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2024 repress.

French saxophonist Laurent Bardainne summons the spirit of astral jazz on heavy-grooving album, 'Hymne au Soleil'

A dreamlike, cinematic excursion to the outer reaches of the solar system and the inner workings of the soul, Laurent Bardainne returns to Heavenly Sweetness with his Tigre d'Eau Douce group for a second album of genre- agnostic jazzfunk.Building on critically acclaimed 2020 album 'Love Is Everywhere', 'Hymne au Soleil' sizzles with Arnaud Roulin's Hammond organ licks, in-the-pocket bass work from Sylvain Daniel, and shuffling drum and percussion interplay from Philippe Gleizes and Roger Raspail, pinning Bardainne's soaring saxophone lines to the mast like a flag in the wind.

The 11- track album represents a consolidation of Bardainne's vision as a consummate jazz saxophonist, having made his name collaborating with the likes of Pharrell Williams and Cassius, afrobeat legend Tony Allen and co- founding Tigersushi electro outfit Poni Hoax.
That eclectic experience comes to the fore on 'Hymne au Soleil', which is named after a piece by trailblazing French composer Lili Boulanger. Beginning with the lilting, late-night smoker "Oh Yeah", which recalls the mellow funk of Khruangbin, the album rolls through a rich musical landscape, whether in the Motown-era soul breakdowns of "Adieu My Lord" or the roaring, dance floor- ready "Hymne au Soleil", that draw parallels with the high-octane sound of UK jazz outfit The Comet Is Coming..

The Dream Of Delphi is an ode to motherhood created in LA, Natasha’s second home, during the Covid-19 pandemic. It’s a sonic archive of a time when Natasha birthed her daughter Delphi earth side. The record weaves together ten song poems, documenting the polarity of navigating both an exterior world that was seemingly turning upside down, whilst also experiencing theprofoundly personal and transformational early moments of mothering Delphi, named after the Greek Oracle, the ancient future teller. The music became Natasha’s sanctuary, born out of stolen trips to the studio, where each track was improvised and completed in a few hours and chronologises her diary like offerings over a period of two years; from “The Midwives Have Left”; to writing a “Letter To My Daughter”; and all the way through to “Waking up”, as well as a cover of her daughter’s favourite song, “Home”.While the storytelling behind Bat For Lashes’ previous albums have traditionally used otherworldly narratives and female lead characters (e.g. ‘Laura’, ‘Daniel’ and ‘The Bride’), for the first ti me, The Dream Of Delphi is about Natasha’s personal experience of the magical and sometimes melancholy intimacy of early motherhood. This record creates a more private form of mythology around the music than her previous work. The Dream Of Delphi touches on more of an instrumental “Bat For Lashes” world, and shows Natasha to be both a confident composer and craftswoman of intimate landscapes. While the music creates a more womb-like, ambient space for the listener, it still leaves ample room for her signature dream pop songwriting to vibrate through. Natasha has worked with Brad Oberhofer, Mary Lattimore and Jack Falby on this record.

The Dream Of Delphi is an ode to motherhood created in LA, Natasha’s second home, during the Covid-19 pandemic. It’s a sonic archive of a time when Natasha birthed her daughter Delphi earth side. The record weaves together ten song poems, documenting the polarity of navigating both an exterior world that was seemingly turning upside down, whilst also experiencing theprofoundly personal and transformational early moments of mothering Delphi, named after the Greek Oracle, the ancient future teller. The music became Natasha’s sanctuary, born out of stolen trips to the studio, where each track was improvised and completed in a few hours and chronologises her diary like offerings over a period of two years; from “The Midwives Have Left”; to writing a “Letter To My Daughter”; and all the way through to “Waking up”, as well as a cover of her daughter’s favourite song, “Home”.While the storytelling behind Bat For Lashes’ previous albums have traditionally used otherworldly narratives and female lead characters (e.g. ‘Laura’, ‘Daniel’ and ‘The Bride’), for the first ti me, The Dream Of Delphi is about Natasha’s personal experience of the magical and sometimes melancholy intimacy of early motherhood. This record creates a more private form of mythology around the music than her previous work. The Dream Of Delphi touches on more of an instrumental “Bat For Lashes” world, and shows Natasha to be both a confident composer and craftswoman of intimate landscapes. While the music creates a more womb-like, ambient space for the listener, it still leaves ample room for her signature dream pop songwriting to vibrate through. Natasha has worked with Brad Oberhofer, Mary Lattimore and Jack Falby on this record.

Longtime enthusiasts of ambient music have much to celebrate as Rafael Anton Irisarri's cherished out-of-print cassette, "Midnight Colours," returns in a meticulously remastered edition and makes its inaugural debut on vinyl. The significance of this album's announcement is accentuated by its historical resonance, coinciding with the same day in 1952 when the world bore witness to the first-ever test of the hydrogen bomb.

