Search:dr m bee

Indignation Meeting are punky rail fans from Leeds. 15-year-old Peter is the driver - he's the drummer and lead singer, writes most of the songs, and also plays bass and trumpet on the album. The rest of the crew is his dad Michael on guitar, Hugo on bass, and with Keith, Heather and Sally often along for the ride when they play out. Here at DGHQ we've been listening to their self-released debut album Trouble In The Shed since last year and finally spoke with the band and agreed to release it on vinyl for the first time. It was very good timing as they've just been in the studio to finish recording their second album, so we'll be releasing that later in 2024. Welcome on-board! We caught up with Peter to ask as few questions about the band_ Q: "In a week when the Labour Party promised to return the rail network to public ownership, we ask how did your fascination with trains begin?" A: "Honestly, I don't really know - I've just loved them ever since I can remember. It's not like with some people who had a family connection or watched Thomas the Tank Engine; I've just always loved them. I guess it's just a childhood obsession that never went away!" Q: "'Trouble In The Shed' is quickly becoming a firm office favourite here at DG. There's a touch of punk, indie and new wave about it. What would you say are the key influences that make up your musical DNA?" A: "My main influence when this album was released was Blyth Power. They'd been my favourite band for years when this was recorded, so everything on it was influenced by them in some way. They've had so many different musical styles over the years that they kind of conglomerated into this album, to create yet another eclectic mix of songs. The only real exception to that on this album is Electrification - no prizes for guessing the influence there! If you see us live, however, you may notice another influence pervading through our songs. That influence is the anarcho-hippy band 'The Astronauts,' whom I discovered midway through the recording process, and have quickly become one of my all-time favourite bands!" Q: "What's the story behind your song 'Hornby Horrors'?" A: "Hornby Horrors is an interesting one. People who haven't heard it may assume it's about some ill-fated model railway endeavour, but it's actually a tale of corruption in, of all places, the model train company Hornby! This song was the result of several minor scandals at Hornby HQ making their way to the modelling masses, the main ones of which were an ill-fated tier list, which placed retailers in three categories as to whether or not they received Hornby's products, with tier 3 retailers barely getting anything at all. Interestingly, the UK's former biggest retailer, Hatton's Model Railways, was a tier 3 retailer due to their 'competing products' (made by their own small brand Hatton's Originals') and has recently announced closure due to financial hardship. Now as we all know, correlation does not equal causation, but I wonder_" Q: "The album is being released on a specific shade of green vinyl. What's the significance?" A: "The shade of green on the vinyl is very similar to the shade worn by the locomotives from the Great Western Railway in the 1870s - 1940s. Due to this connection, we thought it was only proper we picked this colour, which we have dubbed 'Great Western Green!'" Q: "The album release coincides with an appearance at Rebellion Festival in Blackpool this August. Can you give the readers three reasons why they should come and see your performance?" A: "1 - We like to think we provide something different with our music - it is very obviously punk, but it's a bit more light-hearted than a lot of the political stuff, with nearly all the songs being about some sort of obscure steam loco engine. If you just want something light-hearted to enjoy, we might just be the band for you! 2 - We've got a rather interesting line up - instead of the usual line-ups you see, we've got a 15 year-old singing drummer with his dad on guitar, a newly-turned adult with a massive ginger afro playing the bass, the guitarist from the old anarcho band 'Dog On A Rope' playing some gnarly lead parts, and all topped off with some beautiful backing vocals from the drummer's sister and mother. As Attila the Stockbroker described us, Blyth Power meets the Partridge Family - not to be missed! 3 - Here's something you won't forget in a hurry - as well as his vocals, our 15-year-old frontman Peter plays drums and trumpet at the same time! If that's something you want to see, make sure you get down to see us!"

