Cerca:dave echo

Balmat 17 marks both a return and a new frontier. It is the second album on the label from Patricia Wolf, whose 2022 album See-Through is one of the most beloved in Balmat’s catalog; it also marks the first time that Wolf has turned her hand to a film soundtrack. The results are every bit as magical as fans of the Portland, Oregon, composer’s music might expect.

Hrafnamynd—Icelandic for “raven film”—is a new feature-length documentary by experimental filmmaker Edward Pack Davee. Shot on a mix of film and digital formats, and incorporating his father’s Ektachrome slides from the 1970s, the autobiographical film works on multiple levels at once: a reminiscence of his childhood in Iceland, an exploration of landscape and folklore, and a documentary study of the island nation’s ravens—including a talking raven named Krummi.

Wolf is the perfect artist to score such an unusual film. Mixing ambient music and field recording—including extensive experience documenting bird song—Wolf brings an unusually empathic perspective to her music. In the context of Hrafnamynd, her airy melodies, pensive atmospheres, and vivid textures intuitively complement the film’s grainy film stock and blown-out colors. Friends for years, the two artists further bonded when Wolf asked Pack to film music videos for her songs “Woodland Encounter” (from See-Through) and “The Culmination Of” (from I'll Look For You In Others). Pack used Wolf’s previously recorded music as placeholders as he began assembling a rough cut of the film, which made her a natural choice to help him complete his idiosyncratic vision with an all-new, bespoke score.

But Wolf’s soundtrack also indisputably stands alone as a full-length album. Largely created using the UDO Super 6 synthesizer, it features a carefully distilled palette of warm, string-like pads and darkly glistening mallets, rounded out with the very occasional introduction of nylon string guitar. Musically and stylistically, the album’s 11 tracks represent both a continuation of the ruminative sound of See-Through and also an extension into new expressive modes. Few musicians, ambient or otherwise, are as skilled at balancing melody with atmosphere, or at finding ways to eke fresh at finding ways to eke fresh, surprising sounds out of an intentionally reduced toolkit. Meditative, immersive, and emotionally generous Wolf’s Hrafnamynd soundtrack evokes a range of ambient classics from decades past while confidently marking out its own verdant patch of ground.


Artist’s Statement:
Edward and I have been friends for years, but we really started to get to know one another better after I hired him to make music videos for my songs “Woodland Encounter” and “The Culmination Of.” For those projects we got to spend a lot of time hiking in various locations around the Pacific Northwest with his camera, very nice lenses, and tripod. Keeping quiet, hidden, and vigilant we searched for wildlife, good light on the trees, meadows, lakes, rivers, and skies. Edward was already an appreciator of my music and I was already in awe of his filmmaking talents so it felt like a great fit. Although we work in different areas of art our styles compliment one another. We both tend toward slow and careful pacing, with a focus on emotion and introspective reflections on life and the landscapes around us. For this reason, Iknew that I could trust Edward to create videos for my music. We saw so many beautiful and unexpected things on our filming days, but I was moved to tears once I saw how magnificent and poetic it all was. His video work from the cinematography, to the editing, and color correction helped bring my inner vision to life.

A few months after that, Edward surprised me with an invitation to work on the soundtrack for his new film, Hrafnamynd. I enthusiastically said yes. I had always wanted to work on a film, and I knew that his filmmaking style would be inspiring to write music for. I had recently acquired an UDO Super 6 synthesizer but hadn't used it much. I decided that this would be the synth that I'd use for the film. It has the ability to sound very modern, but can also sound so warm and fuzzy, like a synth from the 1970s. It turned out to be the perfect instrument for this project as the film itself straddles time from the ’70s to today.

When Edward sent me the rough cut of the film, he used placeholder music to help give me an idea of the emotion and energy that he was hoping to achieve for each scene. For many of the scenes, Edward used music from my albums as temporary tracks. This told me that he trusted my work and style and therefore I should just trust my intuition with how to proceed. I wanted to make sure that everything that I made was a direct reflection of what was happening on screen, a mirror of its emotion and energy so people could really lock into the film psychologically. This process took my composing to unexpected places—like being led by a strange cat or a raven that seemed to have something to show me. I found that the approach made the music so much more dynamic than my usual style. I really enjoyed being influenced by the action and dialog on the screen. Thankfully, Edward was very happy with the work. I made sure to handle this project with the utmost care because this is about his life and his family, and an exploration of the experiences that made him an artist and filmmaker. While watching the film many times over, I found myself thinking about my own family and my early memories with them and how the place where I grew up has influenced who I have become. I found that his film invites the viewer to reflect on their own lives in a similar way. I hope that this music and film can guide others to contemplate on the history of their beingness and the people and places that shaped them.

