Suche:do bass

It's time! The Dark Master, III Machine, Signal 2 Noise, Known Unknown - Dom & Roland lands on Samurai Music for his first single for the label.

A foundation Drum and Bass artist, Dom's productions have retained their distinctive identity as his music progressed through his storied career for most of the genres most influential labels. Dom has made his fair share of the most important records in the genre and continues to do so with his dedication to the craft unwavering after 30 years.

His Samurai debut harnesses his experience and prowess with two capsule examples of raw Dom and Roland power.

Some songs are so ingrained in our consciousness that they are immediately identifiable upon hearing one or two notes. Featuring one of the most indelible riffs ever played, Foghat's air-guitar anthem "Slow Ride" is such a tune. The hit single turned the British band into stars and catapulted 1975's Fool for the City up the charts. And what a ride it is.

We hear a lot of yearning today about the good-old, glory days of rock and roll, the simple kind that just locked into a good beat, turned out a raunchy groove, and simply kicked you in the butt. The no-pretense type meant for kicking back, letting loose, and surrendering to the melody. Bare-bones music that doesn't need image or looks as a crutch.

Well, this is it, friends, classic meat-and-potatoes 70s rock that comes with killer slide-guitar solos, crunchy leads, driving rhythms, and soaring vocals. No need for any further instructions or explanations. The pact between artist and audience is understood. Here, the band trusts that you know what to do and is ready to rock out with anyone in earshot.

Pressed at Fidelity Record Pressing, Mobile Fidelity's remaster of this Foghat gem bring to the surface the band's marble-solid sturdiness and bluesy structures like never before. Bass notes are thicker and richer, the dual guitars bite and snap, and Lonesome Dave Peverett's singing comes across with realistic grit. This LP invites you to hear and feel the energy Foghat brings to the boogie-infused title track, great cover of the Righteous Brothers' "My Babe," and, of course, the everlasting "Slow Ride."

Continuing Mr Bongo’s series exploring the wealth of material released through the record labels of Sonny Lester, 1977’s Funk Reaction finds Hammond B3 organ virtuoso Lonnie Smith at his most dancefloor-friendly. Dripping with groove and swagger, this album skates between jazz-funk, cosmic disco radiance, beat-laden slow-jams and conscious psychedelic soul.

Having played with the likes of George Benson and Lou Donaldson in the ‘60s, alongside releasing a string of albums on Columbia and Blue Note, Funk Reaction sees Smith move into late ‘70s disco-funk-tinged territory.

Originally released on Sonny Lester's Groove Merchant Records successor, Lester Radio Corporation, the album feels more like a collaborative band-orientated project as opposed to a solo artist outing. Featuring some elite session players of the time, including Steve Gadd on drums, guitarist Lance Quinn and bassist Bob Babbitt, the album is tied together expertly by songwriter, arranger and conductor Brad Baker.

It’s worth the price tag alone for the superb disco-funk nugget 'Funk Reaction’. Other highlights include the only Lonnie Smith penned track on the album 'All In My Mind', that shines with a beautiful Stevie Wonder-esque quality and the slick guitar-led floater 'When The Night Is Right’, written by and featuring guitarist Richie Hohenburger. Elsewhere, ‘For The Love Of It’ and the Brad Babbitt written ‘Babbitt's Other Song’ serve up classic jazz funk flavours, both featuring stellar tenor saxophone from Eddie Daniels.

As a whole, the album is a superb example of Lonnie Smith’s ability to merge jazz with elements of funk, soul, disco and beyond, experimenting with ideas whilst broadening the scope of both his audience and appeal. Fans of The Blackbyrds, the CTI / Kudu stable and ‘70s George Benson will dig this!

