Buscar:crash co

Tape

Marc Romboy presents his upcoming album "Voyage de la planète' his first solo full-length production in over eight years. Released on his newly launched Hyperharmonic label, Voyage de la Plantète signifies an exciting new chapter for Marc as he experiments with his sound - pushing the boundaries between classical and electronic music to create both an emotional and atmospheric experience.
The first impression of this new sound can be heard on album opener forerunner 10" "Monde futuriste" (February 17th 2017) which blends together beautiful strings and soft flittering synths. "Jules Verne" named after the French science fiction writer, combines echoing arpeggios and a subtle woodwind harmony to create a cosmic soundscape. Whilst "Atome de danse", "Symphonie oblique" and "La machine du temps" use elegant strings to further enhance an unearthly effect, title track "Voyage de la planète" mixes the two mediums together with fluttering synths and somber strings before "La lune et l'étolie" builds introduces the bustling sound of the piano to create an upbeat melody.
Whilst there is a strong classical influence, there are tracks on the album that reference Marc's electronic background. This can be heard in

"L'univers étrange", which has an ambient sound, whilst pitched-down chords take "L'universe parallèle" to a dark and moody space.
"Phénix" is a bass-driven track, layered with crashing synths, taking the journey to a high before the celestial experience draws to a close on an uplifting note with "Nocturne" a laid-back soothing track that exudes optimism and wonderment.
Inspired by a concert with the Dortmund Philharmonic Orchestra where he performed Claude Debussy works in a contemporary way, "Voyage de la planète' signifies the start of a new chapter for Marc Romboy. Combining the strange, fascinating sounds of electronic music with the sublime beauty of classical music to create an extraordinary sonic experience for the listener.

LP pressed exclusively for National Album Day 2021 on gold vinyl in
single-pocket jacket with custom dust sleeve and digital download
coupon.
 Through ‘Titanic Rising’, Weyes Blood, aka Natalie Mering, has
designed her own universe to soulfully navigate life’s mysteries.
Manoeuvring through a space time continuum, she plays the role of
melodic, sometimes melancholic, anthropologist.
 Tellingly, Mering classifies ‘Titanic Rising’ - written and recorded during
the first half of 2018, after three albums and years of touring - as The
Kinks meeting WWII or Bob Seger meets Enya. The latter captures the
album’s wilful expansiveness (“You can tell there’s not a guy pulling the
strings in Enya’s studio,” she notes, admiringly). The former relays her
imperative to connect with listeners. “The clarity of Bob Seger is
unmistakable. I’m a big fan of conversational songwriting,” she adds. “I
just try to do that in a way that uses abstract imagery as well.”
 The Weyes Blood frontwoman grew up singing in gospel and madrigal
choirs. (Listen closely to ‘Titanic Rising’ and you’ll also hear the jazz of
Hoagy Carmichael mingle with the artful mysticism of Alejandro
Jodorowsky and the monomyth of scholar Joseph Campbell.)
‘Something To Believe’, a confessional that makes judicious use of the
slide guitar, touches on that cosmological upbringing. “Belief is
something all humans need. Shared myths are part of our psychology
and survival,” she says. “Now we have a weird mishmash of capitalism
and movies and science. There have been moments where I felt very
existential and lost.”
 As a kid, she filled that void with ‘Titanic’. (Yes, the movie.) “It was
engineered for little girls and had its own mythology,” she explains.
Mering also noticed that the blockbuster romance actually offered a story
about loss born of man’s hubris. “It’s so symbolic that The Titanic would
crash into an iceberg, and now that iceberg is melting, sinking
civilization.” Today, this hubris also extends to the relentless adoption of
technology, at the expense of both happiness and attention spans.
 But Weyes Blood isn’t one to stew. Her observations play out in an
ethereal saunter: far more meditative than cynical. To Mering, listening
and thinking are concurrent experiences. “There are complicated
influences mixed in with more relatable nostalgic melodies,” she says.
“In my mind my music feels so big, a true production. I’m not a huge,
popular artist, but I feel like one when I’m in the studio. But it’s never
taking away from the music. I’m just making a bigger space for myself.”