"Midnight Colours" is far more than a mere album; it's an exploration of the enigmatic relationship between humanity and time. Conceived as a sonic interpretation of the Doomsday Clock, which symbolizes the world's existential vulnerabilities, Irisarri's work beckons listeners to contemplate the gravity of our existence and the delicate balance that envelops it.

"I wanted to capture the essence of humanity's relationship with time, both the anxiety and the serene beauty that coexists within the shadows of the night," explains Irisarri. "The vinyl format adds a tactile dimension to the experience, inviting listeners to physically engage with the music."

Known for his contributions to the ambient and electronic music genres, Irisarri often explores themes of introspection, nostalgia, and the interplay between sound and emotion.

Recorded in 2017, when the Clock was at 2½ minutes-to-midnight (and at the time, the second-closest to midnight since the Clock's inception in 1947), "Midnight Colours" permeates with the melancholy of memories resurfacing as one approaches the end of life: the regrets, the closure, the uncertainties, the anxieties.

Originally released as a limited tape on the beloved Atlanta-based label Geographic North, "Midnight Colours" swiftly garnered praise and acclaim within the ambient music sphere. Now, with this newly remastered edition on his own Black Knoll imprint, fans, both longstanding and newfound, can rediscover the album's captivating beauty in unprecedented clarity and depth.

"I've wanted to release 'Midnight Colours' on vinyl since it first came out, and I'm thrilled to finally be able to. The remastering process, brilliantly done by Stephan Mathieu, has breathed new life into the work, and I'm eager for listeners to experience it in this format."

The reissue of "Midnight Colours" features band-new artwork and design by the renowned Mexican visual artist Daniel Castrejón. A frequent collaborator and friend of Irisarri, Castrejón's imagery impeccably complements the album's mood and themes, extending a compelling invitation for listeners to explore its aural world visually.

This landmark release serves as a testament not only to Irisarri's enduring impact on the ambient music genre but also as a long-awaited gift to those who have patiently anticipated the album's vinyl debut.

Earth, Our Planet?”: A call for environmental awareness. This time, Pedro Vian - the founder of Modern Obscure Music - presents his fourth solo album (following his 2020 release, "Ibillorca"). Due for release in spring 2024, "Earth, Our Planet?" promises to immerse us in a moving odyssey, crossing the boundaries of musical genres to provoke an urgent meditation on the protection of our planet. On this occasion Vian has composed the album influenced by the myth of the eternal return, the compositions are long and repetitive, generating states of pure trance.
Pedro Vian, singular for his fusion of genres and styles, ventures into even more complex territories in "Earth, Our Planet?". From the first listen, it is evident that this work treads the line of convention and breaks the boundaries of electronic and experimental music with artistic dexterity. The album weaves together texture, hypnotic rhythms and melody. Each track reveals his distinctive ability to create immersive landscapes, guiding the listener into deep emotional introspection. This is not just music; it is a transformative experience.
The beauty of this album lies not only in the musical vision. The album features high-calibre collaborations that add layers of creativity and elegance. Trumpeter Pierre Bastien, whose early productions left an indelible mark on Aphex Twin's Reflex label, infuses "A Day in Rotterdam" with a unique emotional resonance. Violinist, Asia, renowned for her avant-garde approach and ability to conjure unique landscapes, elevates the album's opening tracks "Urobóros" and "Les Tambours Subterraniens". Their skill and sensitivity intertwine perfectly with Vian's artistic vision. In addition, Italian producer Daniele Mana, with whom Pedro Vian collaborated closely on his previous album "Cascades", known for his experimental approach and talent for creating extraterrestrial atmospheres also contributes to "Les Tambours Subterraniens". His artistic perspective adds more complexity and texture to the piece, pushing the boundaries of contemporary electronic music. There is also a collaboration with Raül Refree, an artist with whom Vian worked with last year, presenting “Font De la Vera Pau”, an album that The Guardian defined as "a wonderful piece of electroacoustic music, a captivating mix of strings and analogue synth drones which sometimes flirts with Alice Coltrane-ish spiritual jazz". With "Earth, Our Planet?", Pedro Vian not only offers up some of his best work to date, but it is also a call to reflect on our relationship with the natural world. As a part of a planet where environmental awareness is more crucial than ever, he urges us to protect and preserve our world as an extension of ourselves. This extensive work is a statement, Vian addresses the notion that too often we prioritise immediate needs over the well-being of the planet. It highlights the fact that we often consider the Earth as a possession when, in reality, we are but a part of it.

Like the best of them, Daniel Chavez got his start immersing himself in the nightclubs, dingy basements, and record stores of Chicago. Cycling around the South Side with records and a small PA system strapped to his back, he found himself at Smartbar and eventually began slinging records at Gramaphone alongside some of the deepest heads of his generation. Before long, Daniel made the jump to Brooklyn and landed at A-1 Records, while diving further into the global deep house community and soaking up knowledge like a sponge. After sowing seeds in obscurity for many years, Daniel saw the fruits of his labor in 2023 with a debut 12” on Halo’s Muted Noise imprint.