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Leading the charge with the next Toolroom Trax vinyl series is Mark Knight’s remix on a euphoric dance anthem from Dave Spoon (aka Shadowchild) & Nick Reach Up who update Elaine Mai & MuRli's track 'Ready'. An underground House work-out that's been tried & tested on the dancefloor throughout 2023 and inspired by the euphoric House sound of the 90's, Mark’s mix makes use of the original's hypnotic vocal, combined with driving bass and big euphoric synths. House heavy-weight CASSIMM lands back on our Trax vinyl series with another essential club cut 'Wanna Feel Something'. The Italian, London based hit machine rose to new heights in 2023 with a Beatport House #1 'LOVE DESIRE' on Claptone's Golden Recordings, and chart-topping releases on Toolroom, Spinnin', Myth Of NYX and more. Full of fun, funk and house goodness, CASSIMM yet again delivers another irresistible party starter! Label favourite, Crusy steps up on remix duties for this next offering and a milestone 300th release for the label with an updated mix of Superchumbo & Victoria Wilson James’ ‘The Revolution’. An influential anthem from 2001 'The Revolution' spent over two decades in clubland since icon Danny Tenaglia originally broke the record at the infamous WMC Miami, later going on to recieve support from global superstars such as Pete Tong, X-Press 2, Roger Sanchez and more. Crusy’s signature drums, percussion and grooves drive through

that Latin influenced energy throughout. Last but definitely not least, James Hurr and Electro pioneer Arthur Baker team up with their unique blend of underground house and 80's hip-hop in new club controller, 'Powder In The Nose'. This collaboration marks a triumphant return for James Hurr on Trax who has previously released successful club cuts on the label, and an exciting debut for Arthur Baker, an artist who needs no introduction. The Boston-born producer is widely recognized as one of the pioneers of the Electro genre, with a career spanning over four decades. Baker's unique sound, which fuses elements of hip-hop, funk, and electronic music, has made him a household name and a highly sought-after collaborator. Together, Hurr and Baker are a powerhouse duo, with their combined expertise and passion for dance music 'Powder In The Nose' is nothing short of spectacular.

ountless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

avigating vibrant influences of Latin-jazz, Tropicália and joyful grooves; multi-instrumentalist, songwriter, singer and producer Inês Loubet presents her utterly gorgeous debut album ‘Senga’. The album covers Inês’ experiences over the past five years, originating in Portugal, travelling through Brazil, before finding home in London.

Previously, Inês co-wrote and performed on Caravela’s album 'Orla' on None More Records, which was praised by the likes of Gilles Peterson and The Line of Best Fit. Her music has been played on Jazz FM, BBC 6 Music, BBC Radio 3, NTS and Soho Radio. A relentless live performer, she’s played alongside Brazilian legends Gilberto Gil & João Bosco, graced the stage of The Royal Albert Hall, Union Chapel, and O2 Shepherds Bush, around UK and international tours.

The album explores a range of profound themes including nature, travel, grief, unconditional love, separation, family dynamics, and the nuanced experience of womanhood in contemporary society. Dedications to the music, philosophy and revolutionary history of samba (‘Sambo Mesmo Sem’), everyday observations of joy (‘Guri’), and motivating generational change for the better (‘Sab Sabim’); glide across romantic harmonies and the Brazilian rhythms at the melodic heart of the album.

“I started writing whilst living in Salvador da Bahia, Brazil, in February 2020”, says Inês. “I was shy and hadn't written fully composed tracks before then. During lockdown I received support from The Arts Council’s DYCP, started making demos, gained confidence and started playing them live”. In October 2022 Inês was presented with the Drake YoLanda award and went to Giant Wafer studio in Wales for three days, before recording the final vocals at her home studio and mixing and mastering in Porto, Portugal.

Inês is joined on the album by a band of close friends. Percussionist and long-time collaborator Jansen Santana from Salvador da Bahia brings the soul of the drums, the tambor. “I always have the Bahia drums present in my mind when I write a new composition. I studied Latin percussion at University and then lived in Salvador absorbing all that heritage and knowledge”. Playing four different stringed instruments on the album, Greg Sanders is a long-time friend and collaborator from London “I met him in a samba band in 2015 and he was the first person I ever showed my songs to and played with”. The band is completed by Ruta Sipola on flute, Jake Burgess on tenor sax, Peu Meurray who recorded a lot of the percussion and lead vocals, and bassist Julio de Castro from Sao Paulo. “I was blown away by his bass playing, his swing and creativity, his ton of experience and professionalism but also his voice - he's an amazing singer and I believe that adds a lot to the magic”.

Inês concludes, “Last year, I had a show in London and I asked everyone in the audience to write down what they felt when they listened to the music. These are some of the things they wrote: wholesome, refreshing, lifted, moving, joyful, happy, nostalgic, warmth, force, goosebumps, emotional, togetherness, transported, rooted”. ‘Senga’ captures all of these feelings and more in a memorable first impression from a highly talented musician.

