks for the album in the small studio he had in the Prati neighbourhood in Rome, playing the piano, drums and several synthesizers.

So, what are you waiting for? Get your turntables ready for the full version of Amboseli (14 minutes of sheer bliss versus less than 6 in the original record) and for stunning, previously unreleased alternate versions of many other themes composed by Sorgini to celebrate the beauty of the savannah.

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.


DISC 5: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2)
Side I: (TRAIN)
1. Radio Cure (Here Comes Everybody Version) *
2. War on War (Here Comes Everybody Version) *
3. Venus Stopped the Train (Here Comes Everybody Version) * #
4. I'm the Man Who Loves You (Here Comes Everybody Version) *
5. The Good Part (Here Comes Everybody Version) * #
Side J: (KETTLE)
1. Pot Kettle Black (Here Comes Everybody Version) *
2. Ashes of American Flags (Here Comes Everybody Version) *
3. Poor Places (Here Comes Everybody Version) *
4. Shakin' Sugar (Here Comes Everybody Version) *
5. Reservations (Here Comes Everybody Version) *

DISC 6: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2) / THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3)
Side K: (ESCAPE)
1. Cars Can't Escape (Here Comes Everybody Version) * #
2. A Magazine Called Sunset (The Unified Theory of Everything Version) ** #
3. Remember to Remember (Hummingbird) The Unified Theory of Everything Version ** #
4. I Am Trying to Break Your Heart (The Unified Theory of Everything Version) ** #
Side L: (WAR)
1. Kamera (The Unified Theory of Everything Version) ** #
2. Radio Cure (The Unified Theory of Everything Version) ** #
3. War on War (The Unified Theory of Everything Version) ** #
4. Jesus, Etc. (The Unified Theory of Everything Version) ** #

DISC 7: THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3) / LONELY IN THE DEEP END – DEMOS, DRAFTS, ETC.
Side M: (DRUMMER)
1. Ashes of American Flags (Stravinsky Mix) ** #
2. Heavy Metal Drummer (The Unified Theory of Everything Version) ** #
3. I'm The Man Who Loves You (The Unified Theory of Everything Version) **
4. Pot Kettle Black (The Unified Theory of Everything Version) ** #
5. Poor Places (The Unified Theory of Everything Version) ** #
Side N: (RESERVATIONS)
1. Reservations (The Unified Theory of Everything Version) ** #
2. Love Will (Let You Down) Lonely in the Deep End Version *
3. Lost Poem Demo (Lonely in the Deep End Version) *
4. I’m The Only One Who Lets Her Down (Lonely in the Deep End Version) *
5. Has Anybody Seen My Pencil? (Lonely in the Deep End Version) *














[l] E1. Anniversary (Nothing Up My Sleeve) [American Aquarium Version] *









[v] G2. Not for the Season (Laminated Cat) [American Aquarium Version] *


[y] H2. Not for the Season (Laminated Cat) [Here Comes Everybody Version] * #





[xe] K3. Remember to Remember (Hummingbird) [The Unified Theory of Everything Version] ** #











[xq] N2. Love Will (Let You Down) [Lonely in the Deep End Version] *

With Panorama, Frank Maston pays homage to the classic era of library records and Italian soundtracks of the 70s. A blissed-out, grooving collection of filmic cues, it continues the unique brilliance of Tulips and Darkland. Elegant and easy, subtle and stylish, breezy and beautiful; this is his Maston-piece. Commissioned by legendary label KPM, Panorama cements Maston as a master of modern classics and the most mesmeric of contemporary composers.

In early 2020, Be With suggested to Frank that he should make a KPM record. He wasn't aware that they were still putting out new library records - but he was super keen: "It was completely surreal and it still hasn't fully sank in that I have a record in that catalog, sitting alongside those incredible albums that were so influential to me."

Frank was visiting family in his hometown of LA in March 2020 when the world ground to a halt so the KPM project arrived at a fortuitous moment. Having fantasised about committing to a record with no distractions, with a proper budget, access to his gear and space to work in - to really dig in and try to write and arrange the best work he could possibly make - it was a real "be careful what you wish for" moment. But, as Frank explained, "it completely saved my year and sanity to have something to focus on and get excited about. It was my lifeline." He spent seven months on it, working almost every day.

