If you read the name Shankar you may right away think of Ravi Shankar, the grand master of contemporary Indian folk music who was very popular in the 60s due to his connection with the music industry in the United States despite staying away from the pure pop music by maintaining his classic sitar and tabla style ragas to express himself musically. Ananda Shankar used to be his nephew who also made a journey to the USA to gather inspirations from rock artists like Jimi Hendrix among others. His first album from 1970, a conglomerate of classic Indian folk tunes and instrumental versions of the hottest rock songs of the day clothed in a veil of sitar melodies and backed up with tabla drum grooves, was an attempt to combine the spiritual approach of his cultural origins with the light minded blissful attitude of western psychedelic pop music. It worked well in the sense that it is still, nearly fifty years later on, a groovy little album that leaves nobody sitting around at any random hippie party. He took a five year break from recording to create what should become his second album and this is what I am about to present to you now. The cover-tunes were replaced by all original compositions with a lush instrumentation that features the typical sitar, tabla and bowed string instruments such as sarong and sera arrangements mixed with sounds that have a definite western origin such as rock guitars, Hammond organ and moog synthesizers plus full drum kits that take care to enhance the actual groove. Psychedelic rock, raga, fusion-jazz and funk flow into each other quite naturally giving birth to something fresh and exciting I would label as Bengali pop'. The borders between eastern and western music get abrogated here. If it was not for a few deeply mythical chants on a bed of drones here and there you could not even tell this was a record by an Indian artist. This album is quite accessible most of the time and comes with a certain slickness that makes it easy for the listener to understand and appreciate what is going on. Still there is the other side of the coin, the depth pop music often lacks. So in the end this might have been too far out for the average western mainstream fanatic back in 1975 when disco began to rule but it is an awesome sound trip for fans of psychedelic dance music like INCREDIBLE BONGO BAND and all eastern influenced popular rock.
Keysound Recordings are proud to present an EP from one of the UK's most exciting production talents, Otik.
The EP consists of four original productions on vinyl 'Top Ten', 'Latex', 'Notion' and 'True Level,' plus on the digital a refix of 'Top Ten' from label co-owner Blackdown 'Top Ten.'. Collectively they are weighty contributions to the space emerging between techno and bass music currently being forged by labels such as Timedance, Hessle Audio, 3024 and Ilian Tape. 'And Keysound of course haha...' adds Otik. 'I've been very inspired by these labels'. 'I'm based in North East London but I'm originally from Bristol. I've been producing since the age of about 15 but didn't really get into UK dance music until the age of 18,' he adds. In recent times, Otik's released on 17 Steps, Dusky's label, DEXT Recordings, Durkle Disco, Push & Run, Tessier-Ashpool and Infinite Machine. He will also be releasing on Nous Disques later this year.
Günter Schickert, four decades of multi-instrumental cosmic explorations, under Berlin's sky, above genres, and compromises.
It was memorable the time when I firstly listened to his debut LP of 1974, the monumental Samtvogel. It overwhelmed me with layers of echoing guitars roaring into space, causing a powerful release of dopamine spreading through my skin, in the way an Interstellar Overdrive', or a Richard D James Album would do. It was a proof of the divine to discover Günter Schickert, it is a profound honour today to present on Marmo his seventh album to date, Labyrinth, the first to be released on vinyl format since 1983`s Kinder In Der Wildnis.
Schickert's Samtvogel, self-published first, then licensed to Brain, equaled the imaginative leap and sonic power of the early Pink Floyd, Manuel Gottsching's Inventions For Electric Guitar or A.R. & Machines's Die Grüne Reise. What followed, from his second LP Überfällig on Sky Records to his collaborations with Klaus Schulze, Jochen Arbeit and Schneider TM, even if little acclaimed, spans a large spectrum of music styles, always through a distinctive and personal aesthetic, that is deeply linked to the one he firstly crafted back in '74, when Schickert pioneered the use of echo effects applied to guitar playing.
And now Labyrinth, a record that stands for versatility, where genres do not matter, soundscapes or life situations take over, song-writing emotions pop out, handing out a spectrum of surprises to the listener. You may find yourself flying low along steep cliffs and with a blink of eye you are thrown into a Middle Eastern scenery.
The album is divided into two parts, two different production bulks and periods of Günther Schickert's life. Side A features a selection of tracks recorded in 1996, appearing on the 2012 album HaHeHiHo, released via Pittsburgh based VCO Recordings, on a limited press of 100 units, tape format only. I felt that the visionary and emotional richness of these pieces deserved the vinyl format and a chance to reach to a wider audience.
The Raga-inspired Morning' opens Labyrinth with exotic charm and bitter-sweet nostalgia. Sieben' kicks off with the same guitar scales of the previous theme, before the motorised progressions of a Korg MS-20 synth surprisingly storm in, carrying along an intersecting multitude of filters and sharp guitar effects, flowing into an epic, paradisiac ending. Ninja Schwert' remains on astral dimensions, it is a struggle of cosmic forces, where the steady ride of a pounding beat gets embraced by different guitar layers and analogue electronic filtering. The side closes up with HaHeHiHo', a slow ballad featuring Mr. Schickert on vocals, guitar, bass guitar and drum machine - an example of simple, stripped down yet gifted songwriting that is capable to reach the heart of the listener.
Side B contains material produced between 2007 and today. The intricate, bewildering Tsunami' shows the multi-instrumental and recording abilities of Günter Schickert: a field-recorded storm with mesmerising powers, a peculiar progressive approach to guitar playing. Mysterious sinister spirits and sounds are emerging and the feeling of being lost in a pleasant trance arises. In contrast, Oase' muffles the intensity and jumps into a completely different soundscape, where in liaison with the sounds of a rolling drum tom and a desert-like trumpet, the microphone carefully captures the found sound tones of everyday-life objects and actions. Like HaHeHiHo on side A, Checking' represents the vocal gem of the B side, in a raw and direct way of songwriting like if Syd Barrett was his invisible helper. Palaver' (which means unnecessarily talk' in German) assembles different vocal recordings of Schickert into a bizarre free-style conversation through a mysterious language, where he attempts to emulate illiterate children conversating. The final track, Morning (Slide)', reprises the opening theme, this time solely performed through the caressing dilated sounds of Günter's slide guitar.