The Samosa label gets its Re-Funk Head on once again with Part 2 of the exciting sonic laboratory project.

Opening this outrageously good EP are Samosa alumni Dirty Elements & Drunk Drivers feat E.M.E and their all-powerful and energy blasting ‘Disco Ball’ – a track that never even attempts to hide its sassiness. The brass ensemble fanfare (which is truly one of the best disco riffs in the known universe) acts as a victory parade through Samosa City – all tickertape and confetti raining down on smiling faces. A serious, serious groove which has featured in sets by Art of Tones on his Ultimate Mix Show for Glitterbox Ibiza and by Folamour in his Amsterdam gigs in March 2024.

Track 2 is respected Italian Maestro, Moplen and the wonderful ‘Ain’t No Doubt About It’. There’s an immediate dance floor lure to the disco beats and bongo rhythms here. Take a good helping of ‘pew-pew’ laser bolts, cow bells and hand claps; add a masterful bassline and you have some serious, serious disco business. You could be sipping evening cocktails in Club Coco Bongo or taking in a beach at sunrise - this track would make you want to dance regardless.

On the B-side the disco theme continues with the most aptly titled ‘Sexy Thing’ by Jazzyfunk. At 122bpm, this heads quickly into soaring, heavenly strings and punchy bassline territory, enveloping your ears like a warm duvet. The melody is a dance floor dream – it demands that you join the hands-in-the-air crowd and there really is no point in resisting. ‘Sexy Thing’ is one of those rare ‘moment in time’ tunes that could either kick a night off or act as the grandest of grand finales. Pure, unadulterated disco pleasure.

Closing the EP with Track 4 is DeGama himself and ‘Feel The Groove’. Make no mistake, this is a powerful, brooding beast of a tune that bursts out of the traps in no time at all. At a very deceptive 120bpm, ‘Feel The Groove’ starts with a warm, housey vibe that quickly breaks into a jumping, blues inspirerd guitar battle. The solid beat bounces gorgeously in tandem with the filthy rhythm guitar riffs and sultry saxophone in a knee-slapping, somersaulting, backsliding explosion. A seriously filthy tune from DeGama.

Re-Funk Head Part 2 acts as a perfect companion to its predecessor – featuring an all-star cast of some of the best talents to grace Samosa. A must for all serious record collectors.

2024 Repress

Funky Chicken brings together some of the best Belgian dance tracks from the early seventies. Emerged in a country where virtually every musical wave passes through, most of these tunes were created and recorded by hired guns, in this case a few clusters of gifted session musicians and composers. The music on Funky Chicken is their take on (afro-)funk, soul and Latin. Some of their releases were hit parade cannon fodder, but occasionaly, some spare studio time or the urgent need for a B-side allowed for memorable musical experiments.

Funky Chicken is a post-fact documentation, the result of a quest into a period on which information is few and far between, the 'black hole' in Belgium's history of popular music. The barren wasteland between the variety orchestras of the sixties and the electronic revolution of the late seventies and early eighties. This series explores the ground the dance pioneers built upon.

Heavy Metal hat eine lange Geschichte und eine tiefe Verbindung mit Teufelei, Devianz und der dunklen Seite allgemein. Die Rückkehr der Friends Of Hell kann diese Bindung nur stärken. Durchdrungen von reinstem Old-School-Metal und dreckigem Doom ist das neue Album 'God Damned You To Hell' ein rostiger Dorn in den Augen von Ungläubigen. Der lang erwartete Nachfolger des dämonisch spannenden Debüts, hinterlässt verbrannte Erde auf allem, was heilig ist. Noch trotziger altmodisch und düsterer als sein Vorgänger zollt sein primitives Sperrfeuer entsetzlicher Härte den Heavy Metal und Doom-Größen gruseligen Respekt, während es gleichzeitig neue, Dämonen beschwört. Zusammen mit Hellbutcher (Nifelheim) am Mikro und Bassist Beelzeebubth (Mystifier) sind Friends Of Hell nun bereit ein musikalisches Höllenfeuer auf die Metal-Gemeinde loszulassen. Sie tun dies auf Lee Dorrian's (Cathedral) Kult-Label Rise Above mit den drei Formaten CD, LP und Limited Red LP!