The Override Switch combines the talent of two Detroit natives: Jeff Mills and Rafael Leafar. The latter is a multi-instrumentalist with a strong affiliation to jazz music. Through Mike Banks, he was introduced to Jeff Mills, where the idea for The Override Switch began to manifest. The album is a homage to artists like John Coltrane, J Dilla, Kraftwerk and those who inspire experimentation with what can be evoked through music.

Pressed on vinyl for the first time in 20 years, The
Charlatans’ self-titled fourth album is set for release,
available on marbled yellow double vinyl with a
gatefold sleeve, the audio is via transfer to 96khz/24
bit, with vinyl mastering by Frank Arkwright at Abbey
Road.

This, their fourth album, came out in 1995. It was
their most ambitious and focused album to date and
returned them right back to the Number One slot in
the charts. The album also spawned three UK Top
40 singles, ‘Crashin’ In’, ‘Just Lookin’’ and ‘Just
When You’re Thinkin’ Things Over’, which peaked at
Number 12.

When The Charlatans started out, there were
countless bands similar to them but they
immediately catapulted to the forefront of the
Madchester scene, standing alongside such icons
as The Stone Roses and The Happy Mondays.

The band were / are successful because, in addition
to being able to ride the groove, they could also
write amazing songs. These were the gifts that
made them among the greatest British survivors of
our time, rolling through tragedy and stylistic
changes to amass a terrific body of work - one that
was modern enough to play in clubs but classic
enough to stand the test of time and one that
continues to grow to this day. They have notched up
thirteen Top 40 studio albums - three of them
number ones - alongside twenty-two hit singles, four
of them Top 10

Summer was conceived as an entry point for Sonae to access and wrestle with difficult themes, to engage with them authentically, artfully, personally. It was also the starting point for a collaborative audio-visual project with video artist Jennifer Trees (the confronting multimedia installation that premiers in September 2021 at Stadtgarten, Cologne).

Summer articulates these ideas using the unique musical and sonic language that Sonae has been developing across previous releases. The expressive textures and tender melodics of 2015’s Far Away is Right Around the Corner; the atmospheric noise and brute unease of 2018’s I Started Wearing Black; the vicious edges of her 2019 remix-tape Music For People Who Shave Their Heads. Summer is haunted by blistered cellos and spectral string drones, the elegant and emotive movement around diatonic harmonies that echo the classicism and bucolic themes of Vivaldi’s The Four Seasons (1775). Like Vivaldi, Sonae’s work is programmatic, presenting a progressive, intensifying narrative and suggesting aural phenomena of the natural world - buzzing insects, breaking rocks, waves crashing, dust and heat rising - and characterising the seasonal spirit as capricious, volatile and punishing. In these ways, Summer is related to pastoral traditions of European classicism, evoking the aura of doomed and dust-blown gothic grandiosity. It also has feet firmly planted within the lean, sound worlds of underground techno - pulsating four-on-the-floor beats with deep, vibrational sine-wave sub kicks; elegantly bleak, distorted atmospherics that straddle the uncanny space between corrosion and euphoria. The result is a visceral and poetic listening experience. Original, highly affecting, fully engaging body, mind and soul. (…)

Sonae’s music evokes imagination, provokes emotion, and disrupts and defies expectations. She explores the edges and intensities of experience, creating audible and embodied sensations that suggest the physical, atmospheric, and psychological effects of global warming on a living organism. We feel the fatigue, the slowness, sweatiness, dizziness, the sensations of uncomfortable warmth and burning; the atmospheres are hazy, dark and heavy, articulations are brutish and tactile, crunchy and sharp; there is restlessness and resignation, desolation and awe.