Sami Baha is a Turkish producer based in South East London. His music was introduced to the world via his 2016 EP 'Mavericks'. Sami got into producing through being a rapper himself, working with local rappers in Turkey and producing beats for them, before setting his sights outside the country. 'Free For All' features MCs from all corners of the globe: UK drill squad 67's Dimzy, Stockholm's Yung Lean and Chicago rapper and singer DJ Nate (aka Flexxbabii). The record also features Egyptian MCs Dawsha and Abanob. Sami's production is refined and elegant, familiar tropes are reassembled in original ways, the instrumentation reflecting his background and influences simultaneously. Everything Sami brings to the album sounds relaxed and minimal, but tough, built from thoughtful arrangements and instruments, shot through with emotion and a dreamy night-time feel.
Miss Information is Miho Hatori (Cibo Matto, Smokey & Miho, Gorillaz, too many all-star Lower East Side collaborations to name).
Miho Hatori created Miss Information while in residence at Brooklyns contemporary arts gallery/creative hothouse, Pioneer Works. Miho began with a simple concept, What if information was a woman She had been
contemplating information not as dominating with ofthidden data-points, but something akin to the moon, a mysterious natural energy that, in her words, brings change to the planet.
Glitched out, sub bass roller from the masterfully mysterious EEE camp with a warped noughties vocal for good measure. The previous four releases have flown out of the racks - don't sleep!
Heavy support already from the likes of Raresh, East End Dubs, Barac and Priku. As always - one-sided, 180g, hand-stamped gear!
*Landing on Alchemy Dubs is our third release on 12' format, a very special collaboration between Ojah, Fikir Amlak, Don Fe and Nik Torp.
The A side contains the track 'On my mind', a vocal version of Ojah's 'Mind' riddim that features beautiful vocals and harmonies by Fikir Amlak paired with inspiring and emotional lyrics. The second cut is a vocal dub version mixed in analog live by Ojah.
On the B side we find Don Fe's excellent flute version 'Remind' that takes the riddim to a different dimension with its deep and meditational melodies. The second cut on this side is a haunted flute dub version, also mixed live by Ojah in classic fashion.
The Hammond and melodica featured on both sides have been played by Nik Torp (keyboard player from The Specials) and masterfully recorded through an MCI desk that used to belong to Island Records (hundreds of seminal records where recorded through it, including for example Bob Marley's Exodus).
Also available complementing this release is ALDBS7007, a 7' that contains an additional Hammond & melodica solo version and an additional dub.
Limited edition of 600 copies, 180g heavyweight vinyl, hand-numbered, served in a thick custom sleeve with amazing artwork by Victor Castro.
Produced by Ojah, recorded at Alchemy Dubs Studio, London, UK
Hammond & melodica by Nikolaj Torp Larsen 'Nik Torp', recorded by George Murphy at Eastcote Studio 1, London, UK
Vocals on A1 by Fikir Amlak, recorded by Manuel Guerra Rubio at Arkchant Studio, Barcelona, Spain
Flute on B1 by Don Fe, recorded by Don Fe at Don Fe Studio, Murcia, Spain
Mixed & mastered by Oscar Pablos 'Ojah" at Alchemy Dubs Studio, London, UK
Graphic design by Victor Castro
Limited edition release of 500 in a black sleeve, each with a unique, experimental numbered screen print, 30 cm x 60 cm, in collaboration with Studio Heretic.
In support of the release Daniel Avery will be playing Drone's take over of Tresor on December the 1st, joined by Richard Fearless, Errorbeauty and Drowned performing live.
PSSU are Richard Fearless and Daniel Avery. Long time friends, they first formed their relationship whilst working out of Andrew Weatherall's legendary 'Rotters Golf Club' where Fearless made 'Trans-Love Energies' and Avery did a lot of Drone Logic. The two are now studio neighbours in Leamouth on the River Thames. They were drawn to the collaboration by a mutual appreciation of the other's music.
'307309' is pure electro soul and, with 'Fabricated from Steel', PSSU deliver a techno monster. Both tracks were forged at the Metal Box, Drone's studio in East London
Eastern Bloc Warsaw is a new Polish record label founded by Piotr Klejment, based in Warsaw, Poland - the first country in Europe where the transition from the communist system to democracy took place. It is a definition of desire for freedom combined with respect and a sense of belonging to places. The main goal of label is to promote music and artists from former Eastern Bloc.
Piotr Klejment started music journey as a DJ in 2005. His DJ sets mixed together very disparate styles. Years ago, along with friends, he founded a group called Underground Perception. They invited a lot of prominent artists (for example Juan Atkins, Kevin Saunderson, Joey Beltram, Marcel Dettmann) and gave them a chance to play for the first time in Poland in the legendary M25 Club. He stayed there as an artistic manager and resident for three years. His two first releases appeared on Technosoul Records (also a collective of DJ's & producers from Poland, which member he also was). The releases came out with remixes by Perc, Sleeparchive and Polish techno legend - Echoplex.
Photography on the cover of EP 'Midnight Confessions' shows authentic Warsaw bloc .
Abstand is a duo project by Martin Brugger and Simon Popp, both members of the Munich-based jazz group Fazer. On their debut 12 Opek they provide off-kilter polyrhythmic percussion psychedelia, layering live and unedited drum tracks blended with sparse electronics that add a subtle Middle Eastern tint. On the B side we're treated with a remix by Stefan Schwander aka Harmonious Thelonious. The Salon des Amateurs denizen serves us a pulsating and more club-leaning take showing why he can always be trusted with turning live percussion into bold, hypnotic jams for the perceptive clubgoer. The Munich-Duesseldorf axis has once again been proven fertile and we will likely hear more coming out of that connection.
Mark Leckey Ist Ein Mit Dem Turner Prize Ausgezeichneter Visueller Künstler, Inspiriert Durch Die Britische Post-punk- Und Rave-szene. "exorcism Of The Bridge@eastham Rake" Ist Der Soundtrack Seiner Ausstellung "affect Bridge Age Regression" (2017), Entstanden Aus Der Bruchhaften Erinnerung Und Mythologisierung Einer Autobahnbrücke An Der M53 In Der Nähe Von Birkenhead, Wo Er Seine Kindheit Verbrachte. Das Stück Klingt Für Ihn Wie Ein Moderner Ritueller Chant, Der Zusätzlich Von Evian Christ Für Den Dancefloor Präpariert Wird Und In Einer Streng Limitierten 10" Auflage Im Chicen Gatefold Mit Bedruckter Innentasche, Poster Und Download-code Bei Warp Erscheint.
