Suche:cuc

Liberation is the latest evolution by David West, a dedicated underground dweller and traveler with his groups Rat Columns and Rank/Xerox and previously spotted in Lace Curtain and Total Control. Many familiar elements of West's songwriting creep out from the speakers this time around, albeit in a sonically more adventurous and personal manner. Swathed in analogue and FM synths, pinned down by near-funk drum machines, and with a vision expanded into the past and future. While in previous incarnations, West's alienated and fragile vocal has battled with jangling guitars and distortion, Liberation sets free his woes and ruminations into space. Taking inspiration from the heyday of Mute Records, the beginnings of electronic dance music's rudimentary sampling, broken and sound art, Liberation's debut LP is 10 songs of the road, about the nameless ghosts on the highway, accidental lovers, the alienation of the stranger in a strange land, the unbearable weight of freedom.
Beginning with a curveball, Liberation's first vocal sets out the position of the forever-cuckold, the sad lover hanging on: Looking For A Lover combines a Roland 707's loping mid-tempo with creeped-out synth lines as West intones his intentions close to the ear. Continuing in a more baroque manner, Move Me makes astounding use of string samples and space, with esteemed engineer Mikey Young's (Total Control / Eddy Current Suppression Ring) production prowess making for a distilled yet inviting loneliness. Forget is the night-drive centerpiece of the album, a 7 minute that erupts into a nihilistic sub-disco darkness. A constant theme of Liberation is the friction between West's characters: a frustrated love in victim-status paired with a menacing intent. The adorable, fragile stalker in the moonlight, illuminated by Whatever You Want, a
subjugated protagonist offering they have while the city burns. The brightest pop moment of the album has this in abundance: Cold And Blue, a classic synth pop jam to be played on repeat til the end of time, like New Order played by one man in his bedroom, with no drugs for a cushion, coming down the stairs, she looks like a perfect fear and Im a monument to your existence. But West has moments of touching sincerity that speak direct to the listener, as in album highlight Leaves Falling; a sparse string arrangement frames his vocal, "why do I keep falling for you I must just really like to be alone." Liberation is the freedom from attachments, about how sometimes they're what you want most.

Civilistjävel! returns to Copenhagen label FELT with a four track EP following on from 2022's Järnnätter album.

Equally well placed next to the Biosphere / early Fax +49-69/450464 camp as well as various decades of electro-acoustic drone practitioners, Fyra platser (Four Places) also includes a trip-hop leaning collaboration with Cucina Povera. Whilst Järnnätter drew influence from the cyclical, chasmic nature of dub techno, Fyra platser hones further in on the ‘between’ areas in a minimal, reductivist fashion. The rhythms are there to follow but are primarily beatless and more expansive, though skewing perceptions of time in the same trademark manner.

Three locations in the Nordingrå area of the Swedish high coast are exorcised and channelled through sound. ‘Kolugn’ is a deliberately grainy, sepia-tinged continuation of the likes of Robert Rutman’s work across the 70s American avant-garde. It sits in contrast to the more obviously synthesis-led direction of fellow longform piece ‘Valmsta’. The location slowly changes to Finland via Athens, scenes of cafe conversations and hazy polaroids informing the lyrics of ‘Louhivesi’. The result sounds like a 90s illbient record dropped around 30 bpm and the stylus has caught on a perennial 8-bar loop. The balance of Cucina Povera’s cold, reverb-heavy vocal inflections drive the track into another dimension. If Moral were the Scandi Joy Division, this pairing must be the Scandi Massive Attack.

Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After his first group KMD’s sophomore album Black Bastards was shelved by Elektra in 1994, and his blood brother Subroc — one half of the sibling rap duo — passed away, surviving frontman Zev Love X slowly mutated into the supervillain MC known as MF DOOM, and the rap world is better for it.

The 1999 release of Operation: Doomsday marked MF DOOM’s official debut, reintroducing a mysterious figure who would soon become one of underground rap’s greatest voices. Within its 19 tracks, Operation: Doomsday reveals the confluence of DOOM’s tragic past, personal interests and daring creativity. His clever rhymes and remarkable schemes stood out against the landscape, and every sound he touched — from cartoon theme songs, to ‘80s soul, to rap classics and more — got reinterpreted into something brand new and surreal.

Decades later, MF DOOM is still celebrated for all facets of his work and influence. In the face of tragedy, DOOM re-infiltrated the rap game on his own terms, and crafted an instant cult classic. Operation: Doomsday stands as a testament to the power of betting on yourself against all odds.

Repress!

Silver Sleeve 2012 Version

This special edition 2LP package comes housed in an a silver jacket featuring DOOM’s infamous metal mask icon embossed on it.

Each record is pressed on black vinyl. An absolute must have for the DOOM completist. The long awaited reissue of DOOM's first solo gem, Operation: Doomsday. Remastered from the original Fondle 'Em 1999 issue. Side A is listed as "Side Zero". Side B is "Side One". And so forth. Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After KMD (his first group)’s 1994 sophomore album Bl_ck B_st_rds was shelved by Elektra in 1994 and his blood brother Subroc (one half of the sibling rap duo) passed away, surviving frontman Zev Love X mutated into the MC Avenger known as MF DOOM and the Rap world is better for it. This 19-cut deep album is ridiculously dope, in a bizarro Ol’ Dirty Bastard kind of way. Doom sounds either high or drunk on most of the tracks, his self-produced beats are gritty, and his rhyme styles are almost indecipherable. On arguably the best track, “Rhymes Like Dimes,” Doom weaves some pointed lyrics through his abstract wordplay, spitting ‘only in America could you find a way to earn a healthy buck / And still keep your attitude on self-destruct.’ Who You Think I Am? features DOOM‘s crew M.onster I.sland C.zars, while on “?” he trades hot verses with former Columbia artist Kurious Jorge. Doom’s avant-garde ghetto-rhyme philosophies take even more intentionally weird twists on “Tick, Tick...” where he and guest MC MF Grimm’s flows warble over a rhythm track whose tempo speeds up and slows down continually. The comic-book themed skits, will help take you deep into the mind of an MC who is as otherworldly as they come. And in today’s bland commercial Rap universe, Operation Doomsday’s left-of-center beats and rhymes are the perfect remedy.