Another aspect to this project is the splendor and wonder of Iceland itself. I had the opportunity to visit Iceland for the first time in 2023. I got to play a show there for the Extreme Chill Festival and met many friendly and brilliant Icelanders. I also got to collect field recordings that I used in the film. It's a fascinating place and culture that easily captures the hearts and imaginations of anyone who visits. Whether you spend your time in the city immersed in its impressive arts scene, or venture out into the wilderness to behold its wondrous landscape, it will leave a lasting impression. The soundtrack is also a love letter to Iceland itself.

When Alanis Morissette took direct aim at an ex who wronged her on the eviscerating “You Oughta Know” in 1995, everything about the Top 10 song communicated it wasn’t the usual narrative about love gone south. Or the typical wounded singer wallowing in self pity. Morissette, and both the lead single from and her entire American major-label debut — the profoundly personal Jagged Little Pill — represented a sea change. They kickstarted a movement, one whose impact continues to echo throughout the mainstream nearly three decades later.

Ranked the 69th Greatest Album of All Time by Rolling Stone, included on the Rock and Roll Hall of Fame’s list of 200 Definitive Albums, and featured in several books about essential albums, Jagged Little Pill remains more than a blockbuster that has sold more than 17 million copies in the U.S. and 33 million units worldwide. It’s a statement, an attitude, a soundtrack for anyone seeking inspiration, an outlet, or permission to be themselves.

Sourced from the original master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP box set of Jagged Little Pill presents the landmark effort in audiophile-grade sound for the first time. A key part of the record’s appeal and accessibility — Glen Ballard’s smooth production, touches that help Morissette’s exposed-nerve fare seem more accessible and melodic — comes through on this special 30th anniversary edition with an openness, presence, and dynamic explosiveness that make the vocalist’s songs that much more real and visceral.

The singer’s distinctive mezzo-soprano deliveries — the octave-rippling highs, dark-hued lows, dramatic crescendos, belted choruses, wispy reflections, occasional yodels — resonate with full-range ardor and depth. As crucial as anything on the record, Morissette’s confessional words take center stage like never before. Ditto the instrumentation and atmospherics that form the magnetic backgrounds of the songs. Key in on the contributions from Red Hot Chili Peppers Dave Navarro and Flea on “You Oughta Know” to Tom Petty & the Heartbreakers' co-founder Benmont Tench’s organ playing on six tracks.

The deluxe packaging of Mobile Fidelity’s Jagged Little Pill UD1S set underscores the work’s distinguished status. Housed in a slipcase, the LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. Benefitting from an ultra-low noise floor, superior groove definition, and dead-quiet surfaces, this UD1S reissue is for listeners who prize sound quality and desire to engage themselves in everything involved with the album, including the now-iconic cover art that juxtaposes two portraits of the then-21-year-old singer-songwriter and features typewriter font.

That script — which suggests a raw, blood-on-the-floor document created without modern aids like spell check or language correction — hints at the heightened level of unvarnished intimacy, honesty, and catharsis Morissette offers throughout Jagged Little Pill. Named after a phrase uttered on the astute “You Learn,” the album explores the frank emotions, inherent contradictions, and wishful desires people feel everyday but are often too afraid to express. Morissette displays no such fear or shyness.

Akin to a woman reading from a diary, Morissette leaves nothing to the imagination as she skewers hypocrisy during the poignant “Forgiven,” seeks recompense on the vengeful “You Oughta Know,” and spills her guts on the soul-purging “All I Really Want.” For all the anger and bile ascribed to the singer and record, Jagged Little Pill is incredibly healthy and upbeat. Morissette uses the catchy pop-rock frameworks and moody ambience to suss out situations, to learn, to give hope. There’s the clever yearning of “Hand in My Pocket”; wry contrarianism of “Ironic”; kind-heartedness of “Hand over Feet”; the live-and-let-live spirit of “You Learn” – all positive and amiable.