Upon examining the eventful life of Can bassist Holger Czukay, one might
conclude that this intrepid musician was a loner. His turbulent career exuded
an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly
emphasized that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an anonymous
manifestation that interacted with him through radio waves or, as happened
later, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a
Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble,
his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records,
who already released the highly acclaimed retrospective 'CINEMA' to mark
the occasion of Holger's 80th birthday at the beginning of the year, has
taken it upon themselves to release reissues of Holger's music in order to
make it accessible once again.
The body never lies. Every dance is a graph of the heart. Nothing is more revealing than movement.
These are the words of Martha Graham, one of the greatest American dancers and choreographers of the 20th century. Massimiliano Pagliara might as well have them tattooed on his chest, close to his heart, being an accomplished dancer, too. He has studied contemporary dance in Milan and Berlin, and went on to dedicate his life to transforming experience into movement, be it musical, physical, or spiritual. Massimilano's message is clear: Don't stand still. Don't keep looking back. Know where you are coming from, but don't remain petrified by the past. Take a chance at Endless Change, instead. Move on! Just like Massimilano did.
Stemming from Lecce province, an area at the south-eastern-most tip of Italy, Massimilano has been based in Berlin for several years where he's been one of the main forces behind recombining the city's hardboiled techno scene with an often overlooked sensibility for the soft and the tender. Call it underground disco passion. Massimilano's last and sophomore album, With One Another, released in 2014, was about celebrating the joy of human encounters and in parts seemed like a big get-together with like-minded artists and friends (among them nd_baumecker, Lee Douglas, and Credit 00). The record quickly hit the number one spot in Groove magazine's album chart - and its creator hit the road.
Besides his busy DJ schedule and far from the usual club circuit routines, Massimilano dedicated himself to intense travelling and exploring the world anew. 'I felt like I have lived more than ever,' he states. 'Getting to discover all these beautiful places around the world and meeting so many lovely interesting people, has inspired me in many different ways. I feel enriched.'
The result of these experiences is Feel Live, Massimiliano's third full-length endeavour. It was recorded in several intimate, sometimes improvised studio settings between Los Angeles, Portland, and Massimiliano's homebase in Berlin as well as at airports and on intercontinental flights high up in the sky. Featuring vocals by Private Agenda, Peaking Lights, Kim Anh and instrumental contributions by Fort Romeau, Tim K, and Jules Etienne, Feel Live is Massimilano's most playful and imaginative work to date. It's as emotional as sensual, as vibrant as the first ray of light after a thunderstorm has cleared the air.
Is it awkward or odd to call this record jazzy Presumptuous to pinpoint its spacial, almost orchestral qualities Unfair on the ruling Cosmic powers to highlight its aspirations of founding a new land of Balearic Harmonia and getting down at a huge fertility rite with electro enthusiasts and house lovers Not one bit. Feel Live is pure grandeur and elegance. It feels like an eternal movement.
Martha Graham has dedicated her whole life to dancing. 'It's permitting life to use you in a very intense way,' she said. 'Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable.' Massimilano couldn't agree more. His advice when facing the inevitable: 'Live what you are feeling, feel what you are experiencing, good or bad, it is an experience.'
The second vinyl release from Nollern Records draws together three cuts of minimalistic groove-driven techno.
Francesco Passantino has delivered two hypnotic dance floor excursions built on throbbing basslines and eerie vocal samples. Tuberoom' is a melodic ride with haunting synths and groovy percussion, whilst Tabu' goes a shade deeper, as mesmerising as it is stripped back.
On the flipside the label founders craft a mind-bending modular kissed restyle of the original, with inspiration taken straight from the Far East. Rich in emotive energy, Nollern envelope the track with a prime vocal sample and subtly enchanting chords.
Bastard Jazz is proud to present the next installment of our long running Tempo Dreams compilation series. As with previous volumes of the compilation, we've tapped an established artist that we're big fans of to shine a light on their personal favorite producers, and compile an album up of all unreleased music from emerging & underrated young talent. And with Volume 5, we're happy to welcome in the Los Angeles based but globetrotting selection of Free The Robots.
Rooted in Santa Ana, CA, Chris Alfaro aka Free the Robots has spent over a decade taking his craft to audiences around the globe. Known as one of the pioneering artists to come out of LA's infamous beat movement, the energy and technical skill behind his live performances have landed him among the greats, sharing stages with Dj Shadow, Prefuse 73, Flying Lotus, to Afrika Bambaataa. Crafting stories to tell with his ever-evolving solo project Free the Robots, he has always had the ability to jump in and out of other worlds inspiring a unique signature sound that hints at jazz, psych, electronic, and hip hop, while remaining un-genre-fiable.
Staying almost permanently on the road, Chris has come across an array of artists and scenes around the world. Different tours and temporary living situations have landed him in the middle of both the DIY underground and more mainstream clubs and stages. Some artists he's connected with have either kept it proudly local or breached international borders. Underrated, unknown, or already on the brink; these are just a few of the people that have crossed paths with Free The Robots. He's chosen these songs as a representation of some of the vibes that inspire his music: Jazz, Psychedelia, Dirtwave, Beats, and a little bit of Future Funk make up Volume 5 of his Tempo Dreams series.
As with all previous volumes, the compiler has produced a track exclusively for the album, which Chris delivers in the bass heavy, South East Asian vibes of "Nasi Goreng" (also available on a limited edition 7" with another unreleased FTR track). Other producers included on the album include Mophono, Never Ending Echo, Kuromoji, RSI-MSK, The Breathing Effect, Cazal Organism, Lefto, Chubby Boss, Caliph8, TITLE, Nois IV, The Heavy Twelves, Mu. and Markey Funk.
North East duo Forriner are back with their third and final instalment in the samurai trilogy on their eponymous 'Forriner Music' imprint. Following a couple of impressive showings with previous EP's 'Condor' and 'In the B' they return for their hattrick with '17:17 Neon'. A four tracker of experimental club music for powerful dance floor experiences that offers two originals as well as a banger from Bird Of Paradise and a mouthful of mathematics from Legget and Suade for the remixes.
First up, 'The Jungle Is Deep' which immediately sets off at a rate of knots! Its sharp pace is tempered by the sound of the drums: dull kick, wooly clap, rattling hi-hats while its bassline bleeds in slowly as a dark repeating tone and subtle chord swell and a haunting, cautious vocal reminds you that 'The jungle is dark and deep'. The second half of the track balances its steamrolling kick with an intricate, hypnotic lead as a growling synth line shuffles and recombines over its rumpled techno groove. It's feeling is transportive, the kind of music that makes you close your eyes on the dance floor.
