Search:dr break

In 2007 bassist Anneleen Boehme was one of the founders of LABtrio, which is considered as one of the most acclaimed Belgian jazz bands of the past decade. Just like her companions Lander Gyselinck and Bram De Looze, she quickly asserted herself in the most diverse contexts. Now Boehme is launching her "dream project": Grand Picture Palace. A jazz quintet and a string quartet that blend different worlds together. Boehme leads and plays bass and has been writing eight compositions that break through genre walls, music both powerful and elegant, showing how jazz and classical music can balance each other without cliches.

All recordings were made in the early summer of 2020 in the studio of mentor and fellow musician Nicolas Rombouts. The self-titled album 'Grand Picture Palace' will be released on February 19th 2021.

We were playing the track ‘Common Ground’ out and it was getting the dance floor hot! It was an instrumental at the time and Renato Paris was in the dance (a singer that EVM has been working with, plays keys with Moses Boyd and is one of Gilles Peterson's one to watch) he came up and asked, “What's This?” grabbed the mic, peak time and layed down this dope freestyle vocal, it was a jaw drop kinda moment for us all! That was it, we had to make it happen! So we linked up Renato and Duke and it became the lead track on the EP. An infectious song that literally drips in soul and future R&B, and just fits perfectly over the strings on this killer broken beat track! It’s one that will stick in your head and make you play it twice!

The whole EP is nothing short of quality. From the sultry jazzy Bruk vibes of '2017 Heat Wave' to the monstrous club track ‘ Nighthawks’ an up front stomper with live drums and a bassline that'll make you shiver inside that funky top line.

‘Got My 606 Back’ has been getting rinsed by the Summer dance Forever crew’s KC The Funkaholic and was well received by dancers worldwide when it was used for an SDF promo earlier in the year. We’ve since had many of them asking when this is coming out! This one is a real body mover, sweat towel advised!

Finishing up on ‘IFZ Shuffle’ a wicked little house shuffler that almost takes you back to the 90’s. It has this sweet piano breakdown that then introduces synths and congas until the groove kicks back in again. This track and the whole EP for that matter, works in a multitude of situations. It wont fail!

-LTD. 180G RED VINYL-

Jonathan Bree's fourth album `After The Curtains Close' sees the producers trademark orchestral pop take a few unexpected turns both into the experimental and into kitschy territory populated by some of his french heroes of the 1960s. The end result is an album that retains Bree's musical DNA while being fun and varied. What could be described as Bree's `sleazy' album could also be described as Bree's break-up album. Dealing with the break-down of a major relationship Bree opens up to reveal a year of loneliness and mental trauma while also channelling positive feelings by embracing sex and sleaze in his music, subject material more traditionally reserved for the single man. Bree strikes a great balance here between darkness and silliness and he does this without appearing snide, which is a line some artists can seem all too happy to cross. Bree's vocals are on display in a full range of styles, his baritone croon jumps octaves and everywhere in between across the 12 tracks and he is even present singing his own back-up vocals in child like falsetto. Opening track `Happy Daze' is a ray of heady sunshine and wall of strings celebrating worrying about nothing else while in a lovers arms. First single `Waiting on The Moment' has been accurately described as a celebratory break-up song, with cynical and slightly mean lyrics set to a grand and danceable 80s pop arrangement. Bree celebrates new romantic encounters with fun orchestral pop songs full of double entendres ('Heavenly Visions', 'Kiss My Lips' feat Princess Chelsea, '69' feat Crystal Choi) and his talent for writing for the female lead vocal has not been so obviously on display since his work with The Brunettes, also evident on 'Meadows in Bloom', a tragic Shangri-La's inspired narrative about the pitfalls of sleeping with the drummer, in which Britta Phillips (Luna) takes lead vocal duties.

It’s hard not to notice such an unforgettable sleeve, and if the music it protects is half as memorable as the artwork, you know you just have to hear it. We don’t think you’ll be disappointed because yes, this is the majestic 1971 album Un Muñeco De Madera, courtesy of the shadowy Sola, and it sounds exactly as you’d want it to. Originally released on RCA in Mexico, it’s kaleidoscopic Acapulcan-funk.

The album’s endless grooves are propelled by softly rocking, quasi-library funk breaks. Vocally, Sola is in step with the 60s French pop-chanteuse style, but of course her lyrics are delivered in sensuous Spanish. Her voice is beautiful. Pillowy soft and tender, it can suddenly explode in mystical anger. These are ten tracks of moody, mysterious vibes that stir the spirit and sooth the soul.

