Buscar:d lux

Trystero comprises Scottish/Luxembourgish producer Thomas Lea Clarke (aka MR TC) and Low Bat, otherwise known as one half of the formidable duo Jean-Luc. Their debut album, Sfumare e Vedere, was conceived over three days aboard Urban Boat, a 1960s barge transformed into an arts and performance space. Moored along the river just outside of Paris, the duo embarked on a joint residency, discovering their complementary creative energies and a mutual passion for all things strange and psychedelic.

As frontman, Low Bat is a fire-powered poet, his unparalleled stage presence resonating through Trystero's music. The French native and fluent German speaker has a natural flair for languages. For this project, he sings in a combination of Italian and English about love, loss, and class struggle, constructing surreal wordplay about pelicans and puttanesca. Meanwhile, Clarke's drone-lead electronic accompaniment takes its cues from sizzling acid, 1990s snap rhythms, post-punk, krautrock and shoegaze. Firmly rooted in these tripped-out genres, Trystero journeys to entirely new cosmic dimensions.

This record contains four tracks taken from a live performance which took place on December 3rd 2021 at the vinyl harvest record store in Esch-sur-Alzette Luxembourg. The concert was curated by non-profit organisation I am esch twenty too and the label mint.conception.recordings. I am esch twenty too was founded in 2020 as an alternative suggestion to the city of Esch-sur-Alzette being European Capital of Culture 2022 and its role and program. The budget for this concert was generated by the entrance fee to the concert only.

Jan Jelinek has for more than 20 years been one of the most essential voices in contemporary electronic music. Arthur Clees is a young percussionist from Luxembourg and a bright talent intent on finding his own way into jazz, improv and electronic music. Both performers had never met each other before.

Vladislav Delay's complete "Hide Behind The Silence" series. Intuitive and raw music, momentary and reflective, released on Ripatti's own label Rajaton.

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.
Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?

Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.

2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?

Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.

3) What kind of thoughts or experiences gave inspiration to this series?

Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.

4) Is it easy for you to be in silence, or around silence?

Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

Das legendäre US-Metal-Meisterwerk ist nach fast 40 Jahren endlich auf luxuriösem 180 Gramm Vinyl erhältlich!
Wir glauben nicht, dass es ein einziges Wort gibt, das diesem Album außer Perfektion gerecht werden könnte. Und wenn man sich dieses Album
einmal angehört hat, wird einem sofort klar, dass dies Vicious Rumors sind. Das ist ihr Stil, ihr eigenes Genre und ihr Sound, ihre Formel.
"Soldiers of the Night" setzte den Ton an, welches sie für den Rest ihrer Karriere gefolgt haben. Es gibt genug Geschwindigkeit, um sie dem
Speed/Power Metal-Genre zuzuordnen, es gibt genug Emotion und Vielfalt, um sie dem progressiven Genre zuzuordnen, es gibt genug technisches
Können, um sie unter dem Dach von Shrapnel Records landen zu lassen.
Alles, was Vicious Rumors ausmacht, ist hier in Stein gemeißelt. Die total abgehobene Atmosphäre zieht sich durch das ganze Album und steigt
manchmal ins Düstere. Das ganze Album ist qualitativ konsistent- Lückenfüller Tracks gibt es hier keine. Obendrein ist die Produktion für die damalige
Zeit phänomenal und es gibt immer noch eine raue Kante. Fans von klassischem Heavy, Speed, Thrash, Power, progressivem, technisch versiertem
Metal sollten sich sofort in dieses Album verlieben.

Four essential cuts from Ghana & Cape Verde, compiled by Arp Frique...

Music is a great connector, bringing people together in many ways. On his journey in music so far, Arp Frique has been fortunate to meet many beautiful artists. The songs on this first edition of "Radio Familia" are deeply connected to the musicians he performs with. Join the music family on a trip through exciting sounds from Ghana and Cape Verde and listen to their story in both words and music.

Arp Frique never played a show without including Americo Brito’s epic song “C’est Dudu”. The song originally appeared on his album “Fidjo Di Mizeria” from 1989 but he had been performing his anthem for years and it came in many shapes and forms. After spending a lot of time in Paris, he (like many others in those days) got inspired by new records from Guadeloupe and Martinique, especially “kadans”. Incorporating latin piano motifs borrowed from salsa and merengue and a bold choice to sing in French, the song and album became an instant success for Americo in and outside the clubscene (note: DJs were not the primary source of dance music in those days, bands played all night to keep the dancers moving). The addition of C’est Dudu to this compilation became especially relevant since Americo recently passed away. Fortunately, his anthem just like all his other music will remain with us for decades to come.

While going through the archives with Americo Brito for the Radio Verde compilation, he introduced Arp Frique to a band called Imilux Star, of course again well connected with Americo. This Cape Verdean band residing in Luxemburg (where there is a substantial Cape Verdean community) definitely added a different flavor to the musical pallet the islands are famous for: heavy syncopated rhythms coming from the drum computer. They released two albums which both became very popular in their scene and the track “Yolanda” from their 1988 album “Jota Dê” got to Arp Frique’s attention too late to add to the Radio Verde comp. The band is still performing to this day in the Luxemburg-Cape Verdean live circuit.

While Arp Frique was on the road with his lead singer Mariseya, they talked much and deep about Ghanaian music (especially highlife) and he learned a lot about the community from Ghana in the Netherlands, mostly in Amsterdam and The Hague. Mariseya’s dad, Nana Adomako Nyamekye, came to see their liveshow while in the UK which was very special to them considering he is one of the highlife artists Arp Frique has grown to be very fond of. His deeply funky and bubbly bass driven song “Obra Twa Owuo” is about life and death, telling us we should all love each other as we still have life to live. Originally released on “Ano Plan” from 1982, the album is filled with philosophical advice. In his own words: “A message to all humans that something awaits us all at the end of life. Let’s live together with love.

Bnnyhunna, from the Ghanaian community in the Netherlands, joined Arp Frique’s live experience several times playing keyboards and synthesizers. His dad Elvis Kwasi Ankomah, just like him, developed a high level of musicianship while performing regularly in church. The song “Fa Wokoma Mame” (give me your heart) from his only studioalbum “Mfa Menko” released in 1995 is about showing his love to a lady but only if she puts her trust in him completely. The album talks about love, pain, relationships and life. Having worked with artists like Daddy Lumba, Nana Ampadu, Amakye Dede and many other hiplife and highlife legends, he still plays in church every week and has been doing so ever since he was 15 years young.