New Orleans Voodoo Psych Fuzz Boogie Blues aus einer finnischen Irrenanstalt in Helsinki, drei Jungs flogen über das Kuckucksnest und machten dieses erstaunlich schräge Album... früher spielten sie in Black Magic Six und Cosmo Jones Beat Machine, für Fans von Captain Beefheart und Chuck E. Weiss oder Dr. John GOBLIN SHARK ist ein Hybrid aus einem finnischen Irrenhaus, einer transsexuellen Göttin und einer verkommenen, dunklen After-Hour-Blues-Rock'n'Roll-Fuzz-Psych-Voodoo-bar in New Orleans. Sie alle treffen sich in Helsinki, Finnland, um ihre Musik zu machen, Taskinen spielt in Bands wie Black Magic Six, Heavy Breathers oder Disgrace, der zweite, noch verrücktere Gitarrist und Meister selbstgebauter Mini-Gefängnisgitarren Pharaoh Pirttikangas veröffentlichte zahlreiche Soloalben und war mit Cosmo Jones Beat Machine unterwegs, Nubialaiset und Astro Can Caravan unterwegs, dann kommt Neuvonen, er ist ein Black-Metal-Schlagzeuger aus Tempere, Jeder liebt den Blues und die verwirrende Seite des Lebens aus finnischer Sicht, wenn Sie wissen, was ich meine. Kann man ihre Musik in Richtung Captain Beefheart und Chuck E. Weiss mit der rohen Kraft der Stooges oder Dr. John einordnen. Ich weiß es nicht. Aber ich habe sie 2023 auf meiner Tour in Helsinki getroffen und war von ihrer Performance, ihrer Musik und dem anschließenden Bier in einem Helsinkier Bierclub so begeistert, dass wir beschlossen, GOBLIN SHARK auf Voodoo Rhythm zu veröffentlichen. Taskinen hatte bereits einen Trip in die Schweiz von Black Magic Six gemacht und Robert Butler (der von den Miracle Workers) getroffen und sind seitdem befreundet, so dass es Sinn machte, dass Robert 'Mr. Butler' das Artwork des Covers für die Band entwarf und es wurde so, wie es sein musste... ein komplette Hirnschmelze , und so sind auch die 10 Songs, die dich wegblasen werden wie nichts anderes - dies ist verwirrter dreckiger Blues Rock'n'Roll der außerirdischten dritten Art. Tiefschwarzes Vinyl, bedruckte Innenhülle, gratis Download Code oder Digisleeve-CD mit Booklet.

2024 Repress

Dauw welcomes Berlin based musician Midori Hirano to the label with her new album Soniscope. Award winning composer Robot Koch provided a rework of the track Patterns under his recently announced new ambient project Foam and Sand.

With releases on acclaimed labels such as Longform Editions, Sonic Pieces and Alien Transistor, Midori Hirano is no stranger within the field of electro-acoustic piano music. While she is more known for her studio-work, it is often forgotten that she also has a long tradition of writing for films and theatre productions. This forms an important part in her work and a constant inspiration for her autonomous work. Soniscope is no exception in that regard. While working on the film Mizuko (Kira Dane, Katelyn Rebelo, 2019), a still of many little Jizo statutes got her attention and came to be the first steps of her new album.

“I was fascinated by the combination of the image and sound which well emphasized the stillness with a slight of emotion.” (Midori Hirano)

With the Jizo statutes on her mind, Midori Hirano wanted to make an album and started envisioning several personal narratives. Soniscope can be considered as the soundtrack of her own personal stories related to these statues of which Mizuko Jizo was the starting point. With Soniscope, Hirano continues in the same vein as her previous albums in which piano and electronic arrangements hold a central place. However, on this record she specifically explored new possibilities in terms of techniques and instruments.

Midori Hirano is a Japanese musician, composer and producer, born in Kyoto and living in Berlin since 2008. She started learning the piano as a child, and this triggered what was to later see her study classical piano at university. Therefore her productions are based on the use of acoustic instruments such as the piano, strings or guitars, but yet experimental and an eclectic mixture of modern digital sounds with subtle electronic processing and field recordings.

Her first two albums were released on noble records, and her second, “klo:yuri”(2008), saw her further develop of her sound, garnering critical acclaim from various media including TIME magazine , BBC radio and FACT Magazine. Over the following years Midori has performed in venues and festivals as diverse as Club Transmediale, Heroines of Sound Festival, Erased Tapes Sound Gallery, L.E.V. Festival, Boiler Room Berlin, and Wonderfruit Festival.

The nine solo albums and numerous single track releases to date include the works of her other moniker MimiCof, in which she explores the realm of experimental music and detailed rhythmic patterns, combined with an idea of drawing melodic shapes and harmonies. Her recent works have been released by labels such as Sonic Pieces, Daisart, Alien Transistor, raster-media, 7k! Music and Longform Editions.

Besides producing her own works, she composes music for films, video installations and dance performances. The films that have commissioned works by Midori have been screened at Berlin International Film Festival, SXSW Film Festival, International Documentary Film Festival Amsterdam and among others.