With the buzz around her building, Priddy made her biggest splash with the 2021 release of her debut album, The Eternal Rocks Beneath. The 10 self- penned tracks are delivered with a maturity and depth that belie the fact that this is her first full length release. At times tender, at times carrying a darker edge, the stories she weaves are transporting. Not surprising then that Nick Drake, John Martyn, Tunng and Scott Matthews are amongst her many influences.

The album was recorded over a 2-year period at Rebellious Jukebox studios, a little basement studio hidden beneath inner-city Birmingham and presided over by masterful producer Simon Weaver. The ensemble cast of musicians, including a sweeping string section, occasionally cut through by raw electric guitar and drums, as well as Richard March (Pop Will Eat Itself) on double bass and Mikey Kenny on fiddle, enhance Priddy's command of melody and lyricism and provide the perfect backdrop for the feelings of nostalgia and timelessness that underpin the record. Many of the songs were written during Priddy's teenage years and early twenties and reference themes of childhood and distant memories.

The title, 'Eternal Rocks Beneath' reflects this is Priddy's first album; the culmination of her earlier life experiences and the bedrock for whatever follows next.

Black Truffle is pleased to announce the first vinyl reissue of Trancedance, a wild slice of Swedish Afro-fusion from Christer Bothén, originally released in 1984. A major figure in Swedish jazz and improvised music since the 1970s, often heard on bass clarinet and tenor sax, Bothen studied doso n’koni (the large six-stringed ‘hunter’s harp’ of the Wasulu) in Mali in 1971-2 before turning to the guinbri (the three-stringed lute of the Gnawa/Gnauoua) in Marakesh later in the decade. In between, he performed extensively with Don Cherry during his Organic Music Society period and taught Cherry the doso n’koni. In the later 70s and 80s he worked with the most important figures in the distinctive Swedish jazz-rock-world fusion scene, joining Archimedes Badkar for their African-influenced Tre and participating in Bengt Berger’s legendary Bitter Funeral Beer Band. Many of the musicians who played on the Bitter Funeral Beer Band’s ECM LP (including Berger on drums, Anita Livstrand on voice and percussion and Tord Bengstsson on piano, violin and guitar) joined Bothén for one of the sessions that produced Trancedance, the first release under his own name, dedicated to his compositions. The other session introduced his seven-piece group Bolon Bata, heard on the second track of each side. The title track opens the album with the rubbery buzzing strings of the doso n’goni playing a hypnotic ten beat pattern, soon joined by bass and piano before the entire nine-piece group kicks in with a rollicking Afro-jazz workout, Berger’s drums driving an intricate, winding melodic line played by the horns with Mattias Helden’s cello throwing in pizzicato slides and smears. Bothén then takes centre stage on tenor sax, soloing with a wide, vibrating tone and moving seamlessly from soaring melodies to guttural stutters. After a return to the composed horn lines and a solo from Elsie Petrén on alto sax, the piece builds to an ecstatic conclusion of yelping voices and handclaps, gradually simmering down to return to the solo doso n’koni where it began.

The hypnotic sounds of the hunter’s harp carries over to ‘Mimouna’, where it is joined by Bothen’s overdubbed guinbri. The piece develops into a haunting whispered and sung invocation, gradually building momentum until the organic textures of strings, voices, and hand percussion are ruptured by Lennart Söderlund’s distorted guitar, which brings an unmistakable touch of 1984 to the otherwise timeless sound. Joined by chicken scratch guitar and increasingly dominated by the insistent clang of three of Bolon Bata’s members on karqab (a kind of cast-iron castanet), the grove develops frenetically.

The B side opens with the multi-part epic ‘9+10 Moving Pictures for the Ear’, at over 16 minutes the record’s longest piece. Though Bothen is heard only on horns on this piece, the hypnotic repeating bass line carries on the first side’s link to African musical traditions. Using an expanded 16-piece ensemble, the music balances untethered improvisation with carefully arranged passages of knotty ensemble playing that at points suggest Mingus, Moacir Santos or some of the ambitious post-free work being done in the same years by figures like David Murray or Henry Threadgill. The piece ends with a triumphant passage of looping unison melody reminiscent of the Scandinavian folk explorations of Arbete och Fritid (whose Kjell Westling is heard on bass clarinet and soprano sax here). The sound of Bjorn Lundqvist’s fretless bass introduces the odd left turn made by the record’s final track, a spaced-out expedition into bluesy horn lines and distant guitar atmospherics set to a semi-reggae beat, perfumed by the core Bolon Bata group and bearing the appropriate title of ‘The Horizon Stroller’. A must for fans of the Swedish scene around groups like Arbete och Fritid and Archimedes Badkar, as well as any listener who has been seduced by Louis Moholo’s Spirits Rejoice!, The Brotherhood of Breath, or, more recently, the guinbri grooves of Natural Information Society, Trancedance is a lost classic ripe for rediscovery.