Throughout Jagged Little Pill, the ever-approachable Morissette connects with listeners who recognize themselves in her — and has an intelligent conversation with anyone who wants to participate. It seemed almost everyone did. In addition to the mammoth sales that make the effort the 17th-best-selling album in American history, Jagged Little Pill collected four Grammy Awards, two American Music Awards, three Billboard Music Awards, and eight Juno Awards. In 2018, the record became the basis for a musical that netted 15 Tony nominations on Broadway.

Ironic? Anything but. Jagged Little Pill transcends generations, gender, and trends. As Morissette sings on the opening “All I Really Want,”, the album represents “deliverance” — “a place to find common ground.”

Tom Esselle, staple of the South London music scene, hits his stride on Rhythm Section release Revolutions and Evolutions. Building on the success of his previous releases (Lou’s Groove on Rhythm Section’s Shouts 2021 compilation, Praise Bes EP on Wolf Music in 2022), his latest EP further showcases the breadth of his sound. Drawing on influences from across the house music spectrum and honing skills developed in the studio with Chaos In The CBD, Revolutions & Evolutions delivers a sound that looks boldly to the future while remaining firmly grounded in the classics.

The A-side is primed for peak dance floor action: Baddies features a mid-2000s RnB vocal that did serious damage when Bradley Zero played it at Circoloco last summer, while Plaything, a big-room tech-house banger, echoes Moon Harbour's tougher catalogue, or a skunked-out Gavin Herlihy.

The B-side is a slice of sunshine with One Of These Days, an uplifting daytime house track featuring a deft keys solo from Dave Koor (Albert’s Favourites, The Expansions, Modified Man). Harmonise rounds off the EP: a smoky, dreamy groover to warm up the party or lock it in during the early hours.

Tom has been producing music since 2010, patiently refining his sound. His 2015 debut, the choppy drum workout Until She Spoke on Wholemeal Music, became a quiet underground success played by luminaries like Ruf Dug and Gilles Peterson, and remains a staple in many a record bag to this day. His productions have also found their way into the collections of DJs from Moxie to Mr Scruff and Osunlade to DJ Harvey

The Doors Of Perception is among the most experimental and innovative releases by famed jazz vibraphonist Dave Pike. Recorded in 1966 and released in 1970, the album finds Pike indulging in full-fledged psychedelic jazz, with trippy grooves and a new sound. Produced by Herbie Mann, The Doors Of Perception features an all-star cast of musicians, including Eddie Daniels, Lee Konitz, Don Friedman, and Chuck Israel. Their talents are complemented by a wide range of sound effects, from echo chambers to piped-in applause to thunderstorms to fuzzy distortion, making for a dynamic and unique listening experience.

As time marched on, many of the DJs I had been working with such as Pete Tong, Paul Oakenfold, Trevor Fung, Simon Dunmore and Johnny Walker got involved in the world-leading UK dance scene, raking in cash by making records. I thought ‘I’ll Have some of that!’ This led to my first foray into the studio creating the proto-acid jazz classic 12”, ‘Psychedelic Jack (That’s Where It’s At)’, which cheekily sampled Frank Zappa, Soft Machine and Gong. With me and Gilles on vocals, it got us signed to Acid Jazz Records, who released in 1988 under the name of Extasis.

That was just the start and nearly 35 years later (gulp!) I’ve had a ball, producing Galliano and Paul Weller, working with Mick Talbot, Roy Ayers, Linda Clifford and Sharon Redd, remixing Will Downing, Ce Ce Rogers and Blaze. I’ve made house tunes with Faith’s Terry Farley, run the legendary Dadhouse Records label with Dave Jarvis. I also set up my own studio and released music under a variety of names, both for my own labels and Acid Jazz Records. Recent releases include my solo albums “Firebird” (2023) and “Dream World” (2024). There was also “Back To Business” with Mick Talbot, released in 2023.