The LP was written, arranged and directed by prolific Spanish composer Manuel Alejandro, the man behind an incredible number of now classic Latin love songs from the 60s, 70s and 80s. As for Sola herself, next to nothing is known about the Mexican singer except the occasional whisper heard in only the darkest corners of the annals of music history. It’s said that upon growing disillusioned with the music industry she ended up in a convent of Carmelite Sisters. Fitting perhaps, given that Un Muñeco De Madera is a spiritual wonder of a record.

Much-loved single and title-track “Un Muñeco De Madera” opens the album. It introduces us to Sola’s sparkling Latin-funk, bursting with swaggering grooves sewn by tight drums, sweeping strings and lush keys. It’s followed by the serene but melancholic bossa groove of “Oye Mamá, Oye Papá” and the strings and guitar of “He Bajado Al Infierno” that hold up vocals reaching for an eternal truth. With full-on soundtracky feels, the rolling keys underpinning the Morricone-esque soundscape of “En Ellos Creo” will give you goosebumps. The gorgeous “Soy Rebelde” (“I’m Rebellious”), sets its gentle, piano-led delivery in delicate contrast to the lyrical sentiment.

Perhaps Sola’s most well-known track, the exotic bossa of “Tabu, Tabu”, is a formidable groove. Elegant bongos, prominent bass, delicate acoustics and a persistent flute blend with Sola’s unique voice; sinuous, sassy and forceful at the same time. The stunning “La Última Palabra”, while not literally the album’s last word, is nevertheless a stirring statement of strutting Latin soul, with more musical ideas packed into this one song than the entirety of most long-players.

If you hadn’t decided already, the final two tracks that are the funk-fuelled “Bada-Bada-Ba” and the horn-heavy percussive masterclass “Únete A Mi” will leave you in no doubt that this is one very special record.

Mastered with great respect by Simon Francis, cut by the master Pete Norman and with that sleeve lovingly restored by the Be With team, this re-issue ensures that Un Muñeco De Madera now sounds, looks and feels as beautiful as it deserves to.
: Un Muñeco De Madera (LP)

Digging deep through old and new, Basso captures arcane woodland fusion, serene electronic suites and wide eyed Balearic bliss on this first Growing Bin compilation.

This collection celebrates those precious records which land in your life on their own terms. Even the most advanced digger will admit that chance is the secret ingredient in any successful haul. Sure, it helps if you know where to look, but if you arrive a day early at that secluded second hand shop, or an hour late at the convention, you might miss out on a rare sight of sound. But there are still ways to skew the odds in your favour. Even in the most crowded urban environment, a solitary tree soon becomes a nest, and Basso's fostered an abundant garden in his Hamburg hometown. A decade on and the Growing Bin is a safe haven for those exquisite sounds crowded out of the mainstream, the rare birds with the most striking song.

'Coffee' comes right after cocoa in the bin's headquarter, though start your morning with One Tongue and be prepared for a different kind of day. A witch's brew spiced with a hint of Durian and the early bird, this 1990 composition could be the blueprint for the Teutonic trance dancers beloved by the Salon set. A more meditative magic flows through the A2, a smooth blend of fusion guitar, softly syncopated drums and counterpoint keys from one time art-rockers Inandout. This Growing Bin favourite from their '93-95' LP sounds right at home beside the majestic melodies and spheric bass of Matthias Raue's 'Brücke am schwarzen Fluss 2'. Taken from the soundtrack to a TV drama filmed in Mali, this digital homage to African rhythm shimmies in step with New Age dancers from Mkwaju Ensemble and Louis Crelier. The A-side ends with the unbridled optimism of Kosmische maverick Hardy Kukuk. The synthesist hit the studio with friends Karsten Raecke and Andreas Schneider in 86, coalescing crystalline electronics and gentle guitar into tender chord progressions suited for sun bathing beside the Sea of Tranquility.

The second side slinks into motion with the deep beauty and sincere spoken word of Frank Suchland's 'Schnee', a subtle body in a cocoon of reverb which takes Sade's 'I Never Thought I'd See The Day' to another level of placidness. Melancholic Germans Die Fische met in Cairo for the first time, and 'Conversation Of Everyday Lovers' could be the theme for that great city. Underpinned by primal percussion and a restrained groove, the track twists and turns between a trio of ineffable motifs, eternal combinations to the catacombs of Abusir. From there we go sublime, soaring skywards with a ten minute triumph from Hugh Mane. Balancing concentric sequences and space age synth riffs atop an irresistible breakbeat and bubbling bassline, the British producer finds a sensuous sweet-spot between fellow Growing Bin affiliates Krakatau and Singu.