Fellow Northeast alumni take up the remix for 'The Jungle Is Deep'. Steve 'Four Hands' Legget and Suade Adapted hammer a hefty slice of future dub techno from the skeletal remains of the original! Its chunking, discordant drums and manic echo chamber combine with a lilting bassline making sure you know that this is tough music but that it also has a tender heart. Clipped vocals squelch and flutter throughout but these are more textural than melodic, adding extra depth to the track. This trip is all about striking, psychoactive grooves, pushing the swing settings to extremes. Equal parts sinister as it is are playful. Fitting the typical tradition of winsome, weird dance music.
Over on the flip is the title track '17:17 Neon' featuring vocalist Louis Adams and violinist Late Girl (Laura Stutter Garcia) Breathy melancholic vocals and pitched down, endorphin flooded electronica. This is techno in a state of dewey eyed delirium. The neon of the title is very much instructive here, with the vocal being the scattered, shining light that the track playfully hangs itself from.
Jo Howard aka Bird of Paradise takes the reins for the final remix delivering a charging peak-time club tool with relentless batteries of percussion setting the stage for a trippy soundscape. Other than their Northern roots, what these producers have in common is a distinctive approach to rhythm. The restlessness of the sharp stabs of static perfectly guiding the darkly pulsing mood.
Available as either a 3CD/1 Blu-ray set or a 6LP/1 Blu-ray set, both packages include:
· The original album, now newly remastered by Bernie Grundman from the original analog tapes. For the LP set, Grundman prepared an all analog direct to disc vinyl transfer of the album, preserving the authenticity.
· Electric Ladyland: The Early Takes, which presents 20 never before heard demos and studio outtakes. Included are incredibly intimate demos for song ideas Hendrix recorded himself on a reel-to-reel tape at the Drake Hotel, as well as early recording session studio takes featuring guest appearances from Buddy Miles, Stephen Stills and Al Kooper. Full tracklist included below.
· Jimi Hendrix Experience: Live At the Hollywood Bowl 9/14/68: Part of Experience Hendrix's Dagger Records official bootleg series, this live album documents their triumphant Los Angeles concert held a few weeks before Electric Ladyland was released. The recently discovered two-track soundboard recording captures the energy that had the audience in such a frenzy that many concert goers jumped into the reflecting pool that separated the bandstand from the seats. Full tracklist below. Experience Hendrix's Dagger Records releases are physical only so this will ONLY be available as part of the physical release with no digital.
· Blu-Ray: includes the acclaimed full-length documentary At Last... The Beginning: The Making of Electric Ladyland, the first ever 5.1 surround sound mix of the original album overseen by Hendrix's original engineer Eddie Kramer plus the original stereo mixes in uncompressed 24 bit/96 kz high resolution audio. NOTE: unfortunately due to unforeseen circumstances the documentary will not have translated subtitles.
· Electric Ladyland 50th Anniversary Deluxe Edition includes a full color, 48-page book containing Jimi's handwritten lyrics, poem and instructions to his record label, as well as never before published photos from the recording sessions that were shot by Eddie Kramer himself. Also included are essays by celebrated journalist David Fricke and Hendrix authority John McDermott
· All contained in a numbered luxe casemade book for CD+Blu-Ray release and casemade lifttop box for the LP+Blu-Ray release with new cover art which is true to Hendrix's original vision of the album's cover: a Linda (McCartney) Eastman photograph of the band and children at the statue of Alice In Wonderland in New York's Central Park.
Too Pure and Beggars Arkive reissue 'Peng!' and 'The
Groop Played Space Age Batchelor Pad Music' on clear
vinyl.
'Peng!' is the band's 1992 debut album. 'The Groop
Played Space Age Batchelor Pad Music' is an 8-track
mini album, released in 1993.
Often noted as being one of the most influential and
original bands of the 90s, Stereolab were formed by
Tim Gane and Laetitia Sadier in London in 1990 and
released 13 studio albums, 15 EPs and numerous
singles. Simon Reynolds commented in Rolling Stone
that the group's early records form 'an endlessly
seductive body of work that sounds always the same,
always different.'
They are often noted as being one of the most
influential and original bands of the 90s. Theirs is a
rich, overflowing palette, readily able to blur the gulf
between Os Mutantes and the BBC Radiophonic
Orchestra; merge Krzysztof Komeda with the Velvet
Underground, Francoise Hardy with Neu! and Burt
Bacharach with Esquivel. A deluxe blend, in other
words, with ingredients plucked assiduously from
pop's coolest outposts: 50's lounge, Rive Gauche
chanson, Brazilian tropicalia, North American art rock,
East European film music, Krautrock. hi-fi test
recordings, mood music and more. Somehow they
distil these apparently incongruent components into
an ageless exotica that is all their own.
Too Pure and Beggars Arkive reissue 'Peng!' and 'The
Groop Played Space Age Batchelor Pad Music' on clear
vinyl.
'Peng!' is the band's 1992 debut album. 'The Groop
Played Space Age Batchelor Pad Music' is an 8-track
mini album, released in 1993.
Often noted as being one of the most influential and
original bands of the 90s, Stereolab were formed by
Tim Gane and Laetitia Sadier in London in 1990 and
released 13 studio albums, 15 EPs and numerous
singles. Simon Reynolds commented in Rolling Stone
that the group's early records form 'an endlessly
seductive body of work that sounds always the same,
always different.'
They are often noted as being one of the most
influential and original bands of the 90s. Theirs is a
rich, overflowing palette, readily able to blur the gulf
between Os Mutantes and the BBC Radiophonic
Orchestra; merge Krzysztof Komeda with the Velvet
Underground, Francoise Hardy with Neu! and Burt
Bacharach with Esquivel. A deluxe blend, in other
words, with ingredients plucked assiduously from
pop's coolest outposts: 50's lounge, Rive Gauche
chanson, Brazilian tropicalia, North American art rock,
East European film music, Krautrock. hi-fi test
recordings, mood music and more. Somehow they
distil these apparently incongruent components into
an ageless exotica that is all their own.
Adam X returns to his imprint Sonic Groove with his first album in four years, a 56 minute excursion into EBM and Cyberdelic Industrial Techno titled RECON MISSION. The mission begins with beat driven hypnotic electronics that invoke paranormal illusions of Easter island mythology and Bermuda Triangle disappearances. Climbing forward the album crosses the line into harder industrial territories, conjuring visions of New York City's dystopian past and CIA shadow government experiments.