Proper Techno release straight for the dance floor.
A pack of six tracks prepared to make you dance with a lot of groove.

Impatiently returning to the golden age of Ecuadorian musica national, this second round of retrievals is more of a selectors’ affair: less reverent, more free-flowing, with more twists and turns. There is no let-up in musical quality, maintaining the same judicious, heart-piercing balance between emotional desolation and dignified endurance, the same bitter-sweet play between affective excess and musical sublimity.

This time around, the woman steal the show. Laura and Mercedes Suasti were child stars, with an exclusive Radio Quito contract. Unlike nearly all the men here, they lived long and prospered: Mercedes died last year, at the age of 93. Gladys Viera and Olga Gutierrez both came to Ecuador from Argentina. To start, Gladys plugged the scandalous new Monokini swimwear; Olga performed for visiting British royalty in 1962. Olga was glamorous but tough. She would make little of the amputation of one of her legs: ‘I don’t sing with my leg.’ She is accompanied on our opener by quintessentially reeling, sultry musica national: haunted-house organ, twinkling xylophone, Guillermo Rodriguez’ heart-plucking guitar-playing, and lilting, dance-to-keep-from-crying double-bass. ‘Sometimes I think that you will leave me with no memories,’ she sings, ‘that you hold only disappointments in store for me… In the future your love will search me out, full of regret. By then it will be too late, there will be no consolation, only disappointment awaiting you.’

Other highlights include the two contributions of Orquesta Nacional: Ponchito Al Hombro, like an off-the-wall forerunner of the Love Unlimited Orchestra, beamed into the tropics from an unknowable time and space; and the tone poem Atahualpa, a mystical yumbo invoking Quito’s most ancient inhabitants, the Kichwa. Also the tremulous, gypsy-flavoured violin-playing of Raul Emiliani, who arrived in Quito from Italy, suffering PTSD from the Second World War; the inscrutable, sardonic experimentalism of organist Lucho Munoz; and the mooing and whistling of Toro Barroso — school of Lee Perry — in which a muddy bull dashes home to his darling chola, fearless, full of desire.

Lavishly presented, with a full-size, full-colour booklet, with transporting art-work and expert notes. Luminous sound, by way of Abbey Road, D&M and Pallas.

Purple Vinyl

London’s abundant waterways and parks provide an oneiric muse for Cucina Povera and Ben Vince’s resounding debut full-length collaboration, an engrossing suite of weightless sax, synth and disklavier-bedded soundscapes that land somewhere between Grouper and Terry Riley.

As a newcomer to London, Rossi was caught up in a sort of wondrous reverie - a feeling that seeps through every movement of thia almost hour long album. Vince's plasmic echoes and Rossi's aerial delivery form a poetic union, twisting and painting each sound in pearlescent shades, finding a musical confluence between Rossi's words - fluid, dreamy, hazy ideations - and Vince's shadowy renditions.

Rossi's folk roots shine through like cracks of dawn sunlight on 'Sumu Puistossa' ("fog in the park"), reverberating over organ and dream-zone sax; her words tip into muted surrealism thanks to the controlled chaos of Vince's bleak treatments. His grasp of jazz is transfixing: bending sax motifs like ghostly memories of music from another timeline, smudging them into the soundfield. It’s most effective on the title tracx, where sickly, dissonant notes flicker like an almost-extinguished candle alongside motorised furniture music courtesy of a Disklavier.

From the Terry Riley-esque transcendence of '∞' to the sacred incantation of long-form closer 'Pikku Muurahaiskeko' ("little anthill"), the pair expose a new layer of creativity with each turn, gradually zooming out from discreet, vulnerable beauty to encompass a gently orchestrated chaos of sustained, sublime tension


[b] 02. [_]

In 2021, nyMusikk's annual festival of sound, "Only Connect", commissioned an interpretation from I LIKE TO SLEEP of the first movement of Olivier Messiaen’s Turangalila symphony. A project which initially led to a 15-minute piece performed at the festival, with the trio re-writing the music of Messiaen, but also rewriting the music of their own. Messiaen as a reference and compositional tool may be heard in the album for those really listening for references. With “Sleeping Beauty” the trio also explore even heavier riffs than before, seasick grooves and tempi, and deeper ambient soundscapes. Through extensive improvisation, the effects and processing of the sounds are way more extreme than before, almost awakening the sleeping beauty. During the pandemic, the band also had to find new ways to write music without the presence of every member, introducing the vibe-samples from the old Mellotron sound gallery to the band. Quarantillity, one of the themes which appears several times throughout the album - almost used in a similar way as the flower theme in the Turangalila symphony - is a direct result of sitting alone in quarantine, playing the Mellotron while listening to vibraphone extraordinaire Bobby Hutcherson. This theme could also be seen as a continuation of the previous album tracks named Pause I & Pause II from “Bedmonster” (2017) and “Daymare” (2020). Like “Daymare”, “Sleeping Beauty” was recorded in Duper Studio in Bergen, co-produced with the band’s all-time favourite sound wizard Jørgen Træen. It is also mixed and mastered by Træen, making the music sound as brutal, intense and intimate as experiencing I LIKE TO SLEEP in a live setting. “Infernal, scrotum-shrivelling energy sorely missing in today's music” said Jazzwise about their previous album, mentioning King Crimson, Magma, Tony Williams Lifetime, electric Miles and 60s free energy jazz as possible references. But that’s only one side of the story, there are plenty of quieter moments at work here, and the dynamic range is wide. Nicolas and Øyvind first met in high school in Trondheim before they joined up with Amund in a youth big band. It soon became apparent that they shared the same musical background centered around 70s progressive rock, classical music, jazz and improvisation. Taking their name from a Thelonious Monk quote, I LIKE TO SLEEP was formed, first for fun, but soon with higher ambitions, winning the prestigious "Young Jazz Musicians of the Year" award in 2018. Still only in their early 20s and still studying jazz at NTNU in Trondheim, they are also active as composers, freelancers and in other projects and are among the most promising on Norwegian scene. Amund Storløkken Åse – vibraphone and Mellotron Nicolas Leirtrø - baritone guitar, bass-VI and Mellotron Øyvind Leite – drums Tracks