These tracks were designed and refined over the course of a year to meet the strict specifications of the Jewel soundsystem and dancefloor. “Writing on Water” is a submersive, simmering tune that heaves and moans for eight minutes, but could probably go on for an hour. “Terras” strips away the layers to reveal a spacious, floating world supported by a fat, rolling bassline. On the flip, “Spiraling” echoes a feeling of early My Love Is Underground and the New York deep house golden era before it: a time of revolution. Finally, “67th Session” combines space and depth with a simple vibraphone riff that can go off day or night.

In 2005, an 18-year-old Raphael Gimenes left the sunny shores of Brazil behind, embarking on a journey to a distant and wintry land. "Dinamarca," the Portuguese name for Denmark, became his new home, where he has lived for almost two decades. Today, he presents his third album, a deep exploration of his life in Scandinavia. Rather than being a nationalistic tribute, "DINAMARCA" tells chapters from Gimenes" life story as a Brazilian living in the northern corners of the world. It guides us through the enchanting nordic woods, the vast fields stretching to the horizon, and the timeless sea resting beneath an endless sky. The melodies of blackbirds, the dances of red deer, and the whispers of ancient oaks form the backdrop for his musical stories. Within his songs, we experience moments of deep solitude and boundless inspiration, moments where reflection and creative passion intertwine. Gimenes skillfully turns the power of love into harmonies, dedicating songs to both his companion and his closest friends. Beyond these experiences, he leads us on journeys to Denmark"s neighboring lands, Norway and Sweden, where revelations and encounters with the mystical found their way into the lyrical fabric of his songs. The album"s orchestration includes Gimenes" vocals and the resonant chords of his classical guitar. Accompanying him throughout the album are Jan Kadereit"s multilayered percussion, and Lucas Delacroix"s bass synth, who also plays the electric guitar at times. The music further unfolds with the nuances of a string quartet, and a brass quintet, both recorded in the tropical highlands of Minas Gerais. Other guest musicians feature on individual songs, such as pianist Sebastian Macchi, flautist Flavia Huarachi, cellist Lucas Almeida, and singers Gaby Echevarria, Cecilia Pahl, and Cris Ferro. Gimenes has garnered acclaim and accolades across continents. His debut release, "Raphael Gimenes & As Montanhas de Som," delved deep into the rhythms and traditions of Brazil. It rose to prominence as the top Brazilian release in 2016 in Holland and was hailed as a "conceptual masterpiece" in Japan. His second album, "A Tongue Full of Suns," co-produced with Faroese multi-artist Teitur, ventured into the English language, blending Gimenes" inspirations from the world of prog-rock. Danish rock legend TimChristensen praised it as "top-shelf neo-folk," while Brazilian website80minutos described it as "hypnotizing." The music within "DINAMARCA" delves deep into the soul of a man who embraced a new land with open arms, while staying true to his roots. It unites elements from both of Gimenes" prior works, embarking on a journey across new musical horizons. The result is music that transcends borders, weaving itself into an intricately beautiful tapestry - a soul that has learned to harmonize with two worlds.

Nach der limitierten 10" EP von 2013, die dicht gefolgt von einer mindestens genauso zauberhaften 7" ("Traumhaft") erschien, enthüllt das Schweizer Duo KLAUS JOHANN GROBE endlich das komplette Album "Im Sinne der Zeit". In der kurzen Zeit ihrer Existenz haben die beiden Mitglieder Sevi Landolt (Orgel, Synthies, Gesang) und Daniel Bachmann (Schlagzeug, Gesang) einen einzigartigen Sound gebraut, der sich zu gleichen Teilen auf Krautrock, Post-Punk, brasilianische Grooves und einem Dancefloor-Selbstbewusstsein stützt, dass den Hörer quasi anfleht, sich zu bewegen. Die beiden haben das fast schon unheimliche Talent, in ein und dem gleichen Songs die Geister von NEU!, BOB JAMES, MARCOS VALLE, SHUGGIE OTIS und STEREOLAB heraufzubeschwören. Es ist ein Album, das danach verlangt, immer und immer wieder umgedreht und gespielt zu werden. "Im Sinne der Zeit" ist ein herrliches Werk, die Art von Album, die so klingt und sich so anfühlt, als würde es auf den Grooves schweben und dabei zwischen jazzigen, funkigen Rhythmen und absichtlich mechanischen Grooves pendeln, die mit dem Puls eines elektronischen Herzens zucken. Besonders seltsam ist es, dass die Melodien niemals anders als warm und umarmend klingen, obwohl das Duo nur auf Deutsch singt. Die Tanzfläche ruft! Vom pulsierenden Opener "Between The Buttons" bis zum roboterartigen Two Step von "Koffer" nimmt das Duo niemals den Fuß vom Gas. Während sich das Ganze ein wenig abkühlt, fühlen sich die Grooves noch warm an und finden ihren Höhepunkt in den beiden letzten Tracks des Albums: dem ungeheuerlich eingängigen Rausschmeißer "Regen raus" und dem allerletzten Track "Vergangenes", der den Hörer an der Hand ins Taxi nach Hause führt.