Lucky are we who hear the Bin's sounds.
Patrick Ryder

Hot on the heels of ‘Mordechai’, the critically acclaimed third album from US psych-rockers Khruangbin, the Texas trio are set to become the latest act to present their own LateNightTales in the popular, long-running musician-curated album series.
Having first come to prominence in 2013 when producer and D.J. Bonobo included Khruangbin’s ‘A Calf Born in Winter’ in his own collection of songs for the series, the little known Houston trio had yet to release an album, but have since gone on to become international superstars forming their own exotic, individual sound. “The LateNightTales series is such a special thing to be a part of because we wouldn’t have made it if it wasn’t for Bonobo’s LateNightTales, because that’s how we got into the LNT family – and got a break.”

In collaboration with Brooklyn-based artist RDO/ATK, Sophia Saze makes her long-awaited return to her Dusk & Haze imprint with four slamming cuts on a release entitled ‘Stalker’.

Born in Tbilisi and now residing in Philadelphia after years living a nomadic lifestyle, Sophia Saze began her creative journey in her formative years with classical music and dance training. With a solid and natural musical foundation, Sophia became engulfed by electronic music leading to the launch of her Dusk & Haze imprint in 2017, before dropping a remix of Heathered Pearls on Ghostly International and the release of her much lauded debut album on Kingdoms. ‘Stalker’ sees her team up with old friend RDO/ATK who has been soaking up the dancefloor since the early 90s. With much of his influence stemming from the early east coast rave and club scene, his sound maintains a homage to the past without getting stuck in it. A sucker for a dirty 303, a breakneck amen, or a crushed 909, RDO/ATK’s style spans across genres from jungle to acid to broken beat and everything in-between.

The EP kicks off with a dynamic, jungle roller entitled ‘Stalker’ featuring old-school, amen breaks, stirring yet intriguing synths and hefty bass shatters balancing styles of glitch and funk together with pure class whilst ‘Fucking Crazy B’ lays focus on cold, syncopated grooves, chopped up shrieks and screams from a video of a traumatic personal incident and shimmering pads moving into ominous territories.

On the flip, ‘Talk To You In Your Brain’ delivers relentless kicks and spiralling acid squelches peppered with chilling vocal samples and frazzled fx that pulsates strikingly throughout until ‘Acid B’ rounds off proceedings with an effervescent, warehouse techno cut as the electrifying modulations bounce gracefully off the menacing percussion and slashing, 303 tones.

‘We tend to do the free jazz sessions right at the end of long tours,’ Baldi says, ‘or after making other records, so it’s a nice break from the more
regimented song forms that the other bands have, or from playing the
same songs every night on tour.’
For Baldi & Gerycz, free jazz is a release - something to break apart stretches of familiar songwriting - and because of that, there’s a lot of joy in these recordings - see the raucous album closer ‘The Holy Retrievers (In Transit).’ Admittedly After Commodore Perry Service Plaza is a bittersweet collection, though - compiled from the final session Baldi & Gerycz recorded in person.
As such, it’s a cherished memory - it’s also kindling for creation - those original feelings inspire the duo to find novel ways to collaborate, even perform.

For the first outing on Dream Dancing, upcoming producer Joe Moan presents two cuts for different moments in the dance.

'Interreality' holds a mixture of glacial atmospheres and a warm flowing undercurrent, gently moving and evolving... The floating dub chords and driving bass line ride along stripped back, hypnotising house rhythms throughout this dreamy tale.

Flip for 'No Control' - A stripped back breaky affair, heavy on the flow... Warped synths, trance inducing tripped out chords, firmly glued together by the rumbling Reese bass.

250 hand numbered copies only.

