Cerca:cross

Das musikalische Opfer, Bach's textbook example of counterpoint, inspired Robin Verheyen in 2017 to get to dive into Bach's baroque world. It became a search for the essence of music.The result is a double album 'Bach Riddles'. An adventurous cross-fertilization between baroque, free improvisation and contemporary jazz.

This summer, multidisciplinary producer, designer and 3D artist Raynor de Groot serves up Future Static, his debut full-length on Atomnation as Coloray. More than simply a collection of music, the record will be presented in an all-new virtual space where each track is a portal to a different world.

Dutchman de Groot has proven himself as an accomplished conceptual artist who draws together many different creative fields. He has released everything from lush synth-pop to deep techno, and has real songwriting ability. 2019's 'Can't Stop' in collaboration with Eagles & Butterflies proved that as it crossed over multiple scenes and became one of the year's standout tracks thanks to support from heavy hitters as diverse as Hunee and Four Tet. Âme & Dixon have also regularly supported Coloray's music and asked him to release 'Gazing Eyes' on their Innervisions label.

Two years after his Real Life Cinema EP on Atomnation, Future Static finds de Groot open a new chapter that explores a more conceptual sound. The album "translates the concept of man and computer creating a new reality where logic and emotion seems to be at odds with one another." Its 12 tracks have club-ready grooves, but also exquisite synth designs that are edgy and uptempo. They will be translated to a live show and interactive music experience in VR, on your phone and desktop. In the show, online visitors will be able to get lost inside the mind of an AI and watch and interact with a Coloray performance.

Presented with an artfully designed gatefold sleeve, Future Static is a groundbreaking project from Coloray that pushes creative boundaries while offering an immersive listening experience.

Kilbourne, a Brooklyn-based producer and DJ with a prolific output in the harder, faster and more extreme underbelly of electronic music, is gearing up to share her latest work, an offering that doubles as her debut on Los Angeles-based imprint Evar Records. Out on July 23, SEISMIC explores the idea of "becoming," showcasing the value of speed, identity and transcendental bliss through an experimental lens entirely Kilbourne's own.

The four-track collection features a hard-earned collaboration with the legendary DJ Producer, whose work has been instrumental to both Kilbourne's approach and the hardcore scene at large, and a joint track with Buzzi, a fellow Brooklyn-based producer who shares her dedication to experimenting in the faster, harder techno realm. On SEISMIC, Kilbourne balances the dramatic beauty and brutality of hardcore, bringing gentler melodies into her production style as not an aberration, but rather a necessary aspect of heavy music.

Motown Collected brings together the biggest names in the rich history of this legendary label. From very early singles to the artists that made Motown a household name for decades to come and the cross-over pop success of the late 70’s and 80’s. Featuring legendary artists like Marvin Gaye, Stevie Wonder, The Supremes, Jackson Five, Smokey Robinson and The Commodores, as well as gems from the likes of Marv Johnson, Barrett Strong, The Marvelettes and Tom Clay and pop superstars Rick James, Michael Jackson, Diana Ross, Lionel Richie and Debarge: just a selection of the 33 incredible tracks featured on Motown Collected.

The documentary Hitsville: The Making Of Motown’, featuring Motown founder Berry Gordy and many of this artists, will premiere in cinemas across Europe this summer as well.






RELEASE: 23-7-2021

MOV proudly presents new Collected compilation albums in collaboration with Universal Music. Motown Collected is the first one, available as a limited edition of 3000 numbered copies on white vinyl. It includes an insert with photos and credits.