Die in Montréal lebende schwedische Sängerin und Komponistin hat in den letzten 20 Jahren sechzehn unabhängig produzierte Alben vorzuweisen und ist zahllose Kollaborationen eingegangen. Sie ist eine poetische und kühne Kraft in der Musik, die sich dem Genre entzieht. Ihre Stimme wurde als "eine führende Präsenz" (Exclaim) beschrieben, die "den Unterschied zwischen dem Göttlichen und dem Dämonischen aufspaltet, gekonnt aus den Angeln hebt" (Under The Radar) und "neben den größten Indie-Künstlerinnen steht, die vor nichts Angst haben" (Le Devoir). Aufgewachsen auf einer Insel an der schwedischen Westküste, begann ihre musikalische Laufbahn, als sie 2004 nach Stockholm zog und Mitglied des renommierten Kollektiv-Labels und Veranstaltungsortes Fylkingen wurde (die älteste Organisation in Europa für experimentelle Musik und Kunst, gegründet 1933). Seit ihrem Umzug nach Montréal im Jahr 2012 erstreckt sich ihre Karriere über zwei Jahrzehnte und ist geprägt von einem unerschrockenen Streben nach Originalität, einem unerschöpflichen Wunsch, Genres zu überschreiten, und einem Engagement für künstlerische Zusammenarbeit. Angell verschmilzt musikalische Bereiche von Klassik, Folk, Rock und Pop bis hin zu Jazz, Elektronik, freier Improvisation und Avantgarde. Bekannt ist sie vor allem für ihr unkonventionelles künstlerisches Schaffen mit der gefeierten und für den Polaris nominierten Avant-Rock-Band Thus Owls, die sie seit 2007 gemeinsam mit ihrem Mann Simon Angell leitet. Zu ihren früheren Ensembles gehören das schwedische Vokal-Bass-Duo Josef & Erika und die elektronische Noise-Gruppe The Moth. Zur Unterstützung dieser und anderer Projekte unternahm sie ausgedehnte Welttourneen, bei denen Daníel Bjarnason (Ben Frost, Sigur Rós), Liam O'Neill (SUUNS), Karl Lemieux (Godspeed You! Black Emperor), Lisen Rylander Löve (Midaircondo) und Anders Jormin (ECM) zu ihren zahlreichen Partnern zählten. Ihre unverwechselbare und virtuose Stimme hat Aufnahmen und Live-Auftritte mit einem breiten Spektrum von Künstlern geziert, darunter Loney Dear, Patrick Watson, Leonard Cohen, Kim Myhr, Arve Henriksen, Land Of Kush, Wildbirds and Peacedrums, La Force und The Besnard Lakes, um nur einige zu nennen. Kürzlich gründete Angell zusammen mit Róisín Adams und Peggy Lee das Neue-Musik-Trio Beatings Are In The Body und vollendete ein Solo-Debütalbum mit uneingeschränkter stimmlicher Erkundung und expressionistischen avant-elektronischen Kompositionen, das Anfang 2024 auf Constellation erscheinen soll.

Viktoria Tolstoys ACT-Debütalbum »Shining On You« aus dem Jahr 2004 markiert aus heutiger Sicht einen wichtigen Moment in der Erfolgsgeschichte populärer Jazzstimmen aus Skandinavien. Die Musik für die Aufnahme schrieb Esbjörn Svensson, der zusammen mit Dan Berglund und Magnus Öström die Kern-Band bindet, welche wenig später als e.s.t. weltberühmt wurde. Das von Nils Landgren produzierte Album ist auch ein Treffen vieler Mitglieder der damals noch jungen ACT Family of Artists, die als Gäste an der Session teilnahmen.

Genau 20 Jahre später hat Viktoria Tolstoy für »Stealing Moments« die Idee des »familiären« Musikzierens wieder aufgegriffen. Die Kompositionen des Albums stammen von einer ganzen Reihe aktueller ACT Künstler, von denen viele auch schon an »Shining on You« beteiligt waren. Und auch Esbjörn Svensson ist auf besondere Art am Album beteiligt: Von ihm stammt die Instrumentalkomposition »Hands Off«, für welche seine Frau Eva nun einen Text verfasst hat. Dazu kommen Kompositionen, die langjährige Freunde und Weggefährten wie Nils Landgren, Ida Sand, Wolfgang Haffner, Cæcilie Norby, Lars Danielsson, Iiro Rantala und Jan Lundgren eigens für Viktoria Tolstoy und ihre Stimme geschrieben haben.