Correspondance ist ein gemeinsames Album des Berliner Produzenten Figub Brazlevic und des Pariser Produzenten Parental.
Auf insgesamt 14 Tracks schaffen die beiden Produzenten Parental und Figub Brazlecvic eine musikalische Brücke zwischen Deutschland und Frankreich. Mit dem Besten aus dem
Soundrepertoire beider Länder kochen die beiden Beat-Enthusiasten ein wunderschönes Album und würzen jeden der 14 Gänge mit den schmackhaften Klängen von jazzigen
Saxophon- und Klaviermelodien und garnieren es mit der Extraportion Liebe und gut gewürzten Drums. Et Voilá c'est très manifique – Bon Appétit!

Tuhka, like its titular cinder or ash symbolises new beginnings, fertile ground and creativity after a long lapse. In the same vein, the tracks on this edition were created after a long fallow period.

Tuhka was created out of archival snippets and new vocal loops created on the sunny top floor of Merlijnstraat in early 2022. Late lockdown there was spent writing on the balcony and walking or playing in nearby parks. This creative but relaxed time is embodied in the feeling on ’Tuhka,’ a release wrapping itself around the core of two long-form tracks:

Kärpässieni is a soft, pensive number, with an archival cheap synth track and a chopped-up mystery field recording mingling with a simple subdued vocal loop. There is a titular reference to amanita mushrooms, a fungi encompassing the mystery and the melancholy bitterness present in the track. The feeling is akin to a frosty morning spent on a walk to the Mercatorplein library and feeling your toes start numbing.

Varisevalehti means ’shudderingleaf’ and it consists of an airy, optimistic voice loop that progresses and winds around the length of the track. Alongside it, at times you can hear tape-manipulated samples from a ’learn Italian’ record I used to own. The feeling is more of a wander around Westerpark when the blossoms have started come loose and fly around in the air, forming soft pink deposits in the corners of streets.

Thanks to Haron Aumaj for enduring support and for the copious quantities of Banjaan borani.

Lido Pimienta is a Toronto-based, Colombian-born interdisciplinary musician and artist-curator. She has performed, exhibited, and curated around the world since 2002, exploring the politics of gender, race, motherhood, identity and the construct of the Canadian landscape in the Latin American diaspora and vernacular. Her new album Miss Colombia takes her ecstatic hybridity to a new level, building on the “nu” intersection of electronica and cumbia established by her 2016 Polaris Prize-winning La Papessa as Canadian album of the year. Produced with Matt Smith, a/k/a Prince Nifty, Miss Colombia overflows with the kind of understated genius that promises yet another breakthrough. TOURING EUROPE IN 2020. Already confirmed: May 22 - London Calling (Paradiso), Amsterdam (NL).

Among the rarest albums from Jim Kirchstein's Wisconsin-based Cuca label, 1964's Birdlegs & Pauline runs a playful gamut of girl group soul, sultry R&B, bluesy torch songs, and junk shop doo-wop. The Rockford, Illinois-based husband and wife duo struck gold with their Top 20 R&B hit "Spring" the year prior and frequently returned to Sauk City to see if there was any additional magic up Cuca's sleeve. Gathered here are the best of Birdlegs & Pauline's family album of songs, featuring several previously unissued songs found deep in the Cuca vault.

Among the rarest albums from Jim Kirchstein's Wisconsin-based Cuca label, 1964's Birdlegs & Pauline runs a playful gamut of girl group soul, sultry R&B, bluesy torch songs, and junk shop doo-wop. The Rockford, Illinois-based husband and wife duo struck gold with their Top 20 R&B hit "Spring" the year prior and frequently returned to Sauk City to see if there was any additional magic up Cuca's sleeve. Gathered here are the best of Birdlegs & Pauline's family album of songs, featuring several previously unissued songs found deep in the Cuca vault.