Maurice De Jong AKA Mories (Gnaw Their Tongues, Cloak of Altering, De Magia Veterum, Dodenbezweerder etc.), and Rene Aquarius (Cryptae, Dead Neanderthals, Imperial Cult, Plague Organ etc.) join forces in Coffin Lurker, a hideous experiment begotten unto a perverse delusion of ushering doom metal beyond extremes of heaviness and horror it has never before seen or fathomed. Overwhelming and abominable in its every aspect, on their hideous debut LP "Foul and Defiled" the dutch terror-doom duo set out on a mission of terrifying extremism to take doom metal to its most harrowing consequences, crossing every threshold of extreme known, to materialize a humongous slow moving nightmare of paralyzing and horrific doom metal horror that will flatten the listener and devour them inside a nauseating void. Emanating with a monstrous and oppressive aura of total death and decay, "Foul and Defiled" is a gargantuan sepulchral abomination of subterranean megaton doom rising from an underworld of ageless and unnameable death and suffering that sonically aims to re-evoke the hideous and death-obsessed immensity of other undreground extreme/experimental doom abominations like Moss and Grave Upheaval, while taking the heinous formula, if possible, even beyond its own already incomprehensible and remote confines of sanity.

DESTRUCTION liefern unaufhaltsamen Thrash Metal nach Hause auf Live Attack!
Seit ihrer Debüt-EP Sentence Of Death (1984) hat das deutsche Vierergespann DESTRUCTION mit ihrem
unglaublich ehrlichen und kompromisslosen Thrash Metal für Aufsehen und Nackenschmerzen gesorgt.
Jetzt, 37 Jahre nach ihrer unaufhaltsamen Karriere, bringen DESTRUCTION die geballte Power von harten
Drums, peitschenden Riffs und giftigen Vocals auf der neuen 2CD+DVD (BluRay) Live Attack (VÖ 13.
August via Napalm Records) zu dir nach Hause! Als die Musikwelt sich gezwungen sah, Veranstaltungsorte
zu schließen und Tourneen auf unbestimmte Zeit abzusagen, sprangen DESTRUCTION ein und lieferten
ihren treuen Fans zu Hause per Live-Stream ihre überragende Thrash Metal-Power - jetzt erhältlich auf
High-Definition BluRay! Werde Zeuge, wie DESTRUCTION durch ihr 22 Songs umfassendes Live-Set
peitschen, darunter geschätzte Klassiker wie ”Mad Butcher”, ”Thrash Till Death”, ”Born To Perish” und
viele mehr! Gefilmt und aufgenommen im legendären Z7 in Pratteln (Schweiz), haben DESTRUCTION
keine Kosten und Mühen gescheut, um Dir ein Live-Erlebnis zu bieten, das Dich zum Headbangen bringt, als
stündest Du in der ersten Reihe bei der Show und ließest Dir Deine Trommelfelle von rumpelnden DoubleBass-Grooves durchbohren! Die BluRay-DVD ist gefüllt mit exklusiven Pre- und Aftershow-Einblicken und
Behind the Scenes-Material von DESTRUCTIONs Live-Show - ein Muss für Fans des echten Thrash Metal!

REISSUE - from original press release: For three decades the reclusive Revolutionary Army of The Infant Jesus (RAIJ) have confounded musical classification and studiously declined every invitation to explain their unique form of musical and artistic experimentation. Initially the Liverpool outfit built their reputation on their extraordinary immersive multi-media performances combining multiple layers of visual imagery, elements of ritual, enigmatic samples, field recordings and mesmeric live music. Their cult status was further reinforced with the release of the now much sought-after two studio albums The Gift of Tears (1987) and Mirror (1990) and two EP collections, Liturgie Pour La Fin Du Temps (1992) and Paradis (1995). After an 18-year hiatus the appearance of a new RAIJ album, and the apparent relaxation of their strict vow of silence, are generating predictable excitement and expectancy. Beauty Will Save the World does not disappoint. RAIJ's intoxicating mix of ethereal beauty, dazzling soundscapes and oblique mystery reach new levels of intensity and subtlety. The album title - a quote from Russian novelist Fyodor Dostoevsky - is one of the many literary, cinematic and spiritual references underpinning RAIJ's unexpected comeback. Founder members Paul Boyce, Jon Egan and Les Hampson, joined by a fresh wave of collaborators, have crafted an album of unique beauty and originality. Prolonged silence seems to have deepened rather than dimmed their creative impulse. As ever it is the breadth of musical genres, cultural references, borrowings and retrieved sounds that define the RAIJ aesthetic, but there is also a more consistently meditative and melodic strain that underpins the album's integrity and purpose. In a rare insight into the RAIJ's creative method, Jon Egan explains: "Although our work takes elements and inspiration from many disparate sources we have never viewed it as deconstruction. We are looking for the thread that connects every manifestation of beauty, however fragile, transitory and seemingly accidental. " In addition to the album release on Occultation, RAIJ's second coming also includes a live performance at this year's Greenbelt Festival and the re-release on vinyl of The Gift of Tears by California-based label Feral Sounds. "There is renewed interest and appreciation of our music and that's great", said Leslie Hampson. "We have never tried to cultivate obscurity or anonymity, we simply wanted to avoid having to explain and justify a creative process that isn't necessarily premeditated. Isn't it enough to listen to and experience it?"