»Wenn du singst, geht die Sonne auf«, sagte Pat Metheny einst zu Viktoria Tolstoy. Ihre klare, kraftvoll strahlende Stimme ist der rote Faden, der alle Stücke auf »Stealing Moments« verbindet. Dazu kommt eine Mischung aus Energie und Leichtigkeit, die Viktoria Tolstoy als Person ausmacht und die sich durch die Musik auf die Zuhörer überträgt. Ihre Botschaft ans Publikum, in Anlehnung an den Albumtitel: »Lasst mich Euch ein bisschen Zeit stehlen, um dieser Musik zuzuhören.«

Donovan’s Original
A Gift From a Flower to a Garden made for a few firsts: the first double LP of Donovan’s
career, one of the first box sets in pop and, most importantly for Donovan himself; the first
pop album for the children of tomorrow.

He resolved to make A Gift From a Flower to a Garden an album of two halves. The first,
Wear Your Love Like Heaven, was intended for his own generation as they started to think
about the kind of world they wanted to leave behind. The second, For Little Ones, was for
the children they had or would have in the years to come. The result was a kaleidoscopic
folk-jazz suite on the power of love, imbued with all the romance and mystery of an Arthur
Rackham illustration for an ancient English fairy tale. The songs, remarkably adventurous
given Donovan was a globally famous singer at his commercial height, combined the
influences he had amassed so far.

There is something about A Gift From a Flower to a Garden that could never be repeated,
though. It is such an innocent evocation of the childlike imagination, so redolent of its time,
yet set apart from it too. All these years later, the peaceful qualities of this pioneering,
enchanting, deeply unusual album feel more valuable than ever.

The state51 Box Set
With authenticity core to the project, The state51 Conspiracy engaged one of the UK’s
leading experts in box set design, Daniel Mason at Something Else, to painstakingly recreate
the box, records and accompanying ephemera. The first challenge was to find the deep blue
leatherette paper the original box set was covered in; a problem since it was no longer in
production. “I knew people who had stacks of it, gathering dust on top shelves, so I bought it
up wherever I could find it,” says Mason. Then came the reproduction of 12 loose leaf lyric
sheets on fine art watercolour paper, each of them featuring a watermark and a fairytale-like
illustration by Donovan’s artist friends Sheena McCall and Mick Taylor. Where, though, to
find the same paper stock? “I found out that it was made at a paper mill in North Wales
called Abbey Mills. Unfortunately the mill dissolved in the early 70s and very little of the
paper remained. However enough paper remained to allow us to produce the numbered
certificate also signed by Donovan that sits within the box.”

Then to the iconic cover image. Donovan and Jimi Hendrix’s personal photographer Karl
Ferris, used infra-red film to achieve the psychedelic effect on the cover, but the original
negatives couldn’t be found. Mason then used digital technology to ramp up the colour levels
on a reproduction from an original copy of the album while allowing it to remain a little bit
faded, as it would be after half a century. The same labour of love and care has gone into
producing all elements of the box; from the rebuilding of the famous front cover font to the
hand-numbered and signed certificate; letterpress printed on the original paper stock of the
1968 UK release lyric sheets.

To cap it all off the original mono master tapes were waiting safely in the EMI Donovan
Archive and transferred from tape to digital by Abbey Road Studios where new lacquers
were cut, ensuring Donovan's favoured mono version of the album would be presented both
physically (and digitally for the very first time) in striking audiophile quality. The final touch to

Bella Brown & the Jealous Lovers Unveil "Soul Clap" LP: A Fusion of Retro Soul/Funk and Modern Grooves

Los Angeles-based retro soul/funk sensation Bella Brown & the Jealous Lovers are set to ignite the music scene with their highly anticipated LP, "Soul Clap." Born from the creative genius of Grammy Award-winning vocalist/songwriter Carol Hatchett, Bella Brown emerges as a diva with a fiery stage presence, drawing inspiration from the likes of Tina Turner and Sharon Jones, and channeling the empowered female leads of 70s Blaxploitation films. Led by producer/bassist/songwriter Daniel Pearson, The Jealous Lovers assemble an impressive ensemble of A-list musicians, boasting pedigrees that include names like Mick Jagger, Elton John, Whitney Houston, Prince, and Stevie Wonder. This musical collective is on a relentless quest to redefine the boundaries of music, infusing soul and funk with elements of jazz, rock, and Afro-Caribbean influences.

The essence of "Soul Clap" is derived from the cultural phenomena it is named after—a shared and improvised rhythm-making by a collective. The LP, spanning 40 minutes of pure musical bliss, invites the audience to immerse themselves in the groove and discover their individual truths in the music.

The title track, "Soul Clap," and the infectious "Living Proof" serve as funky dance bangers, echoing the spirit of Bohannan and The Tramps. These tracks, punctuated with jazzy improvisations and soulful horn arrangements, are simple yet joyful expressions of shared humanity and self-love.