After appearing with Archie Shepp at the landmark Pan-African Cultural festival in Algiers in 1969, African-American trumpeter-cornetist Clifford Thornton recorded a set of his own compositions in Paris later that year. The result was Ketchaoua, an important political and spiritual as well as musical statement that reflected the inspiration that he took from Islam. Indeed, the title of the album refers to the awe-inspiring mosque in Algiers.
Clifford Thornton’s superb band comprised his compatriots, saxophonists Archie Shepp and Arthur Jones, drummer Sunny Murray, trombonist Grachan Moncur III, pianist Dave Burrell, and bassist Earl Freeman, as well as French bassist Beb Guérin. Together they brought energy and ingenuity to the leader’s compositions, which were characterized by vivid atmospheres, exploratory, mysterious sounds and haunting themes. And the song titles conveyed an important social and cultural message. Pieces such as ‘Brotherhood’ pointed to the sense of unity and kinship that African-American artists felt with the citizens they encountered on their journey to North Africa and Europe.
This newly remastered deluxe edition of Ketchaoua provides an opportunity to hear one of the major entries in Clifford Thornton’s relatively small yet nonetheless highly impressive discography. It is an album that marks him out as a figure in the avant- garde movement of the late 60s and early 70s who deserves far wider recognition.

Celebrating 55 years in the music business! Swami John Reis is back with his second LP in eight months. Time To Let You Down is a savage blast of junk shoppe punk that kicks you in the ding ding. This eleven track LP is chock full of fist pumpers, head bumpers, stinky dumpers, meaty thumpers and toe stumpers. The tempos are often breakneck and the dense arrangements tumble like bricks into hot cheese. The undeniable sonic girth barges at will into lathered ear tubes allowing these barbaric anthems to echo in hollow domes. Feel the whip crack break skin on the acne scarred backs of our cultural oppressors. The sound is tough. The songs are a bitch. Incite your expectations with the single “Fed To The Dogs” or the title track. Salty leather and wobbly chain link fences can’t contain its rebel intent. These recordings took place Oct. 2024 and features Swami John Reis on guitar and vocals with contributions from Jason Sinclair (Hot Snakes), Joey Guevara (Swami and the Bed Of Nails), Jacob Turnbloom (Mrs. Magician) and Glen Galloway (Truman’s Water). The record was produced by John Reis, engineered and mixed by Ben Moore and mastered by Dave Gardner. Time To Let You Down is pressed on virgin, Egyptian pellets and available in limited, colorful vinyl that have been hand-swirled. You’ll not only clearly hear the difference, you will see it as well.

Stalwarts of the London music scene The Boom Yeh are at the forefront of redefining British Jazz-Funk with the release of their new album Near-Earth Objects. Featuring a host of musicians that have worked with Jamiroquai, The Brand New Heavies, Incognito, Alice Russell and Leroy Hutson.

Keep Right On
A blistering syncopated jazz-funk assault reminiscent of The Brecker Brother and Tower Of Power. Featuring solos from trombone player Tom White and sax player/horn arranger Ian Bailey, followed by a virtuosic drum solo courtesy of Alessio Barelli.

Chronic Tonic
A smooth jazz-funker with hip-hop undertones, echoing early Prince with a boogie funk outro in the vein of George Duke, propelled by bass player Matteo Grassi.

Hot Tamale
If Jimi Hendrix was stuck in a Mexican traffic jam, it would probably sound like this. An abrasive funk-rock stomper featuring a heavy duty guitar solo from band leader Jon Speedy.

Pocket Rocket
Deep pocket funk in tribute to George Clinton's Parliament-Funkadelic with be-bop infused horn riffs. Featuring solos by Paul Silver on baritone sax and guest keyboard player Carl Hudson on Oberheim synth.

Near-Earth Objects
High energy jazz-fusion exploring the universe of Herbie Hancock and The headhunters with an afrobeat inspired horn outro. Featuring guest keyboard Carl Hudson on Fender Rhodes and synth.

Othership
Bombastic big band jazz-funk with a rare groove flavoured mid section. Composed by band leader/guitarist Jon Speedy as a nod to his father Dave Speedy - a jazz trumpet player and big band leader.

Mind's Eye
Laid back Ibiza chill out mixtape vibes meets Donald Byrd and the Mizell Brothers. Featuring blissful Fender Rhodes and synth by guest keyboard player Carl Hudson.