I’ve lost my sense, I’ve lost control, I’ve lost my mind! Yeah, we all know how the song goes, but those words will no doubt end up driving their point home throughout the duration of Bloodstains’ self-titled debut LP. This thoroughly-welcome Euro pressing follows the album’s DIY release earlier in 2024, which is excellent news for UK/mainland fans of early 80s SoCal hardcore who’ve yet to hear it - the whole thing absolutely fkn rips. Feel free to rifle through your Adolescents, Weirdos and (natch) Agent Orange records to see what these guys have been mining, but all you’ll find is a launchpad - Bloodstains inevitably hail from California and they’re clearly au fait with all the above (not to mention a certain compilation), but they manage to inhabit that sound with a personality all of their own. Vocalist Cesar Marin splits his delivery between a sneering bark (like the most withering put-downs you’ve ever heard being delivered via nailgun) and a purposeful, melodic croon… which itself sounds it’s made from sandpaper and vitriol, but there you go. Most importantly, this is a band with SONGS. Eight of ‘em here, to be precise, and you’ll rarely have been so glad to have something turned up so loud it blows holes in your speakers. ‘Stray Bullets’ hangs its mighty chorus on a call-and-response refrain that dares you not to pick a side and bellow along, while instrumental opener ‘The Last Rites’ sets you up perfectly for the seething, volatile bundle of hooks to follow. I’d say the interplay between the band’s string-wielding Espinoza contingent is something to behold as well, but what am I, some kinda nerd? The guitars sound fkn awesome - that’ll do ya. And I don’t wanna spoil the party ahead of time, but just wait til you hear future anthem ‘Public Hanging’. I could go on about this record all day, but ultimately all you need to do is listen to it. Hell, even buy it. And dare I return to a theme, lose your mind.

“Dreaming With Alice” by British folk musician MARK FRY was released only in Italy in 1972.

This album has been quite an obscurity already by the time of its release. Recorded by 19 year old Mark Fry for an Italian sub label of RCA it presented a beautifully naive kind of psychedelic folk similar to what the INCREDIBLE STRING BAND laid down at the same time just a bit more straight forwarded. We saw originals in good condition go for about 1600 Euros already, therefore such a reissue is always welcome among fans of totally psyched out music ,done by mostly acoustic instrumentation and vocals. Young Mark enchants his listeners with dreamy vocal melodies of utter beauty which create an outmost peaceful atmosphere. The picturesque tunes take you onto a trip out to the English countryside on a gentle and warm spring morning and into a fairytale world. You might get lost within this colorful dream and not be willing to return to grey reality anymore but this music indeed burns on as the flame of love within your heart. The direction despite all psychedelic elements is definitely determined by British folk music of the 60's and 70's. One charmingly odd aspect of the album is that the title track has been split up over the whole album as short sections flanking the longer tunes. I cannot recall anybody else ever doing that, so this is making this nifty little record a unique effort. If you are a fan of PERRY LEOPOLD or the above mentioned INCREDIBLE STRING BAND this record will fulfill your wildest dreams but will also please those into STEELEYE SPAN, WOODS BAND or PENTANGLE. Mark Fry plays his acid folk from the bottom of his soul without thinking about satisfying the demands of the mainstream audience. This is a must have for all fans of acid folk from the late 60s to the early 70s era. This music is intriguing, keen and absolutely one of a kind with a mood changing from rainy days to sunny mornings out in the meadows.

Joe Ely präsentiert sein erstes Road-Album Driven to Drive, dreiundzwanzig Alben und mehrere Millionen Meilen nachdem er zum ersten Mal auf die
Reise ging. Die Sammlung von Songs über und inspiriert von motorisierten Reisen wurde von Ely zusammengestellt, der Mitte der 1970er Jahre wie
ein wirbelnder Tornado über die flachen Ebenen des Llano Estacado in Westtexas fegte und eine legendäre Band anführte, die zu sehr Rock für
Country und zu sehr Country für Rock war. Der wilde, offene Honky-Tonk-Roadhouse-Sound der Joe Ely Band bescherte ihrer Heimatstadt Lubbock
den ersten Musikhelden seit Buddy Holly.
Das Projekt setzt sich aus Aufnahmen zusammen, die über mehrere Jahrzehnte hinweg in den Spur Studios, seinem Heimstudio außerhalb von Austin,
gemacht wurden. Unterstützt wird er dabei von den Musikern/Nachbarn Joel Guzman am Akkordeon, dem Keyboarder Bill Guinn, dem Sänger Eddie
Beethoven und dem Geiger Richard Bowden. Letztes Jahr im The Zone in Dripping Springs, Texas, fügte Jeff Plankenhorn seine Gitarre zu drei Stücken
hinzu und der Tontechniker Pat Manske, der Driven to Drive gemastert hat, steuerte das Schlagzeug bei.
Die Bewegung in diesen Liedern wird auf viele Arten erfasst: Autos, sechzehnrädrige Lastwagen, Motorräder, Greyhound-Busse. Es gibt
Pedal-to-the-Metal-Hymnen, die auf einem geraden, zweispurigen schwarzen Asphaltstreifen dahingleiten; ein träges Mäandern auf dem Gulf Blues
Highway; eine Geschichte über die Flucht auf der Interstate; Geschichten darüber, wie man von hier nach dort kommt, und Lieder darüber, wie man
überhaupt nirgendwo hingeht. The Lord of the Highway is calling. Joe Ely möchte Sie auf eine Reise mitnehmen.