Maston had already been making library-influenced music so when KPM outlined the criteria for the tracks it was exactly what he had been doing all along. He thought the best approach would be to make a follow-up to Tulips that had a parallel life as a KPM record. Enjoying complete creative freedom, “gave me the drive to power through and dig in deep. I'm not sure if I could have kept myself on such a rigorous recording schedule under my own steam, and I think the momentum I had writing and recording it is part of the strength of this record."

Maston’s sleek retro-groove instrumentals emulate the classic KPM “Greensleeve” reel-to-reel recordings that provided mood-setting music for mid-century cinema, television, and radio programs. Apparently in close conversation with the John Cameron-Keith Mansfield KPM pastoral masterclass Voices In Harmony, Maston's Panorama could be heard as that record's funky follow-up. Yes, it's *that good*. Another reference point from the hallowed library would be Francis Coppieter's wonderful Piano Viberations.

Opener "First Class" is a blissed-out groove, featuring the soothing vocals of Molly Lewis and a glistening harp over drums, a two-note bass motif (from Eli Ghersinu of L'Eclair) and an assemblage of guitars, synths, French horn and glowing vibraphone. Acid Lounge, anyone? The irresistibly funky "Easy Money" is a gorgeous cut led by more of Molly's vocals, pastoral flute and Rhodes, underpinned by drums and percussion, grooving bass, chilled guitars and synth strings. Kicking the tempo up, the percussive "Storm" is a vibin' filmic-fusion jam where psychedelic guitars (courtesy of Pedrum of Allah Las/Paint) organ, jazzy flute, Rhodes and vibes all compete for a place in the sun, over drums and walking bassline.

The heavenly "You Shouldn't Have" is a delicate, melancholic wonder; a dreamy instrumental where the melody is shared by a whistle, harpsichord and celeste, over a cyclical piano chord sequence and bass, synths, guitars, organ and distant French horn. The tempo rises again with the passionate, sticky "Fling", a summery, nostalgic groove with skipping drums and percussion, warm bass and electric guitar, yearning flute and synth strings. The brilliantly titled "Fool Moon" has that Voices In Harmony sound down pat. A romantic slow-mo dreamscape of Rhodes and harpsichord, piano, light drums and softly strummed acoustic guitar.

Side B opens with "Medusa", a hopeful, mellowed-out track with shuffling drums, feel-good flute, muted horns, glowing Rhodes and synth strings. The soft and gentle "Morning Paper" is an elegant way to start the day; a beatless blend of flute, guitar, percussion, ambient synths and vibes. The upbeat head-nod jam "Scenic" has that widescreen car-chase feel, uptempo drums and percussion, grooving bass, piano, synths and ambient electric guitar. "Adieu" is a smooth summer vibe, relaxing with brushed drums, Rhodes, flutes and horns. Molly Lewis's gorgeous vocals steal the show, alongside vibes, jamming organ and synth strings.

"Hydra" is another laid-back 70s-sounding retro cinema cue with light drums and percussion, walking bass, spacey synths, clavinet, glowing vibraphone, vintage organ and electric guitar. Closer "Jet Lag" is a laconic bow out; bass-driven drum machine soul, featuring hand percussion, Rhodes, vibes, synths and organ.

Multi-instrumentalist Frank played a bit of everything across Panorama. Yet, humble as ever, he believes the time, energy, and enthusiasm of all of the musicians invited to the sessions helped him realise his vision: "There were two Italian flautists who really understood what I was going for. Two french horn players, cor anglais, a vibraphonist and a flügel horn player. I've never involved this many people in my projects before, and yet the result is the most "me" record I've ever made."