Busta Rhymes bereitet sich auf die Veröffentlichung seines 11. Studioalbums vor, das erste seit "Extinction Level Event 2: The Wrath Of God", das 2020 erschien. Das Projekt trägt den witzigen Titel "BlockBusta". Er stellt sicher, dass das Album seinem Titel gerecht wird und einen echten Blockbuster abliefert. Dazu hat die Rap-Legende drei weitere Legenden als ausführende Produzenten für das Projekt gewonnen. Pharrell, Timbaland und Swizz Beatz, drei der legendärsten Produzenten der Rap-Geschichte, sind alle an Bord, um mit Busta zusammenzuarbeiten.

1STEP Process 180g 45rpm Double LP Pressed on VR900-Supreme Vinyl!
Mastered From The Original Analogue Master Tapes by Bernie Grundman!
Super-Luxe "Monster Pak" Jacket with a Rich 36-Page Booklet & Striking Outer Slipcase!

New lacquers cut for every 500 pressings!

Strictly Limited To 7,500 Numbered Pressings!

There have been more than 40 U.S. releases (and hundreds more worldwide) of Stan Getz's cultural touchstone album and for good reason: few recordings better capture the breezy warmth and easy-going sophistication of Brazilian bossa nova for an American jazz audience. Fewer recordings can replicate the you-are-there presence and flawlessly tight studio acoustics. Only Getz/Gilberto has Billboard Top-10-charting singles like "The Girl from Ipanema." When Impex Records jumps into this densely-populated fray with our own production, we need to bring maximum value and prestige to it. Challenge accepted. We worked directly with Stan's wife Monica Getz and their son Nicolaus to create the most authentic, best-presented Getz/Gilberto ever.

Exclusive to Impex's 1STEP Getz/Gilberto includes an insightful new interview/essay by Charles Granata featuring Monica reminiscences of the making of this record, the subsequent cultural phenomenon, and Stan's battles with some pretty heavy demons. Also unique to this release are two bonus tracks: an alternate mono 7" mix of "The Girl from Ipanema" (without the added echo, thank you very much) and a live recording of "Corcovado" from Carnegie Hall. Finally, the large-format, 36-page booklet features dozens of rare photos, the original album notes, and a fascinating personal remembrance from Monica Getz herself, celebrating her late husband's work and an inside look at Stan's family life while making the record!

Using the original analog master tapes and no computers at all, Bernie Grundman at Bernie Grundman Mastering sought to keep the sense of space and tone on the master tape intact without unnecessary embellishment. Impex 1STEPs get you closer to the source, not the ideal.

We know you have many choices when it comes to enjoying this singular album. The Impex 1STEP of Getz/Gilberto cuts above all other releases with added-value content that takes you deeper into Stan Getz's life and process in a way never previously possible.

The 1STEP Process:



The Impex 1STEP process relies on short, tightly-controlled runs that require a new lacquer after each 500 pressings. This unforgiving format has the lacquer skipping the regular father-mother process, going right to a single convert and then pressing. Though this dramatically increases mastering and production costs, it also assures each run is more consistent from disc to disc, with less noise, clearer details and deeper bass.

Reducing production complexity to just a single "convert" disc between the lacquer and the press greatly improves groove integrity, diminishes non-fill anomalies and increases signal integrity from the master tape to your system.

Features:



The only release of this fundamental jazz classic crafted with the full participation of the Getz family, including never-before-seen photos and notes from Monica and Nick Getz
Exclusive new interview essay about Getz's life and the recording of the album by noted producer and historian Charles L. Granata
Exclusive ultra-luxe Impex 1STEP packaging featuring a deluxe 36-page booklet within a heavy-stock two-sleeve Monster Pack jacket and striking colour-matched slip case
Two all-analogue bonus tracks: an alternate mono 7" mix of "The Girl from Ipanema" and a live recording of "Corcovado" from Carnegie Hall
Limited to 7,500 copies

With its tenth record from Fortunato Durutti Marinetti, Quindi continues to celebrate songwriting and storytelling framed by curious musicality. In keeping with the label's trajectory to date, this is an album which draws on a universal human sentimentality and presents it with an uncommon flair. In the case of Toronto-based Daniel Colussi, the man behind Eight Waves In Search Of An Ocean, his melancholic poetry cuts through with a clarity which calls to mind all-time greats from Anette Peacock through to Lou Reed and Leonard Cohen.
Turin-born Colussi has drifted through various bands, guises and styles over the past 20 years, but since settling into Fortunato Durutti Marinetti as a vehicle for his songs, he's found a strong expressive impetus which transcends genre to become entirely hinged on the power of his words and melodies. The first album under this alias was a 2020 cassette album, Desire, later pressed on vinyl due to demand in tandem with the release of 2022's Memory's Fool. On each record, Colussi has found distinct arrangements of players to set the mood, ranging from gently lilting art and folk rock through to orchestrated balladry, but Eight Waves In Search Of An Ocean widens the palette of Fortunato Durutti Marinetti to create an album in which each song feels like a tale unto itself.
Colussi's renewed approach is instantly apparent as album opener 'Lightning On A Sunny Day' unfurls, informed greatly by producer Sandro Perri's input pursuing a hybrid electro-organic sound. The addition of drum machines and synths to the musical palette bring with them the strong connotations of pop while the sax and violin sounds similarly smooth and silky, and one can't help but think of John Martyn's slide into the digital sound of Sapphire or Kraftwerk's bittersweet synthetic tenderness.
Within this sound, there's still space for the energy to fluctuate according to the whims of songs. 'The Flowers' turns inward with a soft-touch composition as delicate as the petals Colussi describes falling to the floor. 'Misfit Streams' and first single 'Clerk Of Oblivion' savour the fluid, luxuriant tone of fretless bass with all the 80s connotations intact. Colussi remains the central focus whatever happens around him, in possession of the kind of unforced charisma which drives a song deep into the listener's heart. It's at once entirely his own style and yet comforting and familiar. The lyrics might sweep you into the singer's inner world, similarly to the experience listening to late 60s Tim Buckley, or you might well inhale the mellow jazziness of the harmonic movement like you would Joni Mitchell on Hejira.
The emotional direction of each track is never linear - 'Smash Your Head Against The Wall' snarls its rhythm section before the strings sow their aching beauty to cool the song's temper, winding up as a track of distinct halves jabbing at each other. "I Need You More' leaves space for spiralling flute solos and strangely stiff, militaristic drum rolls in the midst of a sweet, slightly sad synth ballad, the final wave receding back into the tidal undulations of Colussi's unique exploration of his muse.
The artist himself dubs his musical expression as "poetic jazz rock" with a sideways glance - it's not exactly poetry, far from trad jazz and it doesn't really rock, yet the tag feels uncannily like it fits, just like the curious music it's used to describe.