Geschmiedet aus demselben Sheffield-Stahl wie Def Leppard, entstiegen auch Crimes Of Passion dieser Stadt mit der Leidenschaft und dem Ziel, unseren Vorbildern auf dem Weg an die Musikspitze folgen. Eine Band, die das Glück hatte, die einflussreiche Ära von Dio, Ratt, Queensryche und Journey miterlebt zu haben, aber keineswegs zu sehr in der Vergangenheit zu stecken, um das Songwriting vom
damaligen Emo/Metalcore-Sound beeinflussen zu lassen.

Es war offensichtlich, dass Crimes Of Passion das gewisse „etwas" hatten, denn innerhalb eines Monats nach der Gründung und dem
Schreiben der Songs für das erste Album ging die Band auf Tour mit Bands wie Tyketto, White Lion, Great White, Gotthard und durfte auch
bereits auf mehreren Festivals auf dem ganzen Kontinent spielen - die Stahlkugel aus Sheffield kam tatsächlich ins Rollen!

After releasing their first EP Fuse, Cranes expanded to a four-piece band and recorded their debut full-length album Self-Non-Self in 1989. Their sound has been described as “gothic minimalism” and “dreampop”, and also became part of the shoegazing movement in the early Nineties. This 1989 album showed their progression with the increased textures in sound and drum slams. The album contains a darker sound and is a mixture of industrial and post-punk music. Originally only six tracks, the band’s label Dedicated Records added a further two tracks upon its re-release in 1992: “Reach (Live)” and “Nothing In The Middle, Nothing At The End”. In that same year, Cranes went on a world tour with The Cure, which increased their popularity. Self-Non-Self is available as a 35th anniversary edition of 1000 individually numbered copies on black & white marbled vinyl.

The music of Brigitte Calls Me Baby is equal parts elegant time warp and up-close exploration of our modern-day neuroses. The Chicago-based five-piece emerged in early 2023 and soon scored a breakout hit with “Impressively Average”—a sublimely shimmering anthem, setting the band on a swift rise that’s recently included embarking on a headline tour with sold-out dates across the US. Having opened for The Strokes, Last Dinner Party and Muse, the band has been featured in the Sunday Times “Breaking Act” and NME’s Radar Spotlight series. Now, with their debut LP The Future Is Our Way Out, Brigitte Calls Me Baby share a body of work that ingeniously spans genres and eras, merging the lavish romanticism of mid-century pop with the frenetic energy and spiky intensity of early-millennium indie-rock. Centered on lead singer Wes Leavins’ hypnotically crooning vocal work, the result is a rare convergence of sophistication and style and unabashed sincerity.

Special exclusive 7" from Il Sogno Del Marinaio, the avant-rock trio formed by legendary bassist Mike Watt (Minutemen, Firehose, Stooges), cult Italian experimentalist Stefano Pilia (Massimo Volume, In Zaire, Afterhours, Rokia Traore) and drummer Paolo Mongardi (Zeus, Fuzz Orchestra, Fulkanelli). Directly from fratello Mike Watt's words: "the "wing and a prayer" seven inch on _improved sequence_ was a product of the covid19 sitch around xmas of 2020. it was put together remotely, w/me here in san pedro, california, usa while from Italy stefano pilia (in bologna) and paolo mongardi (in imola) brought what they had from italy ... yes, the internet can be used for more than spreading hate and lies - it can also be used to collaborate in the spirit of artistic expression! cazzo, imagine that? il sogno del marinaio had finished work w/their "terzo" album and I thought a good way to rally the band would be to focus on a smaller release that reflected the current sitch we were in - see, the basic tracks of "terzo" were recorded in eleven months earlier here in my pedro town at _casa hanzo_ (stefano pilia and paolo mongardi traveling here by plane) so we had no idea what was ahead of us concerning the challenges of that fucking virus sitch. now the "terzo" album was not finished w/those basic tracks getting recorded, we had spiel (vocals) to add plus other stuff and of course it had to be mixed (tim in wales did a great job w/this - much respect to him!) so those experiences of those early covid19 times got "superimposed" on the music that was created right before it was on us, very trippy. that was a big reason I brought the three tunes of this "wing and a prayer" seven inch to stefano pilia and paolo mongardi - all they had was my bass but I believed they could "take the ball and run w/it" cuz that's how powerful I believe music to be: it can be able to overcome 'pert-near any hell trying to stomp it down. stefano pilia chose "wing and a prayer" to mix, paolo mongardi chose "tantrum" and I got what was left: "hail mary pass" - oh, I got my buddies stephen perkins to help w/percussion and petra haden to help w/singing, violin and mandolin. so one reality reality is w/these three tunes is that no one is actually playing w/each other in real time on this little record! it's all done by trading files via the internet...the starting for all three tunes being was my bass - ain't that a trip? shows how bass can be that springboard or launch pad I've always known it could be when not aiding and abetting a tune after the fact – both these "roles" for bass have been very interesting to me, going back to my early days as a minutemen and writing tunes for d boon and George hurley and by also bringing bass to their stuff