Adam's own voice adorns tracks such as "Never Ending Quest", "Modular Bodies" and the title track "Recon Mission", while manipulated dialogue samples take the stage on "Tales Of Mystery', 'Search & Retrieval' & 'Delusions Of Paranoia'. Subtle, whispered statements creep in and infect the listener's ear, guiding them deeper into mental oppression. This album is not for the faint of heart, and its meticulously detailed production stands as a testament to Adam X's enduring career in techno. Adam has survived the ups and downs of the industry while continually raising the bar for production value and sound design. RECON MISSION is a triumph, ahead of the curve of modern industrial techno. This is not a throwback, this is Future EBM.
'Cohesion' is the third full album from Anchorsong - AKA Tokyo-born, London-based electronic artist Masaaki Yoshida. Taking inspiration from Classical Indian Percussion, and '70s and /80s Bollywood film soundtracks
Anchorsong creates a journey of psychedelic, danceable and free-spirited compositions that blur the boundary between rhythm and melody. It was whilst extensively touring his previous album, 'Ceremonial', that Masaaki
became deeply fascinated with percussion, and shifted his attention away from the African drums present on his last record to the music of the Middle East, South East Asia, and then more specifically to the sounds of India. 'The Indian
percussion was the one I was most fascinated with, so I began to dig into that genre deeper, I started with classics like Ravi Shankar, and the more classical Indian musicians. But then I began to explore the world of Bollywood and movie
soundtracks which is another world and the more I listened to composers like Sapan Jagmohan, Rajesh Roshan and Kalyanji Anandji, the more the concept of the new record began to form.
Choosing to work with traditional Indian instruments like the tabla and dholak, Yoshida wanted to use instruments that possessed melodic qualities, and could be tuned to work in the context of electronic music. He found that when Indian
percussions mixed with other instruments they began to sound like a melody that blurred the border between rhythm and melody. The concept of bringing together contrasting elements and cultures is evident from the album's title,
'Cohesion'. Here Anchorsong has brought together musical traditions and sounds from across borders, forging a truly unique body of work. Having reached new heights with 'Ceremonial' through accolades such as BBC 6Music's #5 Album
Of The Year, 'Cohesion' looks to build on such successes through the coupling of a comprehensive European tour kicking off around the release of the album.
Following on from the three highly-acclaimed CoOp Presents 'Selectors Assemble' compilation EPs from the past year, it's now time to focus on some of the individual talents from the ever-evolving movement. As the international foundation grows, we invite aboard the extremely talented Neue Grafik into the fold.
French producer, instrumentalist and DJ, Neue Grafik, has been building a strong rep for himself over the past few years, releasing records previously on labels such as Rhythm Section, 22a and Wolf Music. His sound is a hybrid of jazz, house, broken beat and hip hop, all with his unique geographical flavours of African ethnicity, Parisian roots and a love for London thrown into the mix.
So to the music - two brand new tracks, 'I Miss Something' and 'Bed Stuy's Mood', complete with remixes from EVM128, Danvers, Xtra Bruk and NameBrandSound (aka label bosses IG Culture & Alex Phountzi) respectively, making this one essential package for the bruk soldiers and beyond.
In Neue Grafik's words...
"I remember the first time I was at a CoOp party and met IG - I just said something like "unbelievable party, well done! Thank you, man". I didn't expect to be a part of this brilliant family a few months after that; it's totally insane to think about it now.
I began to hang properly with the CoOp fam during a DJ session at The Flex in East London. I was so happy to live in this moment; surrounded by these talented performers, artists and producers, excitedly talking about unreleased music on everyone's USB sticks.
This EP is a personal vision of the broken beat scene and my love for that. A meeting with artists who build my own taste, with friends keeping the same vibrancy and desire for this music. 'I Miss Something' and 'Bed Stuy's Mood' are two tracks dedicated to Porte Des Lilas (Paris), and Bedford-Stuyvesant (New York). One was made in my house, the other on holiday. These two tracks, as well as the remixes from the Selectors Assemble crew, represent a real and deep friendship."
More essential music from the CoOp Presents camp, available on limited vinyl and all digital services. Don't sleep.
Format: 180g vinyl, mastered at half speed, heavy cardboard old Stoughton tip-on sleeve, obi, sticker, liner notes - First ever reissue of important Swiss jazz album Stuff Combe 5 + Percussion by Stuff Combe available on 180g vinyl mastered at half speed, with liner notes by Alain Morisod. - For fans of jazz, soul jazz, funk, sci-fi, bossa nova, spaced out sounds, jazz ensembles, collective wizardry, deep solos, Swiss magic, Francy Boland, Benny Bailey, Geneva Tracklisting A1 Space Trip A2 Boss Turquoise B1 Eastern Blue B2 St-Thomas Info We Release Jazz is very happy to present its fourth release (following Ryo Fukui's Scenery and Mellow Dream and Le Cercle Rouge's soundtrack by Eric Demarsan), the official reissue of 1974's Stuff Combe 5 + Percussion, a hard to find soul jazz jewel from a cast of illustrious jazzmen led by glorious Swiss drummer Stuff Combe. The limited edition 180g vinyl LP is mastered at half speed, cut at Emil Berliner Studios, housed in a black and silver Stoughton tip-on sleeve, and comes with liner notes. Recorded in Geneva, Stuff Combe 5 + Percussion finds Stuff Combe conducting an all-star ensemble consisting of Bob Jacquillard on bass, Francy Boland (The Chet Baker Quintet, arranger for Count Basie, Benny Goodman and the list goes on) on piano and electric piano, bebop and hard-bop legend Benny Bailey on trumpet, and Tony D'Adario on saxophone. The sessions ooze with funk, spaced out sounds, breathtaking solos, and moments of absolute collective wizardry. It's soul jazz at its best with sci-fi and bossa excursions! Born in Bern in 1924, Etienne Stephen Jean Gustave 'Stuff' Combe had a wonderfully prolific career, playing all over Europe and the US and working with Buck Clayton, Bill Coleman, Stan Getz, Kenny Clarke, Oscar Pettiford , Art Taylor, Dizzy Reece, and Lucky Thompson just to name a few.
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In the sweltering North-Eastern Brazilian state of Pernambuco lies the coastal city of Recife, where Amaro Freitas is pioneering the new sound of Brazilian jazz. For the prodigious young pianist, the spirit of his hometown runs deep. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, Amaro's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker and Monk.