Nyokabi Kari?ki wrote her upcoming EP, peace places: kenyan memories out next year on SA Recordings, while away from home, Kenya, in the United States, during the pandemic. She found that imagining peaceful, gentle, memories from her 18 years of a childhood in Kenya became an antidote to remedy homesickness and emotional fatigue — and almost naturally, these imaginings evoked a very visceral and creative response within her. From Nyokabi’s childhood home in Nairobi, where her piano, gifted to her at age 8, still sits; to her father’s hometown of K?r?nyaga (‘Ngurumo, or Feeding Goats Mangoes’) and her grandmother’s farm in Kiambu (A Walk Through My C?c?’s Farm); from holidays by the Kenyan coast (‘Galu’ and ‘Naila’s Peace Place’) to a few in Laikipia (‘Equator song’); these places find themselves crystallised in each track of the EP, most apparent through the inclusion of field recordings taken in each respective place; but also in the music and lyricism of the pieces. As she worked on this record, she realised that her mind was not only taking solace in imagining ‘home’ as physical spaces, but also in seeing that ‘home’ was in ancestry, in language and words, in family and friends, in the palpability of her instruments, in harmony but also dissonance, and of course, in music. My album artwork was painted by a dear childhood friend, Naila Aroni, and so I decided to give back in a similar way: by creating a track around her own ‘peace place’. She chose Lamu on the Kenyan coast, a place I’d never been, so I used the video to guide me. In it, she walks along the beach with her best friend, having a conversation that — in the track, we first hear as a unrecognisable ‘yells’, which are actually timestretches of the conversation; framed alongside hyperreal flurries on the vibraphone (played by Chris O’Leary). Then, in the final moments of the song, the conversation is revealed: “Naila, how happy are you?” her best friend asks. “It doesn’t even feel real, It’s surreal,” Naila responds. When I’d heard the audio, the emotion of pure joy & euphoria seemed distilled into the sounds of their voices. And so Naila’s Peace Place is an effort to freeze that moment in time, so we can marinate in the sound of that joy for just a little longer. - Nyokabi on Naila’s Peace Place.

COLD GAWD ist der Name, unter dem der in Kalifornien lebende Multiinstrumentalist Matt Wainwright stürmische, verletzliche Shoegaze-Musik mit offenen Stimmungen und R&B-Melodien kreiert. Inspiriert von diesen Klängen, präsentieren COLD GAWD eine verfeinerte, modernisierte Version des Genres. Das insgesamt zweite Album der Band, "God Get Me The Fuck Out Of Here", nahm im Winter 2020 Gestalt an, während Wainwright lange Solo-Schichten in einem Coffee Shop in Chicago arbeitete. Angetrieben von dem Traum, in seine Heimatstadt Rancho Cucamonga zurückzukehren und alte Freunde aus früheren Hardcore-Bands wiederzutreffen, verkroch sich Wainwright mit seiner begehrten rosa Jazzmaster, einer Reihe von Effektpedalen und einem Laptop und schrieb das gesamte Album in einem Monat. Im März 2021 zog er zurück in den Westen ins Inland Empire, wo er bei Gabe Largaespada im Open Ocean Sessions zum Aufnehmen und Abmischen buchte. Obwohl er jedes Instrument selbst einspielte, haben die Ergebnisse das lebendige Gefühl einer geübten Live-Band (was COLD GAWD jetzt sind, da sie zu einer sechsköpfigen Band angewachsen sind). Kaskadenartige Gitarrenwände wirbeln, wallen und plätschern, umrahmt von versunkenen Rhythmen und Wainwrights entfernter, geschlagener Stimme, die in violetten Dunst gehüllt ist. Wainwright nennt die thematischen Gemeinsamkeiten zwischen Shoegaze und R&B als zentrale Muse, die beide obsessiv auf Liebe, Lust und Sehnsucht fixiert sind, in abwechselnd grandiosen und molligen Formen. Textlich schwankt das Album zwischen schräg und verzweifelt, sehnsüchtig und resigniert - mit Ausnahme von "Comfort Thug", einem grüblerischen, größtenteils improvisierten Spoken-Word-Stück, das durch den bemerkenswerten Mangel an schwarzen Musikern im Shoegaze inspiriert wurde. COLD GAWD ist hier, um das zu ändern. "God Get Me The Fuck Out Of Here" kanalisiert Unwohlsein und Melancholie in hauchdünne, energiegeladene Hymnen über Flucht, Veränderung und Introspektion. Das erdrückende Schlussstück "Passing Through The Opposite Of What It Approaches" wabert und schwebt wie drohende Gewitterwolken, unter denen Wainright singt (und sein Bandkollege Arturo Ramirez schreit), was einem Mission Statement so nahe kommt, wie es das Album bietet: "leave what you know / and get grown / everyday / remember / why you left".

COLD GAWD ist der Name, unter dem der in Kalifornien lebende Multiinstrumentalist Matt Wainwright stürmische, verletzliche Shoegaze-Musik mit offenen Stimmungen und R&B-Melodien kreiert. Inspiriert von diesen Klängen, präsentieren COLD GAWD eine verfeinerte, modernisierte Version des Genres. Das insgesamt zweite Album der Band, "God Get Me The Fuck Out Of Here", nahm im Winter 2020 Gestalt an, während Wainwright lange Solo-Schichten in einem Coffee Shop in Chicago arbeitete. Angetrieben von dem Traum, in seine Heimatstadt Rancho Cucamonga zurückzukehren und alte Freunde aus früheren Hardcore-Bands wiederzutreffen, verkroch sich Wainwright mit seiner begehrten rosa Jazzmaster, einer Reihe von Effektpedalen und einem Laptop und schrieb das gesamte Album in einem Monat. Im März 2021 zog er zurück in den Westen ins Inland Empire, wo er bei Gabe Largaespada im Open Ocean Sessions zum Aufnehmen und Abmischen buchte. Obwohl er jedes Instrument selbst einspielte, haben die Ergebnisse das lebendige Gefühl einer geübten Live-Band (was COLD GAWD jetzt sind, da sie zu einer sechsköpfigen Band angewachsen sind). Kaskadenartige Gitarrenwände wirbeln, wallen und plätschern, umrahmt von versunkenen Rhythmen und Wainwrights entfernter, geschlagener Stimme, die in violetten Dunst gehüllt ist. Wainwright nennt die thematischen Gemeinsamkeiten zwischen Shoegaze und R&B als zentrale Muse, die beide obsessiv auf Liebe, Lust und Sehnsucht fixiert sind, in abwechselnd grandiosen und molligen Formen. Textlich schwankt das Album zwischen schräg und verzweifelt, sehnsüchtig und resigniert - mit Ausnahme von "Comfort Thug", einem grüblerischen, größtenteils improvisierten Spoken-Word-Stück, das durch den bemerkenswerten Mangel an schwarzen Musikern im Shoegaze inspiriert wurde. COLD GAWD ist hier, um das zu ändern. "God Get Me The Fuck Out Of Here" kanalisiert Unwohlsein und Melancholie in hauchdünne, energiegeladene Hymnen über Flucht, Veränderung und Introspektion. Das erdrückende Schlussstück "Passing Through The Opposite Of What It Approaches" wabert und schwebt wie drohende Gewitterwolken, unter denen Wainright singt (und sein Bandkollege Arturo Ramirez schreit), was einem Mission Statement so nahe kommt, wie es das Album bietet: "leave what you know / and get grown / everyday / remember / why you left".