Summer is not a warning. It is not an explanation or an argument. It offers no answers. Summer simply holds up a mirror and asks us to experience and behold both the beauty and the brutality of our present reality. It is a work of protest, grief and hope, and it functions as a space for the listener to reckon with these truths and sensations for themselves. (Leah Kardos, London, June 2021)

Sonae (Sonia Güttler) is a German electronic producer and DJ, based in Cologne. Her acclaimed debut album was released in 2015 with Monika Enterprise (Berlin) followed on the same label with her second album in 2018 : ‘’I Started Wearing Black’’. Her Third album ‘’Music For People Who Shave Their Heads’’ has been released in 2019 with bit-phalanx (London).
Sonae plays live solo and with the label collective Monika Werkstatt at places like Institut Für Zukunft (Leipzig), Meakusma Festival (Eupen), Ausland (Berlin), Pop Kultur Festival (Berlin), Fusion Festival (Germany), Uh-Fest (Budapest), Cafe Oto (London), 23rpm Festival (London) The Cube (Bristol) and more on the same bill with Squarepusher, Plaid, Darkstar, Kyoka, Frank Bretschneider, Tim Exile.

Docile Recordings continues with part three of a five cat series. Docile #30, the Alpha Cat ep, was produced, arranged, and crafted on vinyl by Andy Garcia at Archer Record Press in Detroit Michigan U.S.A.. This Docile is a reaction to the stimulus of sight and sound; experiences, people and places inspire a sonic approach steeped in the realization of a moment. Docile aims to capture and release this moment in a minimal style that is its own. The Docile style appropriates noise of any sort to weave into its mello brand of 4/4 digi-o-log techno. Docile will continue until it can not; to shape sound into a spartan beauty.
hese arrangements speak soulfully, whether disruptive or smooth they define a struggle.

A1- brian wilson rides again----- this tribute to a master reflects a studio awareness theory in the breakdown of a minimal “good vibration” . a bass line scales down leading waves of synth and effect to crash upon an ambling kick shifting steady through a western soundscape.

A2-too jada ta’ trotta---the trash can of audio is thrown down the stairs with this haughty mover rocking a rolling crash through digi-glitch symposium.

B1-bumper car cocktail party--- a patchwork rhythms stutter and form together in a ruff and tumble jaunt soothed by a sexy sax that brings the assembly into line.

B2----pong-----crisp hi-hats rotate next to a steady clap complimenting a ponging in various forms under a cloud of dramatic synth calming the animal spirit.

Black So Man. For Black Is Also Man. Tout Le Monde Et Personne. He blames ‘Everybody and No one’.
Clealry, Bingotoma Traore was not trying to get rich, or entertain: he wanted to change the world. And all it took to get there was four cassettes, all recorded between 1994 et 1998. In that time he went from extreme poverty, sellings eggs in the streets and killing pigs at the factory, to being the biggest pop star in his native country, Burkina Faso, and a legend all over Western Africa.
Corruption, ill governance, education, colonisation… All his songs were history and philosophical lessons for the ghetto youths, the unemployed, and the many people who could identify themselves with him.
He died 20 years ago, mortally wounded after going through a car crash. Today, his videos still ranks millions of views on social network. No one has forgotten him. And his fight is more relevant than ever.
Rest In Power Black So Man (1967-2002). Thank you to his son Ange Fela Traore and his ex-wife Adji Sanon (to whom he dedicated the song ‘Adji’ included here) for their trust in us leading this reissue project. Half of the profits from the record goes to them.

This new album 'Make a Film' by Palmbomen II can be viewed as a (faux) crash course in filmmaking plus the soundtrack to score your first movie. A beautiful double vinyl album with a step-by-step course on writing, directing and shooting your first film. To make it easy, Palmbomen included 24 tracks that set the right mood for different scenes. From Medium Melancholy to Slightly Dark.