This is the story of two sisters who nurtured a dream for half a century and never let it die. Vicki and Ronni Gossett launched their musical career as teenagers in Whittier, California in 1966. They called themselves the Female Species. Members came and went; their base of operations moved to Las Vegas, back to LA, and over to Nashville. Along the way their sound transformed from garage rock to lounge to country pop, the only constant being an innate mastery of hooks and harmony.



These ladies had it. Along the way, they crossed paths with The Carpenters, Paul Revere & The Raiders, The Judds, and seemingly half of the industry’s power players, rebuffing all untoward advances, focused always on their craft. In the 1980s they became staff songwriters for music publishing companies in the hit-making business. Relentless pushing landed them a once in a lifetime audition before the court of RCA’s top executives — the kind of new talent showcase that almost never happens after 30.

Vicki and Ronni were by then in their 40s. Tale of My Lost Love is the whole story from beginning to end of two sisters who gave everything to their dream, yet never made a single record... until now. Sometimes great music just isn’t enough to break through — until it is. Numero Group is thrilled and proud, at long last, to introduce Female Species.

Label boss and producer, Double A, takes the reins on a tasteful rework of a ’92 hiphop classic, (which, incidentally, was never released on 7”). This time, the original
drums take a back seat to some equally uptempo classic breaks, while the upright bass sample goes front and center. Expect some (literal) vibes on the chorus. Sure shot party starter

DC / Virginia turntablist and veteran producer, Jeyone, delivers the boom bap goods with this treatment of a hard rock classic. Knocking hip-hop drums and a throwback “rock the house” sample breath new dance floor life into this 1970 banger. This one’s sure to turn more than a few heads and will crossover with just about any crowd.

In 2012, ten years after its inception, Stand High Patrol released their first album: Midnight Walkers, which featured a multifaceted take on contemporary dub – a versatile sound with heavy bass, named dubadub. Following the success of their first LP, plus several EPs and singles released on Stand High Records, Pupajim, Rootystep and Mac Gyver now return with their second self-produced album, with sleeve art by Kazy.

Recorded in a home studio between June 2013 and July 2014, A matter of scale has brought the emergence of new influences. The three dubadub musketeerz intensify the genre crossovers and strengthen the foundations of their creative process. Theirs is an open approach, free from conventions.

Supported by the rich range of Pupajim’s vocals, the sounds travel incessantly between eras. The dubadub experience takes on new dimensions; jazzy rhythms and melodies stand alongside digital reggae, hip-hop beats, bass music and progressive dubs.

A matter of scale shows how Stand High Patrol design and compose their own music. The album reflects the undeniable penchant of the crew for experimentation and their obvious desire to break down barriers.