Immerse yourself in the Bayonetta universe alongside Umbra's most charismatic witch! The original soundtrack to the cult game is now available on vinyl in a luxurious 4-disc box set!

The classic vinyl edition comes in a luxurious vinyl box containing 4 discs in individual illustrated sleeves, and a rich 20-page illustrated booklet with new comments from the team

56 tracks, 4 x LP
Entirely remastered for the vinyl format
Collector lift off box containing 4 x LP into their individual illustrated sleeves
20p booklet with illustrations
Produced, published and distributed by Wayô Records

The American singer-songwriter tradition has always been tethered to a rustic austerity, the sort of front-porch authenticity that suggests an age where home electronics are still considered luxury items. But there's also the ongoing influence of Bob Dylan and The Band's Basement Tapes-that strange and beloved document of the magic that happens when private experiments with the folk template flourish into layered and lush songs-and its genesis through informal recording sessions. In our modern age, these kinds of casual DIY constructions are perhaps the more honest contribution to the Americana lineage-the true homespun artform. When Michael Nau and Whitney McGraw struck out on their own in the wake of the dissolution of their beloved indie-folk outfit Page France, they continued their songwriting practice with a new project called Cotton Jones Basket Ride. As legend has it, Nau and McGraw were working on the material for their debut full-length Paranoid Cocoon (2009) when they realized they had an entire album's worth of odds-and-ends from various recording sessions. The resultant album - The River Strumming - was released in 2008 on St. Ives in a batch of 300 unique hand-packaged LPs. As the label advertised it back in the day, the band "initially set out to make a cohesive record, and made just the opposite." Like The Basement Tapes, The River Strumming is a document of a band exploring possibilities without the weight of expectation. The band would eventually condense their name to Cotton Jones and make a name for themselves in the indie world for their fusion of dreamy folk and psychedelic baroque pop. But in the beginning, there was this weird and wonderful collection of songs made by musicians who were enjoying the private process of finding their path. Suicide Squeeze is proud to present a 15th-anniversary vinyl reissue of this long out-of-print classic with updated artwork by Kayleigh Montgomery-Morris.

Nørbak is back on HAYES with Passo Lento, five sparse, Orwellian exercises with concrete percussion and a soul-stirring, atonal approach to melody.

Seven Steps to Heaven arrived at a crucial junction in Miles Davis' career. Recorded at two separate locations in spring 1963, it served as Davis' first release in more than a year – a layoff that was then unprecedented for the jazz visionary who had issued at least one LP a year since debuting in the early '50s. Equally notable, Seven Steps to Heaven marks the point at which the core of Davis' Second Great Quintet started to assemble. The twice Grammy-nominated effort is also Davis' final studio record to blend standards with originals. And it happens to be one of the expressive, well-played albums in the jazz canon.

Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton gatefold jacket, Mobile Fidelity's 180g SuperVinyl LP of Seven Steps to Heaven adds yet another step (or more) towards the bliss suggested by the album title. Playing with standout clarity, detail, tone, and balance, this audiophile reissue pulls back the curtain on the instrumentalists. Afforded the tremendous advantages of SuperVinyl – including a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition – this numbered-edition version presents Davis and Co. amid a wide, deep soundstage whose dimensions and solidity help bring the record's historical importance and musical merit into focus. Warm, organic, and present, the SuperVinyl LP of Seven Steps to Heaven is what great-sounding hi-fi is all about.

And there's nary a passage on this 1963 landmark that isn't great. That Davis manages to make it feel so cohesive and seamless is a testament to the inspired performances and engaging compositions. Davis didn't draw it up the way it unfolded. No matter. He held trump cards that stayed up his sleeve for the next three decades: A drive to be nothing less than superb, a refusal to settle for mediocrity, and standards to which nearly no other composer or player could match. "The toughest critic I got, and the only one I worry about, is myself," Davis wrote in the liner notes. "The music has to get past me."

Davis' demanding approach partly explains why he switched up his band between the first and second sessions – and underscores how fast his mind was racing with new ideas. Seven Steps to Heaven acts as the stable bridge between the transitional period that followed the dissolution of his First Great Quintet and formation of the Second; without it, Davis perhaps doesn't invite then-23-year-old Herbie Hancock and a still-teenage Tony Williams into the fold. The trumpeter not only got his men – he preserved in amber for the only time (well, magnetic tape anyway) the chemistry and vibe he achieved with pianist Victor Feldman, drummer Frank Butler, tenor saxophonist George Coleman, and bassist Ron Carter.

That line-up gels for half of the six songs on Seven Steps to Heaven. Captured in Los Angeles April '63, the quintet stretches out on a luxurious reading of the late '20s New Orleans staple "Basin Street Blues"; lays on the romance for a candlelit stroll through the '40s standard "I Fall in Love Too Easily"; and explores the rounded contours and melodic crevices of the early blues "Baby Won't You Please Come Home." The performances are refined, elegant, emotional; the band lets the feelings linger and gives the listener time to absorb the colours and textures.

A month later, Davis returned to New York City with Coleman and Carter, and partnered them with Hancock and Williams. Tellingly, the quintet tried its collective hand at the title track and "Joshua" – Feldman-penned songs already recorded in Los Angeles – as well as the yearning "So Near, So Far." Those are the tunes that comprise the other piece of Seven Steps to Heaven, with the revised quintet's liquid pulse, articulate dynamics, and timing shifts a harbinger of things to come.

It's also worth mentioning that the interpretations of the bounding "Seven Steps to Heaven" – a showcase for Davis' trumpet – and interlocking "Joshua" netted considerable radio airplay and attracted the attention of other contemporaries who covered the songs. Keeping Carter and Williams as the rhythmic engine, and Hancock as the anchor between solo flights and structural motifs, Davis would soon soon welcome Wayne Shorter into the family and transform jazz. Again. The aptly – and, in hindsight, perhaps prophetically titled Seven Steps to Heaven – is how he got there.

Calibro 35 unleash the new OST for the second season of TV series BLANCA, to be released on limited edition LP on December 1st 2023.