The Body and BIG|BRAVE are both bands possessed with an
unequalled ability to convey overwhelming weight with
simplicity, repetition and detailed sonic atmospheres; artists who
continue to alter the definition of what it means to be a heavy
band.
The Body are consistently prolific while increasingly ambitious
as untethered producers and collaborators. BIG|BRAVE shape
sound with dense waves of guitar and feedback, minimalist and
hypnotic crashes and emotionally exacting vocal melodies. In
collaboration, The Body and BIG|BRAVE shift the gravity of
their compositions to woven layers of percussion and
unspooling guitars that sprawl through stark frameworks of
earthy folk.
Their debut collaborative album, ‘Leaving None But Small Birds’
distils the two ensembles’ pioneering approach to heavy music
into psalms for the forgotten, threnodies of lost love and odes to
vengeance.
Recorded, mixed and produced by Seth Manchester at
Machines With Magnets (Liturgy, Battles, Mdou Moctar) and
mastered by Heba Kadry (Björk, David Bowie).
“Emotionally coherent but tricky to categorize. BIG|BRAVE are
the sound of the raw unconscious, turned up loud.” - Pitchfork
“The Body have become one of the most interesting and difficult
to pin down groups in extreme music.” - Rolling Stone
CD in gatefold packaging with lyrics.
LP packaged with digital download card and inner sleeve with
lyrics.
Available to independent retailers on ‘LEVON’ (greenish clear)
coloured vinyl.
Cover features artwork by Bo Orr (also created artwork and
videos for Full of Hell and The Body).

Cult jazz soundtrack to supernatural Soho
strangler epic ‘Der Wurger Vom Tower’ by Swiss
electronic pioneer Bruno Spoerri that has been
locked away since 1966.
 Translated as ‘The Strangler In The Tower’, this
lesser-known thriller possibly stretched the
imaginations of cinematic crime buffs beyond the
genre’s parameters before disappearing into
obscurity.
 Liberated from Bruno Spoerri’s meticulous master
tape vault this, his first-ever feature-length
soundtrack commission, can finally take its place
alongside other recently resuscitated oblique jazz
scores by the likes of Basil Kirchin, Krzysztof
Komeda (Cul-De-Sac), Roger Webb and Jonny
Scott.
 The real sacred jewel in Bruno Spoerri’s crown as
the leader and pioneer of Switzerland’s electronic
underground (not to mention sample source
amongst rap royalty) and a mysterious monarchial
figure in European jazz and music technology

Avant-garde cosmic sounds from Senegal, Wau Wau Collectif's "Yaral Sa Doom" is a groundbreaking album spanning borders and musical scenes. Inspired from West African tradition, Sufi praise songs, spiritual jazz, and dub rhythms, the effect is a genre defying entry in outernational sound. Hypnotic percussion loops across sweeping pads, call and response chants echoes layer over electronic beats, and children's voices sing out to recordings of crashing waves. In 2018, Swedish music archeologist and leftfield musician Karl Jonas Winqvist traveled to Toubab Dialaw, Senegal, a small fishing village turned hub of Senegal's bohemian art scene. Over the next weeks, local musicians, percussionists, poets, and beat makers came together, sketching out ideas and recording free improvisation. Winqvist returned to Sweden, trading recordings back and forth over WhatsApp with Senegal based collaborator and studio engineer Arouna Kane. "Yaral Sa Doom" is a Wolof phrase that means "educate the young." Central to the album is this theme of education, with songs that directly address social issues facing contemporary Senegal, education, and immigration. "Today you must educate children with an instrument and art, when you teach them an instrument you teach them to use their spirit," says Djiby Ly. With over 20 contributing performers from Senegal and Sweden, Wau Wau Collectif's debut is layered and complex, yet maintains a central vision. "It's like diving into the sea," explains Kane. "There are all different species of fish swimming around, but together they make the ocean." Nonetheless, it's also a geographic anomaly, made possible only by exchange of the internet age. An exceptional recording on its own, "Yaral Sa Doom" is a visionary entry in the future of transglobal collaboration

Repress !

Private Selection Records founder and curator Dreams comes crashing in with a 6-tracker falling between thick body music and gnarly, frenzied electro. With ragged rhythms, reverberating synths and heart-wrenching vocal elements these tracks tie together a dystopian journey beginning with sheer rampage, leading to devastation and ending in hopeless ruin.