Repress.

The re-release series of original Ethiopian classic vinyl continues -- the finest Ethio jazz by Mahmoud Ahmed and his band from 1975 plus two tracks from 1978.The liner notes: 'Melancholy blues, piercingly minimalist country airs, brassy, danceable urban jazz, heart-wrenching, off-key crooners: a rich and stirring patchwork of sounds, crossing Afro-beat, Latino-swing moves and Eastern arabesques (Ana�s Prosa�c).' Such were the first -- informed and enthusiastic -- opinions of the music press when the first strains of modern Ethiopian music sounded on our shores. This was in 1984-1985. Such a positive note, struck about such a country at such a time, created plenty of reverb. The country had been so thoroughly trashed by the media's feeding-frenzy, which spewed out a mix of horror and pious pity, bitter denunciation and humanitarian appeals, wallet-tickling clich�s and refusal of identity. In one brutal swoop, TV-reality transformed Ethiopia into a cursed nation, forsaken by God and by man. In contrast to these tragedies, but in the same hackneyed tones, Mahmoud Ahmed's life resembles an edifying fairy-tale where destiny, talent and achievement combine to triumph over poverty, fate and the evil eye. Biography, history and legend, with the help of God, infallibly weave the lesson of merit rewarded. But who can argue, in spite of the mockery that celebrities invariably draw, when faced with one of the greatest voices in all of Africa? Once upon a time, there was a street urchin in Addis Ababa, who started off as a shoe-shine boy and went on to become one of his country's biggest stars, opening the door to Ethiopian music to Western audiences. --Francis Falceto

180g vinyl + Deluxe hard-cardboard sleeve + OBI + resealable outer sleeve

This isn’t just a seminal album. It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho – Dom Salvador – “Som, Sangue, e Raça” from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, nephew of samba-enredo master Silas de Oliveira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown. Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of Getúlio Cortes (older brother of Gerson King Combo, our James Brown “cover”) in ‘Hei! Você’. Alongside these elements and the presence of Rubão Sabino (bass), who still called himself ‘Rubens’, drummer Luis Carlos (another member of Black Rio), the record enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.



The album ‘Som, Sangue e raça’ paves the way for future generations of musicians and producers of the Carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz, and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.

Ten bad boy digi riddims from the myspace era by Copenhagen’s Maffi crew, dubbed out into 3D space by disrupt in 2024. Raw, minimalist CyberDancehall at its best, nostalgic and oddly futuristic at the same time, this album is quickly becoming RoboCop’s favorite playlist when going to work.
…………………………………………………………………

Maffi Promotions a.k.a. Maffi Boys come straight outta 1773 Kbh V, Copenhagen, Denmark. Originally founded in 1990 by the two homeboys, lazy body Moog and Junior the Rat, Maffi Promotions have been a steady producer of simple digital riddims for years. Hanging out in the streets of Hummel City Junior & Moog used to entertain their friends with the primitve riddims of the Maffi sound. Not knowing that they would do the exact same thing fifteen years later, they continued to believe that one day they would move up the ladder, break out of the underground and reach for the stars.

Now, after finally adopting a little sense of realism, the two homeboys have realised that stardom is nothing compared to spamming people on myspace. So the two stoners decided to get a couple of friends together and turn up the bass online. Together with their sound crew FIREHOUSE, Maffi deal nuff weed and gyals!