As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. As his natural talents became obvious, the young prodigy quickly outgrew his father's instruction. He won a place at the prestigious Conservatório Pernambucano de Música but had to drop out as his family could not spare the money for the bus fare. Undeterred, Amaro gigged in bands at weddings and worked in a call centre to fund his tuition. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, 'he completely blew my mind, I'd never seen anything like it but I knew that's what I wanted to do with a piano'.
Despite not actually owning a piano, Amaro devoted himself to studying day and night - he would practice on imaginary keys in his bedroom, until eventually striking a deal with a local restaurant to practice before opening hours. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar Mingus. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer. 'We kept hearing about this crazy kid who was playing in 7/8 or 6/4, we knew we had to meet him'. Hugo Medeiros joined, and the Amaro Freitas Trio was born.
'I want to show the simplicity of music, to break the stigma that the piano is for a particular social class. Yes, it's a difficult instrument, which many people do not have access to, but with it you can express everything.'
Following his critically acclaimed debut album Sangue Negro (black blood), the title of his sophomore release Rasif is a colloquial spelling of Amaro's home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos.
Preferring to see the piano as a though it were a drum with 88 unique tones, Amaro's intelligence and emotion intertwine on every track, from album opener 'Dona Eni': a scorching reconstruction of the baião rhythmic structure, played in seven measures instead of two, to the serene homage to the coastal reef and its ecosystems on the title track 'Rasif'. 'Aurora' is a suite of three parts, representing the sun's journey from the light and soft of the rise, to the aggressive dissonance at its midday zenith and descending chromatic cadences as the sun sets.
Due for an Autumn release on Far Out Recordings, Rasif sees Amaro Freitas take a deserved step onto the world stage. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.
Amaro Freitas - Piano
Hugo Medeiros - Drums & Percussion
Jean Elton - Double Bass
Henrique Albino - Baritone Sax, Flutes & Clarinet
All compositions by Amaro Freitas
Produced by Amaro Freitas
Recorded by Bruno Giorgi @ Carranca Studio, Recife, Brazil
Mixed and mastered by Bruno Giorgi @ Quarto Studio, Rio de Janeiro, Brazil
Landing on Alchemy Dubs is our seventh release on 7' format, a special collaboration between Ojah and Nikolaj Torp Larsen 'Nik Torp', keyboard player from The Specials.
The A side contains the track 'Mindset', a Hammond and melodica version of Ojah's 'Mind' riddim, both played by Nik Torp and masterfully recorded through an MCI desk that used to belong to Island Records (hundreds of seminal records where recorded through it, including for example Bob Marley's Exodus). Next up on the label will be a 12' featuring versions of this riddim with vocals by Fikir Amlak ('On my mind') and flute by Don Fe ('Remind').
On the B side we find a dub version as usual, mixed in analog live by Ojah in classic style & fashion.
Limited edition of 500 copies, hand-stamped and hand-numbered, served in a thick custom reversed kraftliner sleeve.
Produced by Ojah, recorded at Alchemy Dubs Studio, London
Hammond & melodica by Nikolaj Torp Larsen 'Nik Torp', recorded by George Murphy at Eastcote Studio 1, London
Mixed & mastered by Oscar Pablos 'Ojah" at Alchemy Dubs Studio, London
Graphic design by Victor Castro
Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London
Four-and-a-half decades after the event, saxophonist Charles Lloyd's Love-In, recorded live at San Francisco's Fillmore Auditorium in 1967, the counterculture's West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance," "Temple Bells"), and the inclusion of John Lennon and Paul McCartney's "Here There and Everywhere," Love-In's semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.
It is likely that more joints were rolled on Love-In's cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane's A Love Supreme (Impulse!, 1965) and Pharoah Sanders's Tauhid (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as "the first psychedelic jazz group."
It is to Lloyd's credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd's espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East—as documented on Live at the Fillmore East, March 6 1970: It's About That Time (Columbia)—by which time his pianist, Keith Jarrett, and drummer, Jack DeJohnette, were members of Davis' band (although Jarrett didn't appear at the 1970 gig).
Since 2010, Buyepongo has led a steadily growing Los Angeles underground movement that combines the vast influence of traditional tropical sounds with the streetwise edges of the Latin American diaspora. Much like their name implies (translation: to cause a ruckus), their hybrid style is focused on the celebration, an infectious, energetic vibe that is universally and rhythmically connected. It'll get your feet moving, and much like many of the records from the golden age of cumbia, these two offerings demonstrate an updated and adapted reverence for the roots that is truly distinct to their own unique place and time.
For the group's latest single, that place, the sprawling Latinx scene east of Los Angeles, met head on with the east coast hot pot of Brooklyn. Recorded and produced in collaboration with Names You Can Trust during the band's serendipitous 2017 trip to NYC, this new release takes two of Buyepongo's most fan-favored and party-tested original songs, two that had yet to be recorded, and combines them with the NYCT forty-five ethos: a stripped-down, warm analog recording that perfectly captures Buye's live, bring-the-ruckus style in the room as it happened. "Por La Vida" romps over the A-side, a modern-day classic in the making whose lyrics (how beautiful is life, always full of surprises...) compliment a sunny, easy-going house party vibe, while "Miri" on the flip evolves from a loping, almost reggae groove into a transcendent journey through Caribbean feel-good sounds.
RCA Records release this beautiful 13 track album from East London singer/songwriter NAO. A blend of nu soul/funk and R&B. Follow up to the critically acclaimed debut album "For All We Know" (2016), which was a Brit Award nomination. Includes the current single "Make It Out Alive" which has received plays across R1, R2, ILR, Capital and regional specialists. Collaborators include SiR, Kwabs and Mura Masa. Video plays across MTV and Vevo. Online/social media activity. Ads, features, interviews and reviews across all press. UK tour dates in early 2019. Poster campaign and database mailout.
Celebrating its 50th birthday this year, Westbound Records is the Detroit institution that discovered Funkadelic and the Ohio Players, with a rich catalogue that is probably amongst the most sampled in the world.
Our 'Super Breaks' series makes a welcome return, throwing the spotlight on the records which have been sampled on both Westbound and its Eastbound subsidiary. These come not only from the more obvious names such as the Detroit Emeralds, Denise LaSalle, Junie Morrison, Funkadelic and Ohio Players, but also the lesser-known Pleasure Web and the Magictones.
The list of artists who have sampled these records reads like a Who's Who of the hip-hop and dance worlds. These tracks will be recognised from well-known records by Kanye West, Dr Dre, Snoop Dogg, A Tribe Called Quest, De La Soul, Fatboy Slim, and many more.