"Coming For You" is Bella's audacious response to the soul/funk classic Apache, boldly announcing her and The Jealous Lovers' arrival on the modern soul landscape. "I Found You" takes a northern soul love song approach, reminiscent of Gloria Jones with a touch of modern influence, giving it a distinct Amy Winehouse feel.

Bella Brown seamlessly weaves social commentary into her art. "Bang Bang Bang," an uptempo, funky Motown groove, cleverly uses Curtis Mayfield's sense of sarcasm to reflect on American gun culture. "Lady Time" takes a driving afrobeat groove, employing brassy horns and reggae-like echoes to address the issue of homelessness.

However, the album is not without its lighthearted moments. "Fast As Lightning" celebrates a cleaner future by imagining Jimi Hendrix joining Ike and Tina Turner's band to create a classic Chuck Berry car song. "There Is Love" blends horns, strings, and vocals reminiscent of The Stylistics over a Chi-Lites style rhythm section, to create a lush message of support to those among us that may find the world a bit overwhelming at moments. Finally, "What Will You Leave Behind," is a revamped version of the group's sold-out vinyl 45 release. This track serves as a powerful call to action for a better future, delivered over a straight-up Motown groove with a funky Sly Stone finish.

Bella Brown & the Jealous Lovers have crafted an album that transcends genres, embracing the roots of soul and funk while pushing musical boundaries.

"Soul Clap" is a celebration of individual truths, shared experiences, and the timeless power of music.

Rated 5/5 in UK Music Republic Magazine

Longtime enthusiasts of ambient music have much to celebrate as Rafael Anton Irisarri's cherished out-of-print cassette, "Midnight Colours," returns in a meticulously remastered edition and makes its inaugural debut on vinyl. The significance of this album's announcement is accentuated by its historical resonance, coinciding with the same day in 1952 when the world bore witness to the first-ever test of the hydrogen bomb.

"Midnight Colours" is far more than a mere album; it's an exploration of the enigmatic relationship between humanity and time. Conceived as a sonic interpretation of the Doomsday Clock, which symbolizes the world's existential vulnerabilities, Irisarri's work beckons listeners to contemplate the gravity of our existence and the delicate balance that envelops it.

"I wanted to capture the essence of humanity's relationship with time, both the anxiety and the serene beauty that coexists within the shadows of the night," explains Irisarri. "The vinyl format adds a tactile dimension to the experience, inviting listeners to physically engage with the music."

Known for his contributions to the ambient and electronic music genres, Irisarri often explores themes of introspection, nostalgia, and the interplay between sound and emotion.

Recorded in 2017, when the Clock was at 2½ minutes-to-midnight (and at the time, the second-closest to midnight since the Clock's inception in 1947), "Midnight Colours" permeates with the melancholy of memories resurfacing as one approaches the end of life: the regrets, the closure, the uncertainties, the anxieties.

Originally released as a limited tape on the beloved Atlanta-based label Geographic North, "Midnight Colours" swiftly garnered praise and acclaim within the ambient music sphere. Now, with this newly remastered edition on his own Black Knoll imprint, fans, both longstanding and newfound, can rediscover the album's captivating beauty in unprecedented clarity and depth.

"I've wanted to release 'Midnight Colours' on vinyl since it first came out, and I'm thrilled to finally be able to. The remastering process, brilliantly done by Stephan Mathieu, has breathed new life into the work, and I'm eager for listeners to experience it in this format."

The reissue of "Midnight Colours" features band-new artwork and design by the renowned Mexican visual artist Daniel Castrejón. A frequent collaborator and friend of Irisarri, Castrejón's imagery impeccably complements the album's mood and themes, extending a compelling invitation for listeners to explore its aural world visually.

This landmark release serves as a testament not only to Irisarri's enduring impact on the ambient music genre but also as a long-awaited gift to those who have patiently anticipated the album's vinyl debut.

PHILIPP ROLLER produced his album, "Sommer 97," back in 1996 during his student days in his small home studio. Drawing inspiration from acts like Kraftwerk, Orbital, various artists on Warp Records, and computer game music, Roller crafted a unique sonic experience. Initially released on cassette, the album was unveiled to an intimate audience at Künstlerhaus Stuttgart in February 1997. Following the initial release, Roller had the opportunity to sign with a small British label. Unfortunately, circumstances led to the label's dissolution before the record could see the light of day. Despite efforts to secure a new label, "Sommer 97" remained confined to DAT tapes and hard drives for years. Fast forward to 2020 when Michael Kübler and Daniel Varga (Rework) joined forces to establish EXLOVE Records. Recognizing the album's potential, they decided to bring "Sommer 97" out of obscurity and into the world. Philipp Roller, now residing in Berlin and working as a freelance interface designer for music software, has had an illustrious past creating a lot of music not only on his own but even for fashion shows, art and image films, and contributing ideas to Rework's debut track "Anyway I Know You" on Playhouse. In August 2021, Roller released his first single, "Kiss & Tell / Roller Disco," on Exlove Records. Finally, after a remarkable 26-year journey, Roller's legendary "Sommer 97" tape is set to be released as a double album on vinyl.