Ramona Córdova is a sound artist — passionate about writing, communicating, linguistics, behavioural & social psychology, observation & investigative research, photography, sound recording, and design. Their artist focus is on project-based sound and visual media, public engagement and live performance — although they are best known for their music and are typical regarded as a singer songwriter. Ramona Córdova intends to speak to the challenges of living under systems of oppression while inspiring introspection and personal growth toward the maturing of our societies. Ramona is Haitian-Filipina, Puerto Rican, born in Kingman, Arizona, USA and is inter-feminine trans non-binary.

"When I first started working on Naïve I was completely consumed by all of the technical details involved in making a 'professional studio recording' on my own - one which could not be refuted or disregarded as subpar. My only other hope was to tell some sort of story with whichever songs i could piece together. The content and message of which were much less important to me.

The story that Naïve ended up telling comes from a cohesion of themes, ceaseless in my personal experiences living day to day in the world. Although the album dares to tread on tact while speaking poetically and lyrically about issues such as systemic oppression, racism, misogyny, policing and patriarchy - I think the album really just wants to reflect - to serve as a reflection - in order to foster healing and healthy growth towards maturing. I feel it commanding a kind of firm kindness as a reminder to love yourself enough to accept others, by way of accepting yourself.

Pressed onto this 180-gram vinyl are 10 songs I wrote while living in many different places around the world. Spontaneous recordings of inspired notions of song, written one rainy evening up high above the vineyards in Banyuls-sur-Mer became Men on the Mountain. A Scrap of paper holding jots about a sudden storm on a hot day in August while helping friends on their farm in Puglia became Mouth of Autumn and Peace Through Violence. As I dressed myself into the fragile reality of the United States, I became flooded by its manipulative social governing systems. As the monuments of slave-owners, colonisers, and white supremacists came crashing down in the name of responsibility and accountability, The Bridge Works was built, a song about crossing bridges towards empathy and equality. Civil rights activist and American-Football quarterback, Colin Kaepernick, taking the knee during the United States national anthem pre-game ceremony, brought about So Long. The incessant murdering of black, brown, and transgender citizens brought Woke, Scared I'll Bite You, and The End. The murder of Eric Garner and the feeling of being choked-out and suffocated under the weight of systemic oppression brought about Still.

From all of this birthed the collection of songs that is Naïve, a title given to the album by French Ghanian artist Eden Tinto Collins. Although written both in Europe and the U.S., most of the songs were performed and recorded at the end of the year 2018 in Philadelphia, during the American-Holidays season. Still, Loving Him, and The End were written in Philadelphia, but produced in Vlorë, Albania. This helped serve as a reminder that the issues these songs speak of are not isolated to the United States of America." - Ramona Córdova

Alton Ellis was one of the original great Ska and Rock Steady
Jamaican stars.
This Double LP was filmed and recorded live at The Jazz Caf , Camden Town,
London, 10th August 2008, joined by his son Chris it was to be Altons’s final
show.
Featuring many of his classic singles, including Dance Crasher, Willow Tree,
Ain’t That Loving You and many more.
Advertising in Riddim, Black Echoes and Record Collector Magazine

repress

Mono Junk's cult label DUM Records is back with a new five track Various Artists EP that again packs a vital punch. He appears himself along with some fellow legends of the scene.
First up, Morpholgy is a consistent performer who has continued to serve up quality electro since 2009 and here serves up a hot new piece. 'Vector Plant' is busy and industrial, slick and metallic as it unfolds and burrows deep into your veins. Then comes the A2, Irwin Berg featuring Freestyle Man (aka Finnish Moodmusic boss Sasse aka Klas Lindblad) with a track made in 1995 and never released before. This pair worked together and made a cult electro record for Sähkö Recordigs in 1998 and this one is just as impactful. It is frosty and frazzled, slow motion but high impact and full of distorted lines and heavy drums.