Maffi Boys are very dedicated to the art of playing Sensible World of Soccer, rolling weed joints with Manitou tobacco and keeping it real in a Vesterbro-style. So watch out! And don’t test! We’ll be putting up new riddims on a weekly basis. We have nuff things brewing – including a delicious chicken!
………………………………………………………………

Growing up in the streets of Hummel City, Vesterbro, MOOG learned the pleasures of sleeping late, playing Sensible World Of Soccer and picking up hot gyals at an early age. He has spent most of his life trying to master these crucial skills. Taking a break from the dog race, Moog is currently focused on reaching a higher understanding of reggae-science and weedology.

JUNIOR experienced the necessity of rolling well-made spliffs at an early age. Incorporating the aestethic heritage of Scandinavian design, he has spent most of his life perfectionizing this old and traditional art form. Junior is currently taking his ph.d. in digital reggae by buying crates of 80’s 7″ and selecting for his sound system Firehouse.

An innovative and idiosyncratic pianist, Thelonious Monk has been hailed as one of Be-Bop’s founding figures, with unexpected melodic shifts and dramatic hesitation hallmarks of his work. Monk By Five is one of the lesser-known sessions recorded for Riverside in the late 1950s and is one worthy of a wider audience; it features the bright swing of the new ‘Jackie-ing’ and the more dissonant ‘Played Twice,’ alongside engaging revisits of ‘Straight No Chaser,’ ‘I Mean You’ and ‘Ask Me Now,’ the interplay between Monk, cornetist Thad Jones and saxophonist Charlie Rouse especially noteworthy. Definitely worth investigating.

Writing music for film and theatre has always been a big part of Hania Rani's musical world. It is also a part of the creative process that can be tantalisingly out of reach for listeners, either the project doesn't come to fruition or the music simply isn't available away from the film or play. From early collaborations with friends, to last year's two scores for full length films (xAbo: Father Boniecki directed by Aleksandra Potoczek and I Never Cry directed by Piotr Domalewski') Rani has been involved in many such projects, each representing an important step in her artistic development and life as a composer and artist:

"Composing for motion picture or theatre is for me a very different kind of work than writing for my own projects. Firstly, I need to collaborate with somebody else who sees the world through the lense of their own art and craft. That's why these kinds of encounters can be so exciting - they are a promise of creating something very new, as a result of creative work of so many people from all walks of life. Secondly, I feel that music in film is an invisible character, a missing emotion that creates a special atmosphere and sensation. It doesn't illustrate, it completes the work of art. I think it is an extremely sensitive matter that rejects banal associations and easy solutions. I feel like composing for film works like an exercise for my imagination."

It is the nature of these collaborations though, that sometimes the composers own preferred compositions don't make the final cut. This is where Music for Film and Theatre comes in as it allows Rani to present a selection of her own personal favourite pieces composed for film and plays. Pieces that made it to the final cut and pieces that were rejected by the director or the producer. Bringing the music together as an album offers a chance for Rani to share her music with her listeners on her own terms and a chance for her fans to hear a different side of her art.

"I put them in one place, as a collection of precious objects that were kept for years in a drawer. Some of them were composed a couple years ago, some are the result of recent research. I am very happy to finally be able to present them as a separate project."

Rani is of course grateful to all of the directors who have entrusted her to create music for their projects, but she professes especially warm feelings for the pieces composed for her first 'real' theatre play, Pradziady, directed by Michał Zdunik. The title comes from 'Dziady' a term in Slavic folklore for the spirits of the ancestors and a collection of pre-Christian rites, rituals and customs that were dedicated to them. The essence of these rituals was the 'communion of the living with the dead', namely, the establishment of relationships with the souls of the ancestors. "I felt this story needed extremely dark and fragile music, and at the same time a sound that could express the mixture of the two worlds - the living and the dead. I decided to compose part of the soundtrack with a string quartet but including two cellos, viola and only one violin. We recorded in a little house, completely built from wood, mostly from Finnish pine. I always felt this space has a very special, warm and natural acoustics - especially when it is combined with string instruments. The track composed for this theatre play is called Ghosts but actually didn't finally make it to the performance, although I like it so much that I thought it would perfectly fit



this compilation". Other highlights include the enchanting Soleil Pâle written for a collaboration with director Neels Castillon, and improvising dancers Alt Take, the beautiful melancholy of In Between (from the film score for xAbo: Father Boniecki) and the magical bliss of The Beach (from I Never Cry) and together they create a beautiful offering from an artist whose every note is worth hearing, but for whom the journey is just beginning:

"I am very happy to see that many artists consider my music as the right soundtrack for their works, because film music was always a huge inspiration for any of my compositions. I find there a lot of life and real emotions, but also a feeling of freedom. Freedom from my own thinking patterns and prejudices. I also believe strongly in collaboration between people, I always feel this is the way to create something really new, based on a mixture of different ways of thinking, feeling, expressing."