Joshua is the follow-up album to Olympic. While the second album, typically, often shows what critics call “maturity”, here Simon has released instead an album of adolescence. The musician opened up his own memory box to contemplate his childhood souvenirs, and dust them off of all nostalgia. At that time, he would VHS-record movies from TV and tape record soundtracks directly from the TV speaker, so he could listen to them in his bedroom. This is when he “discovered the power of music, the way it makes you enter another world, far from reality. I wanted to pay tribute to the era I shaped myself in – the ’80s and ’90s”. Tangerine Dream, Kraftwerk and Soft Machine. Logically, these are the sonic signatures that seem to haunt the album. The timeless pioneers of synthetic music constitute the sound references, without any established chronological timeline, that blend with the atmosphere of typically “French Touch” movie soundtracks – long before the term was even coined. “I use a musical palette that acts as a flashback to my favourite teenage movies: the synth sounds of Close Encounters of the Third Kind; the synth pads in Jean-Jacques Cousteau’s fascinating documentaries about the sea world; the melodies in the manner of François De Roubaix; the themes that evoke the soundtracks of late-night TV sessions (those by Verneuil, those with Belmondo, Depardieu, etc.); and the sci-fi ambiences like in Blade Runner.” In short, an aesthetic was decided on by Simon very early on: French analog synths instead of North American symphonic orchestras.

The name Joshua has two meanings for French 79: one is linked to the idea of nostalgia, the other to adventure. On the one hand, the computer in the 1983 movie Wargames, and on the other, the boat of French sailor Bernard Moitessier.

The track titled Joshua synthesizes the spirit of the album – an odyssey, a neverending crossing of the world in search of oneself, a spontaneous escape into the future, under the benevolent eye of the past. This epic invites everyone of us to a specific place in our imagination, which is also the source of an indescribable pleasure for French 79: a gust of wind, a sailboat ride, a skateboarding trick, the smell of freshly fallen snow, or the dull roar of an impatient audience.

The same aesthetic preferences are found in the videos that illustrate Joshua’s first tracks: for Hold On, the skateboarder chose to recall the cult ’90s skate videos that he would watch on repeat as a teenager, while Hometown hints at Close Encounters of the Third Kind. Although he now calls Marseille home, Simon continuously draws with passion from the anachronic contemporaneity of his childhood in the Eastern French region.

“I need escape to be able to create. A two or three-day sailing trip gives me enough inspiration to lock myself in the studio for a week when I’m back on dry land.” His boat takes him far away from everything, far from the Old Port where she moors, the rest of the time Simon would escape by walking the streets of his city or climbing the Alpine mountains.

Not only does the new version French 79 reveal a few biographical pieces of Simon henner's history, but it also inaugurates the first vocal track for the musician. One feels a guilty pleasure when hearing him take the lead on the first track, The Remedy. The electronic fugue that opens the album sets the tone: Simon has found the cure for his inner turmoil and wants us to discover our own treatment too. Hold On is a sonic explosion that celebrates the feeling of freedom - what's more of a teenage dream than this feeling - and it eventually command one to feel the same way too. Echoing Olympic, the electronic argonaut invites his muse again, singer Sarah Rebecca. On By Your Side and Touch The Stars, the native of Ocean Springs, Mississippi, now based in Paris, hoisted the mainsail of dream pop. First, though a dialogue that surfaced their unfailing attachment to the bonds of friendship, then through the light hearted atmosphere that leaves us with no choice but to believe in our own dreams and do anything possible to fulfill them. The quest for peace in the midst of the daily din is heard in both Code Zero and the title track Joshua, two majestic journeys in search of hedonism, combined with introspection.

Erased Tapes debut. Wait, what? How? Anyone who has seen
the trail blazing sonic pioneer live will know Nils likes to
deadpan a joke. Graz is in fact the first studio album he
recorded for the label back in 2009, that somehow remained a
secret… until now.