Musically, a strong Italian theme runs through the record. Frank is fascinated by ancient Rome and both his parents are Italian (Maston was originally Mastrantonio before anglicisation). So, it felt natural to fully embrace these strands and tie everything together with the striking artwork. The Romans were influenced by Greek culture, emulating their art and architecture, which, in turn, influenced Renaissance era artists. Frank acknowledged this tradition when reflecting on his place in the lineage of library and soundtrack composers. He then asked his friend Mattea Perrotta, a painter and sculptor, for some sketches. What he received was exactly what he had in mind: "Especially the theater mask, which really captures the range of moods on the album". Frank arranged them as per the cover and it soon felt right: "I wanted to make a cover that was reminiscent of the classic KPM albums without making it too pastiche - so it has its own identity and looks at home alongside other library records, while still fitting in nicely in the KPM catalogue." The last step was for us to introduce Frank to Be With-KPM’s Rich Robinson, who helped put together the back and centre labels and align it all within the KPM standard.

Panorama is a perfect title for the album. With no opportunity to travel for tours or recording projects, Frank arranged postcards from his collection on his desk with beautiful views of the mediterranean coast, the Roman Colosseum and Cinque Terre. These also served as visual prompts: "That was part of the sonic concept - imagining myself driving down the mediterranean coast with this music on, with the top down." Additionally, the range of moods and vibes - "I tried to make each song very different from the previous one in terms of tempo and arrangement and feeling" - speaks to the idea of a Panorama of music and sounds and emotions. The last track was originally called Panorama, but KPM already had that title in their catalogue so it was changed to "Jet Lag", which, as Frank notes, "is perhaps even more fitting, since the trip is over".

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.

The future and history of bleeding edge dance music collide on DJ Nigga Fox's new Crânio EP, where the relentless young artist crafts an even deeper level of musicality into his innovative, riotous creations.
Following his appearance on the seminal CARGAA compilation series, this collection feels deeply fitting for a Warp project, as it manages to un-self-consciously straddle the bass and bleep alchemy of the label's early club classics while sitting firmly in the artful post-genre nexus of the current roster of artists.
Ever pushing forward, DJ Nigga Fox (néRogério Brandão) has enlisted a veteran percussionist from his home country of Angola to expand the manic palette of his sound. The outcome is a constantly shapeshifting form of psychedelia made for dancefloors, that still manages to spark synapses as a complete listening experience. Yet another beguiling leap forward for the sound of contemporary Lisbon.
Limited to 1000 copies worldwide

Following on from the stunning recording of her 1992 performance at the Berlin Parampara Festival (BT079), Black Truffle is pleased to continue its documentation of the work of Berlin-based Italian singer Amelia Cuni, one of the great contemporary exponents of dhrupad, the oldest surviving style of North Indian classical vocal music. Beautifully recorded in concert at Vishweshwarayya Hall, Mumbai. 04.02.1996 presents expansive performances of three ragas stretching across four sides and almost one and a half hours of music. Beginning with the serene Raga Lalit, Cuni dwells for over twenty-five minutes on its opening alap movement, accompanied only by tanpura, her limpid yet full-bodied voice moving from graceful exposition in free tempo to increasingly rhythmically active variations, gradually spiralling upward in register. She is then joined by master pakwahaj player Manik Munde for the raga’s dhrupad and dhamar sections, the resonant tone of the drum and his constant invention with the complex 14-beat cycle serving as the perfect accompaniment for Cuni’s ecstatic melodic developments. On the more solemn Raga Bhairav, Cuni’s alap, again stretching out over a whole side, is particularly notable for its powerful held notes and mastery of microtonal movement of pitch. After Munde returns for another rhythmically intricate dhamar movement, the record ends with the buoyancy of the Raga Alhaiya Bilaval, whose mode has, for the Western listener, an unmistakably ‘major’ quality. The rapturous applause that greets the performance is reflected in a remarkable selection of press clippings contemporary with the recording, which demonstrate Cuni’s success with Indian critics. Arriving in a gorgeous gatefold featuring stunning colour photographs of Cuni taken by legendary Australian fashion photographer Robyn Beeche (who resided in India from the early 90s), Mumbai. 04.02.1996 is a document of indescribable beauty and a moving testament to music’s ability to cross national and cultural borders.