Possibilities
A slow burner in the spirit of Roy Hargrove's RH Factor and early neo-soul with a gospel flavoured outro.

Woven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of "gathering from the air a live tradition".
Cloudy Clear plus Black Galaxy effect vinyl in dub style jacket. Limited and Non-Returnable.
At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.

Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

"Herne's Oak" provides seismic bass waves that physically halt the track in its steps - giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman.

If Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Cover art is by Henry Hablak, who also designed the art for Part One and Part Two.

Repress! The Doors Of Perception Is Presented In A Unique Blue Swirl Colored Vinyl Pressing / "The Doors of Perception" is among the most experimental and innovative releases by famed jazz vibraphonist Dave Pike. Recorded in 1966 and released in 1970, the album finds Pike indulging in full-fledged psychedelic jazz, with trippy grooves and a new sound. Produced by Herbie Mann, "The Doors of Perception" features an all-star cast of musicians, including Eddie Daniels, Lee Konitz, Don Friedman, and Chuck Israel. Their talents are complemented by a wide range of sound effects, from echo chambers to piped-in applause to thunderstorms to fuzzy distortion, making for a dynamic and unique listening experience.

Three years after appearing on Doom Sessions Vol 5 split, High Reeper are back with their most ambitious album yet,"Renewed By Death". A true heavy metal assault of eight tracks that take you on a journey to the darkest depths and leave you there to rot. Featuring monolithic riffs that pummel you from the opening of the album to the close, guitar solos reminiscent of George Lynch and Dave Navarro, and powerful vocals that deliver a knockout blow. This album showcases the band's desire to keep evolving and exploring new sounds and ideas. "Renewed By Death" was produced, recorded, mixed and mastered by Shane Trimble at the band's brand new studio Sletner Sound, in Wilmington Delaware with Justin Di Pinto also engineering. The cover was done by Solomacello and photos of the band were done by Drew Wiedemann.

Neon yellow vinyl, limited to 350 copies. Three years after appearing on Doom Sessions Vol 5 split, High Reeper are back with their most ambitious album yet,"Renewed By Death". A true heavy metal assault of eight tracks that take you on a journey to the darkest depths and leave you there to rot. Featuring monolithic riffs that pummel you from the opening of the album to the close, guitar solos reminiscent of George Lynch and Dave Navarro, and powerful vocals that deliver a knockout blow. This album showcases the band's desire to keep evolving and exploring new sounds and ideas. "Renewed By Death" was produced, recorded, mixed and mastered by Shane Trimble at the band's brand new studio Sletner Sound, in Wilmington Delaware with Justin Di Pinto also engineering. The cover was done by Solomacello and photos of the band were done by Drew Wiedemann.

Repress!

The label has a simple mantra; no frills club cuts designed for the dancefloor. For their second outing, Demi Riquísimo has enlisted Kiosk Radio and Fuse Brussels resident DC Salas to fulfill the brief, via the ‘Tio’ EP.

A DJ noted for his versatility with his sets effortlessly melding a plethora of styles from house, techno and trance to disco & new beat. This broad range of influences is on full display on the buttons as DC Salas shows his range as a producer right across the ‘Tio’ EP.

The EP kicks off with the emotive title track ‘Tio’. DC explains the context:

“It features the voice of my godfather (my dad’s uncle, who was like a brother to him) who passed away unexpectedly some months ago. We found a video of him (he hated being filmed) one week after he passed away, with a wonderful talk he did on his birthday last year. The vocal is an extract of this video.”

Up next is 'Fearless Is More', a track where DC’s production dexterity comes to the fore. The track combines elements of 90’s trance, with a jackin’ bass line and vocal samples that evoke images of the early Amnesia Ibiza golden era.

The B-side opens with 'Never Ending Story', another track which speaks to Salas’ vast array of influences with a synth topline sounding like it was straight out of the Ancienne Belgique. 'A Departure' chugs along menacingly with an acid house flourish in its second stanza, for some peak time perfection. The EP is completed with 'Slowtospeed', which juxtaposes melancholic pads with progressive synths and a driving to bass to make for an extremely well rounded first outing for DC Salas on the burgeoning imprint.