Nils Frahm has quietly changed the musical landscape,
reincarnating the centuries old figure of a pianist-composer for a
new generation of music fans. As Nils’ word-of-mouth popularity
grew and grew, so did the pop-culture profile of his instrument. He
founded Piano Day with a team of like-minded friends in 2015 to
help that process, some years releasing an album of piano
recordings to celebrate one of humankind’s greatest inventions.
Graz is one such record; an unheard snapshot of a young Nils
recorded at Mumuth, the University of Music and Performing Arts
Graz, in 2009 as part of the thesis Conversations for Piano and
Room produced by Thomas Geiger, which received an award in
the Classical Surround Recording category at the 127th AES
Convention in New York.
Whilst at the time it was decided to keep the grand piano
recordings from the Graz sessions locked away and instead focus
on his close mic’ed, dampened piano explorations which would
become his acclaimed studio album Felt in 2011, two of the pieces
— most notably Hammers — lived on as part of his live set, and
were expanded on and re-recorded as part of his breakthrough
2013 record Spaces (a collage of field recordings from concerts
which broke the Fourth Wall and included audience coughs). Over
his mercurial career, Nils has pushed and pulled at the boundaries
and parameters of his prolific work like that. He’s physically
changed his piano (the softened prepared strings of Felt) played
with a modified body (Screws recorded with 9 fingers and a broken
thumb) played with scale (Solo recorded on the 3.7 metre high
Klavins M370) and with the different layers of formats (last year’s
Tripping with Nils Frahm nested his studio setup inside a live
performance, concert film and live album). Now with Graz he has
found the final frontier for play: time itself and his own discography.
Graz is a moment of time at the very beginning of Nils’ quiet
revolution. The essential genius is already evident; the harmonic
language of classical, and the immediacy of jazz. Nils seems to
pull down each idea moment by moment, gently, to not scare away
the muse. He describes: “sometimes when you hear a piano, you
might think it’s a conversation between a woman and a man. At
the same time, it can hint at shapes of the universe and describe
how a black hole looks. You can make sounds that have no relation
to anything we can measure.”

After the release of the charts hitter “Don’t Need Your Love” earlier this year it’s now time to follow up with the last two songs out of the reel to reel tape
recorded by The Words at Talun & Trc Studios in Indianapolis in 1982. I feel I really need to explain what went on with the original recordings though. Please be
patient and ber with me. A magnetic tape recorder is made basically by two parts, one electronic and one mechanical. I’ll leave the electronics out of this as it
has no relevance here, to talk about what occurred with the mechanical, specifically with the “heads”, which are the most important part of the recording
action. They are components to be treated with great care, especially when they need to be cleaned; their good condition strictly depends on the functioning
of the entire recorder and - in part - also on the life of the tape. In this case the tape was found god knows where and played again exactly 40 years after the
recording session, on a reeltape player which had good part the “heads” very damaged. The artists themselves transferred it on digital doing it with what they
had on hand, that is basically nothing. It resulted in a stereo soundfile which had the right channel completely flat. Basically the music could be heard on the
left ear only, full of that noise only a cheap and malfunctioning Akai could provide. It took a hell of a restoration to make this second release possible and we
hope you will appreciate the undertaking well beyond the music, that is awesome on its own. Thanks to the first release we think you already know a lot about
Herman Slaughter and The Words of Wisdom. For those who are new to these artists, this awesome band started earning some good popularity at the
crossing of the seventies and eighties. Stable artists at the legendary Lamp - the so called “Naptown’s Motown” - these guys were part of the sparkling funk
soul scene of Indianapolis alongside the likes of The Vanguards and The Fabulous Souls. Support The Words of Wisdom and bring home one of the last slices
of original soul from Napptown’s legacy

"Inga Rumpf, the myth, the voice - City Preachers, Frumpy, Atlantis, NDR Big Band and so on... it takes a lot of space and time to name all of Inga Rumpf's musical stations. The list of her international companions, colleagues (and admirers) is long and includes such outstanding names as B. B. King, Udo Lindenberg, Lionel Richie, Tina Turner or Keith Richards, to name just a few! If there is a living legend in the music business in Germany, it is Inga Rumpf!
The new studio album “UNIVERSE OF DREAMS” will be released on earMUSIC this late summer. The album is a gift to all fans, but also to Inga Rumpf herself: the Grande Dame celebrates her 75th anniversary birthday on August 2nd."

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five full-lengths of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

The 3rd album by Scottish industrial enigma Cinder aka Cindytalk began life as the soundtrack to an experimental film by English director Ivan Unnwin entitled Eclipse (The Amateur Enthusiast's Guide To Virus Deployment), and was originally slated for release via Factory Records' video division, Ikon. Inspired heavily by Alan Splet's eerily disembodied sound design in David Lynch's Eraserhead, the collection's 15 pieces seethe between field recordings, wistful piano vignettes, and lurking metallic haze – a hybrid palette Cinder characterized at the time as “ambi-dustrial.” Unfortunately Ikon collapsed on the eve of the project's completion so the film was never distributed, but the Midnight Music imprint repackaged Cindytalk's score as an LP in 1990 under the name The Wind Is Strong... (full title: The Wind Is Strong - A Sparrow Dances, Piercing Holes in Our Sky).