Sonor Music Editions presents the reissue of another holy grail by maestro Alessandro Alessandroni. The first legendary Farfalla release, "Alessandro Alessandroni E Il Suo Complesso" originally released in a few hundred copies on the cult Sermi imprint in February 1968. The seminal debut album realized by the legendary Italian maestro, featuring bewitching scat vocals by his wife Giulia De Mutiis (aka Kema), that truly started the Italian Library production golden era that would culminate in mid ‘1980s. A true landmark of the genre and an Italian discography jewel that spaces among the best Jazz, Bossa Nova and Lounge music; undoubtedly a desirable item of world’s record collecting field. Obsessive Jazz suites, enchanting scats over mind-blowing Bossa tunes, bouncy break-beats drums, groovy Pop and refined loungy atmospheres over some soft Psichedelia arrangements. An essential Italian Library masterpiece.

Born in Newtownards, County Down, Northern Ireland, singer/songwriter/guitarist Ricky Warwick was cut from the cloth of a mill workers’ jacket. Raised on a diet of Patsy Cline, Johnny Cash, Thin Lizzy, Stiff Little Fingers, Motown and everything in between. Saving his money from a newspaper round and a little help from his father, Ricky got his first electric guitar at age 13. “That cheap electric guitar changed my life....it saved me, it was more than just notes on a fretboard, it was the deepest breath of life I ever experienced.“ explains Warwick.
At age 14 Ricky and his family relocated to Strathaven, Scotland. It was here that Warwick fully immersed himself in the sonic seas of Rock n Roll. Writing and practicing every free moment he wasn’t working on his father’s farm, Ricky got a call to join acclaimed U.K. Punk/Folk band New Model Army as rhythm guitarist on their 1987 ‘Ghost Of Cain‘ World Tour. Following New Model Army, Ricky went on to form The Almighty in Glasgow who enjoyed ten top forty singles and four top twenty albums in the U.K. during the late 80’s/early 90’s, touring worldwide with such iconic bands as The Ramones, Motorhead, Megadeth and Iron Maiden.
In 2002, after relocating back to Ireland, Ricky recorded his first solo album ‘Tattoos & Alibis‘ in Joe Elliott of Def Leppard’s studio in Dublin with Joe also handling production duties. It marked a shift in direction “I realized that I didn’t need to yell over a wall of sound to make my point...less is more, stripped back instrumentation could achieve the same goal just as effectively. I learned so much making that record, primarily about myself”. Warwick would go on to release two more solo albums between 2002 -2010 and tour globally opening for the likes of Def Leppard, Cheap Trick, Bryan Adams and Lynyrd Skynyrd.
In January 2010 Ricky received a call from his old friend Scott Gorham who was spearheading a reformation of Ireland’s favourite sons Thin Lizzy and wanted Ricky to front the new line up. ”I was shocked, terrified, excited and extremely humbled when I got that call. Phil Lynott was my hero and Thin Lizzy were the soundtrack of my life. I realized that I could never hope or even dare to try and stand in Phil’s shoes. All I could do was try and stand beside them and sing his songs with as much heart, soul and passion possible. In late 2012, with a necessity to write and perform new material, out of respect for the Thin Lizzy name, Black Star Riders were born. Warwick is the frontman and main songwriter for the band and 2013 saw the release of Black Star Riders acclaimed debut album


‘All Hell Breaks Loose‘.

Black Star Riders have now released four critically-acclaimed and commercially successful albums, the most recent being 2019’s ‘Another State Of Grace‘. They have achieved two U.K. top 15 albums and one U.K. top 10 album as well as mainstream radio play which includes claiming two “singles of the week” on BBC Radio 2.
Following 2016’s lauded ‘When Patsy Cline Was Crazy... And Guy Mitchell Sang The Blues’, Warwick is getting ready to unleash his 5th solo album in 2021. Titled ‘When Life Was Hard And Fast‘, it was recorded in Los Angeles and produced by Keith Nelson (ex-Buckcherry), who also co-wrote the majority of the songs on the record with Warwick. “Keith Nelson and I share a passion for good, honest, rock ‘n’ soul. Making the album with Keith who shares a similar outlook and work ethic as myself was a no brainer ....also the fact that he has a killer collection of vintage guitars contributed greatly”
“I wanted to create an album that had the simplistic melodies of Tom Petty and the Heartbreakers charged with the electric hedonistic fury of Johnny Thunders And The Heartbreakers. Recording the album as live as possible with a full band was requisite to achieving the desired effect”. Xavier Muriel (Ex-Buckcherry) on drums and Robert Crane (Black Star Riders) on bass completed the core band and turned in stellar performances, giving the songs a real lease of life.
Also, once again, Warwick tapped some of his closest friends for guest appearances on the record, including Andy Taylor (Duran Duran & Power Station) Luke Morley (Thunder), Joe Elliott (Def Leppard), Dizzy Reed (Guns n Roses). Ricky also duets with his daughter Pepper on the song ‘Time Don’t Seem To Matter‘. “I can’t wait for people to hear this album and to hit the road touring it whether it’s with my band The Fighting Hearts or just myself and my acoustic - it will be amazing. I’m grateful that after 30 years of making records my appetite for writing and playing is the same as it was that day all those years ago when I got my first electric guitar”
For those intrigued by the album cover, it depicts a crash scene from the famous Ards TT Motor Car Race in County Down Northern Ireland. The race ran from 1928 until 1936 was watched by over 250,000 spectators annually. The embankment in the photograph that the spectators are on is actually a field belonging to Ricky’s Great Grandfather’s Farm, which he grew up on for the first fourteen years of his life.