DJ Feedback:

Job Jobse - Great release!!!

Make A Dance - this is wicked, Never Ending Story is the track for me.

Kiara Scuro - Absolutely love this! Definitely will be playing.

Dave Harvey - This is great.

Tech Support / Asa Tate - DC is king!

Timo Deeprhythms / Echocentric Records - Stupid good release!

REES - Love this one!

Martyn Bootyspoon - Absolutely send these over!!

Sara Miller / Public Possession - Really really like this record. Totally my vibe :) All are excellent tracks but Fearless is More is my fave. But really digging Never Ending Story and Tio too!

Aletha / Rinse FM - Sounding perfect for my sets at dimensions

Aiden Francis - Wooooah, love these. Such a varied release!

Ciel - I love the A1 on this! Tio is gorgeous.

Holly Lester - Great release, Tio is biggg!

Mit "Eggsistentialism" kehrt das Psych-Punk-Pop Duo The Lovely Eggs nach einer fast vierjährigen Pause seit ihrem Indie-Nummer-Eins-Album "I am Moron" zurück. In dieser Zeit haben sie ihre eigene Fernsehsendung Eggs TV gemacht (mit Ian McKaye, Stewart Lee, Katie Puckrik, Maxine Peake, David Shrigley und anderen), ein Duett mit Iggy Pop gegeben, eine Menge ausverkaufter Konzerte und Festivals gespielt und eine Kampagne zur Rettung der Lancaster Music Co-op (ein gemeinschaftlicher Proberaum und Aufnahmestudio, in dem sie leben) geführt.Wie der Titel schon andeutet, erforscht "Eggsistentialism" eine viel persönlichere, introspektivere und nachdenklichere Seite der Welt von The Lovely Eggs und lässt die Eggs neue Klänge erforschen und in unerforschten musikalischen Gebieten experimentieren."Wir haben seit 2020 keine neue Platte mehr veröffentlicht und in der Zwischenzeit haben wir hier versucht, das Recht auf einen Lebensstil zu verteidigen, den wir hier in dieser Stadt in den letzten 30 Jahren als arbeitende Musiker genossen haben, die sich weigern, einen "normalen" Job zu bekommen. Es geht darum, an etwas zu glauben und nicht loszulassen. Aber dieser Unwille, aufzugeben, fordert letztendlich seinen Tribut. Es fängt an, dich zu zerstören, und das Album ist eine Art Dokumentation dieser Zerstörung und des Zusammenbruchs sowie der Stärke, die wir haben, um das alles zu überstehen. Letztendlich ist dies ein hoffnungsvolles Album über das Überleben." Aufgenommen zu Hause in Lancaster, produziert zusammen mit Dave Fridmann (u.a. MGMT, Sleater Kinney, Mercury Rev sowie Grammy für Flaming Lips), wurde das Album in den Tarbox Road Studios in New York mit von ihm und der Band abgemischt. Atemberaubendes Artwork wieder von Illustrator Casey Raymond.

Mit "Eggsistentialism" kehrt das Psych-Punk-Pop Duo The Lovely Eggs nach einer fast vierjährigen Pause seit ihrem Indie-Nummer-Eins-Album "I am Moron" zurück. In dieser Zeit haben sie ihre eigene Fernsehsendung Eggs TV gemacht (mit Ian McKaye, Stewart Lee, Katie Puckrik, Maxine Peake, David Shrigley und anderen), ein Duett mit Iggy Pop gegeben, eine Menge ausverkaufter Konzerte und Festivals gespielt und eine Kampagne zur Rettung der Lancaster Music Co-op (ein gemeinschaftlicher Proberaum und Aufnahmestudio, in dem sie leben) geführt.Wie der Titel schon andeutet, erforscht "Eggsistentialism" eine viel persönlichere, introspektivere und nachdenklichere Seite der Welt von The Lovely Eggs und lässt die Eggs neue Klänge erforschen und in unerforschten musikalischen Gebieten experimentieren."Wir haben seit 2020 keine neue Platte mehr veröffentlicht und in der Zwischenzeit haben wir hier versucht, das Recht auf einen Lebensstil zu verteidigen, den wir hier in dieser Stadt in den letzten 30 Jahren als arbeitende Musiker genossen haben, die sich weigern, einen "normalen" Job zu bekommen. Es geht darum, an etwas zu glauben und nicht loszulassen. Aber dieser Unwille, aufzugeben, fordert letztendlich seinen Tribut. Es fängt an, dich zu zerstören, und das Album ist eine Art Dokumentation dieser Zerstörung und des Zusammenbruchs sowie der Stärke, die wir haben, um das alles zu überstehen. Letztendlich ist dies ein hoffnungsvolles Album über das Überleben." Aufgenommen zu Hause in Lancaster, produziert zusammen mit Dave Fridmann (u.a. MGMT, Sleater Kinney, Mercury Rev sowie Grammy für Flaming Lips), wurde das Album in den Tarbox Road Studios in New York mit von ihm und der Band abgemischt. Atemberaubendes Artwork wieder von Illustrator Casey Raymond.