Svaneborg Kardyb are Nikolaj Svaneborg – Wurlitzer, Juno, piano and Jonas Kardyb – drums, percussion a multi award winning duo from Denmark, with a fast-rising international reputation and with an NPR Tiny Desk concert – number one on many artist’s wish lists - in the bag before even the release of their Gondwana Records debut album Over Tage last November.



Their beautiful, exquisite compositions draw on Danish folk music and Scandinavian jazz influences, resulting in a joyful melding of beautiful melodies, delicate minimalism, catchy grooves, subtle electronica vibes, Nordic atmospheres and organic interplay. All of this and more shines through on their NPR session, first broadcast in May 2022 on YouTube. But of course, not everyone watches YouTube and so here, remastered for vinyl and download, is a strictly limited to 1500 vinyl, four tracker - At Home (An NPR Tiny Desk Concert) featuring bespoke artwork from Gondwana Records’ Daniel Halsall.



Here is what Kara Frame had to say for NPR, “Svaneborg Kardyb's Tiny Desk (home) concert was recorded in the countryside of Djursland, Denmark. "You have to drive for a while on a gravel road, and then you come to a lovely old house surrounded by hills and a stream on one side and a very flat landscape on the other, where you can see 10 miles away," the band wrote to us, describing the location of the shoot. It's this place that inspired Svaneborg Kardyb's second album, Haven (or "garden" in English). "Haven celebrates places we like to be," the duo said.



The Danish jazz duo is composed of Nikolaj Svaneborg on the Wurlitzer, synthesizer and piano, and Jonas Kardyb on drums and percussion. Their instrumentation set-up is untraditional, with the drums and keys facing each other, a position that they play in on stage just as they do in Kardyb's kitchen and living room here. They open up their set with the title track from Haven, which begins with a quiet melody over an effervescent loop. The sound mimics the shimmy of leaves in the breeze.”

Kein anderes Konzert wird auf der ganzen Welt mit so viel Spannung erwartet wie das alljährliche Neujahrskonzert aus Wien. In diesem Jahr wird das Mega-Klassik-Event in über 90 Länder übertragen und von mehreren Millionen Menschen verfolgt.Am Pult des Neujahrskonzerts 2024 steht Christian Thielemann, Chefdirigent der Sächsischen Staatskapelle Dresden und künftiger Nachfolger von Daniel Barenboim an der Berliner Staatsoper Unter den Linden. Thielemann ist den Wiener Philharmonikern seit dem Jahre 2000 musikalisch eng verbunden, und 2019 leitete er erstmals eines ihrer Neujahrskonzerte. Darüber hinaus dirigiert er das Orchester regelmäßig in Abonnementkonzerten im Wiener Musikverein, bei den Salzburger Festspielen sowie auf Tourneen in Japan, China, Europa und den USA. Nach der Referenz-Einspielung eines gemeinsamen Zyklus sämtlicher Beethoven-Symphonien begannen die Wiener Philharmoniker und Christian Thielemann noch während der Pandemie mit der Arbeit an einer Gesamtaufnahme der Symphonien von Anton Bruckner, die im Oktober 2023 bei Sony Classical erschien.Bruckner wird auch im Neujahrskonzert 2024 mit einer dortigen Erstaufführung seiner Quadrille op. 212 geehrt.

There are few instruments more uniquely suited to capturing the beauty and ennui of the rural American midwest than the acoustic steel-string guitar. In the hands of a master, the range of evocable emotion and experience is truly limitless. Daniel Hecht is one such master. His 1973 self-released debut album, simply titled Guitar, is an indispensable piece of the endless puzzle that is instrumental Guitar Soli music.

Guitar was written and recorded while Hecht was living and working on a commune in Madison, Wisconsin. In between harvesting his own food and studying the music of Andrés Segovia and Mississippi John Hurt, Hecht found himself playing host to legendary itinerant street performer, Moondog.

On Moondog’s insistent urging, Daniel decided to record some of his recent guitar compositions. Released on his own Dragon’s Egg imprint, Guitar fused Hecht’s complex classical preoccupations with his country folk influences. The album eventually found a fan with guitar godhead, John Fahey, who eventually helped land Hecht on the eminent new age/ instrumental label, Windham Hill.

As Hecht’s playing and composition grew in complexity, he found peership with labelmates like Michael Hedges, William Ackerman, and Alex DeGrassi. But it is his debut album that remains the greatest document of Hecht’s talent and ambition in first bloom. A rolling, blissful trip through rural America, guided by the ambitious hand of a guitar master. Morning Trip is elated to release this gorgeous and seminal document of acoustic exploration on vinyl for the first time since its initial 1973 offering.