Next is Mr Velcro Fastener who were the first kings of electro to come out of Finland and between 1999 and 2006 were famous all over the world. Their brand new cut 'Almost There' is a deep one that is riddled with bleeping melodies and has smeared chords bringing a sci-fi feel. Then it is Mono Junk's turn to dive into the vaults with an unreleased track from 2005. 'Feeling or Destroy' is a physical number with crashing hits and snaking, gurgling bass that is dark and dystopian. Last of all comes Irwin Berg with Mono Junk as New York City Survivors. Says the DUM boss, Our unreleased track here was made after the New York City Survivors - Static Light CD 2002' and it is a turbo charged track with screwed up grinding bass, icy hi hat rhythms and menace in its grooves.

Canadian collective The Hello Darlins, dubbed “the Broken Social Scene of
Americana”, release their first full-length LP Go By Feel on June 11, 2021.
With over 500,000 combined Spotify streams for their initial three singles, it’s
safe to say there’s a lot of anticipation for their debut album. The buzz began
building almost immediately after the Calgary, Alberta-based Americana collective debuted on the scene in early 2020, with American Songwriter calling the
group “the product of a talented pool of session musicians craving more,” while
Americana UK stated, “It’s great to see a band put together by the talented
folks who would usually be ‘behind the scenes.’”
So, who exactly are The Hello Darlins? The seeds of the band took root in 2016
when vocalist/producer Candace Lacina crossed paths again with keyboardist/
producer Mike Little after first meeting at a recording studio years earlier. Once
reconnected, they soon found themselves making music together in between
their work with other artists, an impressive list that ranges from Shania Twain
to Charlie Major, The Road Hammers to George Canyon as well as the late B.B.
King.
In short order, the couple began inviting others within their circle to participate, including Murray Pulver (Crash Test Dummies), Clay- ton Bellamy (The
Road Hammers), Matt Andersen, Dave and Joey Landreth (aka The Bros. Landreth), Russell Broom (Jann Arden), and ace fiddler Shane Guse.
On Go By Feel, this incredible collection of talent has forged a hybrid of country,
gospel and blues like no other, from the heart-wrenching ballads “Aberdeen”
and “Prayer For A Sparrow” to the classic country-rocker “Mountain Time” and
the album’s soulful title track.
Making music influenced by times of joy and sorrow is natural for Candace and
Mike, as both come from families with long musical traditions within Canada.
It all adds up to The Hello Darlins preferring to add “North” to the Americana
genre, a more than symbolic gesture that’s in line with a musical vision that will
continue to evolve as soon as the band gets a chance to play live with a lineup that could potentially consist of anywhere between five to nine players on
stage.
Until then, audiences will now be able to fully savour the tunes, musicianship
and production of Go By Feel, proof positive that teamwork ultimately leads to
exceptional results.

Ellen Allien bietet euch mit We Are Not Alone eine beeindruckende Compilation-Reihe in 3 Teilen mit jeweils 11 Tracks. Brandneue Musik von Künstler*innen, die entweder schon bei der legendären BPitch-Veranstaltungsreihe gespielt haben oder auf zukünftigen Partys auftreten werden. Das ist der neue Berliner Underground, macht euch auf etwas gefasst…

Ellen Allien - XTC - Knallhart, hypnotisch, trance-induzierend... reine Ekstase
Introversion - Force Majeure - Industrial mit kosmischer Interferenz
Insolate - Retrograde Motion - Tight und rollend, voll dichter Intensität
DJ T-1000 - Frequency Kill – Lasst euch durch diese manische Energie ins Chaos führen
Nocow - Let Em Fall - Let the beats set you free
Alpha Tracks & Blue Hour - Lessons With Bob – Kräftiger, bewegender Elektro aus dem Jahr 3000
Cadency & Hadone- Crash It Here - Bring the noiiiiissse!
Yan Cook - Lullaby - No sleep til Monday...
Lady Starlight - RE-15 – In diesem Universum werdet ihr Glückseligkeit finden
P.Leone - Bay Head – Crispy Beats und schwerer Bass mit erregender Atmosphäre
Keith Carnal - Jerk Off – Himmlische Synth-Klänge für die wahren Sünder*innen