Dave Lee has tackled the legendary Brazilian disco cut 'Que Tal America' by Two Man Sound, originally released back '78.. Dave subtly adds new breakdowns, live percussion and even some additional vocals to give his version extra pizzazz, whilst making the most of the insistent flowing groove that made this a sure fire floor filler. On the flip things get more more echo heavy, whilst the sharp jazzy musicianship shines through.

There was never an instrumental version on the original 12". Add an acapella and bonus beats then you have an essential disco package for every Disco DJ's record box.

METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”

It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

Released periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is (Steve Von Till from Neurosis) Harvestman’s most ambitious undertaking yet.

Guest musicians including Al Cisneros of Sleep / OM who plays bass on one track for each LP, of which he will also mix a dub version on the B-Side of each LP. Dave French of Yob, Sanford Parker and Wayne from Petbrick all make appearances.


Released periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is (Steve Von Till from Neurosis) Harvestman’s most ambitious undertaking yet.

Guest musicians including Al Cisneros of Sleep / OM who plays bass on one track for each LP, of which he will also mix a dub version on the B-Side of each LP. Dave French of Yob, Sanford Parker and Wayne from Petbrick all make appearances.

It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

Bone White opaque + Black Galaxy effect vinyl in dub style jacket (jacket sleeve with centre hole cut out so label shows throug
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all.

Woven together from home studio recordings that span two decades, this fifth outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted though three separate strata. “Part One”, as with the forthcoming Parts Two and Three, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track “Psilosynth" orbits a grandfather-clock mechanism passing through a nebula haze, all waved on by an acid-fried deity. From there on, “Part One” journeys through the elegiac “Give Your Heart To The Hawk”, with the sampled poetry like a documentary retrieved from a long-lost world, Philip Glass wistfully attending a rescue beacon from the far corner of the universe on Coma, as well as percussion recordings performed by Steve and friend Dave French (drummer of Yob) on a rusted torn open stock tank outside Steve’s barn, treated bagpipes and old reel-to-reel recordings, all reiterated across the next volumes in ever more out-there contexts.

If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Diane Birch emerges as a formidable American singer-songwriter and pianist, boasting a repertoire of critically lauded releases spanning a rich decade-long career. With an eclectic array of musical influences stemming from a globe-trotting childhood - ranging from her humble beginnings as a preacher's daughter in Zimbabwe and South Africa to her transformative years as a gothic teen immersed in the vibrant cultural underbelly of Portland, Oregon. Her discovery while living in London via Myspace led to a record deal in New York, where she then spent the next few years.

Diane's journey is as diverse as her sound. Her profound experiences have culminated in a unique musical blend, characterized by her stint performing soulful covers and original pieces in the swanky lounges of the Beverly Hills elite. Receiving widespread attention with her debut album "Bible Belt" and her follow-up projects "Speak A Little Louder" and "Nous", these works not only cemented her position in the international music scene but also earned her accolades and respect from esteemed peers including Prince, Daryl Hall, Mark Ronson, Dave Stewart, Questlove, Elvis Costello, Bryan Ferry and Stevie Wonder.