Step into the captivating world of Melody Fields as they release their transformative albums, "1901" and "1991." With a marbled musical background, these albums are crafted with the precision of a brushstroke by the likes of Pablo Picasso or Gustav Klimt. Each track is carefully composed, drawing inspiration from manic behavior, fixated obsessions, and the pursuit of something greater. Melody Fields explores themes of spirituality, faith, trust, and conviction in various forms, often leading to addiction or madness. During the pandemic, Melody Fields accumulated hours of material, embracing the freedom to experiment with drum machines and synthesizers in one session, and exploring oriental instruments in another. The result is a sonic tapestry that defies conventions and pushes boundaries. The primary album, "1901," can be described as a rock album with psychedelic influences. It features repetitive guitar riffs, distorted soundscapes, and mesmerizing three-part harmony vocals. As they traverse these musical landscapes, Melody Fields is joined by guest musicians from esteemed bands such as Goat and Holy Wave, adding an extra layer of sonic brilliance. The album culminates with the captivating track "Mayday," a haunting composition written by the legendary Klaus Dinger from Neu! In contrast, "1991" is a concept album that evolved from late-night jam sessions, experimental sounds, and danceable music. It presents four remixes, including contributions from Goat and Al Lover, breathing new life into the original composition “Jesus” from “1901”. Notably, "1991" includes the thought-provoking composition "Diary of a Young Man," written by Daniel Treacy from Television Personalities, which invites introspection and reflection. Melody Fields' "1901-1991" presents a sonic journey through time, combining elements of rock, psychedelia, and experimentalism. These albums showcase the band's dedication to musical craftsmanship and their willingness to embrace diverse influences. Prepare to be immersed in their sonic universe, where boundaries are shattered, and creativity knows no limits.

Step into the captivating world of Melody Fields as they release their transformative albums, "1901" and "1991." With a marbled musical background, these albums are crafted with the precision of a brushstroke by the likes of Pablo Picasso or Gustav Klimt. Each track is carefully composed, drawing inspiration from manic behavior, fixated obsessions, and the pursuit of something greater. Melody Fields explores themes of spirituality, faith, trust, and conviction in various forms, often leading to addiction or madness. During the pandemic, Melody Fields accumulated hours of material, embracing the freedom to experiment with drum machines and synthesizers in one session, and exploring oriental instruments in another. The result is a sonic tapestry that defies conventions and pushes boundaries. The primary album, "1901," can be described as a rock album with psychedelic influences. It features repetitive guitar riffs, distorted soundscapes, and mesmerizing three-part harmony vocals. As they traverse these musical landscapes, Melody Fields is joined by guest musicians from esteemed bands such as Goat and Holy Wave, adding an extra layer of sonic brilliance. The album culminates with the captivating track "Mayday," a haunting composition written by the legendary Klaus Dinger from Neu! In contrast, "1991" is a concept album that evolved from late-night jam sessions, experimental sounds, and danceable music. It presents four remixes, including contributions from Goat and Al Lover, breathing new life into the original composition “Jesus” from “1901”. Notably, "1991" includes the thought-provoking composition "Diary of a Young Man," written by Daniel Treacy from Television Personalities, which invites introspection and reflection. Melody Fields' "1901-1991" presents a sonic journey through time, combining elements of rock, psychedelia, and experimentalism. These albums showcase the band's dedication to musical craftsmanship and their willingness to embrace diverse influences. Prepare to be immersed in their sonic universe, where boundaries are shattered, and creativity knows no limits.

Brueder Selke, a polyinstrumental composer duo originally from East Berlin, consistently enriches the repertoire of their two primary instruments: cello and piano. Their independent curator role shines through as they frequently host boutique concerts and happenings, featuring both established and emerging artists during their yearly Q3Ambientfest.

'Go East' marks a significant milestone in the long-term collaboration of Brueder Selke, two brothers who grew up on the socialist side of the Berlin Wall. The tracks are driven by the essential components of a restored Piano-Strings machine, along with two electronic organs named Sandy and the ET6-1, and a E-Piano, all manufactured by Vermona in the late 1970s and early 1980s.

Their innate sense of interplay, developed during their upbringing in GDR times, stems from a deep-rooted longing for connection and exchange with like-minded musicians and individuals. Through their music, they convey ideas that embrace a universal duality, showcasing how diverse elements harmoniously complement each other. The album encompasses a wide range of atmospheric moods, from intimate classical chamber music to expansive textural landscapes created by these now rarely intact socialist synthesizers, with their parameters mimicking strings and keyboard instruments. In this ironic and thoughtful manner, Sebastian and Daniel once again skilfully let their main instruments, cello and piano, merge into one another.

'Go East' aptly reflects the artist's profoundly experimental yet accessible approach, making it their 8th duo album. The 2x2 recordings were produced in their Klingenthal Studio in Potsdam in February 2022.