Italian cinematic cult outfit CALIBRO 35 announces the release of the ORIGINAL SOUNDTRACK of the second season of BLANCA, the TV series produced by Lux Vide in collaboration with Rai Fiction, broadcast in prime time on Rai 1 starting from Thursday, October 5th 2023 and directed byJan Maria Michelini and Michele Soavi. The soundtrack will be released worldwide on limited edition, crystal clear LP next December 1st via Milan based label Record Kicks.

The new thrilling episodes of Blanca Season 2 follows the success of the first season, that was aired worldwide on Netflix, M6 France and Telecinco Spain. Accompanying the journey is once again the original music of CALIBRO 35 the Italian "cult" cinematic combo active for over 15 years and with a fan base that includes superstars such as Dr.Dre, Jay-z and Damon Albarn. Made up of 20 tracks in total, the OST was entirely composed by CALIBRO 35 that created the sound universe of BLANCA: an impressive and choral work, which has engaged all the components of the band for a long time, giving the them the opportunity to develop a very vast soundscape.

"It's the first time that we deal with the creation of a 'season 2' and we discovered that the creative process can be very different" Calibro 35 says. "In the first season, we had to build from scratch a sound and musical world consistent with the idea that Jan had (Michielini, director and showrunner of the series); this time, however, we had to develop that already existing world further, in order to describe the new stories and new different characters of the second season. There had to be undiscovered musical territories, that forced us to step out of our comfort zone." The result is that on the 20 tracks of the ost, the heavy dose of Calibro's signature funk grooves of tracks such as "Badanti, "Carignano", "Cambio di Stagione" or "Sampierdarena" is mixed with more moody and soulful tunes, world music, opera and atmospheres à la John Carpenter. Amongst the album's highlights worth definitely a mention the Opening and End titles that feature the voices of Arya, MEI and Tahnee Rodriguez. Essential contribution to the recordings were made by Francesca Biliotti - mezzo soprano of the Monteverdi Choir, Valeria Sturba - exceptional multi-instrumentalist of the avant-garde music group OoopopoiooO, Rahma Hafsi and Elisa Zoot.

Described by Rolling Stone as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years", Milan-based Calibro 35 enjoy a worldwide reputation as one of the coolest bands around. Active since 2007, during their long career they were sampled by Dr. Dre on Compton ("One Shot One Kill" feat. Snoop Dogg), Jay Z ("Picasso Baby"), The Child of Lov & Damon Albarn ("One Day") and Demigodz ("The Summer Of Sam"). They played major venues and festivals all over Europe and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Rokia Traoré. The BLANCA OST is the latest of many activities concerning cinema for CALIBRO 35: the band has been completely immersed in the world of soundtracks since the very beginning and they have recently worked on other productions as well, both as Calibro and individually. Last June, the band released their 8th studio album, NOUVELLES AVENTURES, recorded in Naples at Auditorium Novecento. With the new LP the group has made full use of their knowledge and resources, refined and enriched over the years, back to making "Calibro's music": a unique mix of funk, progressive rock, alternative jazz and wide-spectrum cinematic music the public has known them for in fifteen years of career.

Limited Edition Vinyl Reissue mit 8-seitigem Songbook mit Texten und Akkorden, den 68-seitigen Locas In Love Winter Chronicles / Tour-Diary + Foto-Druck.



Ende 2008 veröffentliche die Kölner Band Locas In Love ihr drittes Album „Winter“ als Follow-Up zum Überraschungserfolg "Saurus" (2007). Geschrieben und aufgenommen wurde es innerhalb von zwei Monaten im Sommer 2008, es sollte unkompliziert, schnell und unmittelbar passieren und konsequenterweise wurde "Winter" als erstes komplett selbstproduziertes Album der Band in Wohnzimmern zwischen dem Kölner Gereons-Viertel und Brooklyn, NY produziert. Durch das titelgebende Thema ist es nach wie vor das geschlossenste ihrer Alben, und es ist das Dokument einer Freundschaft.



Anlass für das Vinyl-Reissue ist nur in zweiter Linie das 15jährige Release-Jubiläum oder die Tatsache, dass das Album lange vergriffen war, sondern vorrangig der unerwartete Tod von LD Beghtol im Jahre 2020. Den New Yorker Ausnahmekünstler lernten Locas In Love als Fan seiner Musik (u.a. als Mitwirkender und Sänger der Magnetic Fields auf "69 Love Songs") kennen. Auf „Winter“ trat er als Quasi-Mitglied und Co-Producer in Erscheinung und kann so auch zukünftig von neuen Musikfans u.a. mit seiner meisterhaften Song-Miniatur "Packice" entdeckt werden, dieser herzzerreißenden Mischung aus Winter-Blues und Kryogenik-Science-Fiction.



Und so erscheint nun beim Berliner Label Staatsakt (das soeben sein eigenes 20jähriges Bestehen ausgiebig feierte) das luxuriös ausgestattete Reissue. Die handnummerierte Limited Edition samt neuem Artwork von Stefanie Schrank enthält das von LD Beghtol gestaltete Scrapbook, das auch der Erstpressung beilag, ein 8-seitiges Songbook mit Texten und Akkorden, sowie die 68-seitigen Locas In Love Winter Chronicles, in denen Tour-Tagebücher und andere Texte aus der Zeit mit einem aktuellen Selbstinterview der Band zusammengefasst sind. Im umfangreichen Bonusmaterial geht es weniger um Mythen oder kleinteilige Schreib- und Aufnahmeprozesse, sondern darum, was es heißt eine Band zu sein, mit einander und der eigenen Musik zu leben – und zu altern.

Tha God Fahim has carved out a unique place in the hip-hop firmament, fashioning street-level morality tales set to mesmerizing soundscapes. Depicting an ongoing battle between good and evil, these rap fables find Fahim slaying demons, surviving betrayal, learning lessons, outmaneuvering obstacles, and ultimately realizing his limitless potential. Now, the Atlanta emcee is back with "Tha Supreme Hoarder Of All Pristine Wealth", a new album entirely produced by Camoflauge Monk. Tha God Fahim’s compelling lyricism entwines perfectly with the soundtrack provided by Monk, an acclaimed beatsmith who has crafted tracks for Westside Gunn, Mach-Hommy, Conway, Benny The Butcher, Boldy James, Mayhem Lauren, Rome Streetz, and more. Capturing the essence of Fahim’s artistry, The Supreme Hoarder Of All Pristine Wealth celebrates living life to the fullest, where luxury and abundance are hard-earned rewards for dedication, sacrifice, wisdom, and righteousness.