Returning with her latest work, "Flying On Abraham", Diane presents a meticulously crafted collection of original compositions. This album is a heartfelt homage to her vast and varied musical roots, weaving together the rich tapestry of 70s AM radio, soul, jazz, classic rock, 80s/90s pop and R&B. Despite the eclectic mix, Diane's sound remains distinctly her own - her voice a blend of raw emotion and refined grace, echoing the legacy of iconic artists like Carole King, Carly Simon and Rickie Lee Jones, yet standing out with an authenticity and individuality that is unmistakably Diane Birch. Produced by renowned English musician Paul Stacey, known for his work with Noel Gallagher and the Black Crowes, "Flying On Abraham" was recorded in the UK, backed by an impressive lineup of musicians. This album is not just a collection of songs but a narrative of her artistic journey, offering a window into the soul of a woman who has traversed continents and musical genres to create something truly extraordinary.

With "Flying On Abraham", Diane Birch reaffirms her status as a musical virtuoso, continuing to enchant audiences worldwide with her evocative lyrics. It represents Diane's enduring vision of "making American music with an English sensibility."

Giant Sand sind das wichtigste Ventil für die stilistischen Biegungen und die sonnengeschädigte Songkunst des Singer-Songwriters Howe Gelb. In mehr als vier Jahrzehnten ist es ihm gelungen, Rock, Country, Blues, Punk, Garage, Lo-Fi, Jazz, Gospel, Avantgarde-Noise und Flamenco-Gypsy-Musik mit seinen impressionistischen Bildern und weitreichenden Beobachtungen der Welt neu zu erfinden. Genau 25 Jahre nach der Veröffentlichung von Giant Sands legendärem "Chore Of Enchantment", dem panoramischen Meisterwerk, das den Wendepunkt für die klassische Besetzung mit dem erfahrenen Songwriter Howe Gelb und den späteren Calexico-Mitgliedern Joey Burns und John Convertino aus dem Jahr 1999 darstellte, kehrt das Album nun zurück. The Chore Of Enchantment" ist ein Songbook mit Howe Gelbs besten Liedern, gefüllt mit verblüffenden Einzeilern, der üblichen schrägen Instrumentierung, Echofeldern und nebligen Horizonten. Die hochkarätige Produktion des legendären Jim Dickinson, des PJ Harvey-Vertrautem John Parish und des gefeierten Singer/Songwriters/Produzenten Kevin Salem ist eine Tour-de-Force von Gelb's einzigartigem Oeuvre. Diese Wiederveröffentlichung zeigt die eklektische und esoterische Karriere der Band und feiert ihre großartige, lange und kurvenreiche Karriere. Die 2xLP Deluxe-Wiederveröffentlichung enthält ein restauriertes Artwork und neu verfasste Liner Notes von Dave Henderson von MOJO. "A beautiful, emotionally complex album." The Quietus. Klassisch schwarzes Doppel-Vinyl, original Coverart, Linernotes & DLC

First collaboration between NC Hip Hop group Kooley High & ATL-bred producer Tuamie. Kooley High has recently worked with 9th Wonder, Rapsody, Statik Selektah, Skyzoo & more. Tuamie has produced for Fly Anakin, Koncept Jackson & has been showcased by Street Corner Music. Pressed on purple colored vinyl. Dive into the timeless realm of ‘All Infinite’, the new album from NC Hip Hop collective Kooley High & ATL-bred Producer Tuamie. Head-knocking drums and superb flows come together to create a lush soundscape filled with tight scratches, vocal soundbites & more. Sit back and take it all in. This album is a sonic journey that explores the boundless nature of energy and the concept of infinity. Kooley High & Tuamie bring forth a fusion of soulful beats and insightful lyrics that are all their own. While beginning as a one-track collaboration, the instant sonic chemistry of Kooley High & Tuamie has blossomed into a full-length album. Each track resonates with the essence of classic Hip-Hop, echoing the roots of the genre while pushing the boundaries of contemporary sound. ‘All Infinite’ is poised to be a testament to the enduring power of music. The dynamic blend of retrospective and prospective lyrics seeks to impact each listener on a personal level. Two passionate creative forces have been united. Kooley High & Tuamie’s mission is clear – to spread good vibrations through the universal language of sound waves. Join them on this musical odyssey where the energy is boundless, and the rhythms are eternal.