The Outer Edge (formerly known as The Artless Cuckoo) is proud to present a second vinyl release by Ghia. The first single is sold out for a while and already became a collectible item. Now, we present a piece from Ghia's past - a very limited 7" with two unreleased recordings from 1985: "Down At The Hilton" on side A and the equally fantastic tune "Curacao Blue" on the flip side. This is just the beginning of a series of more unissued songs by the band. Two albums are currently in the works - and there will be more material to follow.

For now, here is what label founder Günter Stöppel a.k.a. John Raincoatman says about the project: "For the past three years I've been asking Ghia about further recordings. Lutz Boberg and Frank Simon, the two original band members who later joined with Lisa Ohm as a singer, always were communicative, friendly and interested in releasing more music. But at the same time nothing really happened. Accept for a bunch of newer demo tracks they offered on their Bandcamp page for a while, I never was able to hear anything more. Anyway, a few month ago, I suprisingly received a picture by email. A photo showing a box of 11 demo tapes by Ghia with basically all tracks they ever recorded. I couldn't believe my eyes! After a few complications the package with the cassettes arrived in Berlin. I didn't really know what to expect. Everything was taped chronologically, the first cassette included early recordings from 1984 and 1985. I put it in my tape deck and I couldn't believe what I heard. It started with a minimal electro funk track, the next song was '80s funk with rap vocals, and then came a track entitled "Down At The Hilton". This was EASILY the best Balearic jazz funk track I had ever heard. The warm sound, the melodies, the drum computer beats, the solos - everything was almost too unreal to believe. I really didn't understand why Boberg and Simon never considered that some of their early works could be of interest to other people. But they simply thought of it as some sort of learning curve remnants or simply forgot that the music existed."

The story goes on - but we are going to end it here for now. The vinyl single "At The Hilton" is now available. Once you hear the songs we are sure that you'll agree that the music by Ghia needs to be heard and shared with the world.

After a sold out 20 Anniversary 3XLP, Turntables on the Hudson returns with a diverse 3 X vinyl set that carries the Inside the Dance series (previously on WONDERWHEEL Recordings) to all new releases made between the international friends & family between 2020 - 2022. It was a call to action for inspiration, creation, motivation & moving your body in response to the depressing times of initial lockdown & continued music gathering closures during the pandemic. What we did instead was invested in music, art, collaborations, videos, remixes hoping to keep the spirits alive & inspiration high for each other. It’s now Spring of 2022 & we’re happy we did it all. Here’s the fruits of those seeds planted. Songs from artists across the sound spectrum from Morocco, Italy, USA, Spain, Argentina, Peru, UK, Montenegro, France, Belgium, Turkey, Dominican Republic, Niger & more. Almost all songs slightly edited to make sure we got enough output on each side of the record to mix the music in the clubs & on sound systems everywhere. Combining the singles artwork of Marcus (Tupi Lab) & the album LP vinyl art of Bodo (Marcial Arts), we have a very special limited edition 400 until pressing of this soon to be collectible. We hope you enjoy the collective effort that makes this look & sound so special. Ever since the party & label began in 1998, its mission was to shine the light on the underground international community making dance music & after 15 compilations, this is another proud example. Thanks for your continued support.

The wiggy wanderings of Oog Bogo wind up on the same island of lost joys all at once, manufacturing a virtual jukebox of singles and side flips that won’t unplug, and just keeps reeling and raging on instead. A bright metallurgy of guitar pop, psych, post-punk and apocalypse disco embosses the sleek, multicoloured flash of ‘Plastic’.

 Oog Bogo are a four-piece rock band from Los Angeles and their new album is ‘Plastic’, an electrifying set of songs and sounds that just don’t stop, working like a machine that makes joy and endless flips and repetitions, whether in front of the turntable or out in the real world.
 In the past several years, Oog Bogo dropped two records that previewed this explosion in wildly divergent ways: 2019’s ‘Oogbogo’ EP, with wigged-out production, its contorted fun house mirror images pulling punk, psych and new wave in and out of focus in a chaotic procession of mutant tunes. 2021’s ‘EP2’ radiates a starkly different vibe, as chilled-out guitar-pop tunes conjure a flowing medley of plaintive echoes and atmospheres in a mellow mist of hiss.