Both the double vinyl and the CD come with extensive sleeve notes and a breakdown of where each track has been sampled.
Editions Mego is proud to present the first outing from the legendaryEnglish musician, songwriter, composer and producer Simon FisherTurner alongside the highly acclaimed emerging Swedish sound artist KlaraLewis.
Care is a unique outing rife with delicious dichotomy. The openingtrack positions the aggressive directly against more fragile moments.On the subsequent track medieval melodies sprout from a dense rhythmichiss. Witness a Middle Eastern song appearing amongst a hauntedrattling reverb in the epic 'Tank' whilst a beautiful force of hope can befound within the sound world of the the closing track 'Mend'.
The wide scope of references and constant pull of forces make thisdebut offering a timeless patchwork of sonic spaces. Care is an albumwhich sways in such a salubrious manner one can't help but delight inits unique form of location/disorientation.
Firmly established Industrial Detroit crew cranks out an EP that could have been a solid early 90's Wax Trax! side project with solid beats and cyberpunk grittiness. - ACIID HOUSE
by Fluxion A/D
Born in the warehouses of Detroit long time instigators of the Eastern Market broken beat underground Fluxion A/D captures the Detroit Industrial deep current like no other possibly could. Fluxion A/D is the next manifestation of this cyberpunk network core collective 'DeLIENMetria, Di_sect" improvised precision.
By track two we've already blitzed Cutty Ranks samples via Dawn Of The Dead chatter through Street Fighter vamps and Pulse X resurrection subs. All you can do with Mars89's mesh of gutter sonics is pick out the landmarks you recognise: 'oh yeah that's kinda drill, mmmm gqom, oooo Night Slugs' but like the best hallucinations you just shut your eyes and ride it.End of The Deathsounds like it comes from no place in particular.
Slotting way outside of the current batch of hard-to-describe club music that we're all struggling with, End of The Deathis the Tokyo native's third release, his 2nd for Bokeh (after 2017's Lucid DreamEP) and his first official appearance on wax (after a run of 30 'Biological Tides'/'Poltergeist' dubplates). Bokeh pays full respect to Mars89's futuristic intent with a bad acid Akira sleeve airbrushed by Patrick Savile and a limited VR headset edition - accompanied by a 360° video environment by Seth de Silva.
Bokeh Edwards and Mars89 met at the Bokeh Versions x Diskotopia night in Tangram hairdressers, Tokyo (sponsored by Pioneer) in October 2016. He's a crucial member of the Tokyo's Chopstick Killahz, a self-described "Post Tribal DJ Unit" lurking on the fringes of the city's grime scene. Mars89's self released his debut EP East End Chaos in 2016 on a limited run of zines. He's also recently composed music for Amazon Fashion Week Tokyo 2017A/W and started a residency at Bristol's Noods Radio to highlight DJ and production talent elsewhere in Asia.
Redseal records is proud to present South Korean multi instrumentalist, singer and producer Mogwaa. Three monster tracks of Digi reggae meets East Asian influenced vocoder funk make for a special unique record.
"Blank Mind celebrates its tenth release with the first full EP from SMX, a collaboration between Sam Purcell and Max O'Brien. From the glacial ambience of Hinterland, to the nocturnal convulsions of Uakari, these improvised tracks were recorded in East London from 2015-18.
"The live sessions allowed us to concentrate on simple forms and subtle developments. This project was started with no preconceived ideas about the end product, but we gravitated towards a sound that works both in a club or home environment. The EP serves as an honest and organic journal of sorts documenting the last few years.""
Transmission incoming from Mr. Incognito's secret lab. Rat Life presents eight psycho acoustic models made by the low key East German producer. You probably never heard of him, but he is doing this thing since half an eternity. Rather than playing a lot of shows he focuses on studying the craft of electronic sound manipulation and what else can be said that: he is on top of his game! He shows us that it is still possible to create sonic structures that are beyond the usual by just using classic devices such as the TR 808 rhythm composer and a TB 303 monophonic synthesizer. Next level funk composing at various tempi!
Nach Dem Sensationellen Erfolg Des Ersten Albums - oracle Im Letzten Jahr, Erscheint Nun Das Zweite Album Der Deutschen Jazz-supergroup Web Web. - dance Of The Demons Ist Ein Furioser Tanz Mit Den Dämonen - Mal Im Positiven Spirit Soul Jazz Rausch Wie Bei - land Of The Arum Flower , Das Mit Seiner Ergreifenden Melodie An Ethopian Jazz Der 60er Jahre Erinnert, Oder Mal Verrückt, Entfesselt Wie Bei - sandia .
Web Web Spielt Nun Mittlerweile Seit 2 Jahren Intensiv Zusammen, Man Hat Duzende Konzerte Absolviert Und Man Spürt Förmlich Die Geschlossenheit, Intensität Und Kraft, Die Sich Als Homogener Organismus Aus Einem Guß Heraus Zu Einem Phantastischen Sound Zusammenbraut.
Als Einen Besonderen Glücksfall Konnte Die Band Den Berühmten Marrokanischen Sänger Und Gembri-spieler Majid Bekkas Gewinnen, Der In Rabat Beheimatet Ist. Tony Lakatos Arbeitete Mit Majid Und Joachim Kühn In Den Letzten Jahren Immer Wieder Zusammen, Ebenso Roberto Digioia In Zusammenhang Mit Klaus Doldinger. Insofern Lag Es Nahe, Diesen Brillianten Musiker Mit Seinen Nordafrikanischen Wurzeln Mit Dem Ungeschliffenen Konzept Von Web Web Zu Verbinden. In - maroc Blues , Einer Soloperformance Von Majid, Hört Man Den Warmen Klangkörper Der Gembri, Einem Kontrabassartig-klingendem Instrument (dreisaitige Langhalslaute), Sowie Auch Majids Wunderbare Stimme, In Der Sich Die Jahrhunderte Alte Tradition Der Berber Widerspiegelt. - safar Zeigt Ebenso Die Große Improvisatorische Klasse Von Web Web, Vor Allem Wie Sie Auf Allen Ebenen In Die Spirituelle Sprache Eintauchen.
Majid Bekkas Ist Einer Der Bedeutendsten Musiker Und Vertreter Der Gnawa-musik, Die In Der Südlichen Sahara Beheimatet Ist. Am Konservatorium Für Musik Und Tanz In Rabat Studierte Er Seit 1975 Klassische Gitarre Und Oud.