This then is Hania Rani, Music for Film and Theatre – enjoy!

Die Geschichte von Canned Heat ist auch gleichzeitig die Geschichte von Exzessen, Drogenmissbrauch, psychischen Erkrankungen und Tablettensucht, verbunden mit der Affinität für bandinternen Begräbnisse. So sagte erst vor kurzem Drummer Adolfo "Fito" de la Parra in einem Interview: "Ich bin nach über 55 Jahren noch immer bei Canned Heat. Überhaupt noch am Leben zu sein, ist hier schon ein Triumph". Schließlich war Fito seit dem zweiten offiziellen Album der Band "Boogie With Canned Heat" mit dabei, das 1968 auf dem US-Label Liberty veröffentlicht wurde. 1970 erschien "Future Blues", das erste Album mit dem neuen Gitarristen Harvey Mandel. Mit "So Sad (The World"s in a Tangle)" enthält das Album den ersten Umweltschutz-Song der Band. Es handelt vom ständigen Smog über Los Angeles. "Let"s Work Together", eine Coverversion von Wilbert Harrisons "Let"s Stick Together" aus dem Jahre 1962, wurde für Canned Heat weltweit zu einem Top Ten Hit. Im gleichen Jahr folgte der Konzertmitschnitt ""70 Concert: Recorded Live In Europe". Aufgenommen an verschiedenen Orten während der Tournee durch Europa (u. a. der Londoner Royal Albert Hall), ist dies das erste offizielle Live-Album der Band und gleichzeitig das letzte Tondokument von Canned Heat mit Alan "Blind Owl" Wilson, der im September 1970 an einer Überdosis Tabletten starb. Mit "Final Vinyl" veröffentlichten Canned Heat vor kurzem ihr letztes Album; "Future Blues" und ""70 Concert: Recorded Live In Europe" gehören zu ihren essentiellen Alben, als die Band in ihrer Keybesetzung mit Al Wilson, Bob Hite, Fito de la Parra, Harvey Mandel und Larry Taylor Ende der 1960er / Anfang der 1970er Jahre den Zenit ihres Schaffens erreicht hatten. Wilsons Tod hinterließ eine Lücke, die nicht mehr zu schließen war, zumal auch Larry Taylor und Harvey Mandel kurz zuvor Canned Heat verlassen hatten, um sich John Mayalls "USA-Union"-Band anzuschließen.

Isaac Helsen and Zach Frizzell, the unfathomably prolific ambient producer known as zake, have been collaborating together again. They both run the Past Inside the Present label and despite great musical kinship have only put out two records to date: beliefsystems in 2021, and Atonements earlier this year, which first came on Zake Drone Recordings and now gets a cassette reissue on Past Inside the Present. It's a gorgeously hazy analogue affair made with a reel-to-reel and Korg Minilogue. "This album embodies the theme of letting go and moving forward with acceptance," they explain, and what a beauty it is too.

A holy grail for fans of French boogie, early hip hop, Arabic funk and Balearic bops,"Ettika" has been seriously sought after since Vidal Benjamin found it in the 1€ bin back in 2006. Teasing the ears of the underground via Vidal's 'Balearic Nightmare' mix for Noncollective, copies of the original were soon snapped up completely, and the later adopters were sated by a Blackdisco edit from Alexis Le-Tan (himself gifted Vidal's second copy), which is now also rare as hen's teeth. The fervour for the track is easy to understand. Underpinned by an endlessly buoyant bass groove, chanted female vocals dart out the speakers like a post- modern mantra while synth vamps flare in stuttering stereo.

Middle-Eastern motifs add an air of mystery, but this truly belongs in a dance floor utopia. That the track was the product of a 'back-to-work' scheme aimed at unemployed immigrant youth in Rouen only adds to the appeal. Led by teacher Bernard Guégan, a quartet of students delivered lyrics in French and Arabic inspired by their rejection letters, serving a little social commentary and a lot of funk. If you're mad on Ahmed Fakroun and Shams Dinn, or even those folks in the Bush of Ghosts, then this is a must have for you.

Archeology isn't just about excavation, there should be interpretation too, and in this case it comes from Italian duo Hear & Now and Leeds' The Veteran Delinquents. The former furnish the 12" with two radical takes, the dreamy downtempo stroll of their French Remix - all unhurried percussion, Gilmour-riffing and coastal élan - and the peaktime pump of their Arab Remix, which transports the original vocal into a land of desert new beat and Balearic trance with a little space left for some frazzled fretwork. If you've followed their work with Claremont you know the quality on show.