 Kevin Boog recorded these records in a largely hermetic state: at home on 4-track, playing all the parts, slowly drawing out the sounds. The songs for ‘Plastic’ were demoed this way too, as a starting point for a group interpretation - but when, for obvious reasons, logistics prevented everyone from getting in the same room to even rehearse, the planned recording session at Ty Segall’s Harmonizer Studios took on a different shape.

 Starting off with only drummer Thomas Alvarez (Audacity) to accompany him, Kevin
realized that any obstacles to getting the record made were also opportunities, for
something else that was also right to happen. Rather than reach for the design of the
demos, he kept himself in the present moment, approaching every passage as fluidly
as possible, playing what he needed to play, staying open to what he needed to
know. It didn’t hurt that the laptop with all his songs crashed right after he walked into
the studio! There was no way possible but forward.
 The direction was right on with the guys at Harmonizer - Ty Segall’s sense of
imagination made him the ideal production counterpart to walk together with Kevin
into this world, psyched to experiment and ready to get weird at any time. Ty and
engineer Matt Littlejohn met all requests and requirements in the form of sounds, with
gear and approaches that amazed and delighted, and an eternally ebullient spirit.
 As this was Oog Bogo’s first time recording away from home, Kevin was a kid in a
candy store - where the store owner turns out to be a Wonka-esque philanthropist.
As band members Mike Kreibel (Dirty & His Fists) and Shelby Jacobson (Shannon
Lay) joined the session, there was a synchronicity and community with everyone
involved, finding an unexpected road to realizing the songs, with all the colours and
hues they added making everything pop that much harder.
 Fluidity was key: ‘Plastic’’s tunes depict a polymorphic cast of characters. As in life,
they leap avidly from style to style; from pretty psych rock to new wave apocalypse
disco and harsh post punk bleakness, sometimes in a verse and a half. Corkscrewing
over and over like a riff-driven space-coaster, morphing in and out of each
successive moment with increasing momentum and gravity, ‘Plastic’ defines and
redefines Oog Bogo, with sweet tunes, barely-controlled intensity and sharp
production moves - a killer first album and an equally killer evolving state of mind.

The wiggy wanderings of Oog Bogo wind up on the same island of lost joys all at once, manufacturing a virtual jukebox of singles and side flips that won’t unplug, and just keeps reeling and raging on instead. A bright metallurgy of guitar pop, psych, post-punk and apocalypse disco embosses the sleek, multicoloured flash of ‘Plastic’.

 Oog Bogo are a four-piece rock band from Los Angeles and their new album is ‘Plastic’, an electrifying set of songs and sounds that just don’t stop, working like a machine that makes joy and endless flips and repetitions, whether in front of the turntable or out in the real world.
 In the past several years, Oog Bogo dropped two records that previewed this explosion in wildly divergent ways: 2019’s ‘Oogbogo’ EP, with wigged-out production, its contorted fun house mirror images pulling punk, psych and new wave in and out of focus in a chaotic procession of mutant tunes. 2021’s ‘EP2’ radiates a starkly different vibe, as chilled-out guitar-pop tunes conjure a flowing medley of plaintive echoes and atmospheres in a mellow mist of hiss.

 Kevin Boog recorded these records in a largely hermetic state: at home on 4-track, playing all the parts, slowly drawing out the sounds. The songs for ‘Plastic’ were demoed this way too, as a starting point for a group interpretation - but when, for obvious reasons, logistics prevented everyone from getting in the same room to even rehearse, the planned recording session at Ty Segall’s Harmonizer Studios took on a different shape.

 Starting off with only drummer Thomas Alvarez (Audacity) to accompany him, Kevin
realized that any obstacles to getting the record made were also opportunities, for
something else that was also right to happen. Rather than reach for the design of the
demos, he kept himself in the present moment, approaching every passage as fluidly
as possible, playing what he needed to play, staying open to what he needed to
know. It didn’t hurt that the laptop with all his songs crashed right after he walked into
the studio! There was no way possible but forward.
 The direction was right on with the guys at Harmonizer - Ty Segall’s sense of
imagination made him the ideal production counterpart to walk together with Kevin
into this world, psyched to experiment and ready to get weird at any time. Ty and
engineer Matt Littlejohn met all requests and requirements in the form of sounds, with
gear and approaches that amazed and delighted, and an eternally ebullient spirit.
 As this was Oog Bogo’s first time recording away from home, Kevin was a kid in a
candy store - where the store owner turns out to be a Wonka-esque philanthropist.
As band members Mike Kreibel (Dirty & His Fists) and Shelby Jacobson (Shannon
Lay) joined the session, there was a synchronicity and community with everyone
involved, finding an unexpected road to realizing the songs, with all the colours and
hues they added making everything pop that much harder.
 Fluidity was key: ‘Plastic’’s tunes depict a polymorphic cast of characters. As in life,
they leap avidly from style to style; from pretty psych rock to new wave apocalypse
disco and harsh post punk bleakness, sometimes in a verse and a half. Corkscrewing
over and over like a riff-driven space-coaster, morphing in and out of each
successive moment with increasing momentum and gravity, ‘Plastic’ defines and
redefines Oog Bogo, with sweet tunes, barely-controlled intensity and sharp
production moves - a killer first album and an equally killer evolving state of mind.

As boundless as their music, WHORSES debut
with a double album, like it’s the most natural thing
do to. But is it?
 For sure for these four noise cowboys: their
nameless first brainchild pulls together a fat
number of eighteen tracks, and although there
might be some signs of schizophrenia showing,
this true pièce de resistance breaths honesty and
pure expression through every pore.
 Hitting hard and moving deep in one and the same
creation: yeah, you’re in for a ride.
 WHORSES are a band of extremes, bringing out
the roughest and softest in themselves and in
everyone who dares to dive into that pool of blunt,
deep cutting, ever evolving and limitless sounds.