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five full-lengths of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

The 3rd album by Scottish industrial enigma Cinder aka Cindytalk began life as the soundtrack to an experimental film by English director Ivan Unnwin entitled Eclipse (The Amateur Enthusiast's Guide To Virus Deployment), and was originally slated for release via Factory Records' video division, Ikon. Inspired heavily by Alan Splet's eerily disembodied sound design in David Lynch's Eraserhead, the collection's 15 pieces seethe between field recordings, wistful piano vignettes, and lurking metallic haze – a hybrid palette Cinder characterized at the time as “ambi-dustrial.” Unfortunately Ikon collapsed on the eve of the project's completion so the film was never distributed, but the Midnight Music imprint repackaged Cindytalk's score as an LP in 1990 under the name The Wind Is Strong... (full title: The Wind Is Strong - A Sparrow Dances, Piercing Holes in Our Sky).

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five albums of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

Across decades of activity Cinder’s body of work has forever followed its own elusive muse but nowhere is this restless spirit more apparent and ambitious than the 4th Cindytalk LP, Wappinschaw. Conceived as “a call to arms” inspired by Scotland and its struggle for independence, the title refers to an archaic Scottish battle inspection during which clan chieftains surveyed their group's weapons to ensure they were combat ready. A mindset of reflective preparation threads throughout the record, manifested in forms both naked and noisy, ancient and anguished.

Opening with an aching solo vocal rendition of the British folk standard “The First Time Ever (I Saw Your Face),” the album then surges into the Cindytalk classic, “A Song Of Changes,” sparkling and spiraling in strange waves of sorrow and joy. From there the mood fragments, tracing asymmetrical paths of feverish dirge, pensive spirituals, noir abstraction, spoken word (landmark Glaswegian writer Alasdair Gray guests on “Wheesht”), bagpipe drone, and apocalyptic post-punk. Given its aggressive eclecticism, it's not surprising that Cinder describes the creation of Wappinschaw as a “precarious” process, composed from “scraps” with abruptly shifting personnel – a situation only compounded by the impending dissolution of their label at the time, Midnight Music.

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five albums of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

Across decades of activity Cinder’s body of work has forever followed its own elusive muse but nowhere is this restless spirit more apparent and ambitious than the 4th Cindytalk LP, Wappinschaw. Conceived as “a call to arms” inspired by Scotland and its struggle for independence, the title refers to an archaic Scottish battle inspection during which clan chieftains surveyed their group's weapons to ensure they were combat ready. A mindset of reflective preparation threads throughout the record, manifested in forms both naked and noisy, ancient and anguished.

Opening with an aching solo vocal rendition of the British folk standard “The First Time Ever (I Saw Your Face),” the album then surges into the Cindytalk classic, “A Song Of Changes,” sparkling and spiraling in strange waves of sorrow and joy. From there the mood fragments, tracing asymmetrical paths of feverish dirge, pensive spirituals, noir abstraction, spoken word (landmark Glaswegian writer Alasdair Gray guests on “Wheesht”), bagpipe drone, and apocalyptic post-punk. Given its aggressive eclecticism, it's not surprising that Cinder describes the creation of Wappinschaw as a “precarious” process, composed from “scraps” with abruptly shifting personnel – a situation only compounded by the impending dissolution of their label at the time, Midnight Music.