'Open Door Policy' is The Hold Steady's 8th full length studio album and the follow up to 2019's 'Thrashing Thru The Passion'. Produced by Josh Kaufman (The National, Hiss Golden Messenger, Josh Ritter), this new release once again finds the 6-piece line up in peak form in what Craig Finn describes as "the best band we've ever been". The Hold Steady is: Bobby Drake (drums), Craig Finn (vocals), Tad Kubler (guitar, vocals), Franz Nicolay (keyboards), Galen Polivka (bass), and Steve Selvidge (guitar, vocals).

In a world of announcements of announcements, Gatecreeper are firing no warning shots before dropping their new release. “I think the social media environment has just fried our attention spans,” vocalist Chase Mason says. “Trying to hold someone’s attention for two or three months with a typical album roll-out doesn’t seem feasible with everything else currently going on in the world.” That’s not the only reason An Unexpected Reality comes with no pre-release hype whatsoever. “It’s meant to be listened to as a whole, so we didn’t wanna break it up or release a couple songs ahead of time as ‘singles’ or whatever,” Mason clarifies. “We also didn’t wanna treat it like it’s our next full-length. Because it’s not.” Written, recorded and now released during the Covid-19 pandemic, An Unexpected Reality is Gatecreeper like you’ve never heard them before. Exploring both ends of the tempo spectrum, the release offers two opposing sides of the band’s musical personality. Side one consists of seven short, sharp shocks that have a total running time of less than seven minutes. Inspired by grind, punk and hardcore, tracks like “Starved,” “Rusted Gold” and “Amputation” are some of the fastest offerings the Arizona death metal squad has ever recorded. Side two is the exact opposite.

Running Circle presents China-born DJ and producer Guohan, with his debut LP Lost Sound Book.
The 16 track publication charters an otherworldly inward journey, with influences ranging from ancestral rock carvings to bustling city streets, mythical tales to sunrise and sunset. Guohan draws from many places and cultures, hiphop and jazz, traditional music and everyday life, documenting the moods and colours left out from today’s society.
The fractured rhythms and harmonies on Lost Sound Book feel like a reconstruction of memories and missing links.

LIMITED ONE OFF DOUBLE VINYL PRESSING (ONE RECORD SILVER VINYL, ONE RECORD BLACK VINYL TO MATCH THE SLEEVE ARTWORK) HOUSED IN A GLOSS VARNISHED GATEFOLD SLEEVE WITH BLACK POLYLINED INNERS. (NON-RETURNABLE)

LIMITED ONE OFF CD PRESSING HOUSED IN A GLOSS VARNISHED CARD GATEFOLD SLEEVE TO REPLICATE THE VINYL VERSION
 
The follow up to Mainliner’s 2013 comeback album 'Revelation Space' has been rumoured for many years. I've even heard tales of several attempts being finished and scrapped in the last five years. I guess that's how hard it is to run a band when all the members are based on different continents and in other very busy bands themselves (Acid Mothers Temple & Bo Ningen notably).

But it's finally done. And if you're a fan, it's been worth the wait.