The Debut Album From The Helicopter Of The Holy Ghost - Mark Morriss
( The Bluetones ) Billy Reeves ( theaudience ) Crayola Lectern ( Lost
Horizons / Departure Lounge ) Mark Peters ( Engineers ) Co-produced by
Richard Archer of Hard-Fi Feat. Simon Raymonde ( The Cocteau Twins ) &
Thomas Anderson ( Gazpacho )
In 2001 Billy Reeves, fresh from introducing the world to Sophie Ellis-Bextor
(via their band theaudience) was smashed to bits by joyriders whilst in his Morris Minor - resulting in a two-week coma and a year in and out of hospital. In
2017 his brother gave him two mini-discs that had been saved from the wreckage, including demos of songs he had forgotten - due to crash-related amnesia.
Mark Morriss of chart-topping Hounslow janglers The Bluetones agreed to sing
them, so with the assistance of Richard Archer (Hard-Fi), along with Crayola
Lectern (Zofff / Departure Lounge), and Mark Peters (Engineers), these songs
would form the debut long player from The Helicopter of The Holy Ghost.
The original concept for the material was probably while Billy was signed to
Sony, which pointed toward a more commercial sound, however Crayola Lectern’s involvement on piano help send the recordings into a more ‘Canterbury’
direction, taking influence from Caravan, Robert Wyatt & the like.
Featuring a groovy guest line-up including Simon Raymonde of Cocteau Twins,
Dale Davis from Amy Winehouse’s band, Andy Lewis from Paul Weller’s group,
Smiley from Joe Strummer’s Mescalaros and Thomas Anderson of fellow Kscope
signees Gazpacho, the wide-ranging influence herein is evident throughout a
very sweet, gentle, calming album of originality and versatility.
The Vinyl LP edition of this album will be especially printed in an eco-friendly
manner, with no shrinkwrap being used, the record itself pressed on 100% recycled records and the board made up of FSC certified climate-friendly recycled
material. The whole package itself will be Climate neutral, having all its carbon
offset with ClimatePartner.

The internationally renowned alternative Bluesman, famous for his outrageous one-man live show and songs featured in Breaking Bad (plus many other soundtracks), has now brought his blues growl and rough sound up to peak industry production and style...of around 1974.
This album sits style-wise alongside the greats of the genre: Tom Waits, Randy Newman, Dr John. It also has the unmistakable blues harmonica, voice and wit all his own.
Fans also purchase Seasick Steve, Jon Spencer , and other alt-Blues recordings.
Son Of Dave is a unique genre bending 21st century Blues innovator who has been bringing his 9+ albums and shows to modern generations internationally over two decades and selling over 20,000 hard copies, 50,000 DD, and streaming 3 million annually.
UK PR has secured radio plays at BBC6Music, BBCRadio2, Jazz FM, RadioX Canadian PR has secured charting college station support and national CBC plays.
UK autumn tours include dates supporting Sleaford Mods (not your average blues circuit) 2020 and 2021 singles were playlisted at Spotify curated Nu-Blue, Bluestronica and other alt-Blues type playlists.
Former member of multi-million selling Crash Test Dummies all through their heyday
Has been chosen support for Iggy & The Stooges, Supergrass, Rag&Bone Man,
John Spencer, UB40 and many more. Not the same old Blues in other words.
A very long list of achievements.

Bambe, the new label run by Parisian artist Bambounou, presents its second instalment ‘Final Conference’ featuring 3 collaborations between the label head and Bristol producer Bruce, known for his deconstructed club cuts on Hessle Audio, Timedance and Hemlock Records. This is Bruce and Bambounou’s first time working together, expect detailed hypnotic rhythms with a postmodern edge.

Bambe is a passion project of Bambounou and follows the release of the well received ‘Cascade’ EP. The imprint is a space created for talent from diverse backgrounds coming together to use art and technology to create expansive musical experiences.