Ltd Edition, Double LP!
After 12 amazing years together, the UK’s most successful folk band
Bellowhead called it a day in 2016 going out in characteristic style with a
sell-out show at the London Palladium.
It took a few years and a global pandemic, but to the delight of their many fans,
the band reassembled for a one-off worldwide concert stream in December
2020, marking the 10th anniversary of their 3rd album ‘Hedonism’.
Hudson Records are excited to release the release of that live session recording
- ‘Reassembled’ - which will be the bands’ first release on double vinyl LP and
will also be available on CD and digital.
The band re-connected online during the lockdown in 2020 and for the sheer
fun of it remotely made and released ‘New York Girls At Home’ - all from their
respective homes around the UK.
This unplanned performance was warmly received and ignited another idea: to
reunite in person for a one-off broadcast performance. ‘Reassembled’ features
a host of favourites, including New York Girls, Roll Alabama, London Town and
Roll the Woodpile Down

- North American version on CLEAR vinyl (2XLP) - Limited DOUBLE 180g Vinyl Edition (500 copies) with obi strip - Rare Dutch studio recordings, one of Art's last sessions before he passed away - Comes with insert/liner notes // Art Blakey (1919-1990) actually needs little introduction, the American Jazz drummer and bandleader made a name for himself in the 1940s & 1950s playing with contemporaries such as Miles Davis, Dizzy Gillespie and Charlie Parker. He is often considered to have been Thelonious Monk's most empathetic drummer (he played on both Monk's first recording session in 1947 and his final one in 1971). In the decades that followed Blakey recorded for all THE labels that mattered in the field of jazz (Columbia, Blue Note, Atlantic, RCA, Impulse!, Riverside, Prestige, Verve, etc.). His collaborations were numerous and include working with equally legendary artists such as Sonny Rollins, Max Roach, Chet Baker, John Coltrane_.and countless others.Art Blakey was a major figure and a pioneer for modern jazz, he assumed an aggressive swing drumming style early on in his career and is known as one of the inventors of the modern bebop style of drumming. His signature polyrhythmic style was amazing, exuding power and originality, creating a dark cymbal sound punctuated by frequent loud snare and bass drum accents in triplets or cross-rhythms. A loud and domineering drummer_but Blakey also listened and responded to the others in the band. He was an original, an important drummer you'd hear_and would recognize immediately.Art Blakey was inducted into the Downbeat Jazz Hall of Fame (1981), the Modern Drummer Hall of Fame (1991), the Grammy Hall of Fame (1998 and 2001) and was awarded the Grammy Lifetime Achievement Award posthumously in 2005. He was sampled and remixed by renowned acts such as Raekwon, Black Eyed Peas, A Tribe Called Quest, Digable Planets, Buscemi, KRS-One and Madlib.In the mid-1950s he and Horace Silver formed `The Jazz Messengers': a group that Blakey would perform and record with for the next 35 years. Originally formed as a collective of contemporaries_but over the years the band became known as an incubator for young talent that included artists such as Freddie Hubbard, Wayne Shorter, Cedar Walton, Chuck Mangione, John Hicks_and MANY others. Art Blakey went on to record dozens of albums with a constantly changing group of Jazz Messengers. Blakey's final performances were in July 1990. He died on October 16 of lung cancer. The legacy of Art Blakey and his band is not only the music they produced, but also the opportunities they provided for several generations of jazz musicians.Released on the legendary Dutch jazz label Timeless Records and one of his final recordings_on the album we are presenting you today (Chippin' In) you'll find ten sublime tracks recorded at Rudy van Gelder's Recording Studio in February 1990. Art Blakey passed away just 8 months after these tracks were cut and you can't hear any signs of him slowing down at all. For these specific recordings, The Jazz Messengers were expanded from its usual quintet or sextet into a septet and they showcase their energetic signature sound with remarkable style, musical knowledge, a dash of good humor and camaraderie you'd expect from a world class band who have entertained, thrilled and amazed for almost five decades. The line-up on these fantastic sessions includes non-other than Essiet Okon, Geoff Keezer, Dale Barlow, Javon Jackson, Frank Lacy, Steve Davis and Brian Lynch_impressive to say the least!Chippin' In sounds as successful, young and vibrant as ever! Expect supercharged hard bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. This electrifying set of tracks contains both originals and several eclectic versions of standards_making this release a bonafide hit and a must have for any self-respecting jazz fan or collector.