Channeling his background in classical music, SUUNS' Ben Shemie combines string fractals, manipulated vocals, and synth-powered chaos to bridge the universes of past, present, and future. Over the course of ten tracks, Shemie chronicles a wandering soul tangled in its own dark orbit, searching for meaning in a world of stardust and astral mirages. Breathing life into Shemie's orchestral maneuvers was the Molinari String Quartet, one of Canada's most celebrated contemporary ensembles. Recording the album's ten tracks in two single-takes, the urgency and dynamism of these compositions can be heard as much felt. The listener can sense the stuttering pulse of Shemie, flanked by five amplifiers and wading in electronic bedlam, as the Molinari Quartet switchbacks measures of strings and chimes. Sometimes, the only way to make sense of the world is to travel to its absolute end. While Shemie's image of a faraway universe is equal parts inspiring and chaotic, he assures the listener _ everything and everyone is exactly as it should.

Deluxe Edition

We’re proud to present an extravagant 51st anniversary edition of Wigwam’s game-changing prog rock classic Fairyport. What began as a projected 50th anniversary release turned into a 51st due to the current manufacturing queues for vinyl. To create the anniversary package we teamed up with Jukka Gustavson and went through a plethora of material. Gustavson hand-picked the best possible bonus materials. The legendary jam Rave-up For The Roadies, featuring Jukka Tolonen, was located in its original 36 minute form. The truncated 17-minute version is the closing number of Fairyport, but here the full version received an entire LP. Most original reels to Fairyport are lost, but we salvaged a few demo session tapes plus some eight track reels of the album’s work-in-progress stage. Four tracks were chosen by Gustavson to be added here. It should be noted that the two album session tracks feature the original violin parts, which were left off the final product. All material was mixed from the original reels by Risto Hemmi at Finnvox. The box set also features a live LP. For this Gustavson picked material from a show the band played in Stockholm while working on the album’s demo sessions. There’s an earliest existing version of Losing Hold plus a 15-minute medley of several tracks. Also included is a 20-minute live set from the first ever Ruisrock in 1970, a couple of months before the band entered the studio. Here Wigwam perform three classics by The Band. The vinyl box set is limited to 1000 copies. All material has been remastered at Finnvox by Pauli Saastamoinen in 2022.

Clear Vinyl + DL Code

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that's only one side of Iliakis' creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents.

The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track "Mountainmouth" - an extremely energetic composition which won't leave you unaffected. As per most of Iliakis' songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release.

The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes "Infected Walkman". According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following "Sad Plants", are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, "Exodus Denied" is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of "Carbonated Soap" that jumps right to the more energetic parts after the first break.

Mountainmouth may not be an easy listen at start - but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

Violet Vinyl + DL Code

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that's only one side of Iliakis' creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents.

The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track "Mountainmouth" - an extremely energetic composition which won't leave you unaffected. As per most of Iliakis' songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release.

The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes "Infected Walkman". According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following "Sad Plants", are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, "Exodus Denied" is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of "Carbonated Soap" that jumps right to the more energetic parts after the first break.

Mountainmouth may not be an easy listen at start - but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

After the release of "Acoustic Adventures - Volume One", most of the second chapter consists of faster tracks like 'Black Sheep', the all-time live classic 'FullMoon' and 'Flag In The Ground'. But SONATA ARCTICA wouldn't be SONATA ARCTICA if they played it safe: 'San Sebastian' or the closing track 'Victoria's Secret' manage to spread a completely new, refreshing feeling to the listener; a feeling that is best experienced in front of a stage, of course!
To complete this particular saga and finally celebrate the kick-off of their next, repeatedly postponed 'Acoustic Adventures' tour to uplift the Corona-shaken Finnish and European mainland minds. But first: come into the living room, sit back and follow SONATA ARCTICA on their stripped-down but no less exciting journey into the world of acoustic music...!