In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.

An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother’s garage in the afternoon after school. One afternoon, James’ Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. “It sounded really great,” James recalls. “We begged her to stay, and she said, ‘I’ll stay until you find another drummer.’ We wore her down, and she eventually became a permanent member.”

After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. “That added to the intensity of the album,” James says about the frenzied creative process overseen by producer Burke Reid. “I can hear the stress in the record, which is good because that’s what it’s about—being tense, tied up, and in your own head.”

Call A Doctor’s eleven songs—spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records—are literally plucked from James’ personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album’s recording. “I’ve struggled with mental health for a lot of my life,” he explains, “and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it.”

Far from the sound of collapsing under pressure, Call A Doctor finds James and Co. stepping up with their entire collective chest. This is a record that’s so out-and-out alive that you nearly feel like you’re in the same room with Girl and Girl as you listen to it; lead single “Hello” practically bursts through the speakers, amplified by Aunty Liss’ unbelievable stickhandling duties. “‘Hello’ is all about romanticizing your own misery. Letting those deep, dark, dirty thoughts take over. Understanding that even if you could pull yourself out, you wouldn’t because the constant stress and worry is far too familiar and comfortable.”

“Mother” pogos on a spiky groove that’s reminiscent of the geographically close New Zealanders who make up the legendary Flying Nun label, while “Oh Boy” draws from the Shins’ own jangly sound, injected with James’ wonderfully nervy vocals. Then there’s Call A Doctor’s sorta-centerpiece “Maple Jean and the Anthropocene,” a five-minute epic offering a new perspective on climate change and the notion of what it means, in a personal sense, to suffer: “I live in the bushland, and I was driving home one night and hit and killed a wallaby with my car,” James recalls while discussing the song’s lyrical inspiration. “My first thought was, ‘What is the universe trying to tell me?’ No remorse, no guilt, just total self-centeredness. Which was like, Woah, you fucking psychopath! This wallaby wasn’t put on this earth to send you a message. That’s what the song is about, our egocentric species - thinking you’re the main character and that everything that happens is somehow about you.”

“This record is about an individual who’s too far in their head, trying to get out,” James continues while discussing Call A Doctor’s overall outlook—specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it’s important to emphasize how teeming with life Girl and Girl’s music is. There’s a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