A fresh re-press of an Italo Disco club classic: My Mine - Hypnotic Tango. My Mine were the trio of Stefano Micheli (vocals, keyboards), Carlo Malatesta (vocals, keyboards), and Danilo Rosati (drums, keyboards) formed in 1982. Utilizing new electronic instruments like the now legendary Roland TB-303, Danilo improvised a simple but effective synthesizer bass line and passed it through the Roland Echo until something magical came out.

“Hypnotic Tango” was released on Progress Record in 1983 and became an international hit across Europe and US dance clubs in New York, Detroit and Chicago, capturing the imagination of House and Techno producers. In 1987 legendary DJ Frankie Knuckles remixed “Hypnotic Tango” at Seagrape Studios in Chicago, with assistance from studio engineers Tommy White and Brett Wilcotts. Originally released on Danica Records as the “Powerhouse Mix” named after Knuckles' club the Power House, the mix has added vocals by Frankie.

This reissue also includes the “Hypnotic Mix” released in 1990 on Rams Horn Records. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original artwork and includes an insert with photos and liner notes by Stefano Micheli.

Los Retros is the young Mexican American singer songwriter whose music has captured the hearts of fans around the world. He broke onto the scene with the viral single ‘Someone to Spend Time With’
in 2019, which has racked up over 40m streams. ‘Looking Back’ is his third EP.
 Los Retros was just sixteen when he first began recording in his family’s living room on an old fourtrack. The recordings comprising ‘Looking Back’ grew out of these early sessions. Now officially released for the first time. Includes fan favourite ‘Amtrak’ (2.5m YouTube views).
 For fans of Cuco, Beebadoobee, Toro Y Moi, Yellow Days, Mild High Club, Boy Pablo.

Reissue of Rolf Kühn's funky 1980 LP 'Cucu Ear', beside his brother
Joachim Kühn, who as always took the place at the keys, Rolf brought
together an illustrious group of musicians from a variety of backgrounds
for this record, including Alphonse Mouzon, Philip Catherine, Charlie
Mariano, Herb Geller and Niels-Henning Ørsted Pedersen
For a German jazz musician to find international recognition as a major player
has been and remains a rarity. Clarinettist Rolf Kühn belongs to this elite class.
No one sounds like him on the clarinet; warm, round and masterful, his tone
remains unmistakable no matter what style he may be playing at any given
moment. His play resonates with a maturity and wisdom gathered from a long
and rich life of musical experiences.
"I have always had the desire to find unusual set-ups for my productions – like
working with musicians who come from very different genres such as classical
music, jazz fusion, pop, etc. But these trains of thought, which of course can be
very tempting, can never be implemented without a risk. In the case of "Cucu Ear"
for example Alphonse Mouzon and Niels- Henning Ørsted Pedersen played
together for the first time ever. With Niels and Alphonse, coming from such
different stylistic directions, the plan worked out so perfectly that they are among
my favorite rhythm groups today. Not least because of my brother Joachim, who
plays fantastic additional synthesizer solos in addition to his great piano playing.
These were two wonderful days in the studio and an unusual and extraordinary
session that is still today very special for me." - Rolf Kühn, 2019

Home to Cuca Records and hundreds of Nashville-fantasizing pluckers and singers, Wisconsin’s Driftless region was a hotbed of country music in the 1960s. Influenced by old-timey ethnic songs, Bakersfield outlaws, countrypolitan rainbows, and the lonesome twang of every rural route roadhouse, these 17 Driftless Dreamers washed up at Jim Kirchstein’s Sauk City record plant with little more than $100 and a longing. Collected here are the fruits of Cuca’s documentary approach to record making, capturing the voices and stories of a culture and glacier in abatement.

Los Retros is the young Mexican American singer
songwriter whose music has captured the hearts of
fans around the world. He broke onto the scene
with the viral single ‘Someone to Spend Time With’
in 2019, which has racked up over 40m streams.
‘Looking Back’ is his third EP.
 Los Retros was just sixteen when he first began
recording in his family’s living room on an old fourtrack. The recordings comprising ‘Looking Back’
grew out of these early sessions. Now officially
released for the first time. Includes fan favourite
‘Amtrak’ (2.5m YouTube views).
 For fans of Cuco, Beebadoobee, Toro Y Moi,
Yellow Days, Mild High Club, Boy Pablo.

Here is the second volume of Serge Gainsbourg's complete vinyl collection which traces the artist's career from 1971 to 1987. In order to provide the best sound quality, the original mixed tapes were entrusted to the sound engineer Miles Showell ( responsible for the reissues of the Rolling Stones, Queen, etc.) who did the mastering at Abbey Road studio with Half Speed ​​Master technology. 180 gram vinyl box.Reviews and Ads –, London Macadam, Mojo, Sunday Times, R2

Home to Cuca Records and hundreds of Nashville-fantasizing pluckers and singers, Wisconsin’s Driftless region was a hotbed of country music in the 1960s. Influenced by old-timey ethnic songs, Bakersfield outlaws, countrypolitan rainbows, and the lonesome twang of every rural route roadhouse, these 17 Driftless Dreamers washed up at Jim Kirchstein’s Sauk City record plant with little more than $100 and a longing. Collected here are the fruits of Cuca’s documentary approach to record making, capturing the voices and stories of a culture and glacier in abatement.