Sound Signature welcome the return of Detroit hero Alton Miller for a classy single graced with the vocals of KB, with the thoughtful addition of an instrumental on the flip for those so minded. The result is some extremely classy, luxurious sounding deep house music with a touch of the lounge about it. A track that certainly plays its cards cautiously rather than banging them down on the table all at the same time, but one that will build the atmosphere of your early evening set up subtly but surely.

Marjaa: The Battle of the Hotels” is a concept album born of the idea of merging singer & songwriter Mayssa Jallad’s two vocations: music and urban research/architectural history. Written in collaboration with producer Fadi Tabbal, the music builds upon Tabbal’s spatial approach to sound and Jallad’s research on Beirut’s Hotel District. The album is a reference to Jallad’s Historic Preservation master's thesis, in which she detailed the history of the “Battle of the Hotels”, a 5-months battle that took place in Beirut at the beginning of the Lebanese Civil War, from October 22nd, 1975 to March 29th, 1976. Jallad saw architecture as a main protagonist of the battle, as she discovered it was the first high rise urban battle in the world. The close of the battle resulted in the 15-year Green Line, an urban rift which split Beirut into “East and West”, restricting movement and communication and creating a violent divide that still resonates today. The album comprises two parts. Part A: Dahaliz, is a stroll in the city, where Jallad tries (and fails) to follow an old map. Musician Youmna Saba is a companion in this journey of remembering the once winding corridors (“Dahaliz”) of the city, destroyed by new developments since the 1960s. Empty skyscrapers propel her onto a past filled with the violence of snipers, and a present filled with the glamorous injustice of empty luxury real estate endorsed by powerful warlords-turned-politicians. In Part B: Maaraka, Jallad inhabits the building of the Battle of the Hotels, as its events unfold. She calls the fighting militias the Blues and Reds, respectively the Lebanese Front (Christian Nationalists) and the Lebanese National Movement (Pro-Palestinian leftists), leveling the playing field, and drawing a map of the battle through songwriting. Sary Moussa produces the conclusion of the battle in “Holiday Inn (March 21 to 29)”, which ends with the ultimate severance of the city of Beirut. The music caters to post-war youth who have never been taught this difficult history. Once we consider the “Battle of the Hotels” as our common heritage, it provides an opportunity to teach the value of civil peace. It is also a call to protest for the renewal, rather than the recycling of the political class that has once destroyed the country and holds us, to this day, hostage of its violence. Limited edition of 300 copies. 140gsm vinyl pressed at Microforum (Canada).

The Roger Webb Sound's Moonshade is one of the coolest records ever. Originally appearing via the legendary De Wolfe library in 1971, it's a sumptuous jazz-soul-funk instrumental set. Full of melodic, melancholic yet sun-drenched songs, rich with colour and contrast, it was composed by self-taught jazz pianist Roger Webb and features vocal performances by Barbara Moore. That's right; *the* powerhouse library music duo! It makes Moonshade the perfect precursor and accompaniment to Barbara Moore's eternal classic Vocal Shades And Tones. It will come as no surprise that original copies, if you can ever find them, will set you back north of 200 notes.

Moonshade is a phenomenal showcase of Brit maestro Webb's own roots in jazz. Those roots are served up here with a plethora of fast-stepping rhythms that truly give flight to the vocals of Barbara Moore, as they soar in wonderful ways. Moore sings wordlessly throughout, allowing her voice to act like another instrument in concert with the horns and keyboards elevating the fine arrangements. This is a deeply beautiful record.

The album opens with the ornate Baroque pop splendour of the sun-dappled melancholia of "Sunshine". Strings, piano and wordless female vocals combine to create this brief beauty of unimaginable grace. The cool "Gentle Eyes" features haunting and beautiful vocals, smooth jazz piano and horns and a general easy vibe without being easy listening, if you know what we mean. You do. Just listen. The pounding "Heavy Lace" is one for the beat-heads, funky open drums (!) with muted organ, bassy piano chords and ace horns. Sampled by Quakers for their great debut album on Stones Throw. The nostalgic "Yesterday" is wistful and beautifully melodic instrumental soul music with gorgeous acoustic guitar and flutes. It's followed by the light, lilting "Petal Soft" which features more Baroque styles, overflowing with flutes and harps. The bright, bouncing "Coaster" is an easy-going piano-led, guitar-driven swinger whilst "Grey Sigh" is another classic. A real highlight, with more fantastic propulsive drums and percussion and plaintive wordless vocals courtesy of Barbara. Speaking of which, the soft, sweet Rhodes jazz of the lilting "Sweet Thing" is another staggering showcase of the brilliance of Barbara. Just astounding.

Head straight past the honky-tonk-by-numbers piano jaunt "Cough Drop" and luxuriate in the soft, delicate beauty of the album's melodic, cyclical title track, "Moon Shade". Fragile flutes and acoustic guitar float across judicious bass notes before giving way to slightly ominous piano and, again, those beguiling wordless vocals. And then round again to the flute refrain of the intro. This time with the vocals to see us out. Majestic drama jazz at its finest. The cello-and-flute adorned "Sapphire" is a fluid orchestral beauty whilst "Interweave" rides with more urgency in its string and bass stabs. When the warm keys enter, it's a bonafide mellifluous wonder. The softer "Musette" begins in beautifully gentle fashion before pivoting for a driving yet elegant piano middle section. It reverts back to the mellow intro, for its outro. Understood? The melodic organ and prominent rhythm section running through "Reminiscence" makes for a delightfully understated folk-funk instrumental whilst the cool, rolling piano feels of "7.30 For 8.00" seem to perfectly suit the phrase "dinner jazz". It's no bad thing, c'mon. This classy, memorable set is rounded out by the half-minute mince of the Barbara-blessed "Sparky". It's just over too soon!

The audio for Moonshade has been brilliantly remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Die Neuauflage des zweiten Albums für Prestige des John Wright Trios!