In Kawabata's own words ... "This new album is the second chapter of this present Mainliner. Finally we could open to the next stage to break old customs since 1995"

The killer trio from the 'Revelation Space' album is still intact, we have Kawabata Makoto (motorpsycho guitar), Koji Shimura (drums) and Kawabe Taigen (bass/vocals) and we're back to calling them just Mainliner once again ('Revelation Space' was issued as Kawabata Makoto's Mainliner)

Q. What does 'Dual Myths' sound like ?
A. Mainliner. Nasty!

We last heard from Radeckt on the Spektrum 2 compilation, now he’s back with his debut solo EP. The Danish producer specialises in emotionally-driven club music, designed to spark inspiration and moments of contemplation. The dance floor is a safe space for free expression, human interaction and catharsis… Radeckt’s music is the perfect accompaniment to these channels of connection, while encouraging you to dance. On the Corroded Mind EP we get four original cuts, all of which encapsulate Radeckt’s penchant for music that moves the soul… It all begins with the title track. ‘Corroded Mind’ has a subdued intro, gently guiding us into a mesmerising sonic landscape. Soft pads massage the mind while siren-esque effects and metallic beats encourage the body to move to their hypnotic rhythm. Radeckt imbues the second half with drama and energy, while still keeping the mood sombre. ‘Narrative Lie’ utilises layers of emotive synth and serene sounds, along with a meandering melody that lures you into its rhythmic flow. The glum low end counteracts the brighter elements of the track creating a neat juxtaposition. As the track progresses, the intensity of the main motif increases, sending temperatures rising. Next up is ‘Invisible Guard’ with its oscillating bass and simple, yet highly effective riff. Radeckt confidently applies the pressure, carefully increasing the tension until we reach a scintillating breakdown which takes us into the glorious second half.
‘Silver Lining’ closes the EP, bringing a little bounce to the release. Radeckt gives us stuttered beats with great use of percussion to provide the energetic allure of this cut. As it builds, he incorporates an earworm melody along with neon laser synth lines and the whole thing feels like an eighties TV show theme with 21st Century sheen.

Freestyle Records are proud to present the first ever reissue of this rare Black Ark-era Lee "Scratch" Perry production on LP & CD w/ bonus tracks. Both formats feature liner notes from author of the acclaimed People Funny Boy: The Genius of Lee 'Scratch' Perry and Solid Foundation: An Oral History of Reggae, David Katz.

The late Bunny Rugs was best known as the frontman for legendary reggae band Third World, but prior to that he completed an apprenticeship at Lee Perry's Black Ark resulting in this solo LP, originally released in 1975 and credited to Bunny Scott.

The album captures the laid-back sessions of the early Black Ark, with a few surprising innovations lurking amongst the soul covers and love ballads. Highlights include the sought after Blaxploitation-influenced funk track 'Kinky Fly' featuring members of The Chi-Lites' backing band, passing through Perry's infamous studio whilst in Jamaica for a series of shows - their horn section and Chinna Smith's wah-wah guitar give the track its outstanding difference as synth overdubs add to the moody feeling, underpinned by the ghostly click tracks of the Conn Rhythm Unit (constituting one of Perry's earliest experiments with drum machines).

Breakup track 'Second Avenue' shows how suited Rugs' powerful, deep tenor was suited to a soul framework, the Chi-Lites' horns again making a striking difference. The Bee Gees' evergreen 'To Love Somebody' takes James Carr's soulful rendition as its reference and 'Big May' re-works the 'Return Of Django'/'Sick And Tired' rhythm, with a new drum part. while the broken-hearted 'What's The Use' was cut at the request of Sonia Pottinger, who ultimately failed to release it.

Somehow the sublime rendition of William DeVaughans' 'Be Thankful', recorded during the same session, was left off the LP - but appears here as a bonus track on the CD along with I Never Had It So Good & Hip Harry + it's version track.

Looking back on the sessions documented on this LP, Rugs said that Perry's creativity taught him that music could be limitless. As he explained, 'It was so simple that it became complex. The approach he has to music and to recording, I think the music nowadays lack that kind of intuition. He's somebody that would use pliers and a screwdriver to create percussion; he wouldn't hesitate to experiment. He was a little...not crazy, but somebody with that kind of thinking must be somewhere else, in another zone sometimes.'

*Repress*

Ruffhouse dropped their debut on Ingredients in October with 'The Foot / Bypass' to much acclaim. Already touted as a force to watch, their follow up is as good if not better!
'Demand' really shows their ability to make progressive, forward thinking music and it's the unpredictability of 'Demand' that makes it a stand out track. 'Division III' is equally as impressive, room shattering drums & almighty stabs. Pressed onto 300 limited edition white vinyl.
* DJ support comes from Break, dBridge, Loxy, Skeptical, Dub Phizix, Fracture, Doc Scott TRACKLIST: A: Demand || B: Division III.