The current lineup of New Haven's long running Mountain Movers (guitarist/vocalist Dan Greene, bassist Rick Omonte, guitarist Kr yssi Battalene, & drummer Ross Menze) have been playing together for over a decade now, making their recorded debut on a slew of singles released from 2011-2013, but it wasn't until 2015's "Death Magic" (released on New Haven label Safety Meeting) that the potential of that iteration of the group became clear; Mountain Movers are a force of nature. The camaraderie & sensitivity to each others playing has only grown over time, cr ystallizing on the group's trio of albums for Trouble In Mind; 2017's eponymous "Mountain Movers" served as a reintroduction of the group to a larger audience, while 2018's "Pink Skies" raged like a group confident in its strengths, and 2020's prescient "World What World" - written & recorded before the world shut down - slightly shifted focus away from the jams & back toward the weight of guitarist/songwriter Dan Greene's poetic tales of magical realism. The band's ninth album "Walking After Dark" finds a happy medium between both aspects of the band's strengths; Greene's lyrical compositions and the group's long-form improvised jams. To those that are tuned in, that feeling of communion is evident in the Movers' playing. The members swap & cycle effortlessly through instruments without missing a beat, utilizing the downtime of lockdown to write & record every jam in their practice space. Those piles of tapes would eventually get edited & sequenced into "Walking After Dark", a tour-de-force double-album that balances fried, stony brilliance with outré excursions of experimental serenity. Consider the opening track "Bodega On My Mind" that ambles in like a road-worn traveller, its lysergic folk strums peppered with acidic lead lines from Battalene's Telecaster, eventually giving way to "The Sun Shines On The Moon, where the group's sizzling guitars are buoyed by Omonte's pillowy bass & Menze's percussion. From there on out, tracks like "Factory Dream" give the listener a taste of The Movers' modus operandi here; a mixture of (more) traditional song craft interspersed between long-form, improvised pieces of modern psychedelia. The group shuffles through instruments; synths, drum machines, auto-harp, various forms of percussion (and whatever else was laying around) as well as the trad guitar/bass/drums configuration to craft a suite of songs that - while not necessarily similar in composition - feel unified in their overall sonic scope. Tracks like the 14-minute "Reclamation Yard", whose deep-space electronic pulse is juxtaposed against side C opener "See The City "s persistent acoustic strum that showcase similar ideas of the `spirituality ' of losing ones self in repetition, but executed differently. In many ways "Walking After Dark"s duality feels like a merger of "On The Beach"-era Neil Young & the collective freak-outs of Amon Düül, taking inspiration in the `incorporeality ' of free music and lacing it with Greene's hazy, haunting lyricism and is an exciting step forward for a band that's already a few steps ahead. "Walking After Dark" is released on black double-vinyl in a full color gatefold jacket & includes an insert with artwork & lyrics by member Dan Greene.

Aniara Recordings presents: the Genius Of Time Vocal Series. Building on their ever growing catalogue, it's time for a new path where Genius Of Time (aka Arkajo and Dorisbug) further investigate their deep affection for vocals. Rave Breaks paves the way: a radiant classic house leaning summer tune packed with uplifting notes, featuring the warm intimacy of Bassie Kay's voice. On the flip, the ethereal Endless takes a more introspective approach with vocal chops fused into a Genius of Time signature. Aniara's frequency for the sunny months ahead.

In one sense, it's easy for artists-songwriters, specifically-to express their feelings in their work. After all, that's what the lyrics are for! But it's much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That's precisely why Girl and Girl's Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst's widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime's worth of woes-mental health, the human race's planned obsolescence if you've been living on this cursed rock you know what we're getting at-across a canvas of indie rock that feels both timeless and in-the-moment. An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother's garage in the afternoon after school. One afternoon, James' Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. "It sounded really great," James recalls. "We begged her to stay, and she said, 'I'll stay until you find another drummer.' We wore her down, and she eventually became a permanent member." After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. "That added to the intensity of the album," James says about the frenzied creative process overseen by producer Burke Reid. "I can hear the stress in the record, which is good because that's what it's about-being tense, tied up, and in your own head." Call A Doctor's eleven songs-spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records-are literally plucked from James' personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album's recording. "I've struggled with mental health for a lot of my life," he explains, "and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it." "This record is about an individual who's too far in their head, trying to get out," James continues while discussing Call A Doctor's overall outlook-specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it's important to emphasize how teeming with life Girl and Girl's music is. There's a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

"Rave-up & turn on! Fueled by a classy high-stepping image and hot instrumental licks born of old R&B and Northwest stalwarts the Kingsmen, Wailers and Sonics, this collection shows their always excellent material ranging from '60s punk to sunshine pop. Includes their debut single!

In many ways they were one of the quintessential Northwest bands. Their credentials were impeccable - leader Don Gallucci was a classically trained pianist who, as a younger teenager, played keyboards for the Kingsmen on "Louie, Louie." Early guitarist Pete Oulette had been in the Raiders and his replacement, Jim Valley, had founded the white hot Seattle band the Viceroys. When Valley got the call to become "Harpo," his slot was filled by Charlie Coe, who had played with the Raiders and Jack Ely and the Courtmen. And the last Goodtime guitarist was Joey Newman, who had made his mark with the Enchanters and Merrilee Rush and the Turnabouts.

Their only hit single, "I Could Be So Good to You," a Jack Nitzsche song, was their only national hit (#56) in spring 1967. Their Nitzsche-produced Epic album So Good was a curious amalgam of Overman originals and British Invasion covers.