John Wright und sein Trio mit Wendell Marshall und J.C. Heard verkörpern den gefühlvollen Chicago-Sound der frühen 1960er Jahre. New Land fühlt sich geehrt, diese atemberaubende Platte zum ersten Mal seit ihrer Erstveröffentlichung weltweit präsentieren zu können. Direkt von den Originalbändern von Kevin Gray gemastert und in einer luxuriösen Reverse-Board-Verpackung mit einem Fotodruck mit einem bisher unbekannten Bild von Wright aus den South Side Story-Fotosessions von Esmond Edwards. Dies ist ein Muss für jede Sammlung. Wahrlich einer der am meisten unterschätzten Pianisten der frühen 1960er Jahre, dessen Alben im Laufe der Jahre bei Prestige an Bedeutung gewonnen haben. Diese Aufnahmen, die eine Mischung aus gefühlvollem Hard Bop mit einer swingenden Chicago-Kante vereinen, sind ein echter Schatz. Sein letztes Prestige-Album wurde 1965 veröffentlicht (die Aufnahmen stammen aus dem Jahr 61), bevor Wright in der Versenkung verschwand, in der Chicagoer Clubszene auftrat und von Mitte der 1980er Jahre bis 1999 als Bibliothekar im Cook County Jail in Chicago arbeitete. "Nice 'N' Tasty" war seine zweite Veröffentlichung für Prestige und eine großartige Sammlung von Songs. Das Set, das vier Originale enthält, wurde von dem großartigen Rudy Van Gelder produziert und von Esmond Edwards betreut.

New Robohands LP 'Palms' is the fifth album from the London based instrumentalist and producer Andy Baxter. Moving towards different genres and arrangements from his previous albums, 'Palms' features duelling harp parts, tape echo, double bass and draws inspiration from artists such as Dorothy Ashby, Azimuth, Alice Coltrane and Toquinho.

In parts tropical and synth drenched, and in others stripped back and acoustic, 'Palms' is a journey back to saturated analog recordings of the late 60s and 70s, with a subtle modern layer of glitch FX and pitch control experimentation in places. The album makes also reference to classic releases from jazz fusion that feature the legendary Arp Odyssey synthesiser, used by artists such as Herbie Hancock and George Duke.

The seventeen track album features performances from multiple session musicians including Jim Piela on saxophone and Marco Cremaschini on Rhodes, with Baxter taking on drums, guitar, bass, keys and also mixing duties. 'Palms' is a new direction for his project and a record that thematically journeys into modern reinterpretations of jazz, downtempo, acoustic and ambient music.

New Robohands LP 'Palms' is the fifth album from the London based instrumentalist and producer Andy Baxter. Moving towards different genres and arrangements from his previous albums, 'Palms' features duelling harp parts, tape echo, double bass and draws inspiration from artists such as Dorothy Ashby, Azimuth, Alice Coltrane and Toquinho.

In parts tropical and synth drenched, and in others stripped back and acoustic, 'Palms' is a journey back to saturated analog recordings of the late 60s and 70s, with a subtle modern layer of glitch FX and pitch control experimentation in places. The album makes also reference to classic releases from jazz fusion that feature the legendary Arp Odyssey synthesiser, used by artists such as Herbie Hancock and George Duke.

The seventeen track album features performances from multiple session musicians including Jim Piela on saxophone and Marco Cremaschini on Rhodes, with Baxter taking on drums, guitar, bass, keys and also mixing duties. 'Palms' is a new direction for his project and a record that thematically journeys into modern reinterpretations of jazz, downtempo, acoustic and ambient music.

Claudio Abbado hat nur wenige Aufnahmen für EMI Classics (heute Warner) gemacht, darunter Mozarts Flötenkonzerte mit Emmanuel Pahud. Diese Live-Aufnahme von Verdis Messa da Requiem ist zweifellos eine bedeutende moderne Version des Werks. 2001 stand Claudio Abbado kurz vor dem Ende seiner Amtszeit als Chefdirigent und künstlerischer Leiter der Berliner Philharmoniker, als bei ihm Magenkrebs diagnostiziert wurde.

Dennoch konnte er dieses Requiem von Verdi in zwei Konzerten von besonderer Bedeutung dirigieren, die eine bemerkenswerte moderne Interpretation des Werkes boten. Mit von der Partie waren ein herausragendes Solistenquartett, drei der renommiertesten Chöre der Welt und das berühmte Berliner Orchester. Nun erscheint diese Aufnahme als 2 LP-Set.

Willkommen zu „LXXXVIII“ - dem neunten Actress-Album, das von Darren Cunningham produziert wurde, und der allerersten Präsentation von Actress' Reise in die Welt der Luxusklänge. „LXXXVIII“ ist das Ergebnis von 25 Jahren Arbeit an bewusstseinserweiternden, seelenbelebenden Audio-Infusionen für Tanzflächen, Rave-Hallen, Festivals und Konzertsäle.
„LXXXVIII“ bietet die Fläche, über eine instrumentelle Facette seiner Entstehung nachzudenken: die Spieltheorie. In der Tat war tiefgreifendes strategisches Denken - das man eher mit Wirtschaft und Schach als mit künstlerischer Praxis in Verbindung bringt - grundlegend für Actress' Prozess, als „LXXXVIII“ ins Leben gerufen wurde.
Die Veröffentlichung folgt auf die faszinierende 2022er EP, „Dummy Corporation“, mit dem Actress wieder in den Mittelpunkt der Underground-Clubkultur gerückt ist. Davor erschien 2020 das Album „Karma & Desire“, auf dem der Mercury Prize-Gewinner Sampha, Zsela und Aura T-09 als Gastmusiker:innen mitwirkten - der Guardian kommentierte, dass es „seinen Platz zementiert als einer der großen Poeten der Clubkultur.“

Ltd Edition!

Willkommen zu „LXXXVIII“ - dem neunten Actress-Album, das von Darren Cunningham produziert wurde, und der allerersten Präsentation von Actress' Reise in die Welt der Luxusklänge. „LXXXVIII“ ist das Ergebnis von 25 Jahren Arbeit an bewusstseinserweiternden, seelenbelebenden Audio-Infusionen für Tanzflächen, Rave-Hallen, Festivals und Konzertsäle.
„LXXXVIII“ bietet die Fläche, über eine instrumentelle Facette seiner Entstehung nachzudenken: die Spieltheorie. In der Tat war tiefgreifendes strategisches Denken - das man eher mit Wirtschaft und Schach als mit künstlerischer Praxis in Verbindung bringt - grundlegend für Actress' Prozess, als „LXXXVIII“ ins Leben gerufen wurde.
Die Veröffentlichung folgt auf die faszinierende 2022er EP, „Dummy Corporation“, mit dem Actress wieder in den Mittelpunkt der Underground-Clubkultur gerückt ist. Davor erschien 2020 das Album „Karma & Desire“, auf dem der Mercury Prize-Gewinner Sampha, Zsela und Aura T-09 als Gastmusiker:innen mitwirkten - der Guardian kommentierte, dass es „seinen Platz zementiert als einer der großen Poeten der Clubkultur.“

"Another Perfect Day" celebrates its 40th anniversary in 2023 and is the sixth studio album by British rock band Motörhead. It was originally released on June 4, 1983 via Bronze Records and was the band's last full-length album on the label. It is the band's only studio album featuring lead guitarist Brian "Robbo" Robertson, who is best known for his work with Thin Lizzy. The album is now reissued as a luxurious deluxe edition on 2CD, 1LP (colored) as well as 3LP bookpack.