Laurel Halo, Donato Dozzy and Teheran sound artist Tegh give us their "Glassforms Versions"alongside a new edit by Max Cooper. The works of Philip Glass are reflected and refracted in a myriad of ways by some of the most renowned electronic artists alive, making for a blissful, multi-dimensional listening experience.


Textextext - (add your write up)

With "Glassforms", Max Cooper and Bruce Brubaker set out on an intimate, nuanced exploration of the works of Philip Glass. The resulting recordings, developed in a fluctuating exchange between the American pianist and the Irish scientist-artist, are an astounding testament to the innovation that artistic collaboration can achieve and what depths are yet to discover in Philip Glass' compositions. The two artists did not just rework, but fundamentally rewired the original songs using algorithmic software to process and augment the musical data it received from Brubaker's piano live on stage.

When approaching his remix, Donato Dozzy also tapped into that inspiration to create something new rather than just reworking it, which is one of the core motives that emanates from "Glassforms". The Italian producer and label owner is known for his drive to explore: he develops installations for public spaces and museums, uses obscure musical instruments and collaborates with classical singers or visual artists. "I chose "Two Pages" for it's hypnotic feel in the notes repetition", he says, "but I did not want to merely sample the piano, but instead ask someone I trust and admire to carve it from scratch and even go further." So he followed the lead of Brubaker and Cooper and teamed up with the renowned Italian percussionist and jazz musician Daniele Di Gregorio to completely rewire "Two Pages" into a gorgeous piece of endlessly modulating ambient electronica.

Laurel Halo, the second remixer on "Glassforms Versions", does not need a long introduction either: the American musician is at the forefront of electronic music in 2020, a bright star today after releasing her debut "Quarantine" on Hyperdub in 2012. Her remix of "Opening" brings to mind the string section of an orchestra tuning their violins before the performance - forever. They glide in and out of tune, sometimes individually, then together, then are accompanied by keys that are most likely a ghostly representation of Brubaker's piano, sampled and pitched down, but sound almost jazzy in the context of Halo's remix. It's a blissful listening experience, calling to mind her recent collaboration with cellist Oliver Coates on "Raw Silk Uncut Wood" and showing a deep understanding of Philip Glass' work.

Sound artist Tegh is the third on the remix bill - the electronic musician from Teheran delivers his take on "ƒTwo Pages", once again showcasing how versatile, how inherently complex the works of Philip Glass are. They can be interpreted in a myriad of ways - Tegh's version is a bounding, brooding piece filled with raw energy that feels like it is performed live, just for you, every single time you listen. His version is, at first, much more focused on the underlying moods, electronic undercurrents of the original than Dozzy's version, and yet, when the piano finally does break through, it becomes clear that we are listening to Philip Glass, reflected manifold: through the piano of Bruce Brubaker, the synths of Max Cooper, and then again through the mind of the artist Tegh.

Concluding the new "Glassforms Versions" is a previously unheard edit of "Two Pages". It's difficult to edit a piece of minimalistic beauty without losing it's essence, but Max Cooper - after many efforts and close conversations with Bruce Brubaker - managed to bring these shorter edit into a satisfying, conclusive form.

Gatefold Double LP Pressing of The Sound of Madness on White Colored Vinyl.

Multi-platinum, record-breaking band Shinedown - Brent Smith vocals, Zach Myers [guitar], Eric Bass [bass, production], and Barry Kerch [drums] - have sold more than 10 million albums and 10 million singles worldwide, earned 14 platinum and gold singles, five platinum and gold albums, and amassed more than 2.7 billion total streams. Recent hits "Atlas Falls," "ATTENTION ATTENTION," "GET UP," "MONSTERS" and "DEVIL" bring their total to 17 No. 1s on the Mediabase Active Rock Chart and 16 No. 1s on the Billboard Mainstream Rock Songs Chart, breaking the record for the most No. 1s ever in the history of the Billboard chart. Additionally, all of Shinedown's 27 consecutive career singles have reached the Top 5 of the Billboard Mainstream Rock Songs Chart, another unparalleled achievement.

As part of their “Atlas Falls” COVID-19 relief effort, Shinedown has raised more than $300,000 for Direct Relief, one of the largest providers of humanitarian medical resources in the world whose mission is to improve the health and lives of people affected by poverty or emergency situations by mobilizing and providing essential medical resources needed for their care.

Hailed for their high-octane live shows, Shinedown continues to engender diehard love from millions of global fans and has racked up countless sold-out tours and headlining festival sets.