The Veteran Delinquents, the collaborative vehicle of Leeds stalwarts Craig Christon and Tim Hutton, condense a lifetime of club experiences into their remix, establishing the infectious groove of the original before subverting with chugging bass and winking acid, all augmented with their own slick synth work. The original was an all time classic at Craig's Joe's Bakery nights way back when, and this new interpretation is both respectful and revolutionary.

Alex Stein is the latest artist to step up for his debut Drumcode EP, following a stellar contribution to A-Sides Vol.12. The Lisbon-based Brazilian artist has been a lock for stunning techno production stretching back over 10 years, with quality drops on labels including Terminal M and Tronic. Last year he tightened his relationship with the DC crew, playing Drumcode events at Uebel & Gefahrlich in Hamburg and the Blue Tree Songkran festival in Thailand, before a release debut on A-Sides Vol.12 with the excellent ‘Hydra’. Few could disagree: his debut EP on Adam Beyer’s label feels richly deserved. ‘The Chant’ EP is a powerful triumvirate of cuts. The title track is a transcendental gem, led by a rousing vocal and psy elements, without losing any dancefloor punch. ‘Rush’ begins life as a rugged slice of techno, before a dark melodic underbelly finds its laser-kissed feet and propels the track into peak-time territory. ‘Tantra’ takes the baton, with a foot in pummelling bass-driven techno and goa-trance alike, elevated by an evocative vocal.

The magic and majesty of Holger Czukay’s late career works for Claremont 56 is being celebrated on a new compilation. The former Can bassist – a musical maverick renowned for his freewheeling approach to composition, recording and promotion – released a string of inspired tracks on Paul Murphy’s label between 2009 and 2012, typically delivering hard-to-pigeonhole workouts, bona-fide epics and radical reinventions of some of his most beloved tracks.

The collection has been a labour of love – fitting given the sonic details and inventive musicality that marked out the late artist’s solo career – for Claremont 56 founder Paul Murphy AKA Mudd, who first reached out to Czukay after witnessing his now legendary live performance at the Roundhouse in 2009. As Murphy details in his introductory liner notes, it led to a productive working relationship between the pair that included collaborative recording sessions with Ben Smith in Czukay’s legendary Innerspace Studio – a former cinema in Cologne in which much of Can’s music was recorded.The impact of that Roundhouse gig on Murphy is reflected in the fact that two of the tracks on the collection are based on that celebrated performance. There’s ‘Ode To Perfume’, a languid and solo-laden version of one of Czukay’s most celebrated solo records that ratchets up the original’s inherent dreaminess, and a jaunty take on quirky kraut-pop number ‘Photosong’ featuring a spoken introduction recorded at the concert in question.

Murphy’s ability to coax Czukay into delving into his archives is evident across the compilation. Opener ‘A Perfect World (Remix)’ is an eccentric, ever-building masterpiece originally recorded in 1984 – but later re-imagined for Claremont 56 – featuring vocalist Sheldon Ancel and former Can band-mates Jaki Leibezeit and Michael Karoli, while ‘Fragrance’ is a subtly re-wired slab of picturesque Balearic kraut-dub which was initially recorded as a coda for ‘Ode To Perfume’ but lay unreleased for decades.

Then there’s ‘Let’s Get Cool’, a bright and breezy, French horn-sporting 2009 take on 1979 avant-disco classic ‘Cool In The Pool’; ‘My Persian Love (Remix)’, a 2010 re-take of one of his earliest solos recordings; and the near 18-minute brilliance of ‘Music Is A Miracle’. Originally recorded for his fans in the 1980s – but only released three decades later – this widescreen epic not only features drums by Jaki Leibezeit and a fine spoken word vocal by Czukay, but also numerous nods to some of his most revered tracks.

It's fitting, too, that two of the most potent cuts feature Czukay’s much-missed wife and musical muse Ursa Major: the dense, trippy and fittingly out-there ambient soundscape ‘In Space’, and the mesmerising ‘Music To be Murdered By’. Partially inspired by hearing painfully out of tune violin practice through his studio windows, the track was originally recorded for an unreleased album but finally found a home on Claremont 56’s 10th anniversary box set ion 2017. A genuinely spaced-out and mind-mangling slab of organic dub in Czukay’s distinctive style, it delivers a fine curtain call to the iconic artist’s endlessly inventive career.