"Another Perfect Day" celebrates its 40th anniversary in 2023 and is the sixth studio album by British rock band Motörhead. It was originally released on June 4, 1983 via Bronze Records and was the band's last full-length album on the label. It is the band's only studio album featuring lead guitarist Brian "Robbo" Robertson, who is best known for his work with Thin Lizzy. The album is now reissued as a luxurious deluxe edition on 2CD, 1LP (colored) as well as 3LP bookpack.

Vladislav Delay presents the fourth EP in his "Hide Behind The Silence" series with five 10" releases coming throughout 2023. Intuitive and raw music, momentary and reflective, released on Ripatti's own label "Rajaton".

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.

Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?

Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.

2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?

Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.

3) What kind of thoughts or experiences gave inspiration to this series?

Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.

4) Is it easy for you to be in silence, or around silence?

Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

Zum 40. Jubiläum des ersten Teils des stylischen Actionspiel-Klassikers DEVIL MAY CRY erscheint der Killer-Soundtrack des Capcom Sound Teams - bekannt für seine Musik zur Resident Evil-Serie - spezielle für 180g Vinyl gemastert. Der OST ist eine genreübergreifende Meisterklasse, die von Rock über Techno zu Ambient und weiteren Paletten wechselt. Erhältlich als 2LP-Format mit 34 Tracks auf transparent-rotem und ockerfarbenem Doppelvinyl, sowie als luxuriöses 4LP-Boxset mit den kompletten 73 Tracks auf schwarzem 4fach-Vinyl.

Orchestral Manoeuvres In The Dark (OMD) return with their 14th studio album Bauhaus Staircase, over six years after the triumph of their Top 4-charting record The Punishment of Luxury. The album was born from the impetus to kickstart new explorations during lockdown when as Andy McCluskey admits: “I rediscovered the creative power of total boredom.”

The album’s first offering as a single is the title track which serves as a nod both to Andy McCluskey’s love of the Bauhaus era & the power of protest art. “I am a huge lover of visual arts especially mid 20th century movements” Andy comments. “The song is a metaphor for strength and artist passion in the face of criticism and adversity. When times are hard there is a tendency for Governments to look at cutting funding for creativity just at the moment when the arts are most needed to nourish our souls. It seems appropriate that the song and its eponymous album were created during Covid Lockdown.”

Ranging further from the beautiful film noir ballad of ‘Veruschka’ and the dance stylings of ‘Anthropocene’ - a term for the current epoch in Earth’s evolution to the sinister ‘Evolution Of Species’ and the hectic ‘Kleptocracy’ - OMD’s greatest straight-up protest song - the new album is a broad electronic sonic masterpiece that lyrically tackles the topics of the future. The record closes on ‘Healing’ - a moment of reflective calm.

By rights OMD should be in semi-retirement performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead they’ve created a landmark album worthy of their finest work. Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.


“I’m very happy with what we’ve done on this record" McCluskey summarises. “I’m comfortable if this is OMD’s last statement.”

Silvan Kuntz ist hauptberuflich Sänger, Texter und Gitarrist der Schweizer Indie-Band Panda Lux. Unter dem Namen San Silvan präsentiert er seine erste Solo-EP 'Lass Mich Los'! Prominente Unterstützung bekam er dabei von einer der renommiertesten Künstlerinnen der Schweiz: Sophie Hunger, die nicht nur am Songwriting beteiligt war, sondern die EP auch mitproduzierte.

Heavy-traction bodyjack and sun-streaked disco straight out the Mediterranean belt, here comes Italian producer Giuseppe Scarano with the bouncy next instalment of Fluid Funk, 'My Life' EP. True to his solar-powered take on the classic US house sound, the owner of the Nice People outlet beckons us onto the path of luscious summer lounging with a quartet of no-nonsense dance floor rippers, lithely alternating sequences of hi-intensity shuffle, Roule-style dynamics and further space age-infused drifts across the scintillating vaults of glam disco. Jacuzzi-warm funk and coastal luxuriance all the way.

Drawing first blood, 'My Life My Love' is a proper fiery blast-off, flush with Scarano's continental breakfast of roaring Chicago drums, spinning synth motifs, processed brass and balearic-like ambience. Churning it like there's no tomorrow. 'Gedda Feelin' continues on a slightly more jagged note and true-school discoid vibe. Propelled by a springy drum work, mesmeric vocal loops and soulful Rhodes chords, it's a restless jacking house number that unfurls, bold and pumped-up at full stretch. On 'Playin da Song', Scarano blends in a fine match of Afro-funk, retro-laced electronica and filtered house chug, whereas the closing cut '2404' opts for a finely integrated mish-mash of piano-fuelled nostalgia, heavy-lidded bop phrases and low-slung boogie, ready to take on any smokey lounge and beachside party with its sluggish punch and exquisite suavity.

Moana Pozzi in the late 1980s, following in the footsteps of her illustrious colleague Ilona Staller/Cicciolina, made her official singing debut by recording several songs arranged and produced by Jayhorus. The music ended up in several of her films as well as being performed in her hot live shows.

Discographically at the time only a few tracks were released on 7″ and 12″ singles that are now cult collector’s items for fetishists and weird DJs.

At last, Cinedelic has gotten their hands on the original masters, unearthing some unreleased ones as well, producing a luxurious gatefold LP.

This is part two. From the original master tapes. Unmissable!