Their earlier sound is much more raw – "You Were Just a Child" could have been a national hit. The dynamics and bridge in this are killer, as is the pulverizing fuzz bass. "I'm Real" may be the punkiest Don and the Goodtimes got; Note the cool reference to LA disc jockey "The Real" Don Steele. Other cuts like like "Make It" are as Northwest as they come. Rough and raunchy, this hot instrumental was the B side of their first single."

Suffering can be a borderline experience, opening doors to the divine. Canadian black-metal-outfit GIVRE has dedicated its fourth album to this concept, well known throughout Christian history: On "Le Cloitre" (engl. "The Cloister") the band continues its exploration of the atoning side of pain and the austere aspects of faith through music that goes all the way from elegiac elegance to disturbing outbursts. Even the band deals with Christianity, through a historic lense, they should not be understood as religious band in any way!

The group was founded back in 2010 in Rouyn-Noranda by David Caron-Proulx (Composition, guitars, keys), Jean-Lou David (research, vocals), and Mathieu Garon (bass) when they were just 16 years old. They self-produced a demo album, then moved away from their hometowns. David is now a composer for film and mixed media and Jean-Lou is a writer and historian. In October 2020, ten years after their first collaborative endeavors, they reunited and recorded two more albums: "Le Pressoir mystique" and "Destin Messianique".

The creation of "Le Cloitre" was a lengthy process. While most recordings were made right after "Destin Messianique" in 2021, extensive work was done over an extended period of time to add layers and perfect the album's concept. Each of the six songs corresponds to a holy woman from Christian history. The lyrics are taken directly from their writings or hagiography (an idealized biography), delving into their connection to the divine through suffering. The words are sometimes rearranged, but they are all direct citations without anything new added to them, from the symbolic poetry of Hildegard Von Bingen (1098-1179) to the disturbing and factual depictions of Marthe Robin (1902-1981).

The compositions vary to reflect these different perspectives: sometimes dark and eerie, other times blissful or sorrowful. Therefore, a crucial addition to the album's atmosphere was the inclusion of female vocal performances. Additionally, samples from the French film "Le dialogue des Carmelites" from 1959 are incorporated. Excerpts of a piece by Hildegard von Bingen are used in the song dedicated to her. The album was recorded in the band members'home studios. Mixing and mastering were done by long-time-collaborator Gael Poisson-Lemay (Gris, Sombre Forets, Miserere Luminis), who also contributed guitars to the song about Marthe Robin. Vinyl mastering was done by Greg Chandler (Esoteric) at Priory Recording Studios.

“All this I do for glory” is a reasoning and exploration of the machinations of ambition and legacy, an examination of the concepts of afterlife, and the first half of a doomed love story in the model of the greek tragedies. As a narra- tive, it exists temporally somewhere between 2015’s “Never were the way she was” (with Sarah Neufeld) and the 1st volume of the NHW Trilogy.

With this, his first solo outing since 2013’s “To See More Light”, Colin Stetson ventures into territory both familiar and strange. Here still, is the dogmatically stripped down approach to performance and capture (all songs recorded live with no overdubs or loops) but there is an immediacy to the album that belies a more invasive and thorough miking of the various instruments being utilized and a seeming influence drawn from the early nineties electronica of artists like Aphex Twin and Autechre, evident in the more pointed role played by the instruments’ many percus- sive elements.

There are ancestries, motivic and timbral, woven through these six songs that plainly anchor them within the shared universe of his Trilogy, though the overall experience is one of extreme intimacy, the sounds and imagery more tangible and immersive than previous offerings. The brief and brutal “In the clinches” recalls (or presages) echoes of songs like “Judges”, though now feeling like one has fallen down the bell of Stetson’s ancient bass sax- ophone itself. “Spindrift”, crystalline and serene, calls to mind the ambient works of Aphex Twin, while “Between Water and Wind” with it’s “Immigrant Song” swagger, relentlessly carves it’s way into the bedrock here, paving the way with an increasing focus on the minute and the minimal, with a deepened sense of patience shared by most of the album’s six tracks.

Engineered and mixed by Stetson himself, this album represents a decidedly independent approach across the entire creative process and finds him at the top of his game, both as a composer and instrumentalist as well as a producer.