‘Was there ever a more perfect film for Glass’s lyrical manner? He refers to his own past, but the way in which the material is treated transforms it inevitably into that eternal present. Such a feeling of fragile beauty is a rare achievement.’ – Gramophone

‘Simple and complex by turn, Glass’s score adds dignity and depth to the movie, and to the tragedies and triumphs, big or small, of ordinary life.’
– Guardian

‘Underpinning the anguish at the heart of The Hours a beautiful score. Glass’s motifs capture the passage of time and the universality of human experience.’ – Classic FM’s Best Soundtracks

Nonesuch releases Philip Glass’s award-winning soundtrack to The Hours on vinyl for the first time to coincide with its 20th anniversary and Glass’ 85th birthday concert season. Originally released in December 2002, Glass’s score to the Academy Award-winning film was itself nominated for an Academy Award, as well as a Golden Globe and a Grammy, and went on to win a BAFTA and a Classical BRIT.

Directed by Stephen Daldry, The Hours is the story of three women searching for more potent, meaningful lives. Based on Michael Cunningham’s 1999 Pulitzer Prize–winning novel, with a screenplay by David Hare, the film interweaves the stories of three women – a book editor in New York (Meryl Streep), a young mother in California (Julianne Moore), and the author Virginia Woolf (Nicole Kidman). Their stories intertwine, and finally come together in a surprising, transcendent moment of shared recognition.

Philip Glass’s score was conducted by Nick Ingman, with Michael Reisman on piano and the Lyric Quartet, and recorded at Abbey Road Studios and Air Studios, London. The score was a key element in this acclaimed triptych of dramatic tales. ‘The inter-cutting of personal stories over a wide span of time,’ said NPR, ‘is held together by a single music approach.’

In his original liner note, Michael Cunningham wrote, ‘Each novel I’ve written has developed a soundtrack of sorts; a body of music that subtly but palpably helped shape the book in question. The one constant since I started trying to write novels, however – my only ongoing act of listening fidelity – has been the work of Philip Glass. I love Glass’s music almost as much as I love Woolf’s Mrs. Dalloway. Glass, like Woolf, is more interested in that which continues than he is in that which begins, climaxes, and ends; he insists, as did Woolf, that beauty often resides more squarely in the present than it does in the present’s relationship to past or future. So, when I heard he’d agreed to contribute the music to the film version of The Hours, it seemed both inevitable and too good to be true. I’m not sure if I can offer any higher praise than this: When I saw the movie with the music added, I thought automatically of how I could use the soundtrack, when it came out, to help me finish my next book.’

“This is a movie about art and how art affects life," explains Philip Glass. “The story is very complicated and the music could take on a very important role in the film, as I saw it – to make it viewable, to make it comprehensible, so the stories of the three women in the film didn’t seem separate, that they were tied together. The music had to be the thread that tied the movie together. There’s no question that the emotional point of view is conveyed by the music. Music is the arrow you shoot in the air. Everything follows that.’

Born in Baltimore, Maryland, in 1937, Philip Glass is a graduate of the University of Chicago and the Juilliard School. By 1974, Glass had created a large collection of music for The Philip Glass Ensemble. The period culminated in the landmark opera, Einstein on the Beach. Since Einstein, Glass’s repertoire has grown to include music for opera, dance, theater, orchestra, and film. His scores have received Academy Award nominations (including Kundun and The Hours, both released on Nonesuch, as well as Notes on a Scandal) and a Golden Globe (The Truman Show). Recent works include Glass’s memoir, Words Without Music, Glass’s first Piano Sonata, opera Circus Days and Nights, and Symphony No. 14. Glass received the Praemium Imperiale in 2012, the US National Medal of the Arts from President Barack Obama in 2016, and 41st Kennedy Center Honors in 2018.

Nonesuch’s relationship with Glass began in 1985, with the release of the score for Paul Schrader’s Mishima. In addition to The Hours (2002) and Kundun (1997), over the years other Glass works on Nonesuch have included Einstein on the Beach (1993), Music in Twelve Parts (1996), the soundtracks for Powaqqatsi (1988) and Koyaanisqatsi (1998), Glass Box (2008), and Kronos Quartet’s Performs Philip Glass (1995), amongst others.