Bjarki leads a pack of international artists who in the past few years have taken a hauntological approach to re-moulding the scents of breakbeat, rave, jungle, trance and IDM into sounds that are entirely their own. Already this year he began his own label bbbbbb with artistic sparring partner Johnny Chrome Silver, released under new alias Cucumb45, performed his new live show at clubs and festivals from Mutek ES and Peacock to Printworks, and recently announced a US tour for July.

TRP015 finds Bjarki in typical, monstrous, floor slaying form with four trance leaning tracks that have proved an inspiration for Nina Kraviz's DJ sets over the past year. Bjarki takes key aspects of trance and takes it for a headspin into the unknown - mangled percussion, disorienting voices, unravelling textural layers, sub aquatic bass frequencies and intense melodies. All make for a uniquely irreverent take on a much maligned genre that most of us secretly adore..

Released via Sony CMG - heavy metal legends mark an incredible 50 year career with a brand new collection of 16 tracks including remastered studio recordings and 7 previously unreleased live cuts from the band’s archive. Restored and mixed by Tom Allom at La Cucina W8 and mastered by Alex Wharton at Abbey Road Studios. Available on CD and 2 LP gatefold heavyweight red vinyl (limited/allocated). Promo/marketing activity across all media outlets.

A desperate, desert-baked Midnight Highway of Lost Souls, Cuckolds, Wastrels, blistering Righteous Anthems and delirious Apocalyptic Fever-Dreams. This sublime collection of knowns and unknowns, battered Nashville legends and forgotten backwoods-poets features tales of Grisly Barroom Homicides, Jilted Lustmords, Grim Divorcees in Bedlam and Fiery Suburban Infanticides. Often originally waxed and distributed in unrewarding amounts, these Troubled Troubadours sing of Cowardice, Infidelity, Spurned Lover's Suicide Pacts, Tortured Jailbirds, Vengeful Inebriates and dubious Parenting Skills.
Years in the making – ‘Hillbillies In Hell’ (Volume XII) presents 16 timeless tribulations - Sinful Seductresses, Grinding Poverty, Nihilistic Murderous Horrors, Satan's Eternal Maze of Hardships and Temptations and God's blazing Light of Redemption.
A dank yet at times uplifting stash of marginal 45s - some of these sides are impossibly rare and are reissued here for the very first time. All for your prurient listening pleasure…

. Elton Britt - Lost Highway
, Porter Wagoner - Fairchild
, Justin Tubb - The Great River Road Mystery
, Sanford Clark - It's Nothing To Me
, Johnny Paycheck - You'll Recover In Time
, Stonewall Jackson - Somebody's Always Leaving
, Porter Wagoner And Dolly Parton - The Party
, Buddy Starcher - When Payday Comes
, Tommy Curtis And Bill Taylor - Devil's Stumbling Block
, Jody Reynolds - Devil Girl
, Henson Cargill - Going Backwards
, Lorrie Collins - Another Man Done Gone
, Bobby Braddock - Revelation
, Stonewall Jackson And The Brentwood Children's Choir - That's All This Old World Needs
, The Speer Family - You Can't Run Away From God
, The Singing Rambos - When Payday Comes",Witness...

Various Artists ‘In Bed With Marina’
Classic Indie/Chamber-Pop
2LP MA90 (Marina Records) £15.50
Deal: B/C: 4015698905656

THIS ONE MISSED THE DEADLINE FOR THE OFFICIAL RSD LISTINGS BUT WILL BE AN **UNOFFICIAL RSD DROP 2 ** RELEASE...LIMITED +NON-RETURNABLE..

Celebrating its 25th anniversary, this classic Marina compilation from 1996 makes its first appearance on vinyl. Packaged in a deluxe gatefold cover, In Bed With Marina features track-by-track notes, lots of photographs, two vinyl-only bonus cuts and a gorgeous poster.
Enjoy 24 stunning tracks on two groovy LPs incl. many unreleased cuts and exclusive contributions by Edwyn Collins, Shack, Teenage Fanclub, The Pearlfishers, Cowboy Mouth, The Bathers, Harpers Bizarre, Sugartown, Paul Quinn & The Independent Group, Jazzateers, Antonio Carlos Jobim, Malcolm Ross, The Secret Goldfish, and many others.

La Castanya is releasing “Gran Sur” on vinyl for the first time, originally released on CD in 2004. Very Limited/Non-Returnable.

Hello Cuca, inspired by the DIY philosophy and the Riot Grrrl movement, toured the United States with The Make Up (Dischord / K Records) and Spain with Bratmobile (Lookout! Records / Kill Rock Stars).

Hello Cuca released on vinyl a handful of EPs between the late nineties and the two thousands and then an album released on CD, Gran Sur, an out of print release right up until now that La Castanya is going to release it on vinyl for the first time.

In Gran Sur Lidia Damunt (the same Lidia Damunt who has now gone solo) was joint by her sister Mabel Damunt on the bass and Alfonso Melero (the same Alfonso Melero from Villarrobledo’s much-missed indie aristocracy) on drums. She sang Mabel’s lyrics about a place in-between the Spanish Levante Coast and the West Coast of the United States. A place for Mabel’s dream-theories about love and sisterhood and how we learn how to be people when we talk to each other, when a name is given to us, when we do things and let the others see we have done them.

There they were, and there they are still. Lidia shouting that madness of lyrics and
playing the guitar and Mabel and Alfonso doing their badaboom-badaboom from behind.
It was incredible to watch, it is irresistible, they are the best without question. I think a lot
about Hello Cuca. — Manolo Martínez, Astrud

Wavy grave rave for better tomorrow.

written by Maria Rossi
mastering by Enrico Mercaldi at Time Tools Mastering
picture and sleeve by Percy