Kein Zweifel: Die große musikalische Weiterentwicklung der Hamburger Sleaze-Rocker Night Laser ist auf ihrem neuesten Studioalbum ‚Call Me What You Want‘ in jeder einzelnen Note zu spüren. Die fünfköpfige Band hat die gesamte Erfahrung aus den drei Vorgängerscheiben ‚Fight For The Night‘ (2014), ‚Laserhead‘ (2017) und ‚Power To Power‘ (2020) sowie den mehr als 200 Konzerten gebündelt und in ihre bislang abwechslungsreichste
und kraftvollste Studioproduktion einfließen lassen. Verantwortlich dafür sind – neben den Bandgründern/Brüdern Benno (Gesang) und Robert Hankers (Bass) – die Neuzugänge Felipe Zapata Martinez, Vincent Hadeler (beide Gitarre) und Schlagzeuger Ingemar Oswald, aber auch Produzent Dirk Schlächter (Gamma Ray, Ross The Boss) und Mix/-Mastering-Koryphäe Eike Freese (u.a. Deep Purple, Helloween, Simple Minds). Veröffentlicht wird ‚Call Me What You Want‘ am 24. Mai 2024 über Steamhammer/SPV als CD, Vinyl und digitaler Download. Bereits vorab werden mit den Album-Openern ‚Bittersweet Dreams‘ und ‚Way To The Thrill‘ und der Hymne ‚Don´t Call Me Hero‘ mindestens drei Singles inklusive Videos
ausgekoppelt.

Barro Music Label reaches its tenth reference with a tremendous EP in which the protagonist (even of the cover) is Nöle, the label's boss. In Electro Bloody Music, the popular DJ and producer from Pamplona delivers four original tracks accompanied by a fantastic remix by Delectro. The renowned Colombian producer, active since 2006, has released on some of the best international labels and with his 80s EBM, electro and techno influences, he is the ideal person to accompany the label boss on such an important release. As for Nöle, after the success of Mendekua, his previous work released in 2022, he does what he is the best at: dark and frenetic techno with EBM flavor, like the one he played during his long residency at Stardust and does now at Lasociación.

On the A-side of Electro Blood Music we find three originals, the first two could be included in the category of Techno Body Music while the third is more purely techno. The EP starts with BuruHilketa, a dark track with a certain experimental atmosphere endowed with an incisive synth line and disturbing vocal samples that accompany us during most of the composition. Shaktale, shares some of the atmosphere of the first track, as it also includes vocal samples and a eerie synthesizer melody quite catchy. It has quite a complex rhythm and an extremely careful production that we recommend listening with headphones to appreciate in detail. Cementerio caliente is powerufl techno track, with hypnotic synths and an acid touch and tremendously forceful. With this kick drum, you could definitely demolish a house!

On the B-side we find another original track titled Noisebuilder and the remix by Delectro. Noisebuilder, with its fat and aquatic basses starts off more techno but, little by little, it also includes EBM details. The track lives up to its name and the noise builds, little by little, layer by layer while the intensity keeps growing. With a hard-hitting beat, spiced in the background by synthesizers that help to create an atmosphere, it is one of the clearest bangers of the EP. Delectro delivers a remix a little more forceful and darker, a bombshell of pure Techno Body Music that closes this magnificent EP.

Release note: El Garaje de Frank

Following the resounding success of Rythm by Nature's first release by Nail, the imprint's second outing, "Deep Cuts", builds upon the previous momentum and introduces label owner SaPu for his first solo EP. "Deep Cuts" features three groove-drenched original works and a foot-stomping remix from Berlin-based groove master and sound wizard Tripmastaz.

Drawing from his 15+ years of experience in the scene, "Deep Cuts" displays SaPu's impeccable production skills and evident passion for deeper house grooves and hypnotic rhythms — the ideal music for extended dancing marathons. The EP's first track, 'Roll Out' (A1), is a classic, tech-house-infused banger: funky bass, filtered samples, and snappy percussion elements. Tripmastaz's version, 'Don't Let Joe Change the Name Dub' (A2), adds new layers of depth to the original, infusing it with dubby, sample-based elements and warm chords. SaPu's inclination for old-school grooves shines through on 'Clappin Iron' (B1), delivering Detroit tribal vibes punctuated by stabby synths and rolling basslines. Closing off the EP, 'Keep it Trill' (B2) provides a relatively stripped-down approach, allowing SaPu to demonstrate his innate skill in dubby sample manipulation.