Kevin Morby writes (and records, and imagines) at an almost incomparable clip, and his most recent album, This Is A Photograph, studies life, time and mortality through myriad lenses. It's a dynamic, buoyant record on big, heavy themes, so it only makes sense that Morby found he wasn't quite done with it on its completion. More Photographs (A Continuum) finds new nooks, corners and vantage points. "If This Is A Photograph is a house that you have been living inside of," says Morby, "then More Photographs is, perhaps, the same home just experienced differently. As if you, its inhabitant, have taken a tab of something psychedelic and now, suddenly, you've replaced your eyeglasses with kaleidoscopes." Here, Morby returns to his landmark album's bottomless themes with new wisdom, new imagination, and the winking, looping call backs that tie his full body of work together in uniquely special ways." Everything you once thought was familiar," he continues, "suddenly appears differently, shifting shapes, color and sonic landscapes." "Five Easy Pieces Revisited" captures the same moment from Bobby's point of view; "This Is A Photograph II" takes a similar tact, revisiting its predecessor from a different angle. "Triumph" explores more of the myths and deaths that surround Memphis, TN, this time inspired by Big Star's Chris Bell. And "Kingdom Of Hearts" arrives as an origin story to both This Is A Photograph and its new companion." With every collection of songs," says Morby, "I feel I must cast them out of me before moving onto the next project, and here I knew that what I had begun with This Is A Photograph was not finished. Releasing this collection is my tying a bow on that time and place in my creative life." With a luxurious nine tracks - three re-imaginings and six brand new songs - More Photographs (A Continuum) is prequel, sequel and primer to an already rich and generous record from one of our most luminous modern songwriters.

Kevin Morby writes (and records, and imagines) at an almost incomparable clip, and his most recent album, This Is A Photograph, studies life, time and mortality through myriad lenses. It's a dynamic, buoyant record on big, heavy themes, so it only makes sense that Morby found he wasn't quite done with it on its completion. More Photographs (A Continuum) finds new nooks, corners and vantage points. "If This Is A Photograph is a house that you have been living inside of," says Morby, "then More Photographs is, perhaps, the same home just experienced differently. As if you, its inhabitant, have taken a tab of something psychedelic and now, suddenly, you've replaced your eyeglasses with kaleidoscopes." Here, Morby returns to his landmark album's bottomless themes with new wisdom, new imagination, and the winking, looping call backs that tie his full body of work together in uniquely special ways." Everything you once thought was familiar," he continues, "suddenly appears differently, shifting shapes, color and sonic landscapes." "Five Easy Pieces Revisited" captures the same moment from Bobby's point of view; "This Is A Photograph II" takes a similar tact, revisiting its predecessor from a different angle. "Triumph" explores more of the myths and deaths that surround Memphis, TN, this time inspired by Big Star's Chris Bell. And "Kingdom Of Hearts" arrives as an origin story to both This Is A Photograph and its new companion." With every collection of songs," says Morby, "I feel I must cast them out of me before moving onto the next project, and here I knew that what I had begun with This Is A Photograph was not finished. Releasing this collection is my tying a bow on that time and place in my creative life." With a luxurious nine tracks - three re-imaginings and six brand new songs - More Photographs (A Continuum) is prequel, sequel and primer to an already rich and generous record from one of our most luminous modern songwriters.

Mit schöner Regelmäßigkeit widmet sich das Label Le Chant du Monde zu runden Gedenktagen dem großen Komiker und Filmkomponisten Charlie Chaplin mit Sammler-Editionen. Vor (nicht ganz runden) 92 Jahren erschien die Tragikomödie „City Lights“ (Lichter der Großstadt), wofür Chaplin erstmals die Filmmusik selbst komponierte. Die limitierte Deluxe-Edition mit zwei 180-Gramm-Vinyl-Scheiben in vollständig remasterten Mono-Versionen und luxuriöser Verpackung enthält die gesamte Filmmusik sowie zwei Bonus-Titel. In der gebundenen 24-seitigen Begleitbroschüre findet sich teilweise bisher unveröffentlichtes Text- und Fotomaterial.

It would be insufficient to call Rory McPike “prolific”; it does a disservice to the depth and breadth of his oeuvre as Rings Around Saturn, Cactus Head, Bleekman, 2200, Dan White, and as one half of Turner St. Sound. His work can be broken into a litany of different genres, but at the heart of it all lies an endlessly explorative spirit with a restless desire for expression. This impulse spans his diverse body of work and all the different facets of his musical practice.

‘All Things Shining’ touches on ambient, electroacoustic studies and filmic/VGM composition, but outside of these references, it stands as a beautiful suite of songs and a testament to the power of the creative impulse. Best Effort is proud to present the realization of Rory's vision.

Repress!

LA producer Blake Robin aka LUXXURY’s new full-length album finds the bassline obsessed disco addict experimenting with funk, synthpop and even (gasp!) pure instrumentals. ‘Increasingly in my most recent singles I’ve been treating vocals like instruments’ says Robin, ‘backgrounding and balancing them as sonic elements instead of centerpieces, so the listener gets lost in the groove.’ And indeed the star of these 11 songs is undoubtedly the 11 stellar basslines that ground the swirling synths and melodies as vocal fragments coolly dip in and out of the mix along.

Highlights include: KCRW fave ‘What Are We Gonna Do?’; the slap bass workout ‘Somebody Tonight’; the contemplative ‘…At Any Moment’ (playlisted by Purple Disco Machine) and its sister track, the title track ‘Alright’; while playful disco-house burner ‘Let’s Stay Together’ blends house and jazz funk rhythms with his trademark dusty basslines.

The album was 100% created by Robin, who wrote, performed, recorded and mixed all 11 songs, and even created the artwork. The 11 songs on LUXXURY’s album are all infectiously rhythmically-oriented while exploring new disco direction

Join Ryudo and his team on their greatest adventure yet! We're delighted to be collaborating again with Game Arts on this new vinyl edition of the Grandia II soundtrack, composed and arranged by Noriyuki Iwadare and entirely remastered for the vinyl format!

A cult title for the Dreamcast released in Japan in 2000 and acclaimed in particular for its innovative combat system, the game recently benefited from a remastered version in 2019 on Nintendo Switch and PC.

The Grandia II Memorial Soundtrack Edition comes in the form of a luxurious vinyl box set, newly illustrated for the occasion by the game's original character designer, Youshi Kanoe.

It contains 3 yellow color discs inserted in individually illustrated sleeves and a newly designed 16-page booklet with illustrations by Youshi Kanoe and new comments from the team, including Kei Shigema (Scenario Writer), Atsuko Nishida (Designer), Noriyuki Iwadare (Composer) and vocal Kaori Kawasumi.

The Grandia II Original Soundtrack CD Edition comes in the form of a luxurious box set, newly illustrated for the occasion by the game's original character designer, Youshi Kanoe.

It includes 2 CDs and a 16-page booklet with illustrations by Youshi Kanoe and new comments from the team, including Kei Shigema (scriptwriter), Atsuko Nishida (designer), Noriyuki Iwadare (composer) and singer Kaori Kawasumi.