Nach Ersten Erfahrungen Mit Eigenen Bands In Den 80er Jahren Gründete Er 1990 Sein Trio Gnaoua Blues Band, In Dem Er Blues Mit Gnawa-musik Verband. In Den Darauffolgenden Jahren Interessierte Er Sich Zunehmends Für Jazz, Trat Schon Bald Mit Größen Wie Archie Shepp, Louis Sclavis, Peter Brötzmann Oder Hamid Drake Auf.
- dance Of The Demons- Wurde Wie Auch - oracle An Einem Wochenende Live In München Eingespielt
Toningenieur Ist Wie Auch Bei - oracle Jan Krause (beanfield, Poets Of Rhythm U.v.m.)
Das Nächste, Dritte Web Web Album Wird Im Winter 2018 Ebendort In München Aufgenommen, Und Es Werden Wíeder Ein Oder Zwei Hochkarätige Gäste Dazu Eingeladen.
Web Web Sind: Roberto Di Gioia (piano, Synth, Percussion), Tony Lakatos (tenor- Und Sopranosaxophone), Christian Von Kaphengst (upright Bass) Und Peter Gall (drums).
Roberto Di Gioia Arbeitete Mit Zahlreichen Jazz-legenden Zusammen, Wie Z.b. Mit Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter U.v.m.
Anfang 1990 Wurde Er Mitglied In Klaus Doldingers Passport.
Als Pianist Machte Er U.a. Aufnahmen Mit Udo Lindenberg (mtv-unplugged,2011), Charlie Watts (- music Of The Rolling Stones , 2005), Console (- reset The Preset , 2003), The Notwist (- shrink 1998, - neon Golden , 2002).
Seit 2007 Arbeitet Er Zusammen Mit Samon Kawamura Und Max Herre Als Kahedi: Max Herre (- hallo Welt , 2012), Joy Denalane (- gleisdreieck , 2017), U.v.m.
Seine Eigene Band Marsmobil (produziert Von Peter Kruder) Wird Im Herbst Ihr 4.studioalbum Veröffentlichen.
Tony Lakatos Stammt Aus Der Berühmten Lakatos-familie Aus Budapest, Ungarn. Sein Vater War Ein Berühmter Geiger, Ebenso Sein Jüngerer Bruder Roby. Er Begann Mit Dem Saxofon-spiel Als Er 15 Jahre Alt War.
Tony Studierte Auf Dem Bela-bartok-konservatorium In Budapest, Machte Seinen Abschluß 1979 Und Spielte Seither Auf Über 350 Jazzproduktionen Weltweit Mit, U.a. Mit Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony War Mitglied Der Band Pili Pili Von Jasper Van´t Hof. Seit 1993 Ist Er Solist In Der Hr Radio-bigband.
Christian Von Kaphengst Bekam Mit 6 Jahren Klassischen Klavierunterricht Im Peter-cornelius-konservatorium In Mainz.
Von 1988 Bis 1995 Studierte Er Jazz-kontrabass Sowie Instrumentalpädagogik An Der Musikhochschule In Köln.
Sein Jazzquartett - cafe Du Sport Absolvierte Im Auftrag Des Goethe-instituts Tourneen Nach Pakistan, Indien, Türkei Und Westafrika. Seit 1999 Ist Er Regelmäßig Bassist Von Patti Austin Sowie Der New York Voices Für Europäische Konzerte.
Von Kaphengst Spielte U.a. Mit Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.
Peter Gall Gewann Bereits In Jungen Jahren Erste Preise Bei Jugendjazzt Und Tourte Mit Dem Bundesjazzorchester Unter Leitung Von Peter Herbholzheimer. Er Studierte An Der Berliner Universität Der Künste Und Am Jazz Institut Berlin Bei John Hollenbeck. Gall Absolvierte Sein Masterstudium An Der Manhattan School Of Music Bei John Riley.
Er Arbeitete U.a. Mit Kurt Rosenwinkel, Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.
Feedback - Web Web - oracle :
"oracle Ist Nicht Nur Ungemein Packend, Sondern Klingt Auch Absolut International, Bewegt Sich Auf Einer Ebene Mit Leuten Wie Kamasi Washington Oder Shabaka Hutchings." - Jazzthetik
"sun Ra Wäre Stolz Gewesen Auf Web Web Und Ihr Erstes Album Oracle." - Soultrainonline.de
"...the Album Is Engaging And Fascinating In Equal Measures. ... Sonically, The Album Embraces The Various Late 1960s And '70s Jazz Aesthetics Of Modal, Fusion And Spiritual Jazz Soundscapes, But 'oracle' Isn't A Strata East Or Black Jazz Tribute Record. This Is Very Much A Contemporary Affair With Its Richness Emanating From The Group's Varied Musical Tastes And Sensibilities And It Favours An Entire Listening Experience." - Ukvibe.org
"raise A Glass And Toast This Supremely Enjoyable Recording." - Birdistheworm
"oracle Contains 13 Tracks Of Pure Retro Sounding Perfection. This Is Like A Long Forgotten Treasure. It's Certainly An Album Serious Lovers Of The Genre Will Embrace." - Reviewgraveyard
"wonderful Album!!" - Simon Harrison / Basic Soul
"this Is Amazing. Going To Have To Grab A Vinyl Copy For The Collection" - Kev Beadle
"fantastic Record ! Love It ! We Need More Music Like This !!" - Peter Kruder
Ishio Dai (Japanese electro beat maker) is new generation of dance music talent in U.K capital London .He making new style' organic jungle/drum and bass dubstep jazzy Brokenbeats and contemporary techno. His music education are influence by 90's euro rave culture . But he is 100% japanese that this is special case .
His 2017' 12inc vinyl Mirage was quick sold out in London/Soho and east london. Richard Fearless (Death in Vegas) played on I.D magazin'mix. and Rinse FM' Jungle proguram DJ RON interviewed . A lot time NTS Radio' DJ's played his new dubplate.
U.K finest dubstep artist 'Horsepower production' (Tempa Swamp81) support his new label Effective96 .They colaborate new electro beats that's nothing others .(cutting number EF-011 )
Brendon Moeller offers up his 'Set In Motion' EP on Echocord sub-label Echo Echo this September, comprising three originals from the Dub Techno veteran. South Africa, New York based producer and DJ Brendon Moeller aka Beat Pharmacy/Echologist has long been respected as one of the pioneering figures in ethereal, dubbed-out Techno with regular appearances at global hot spots like fabric, Berghain and Cielo as well as releases on labels like Third Ear, Kimochi, Neovinyl and Echocord. Here though we see Moeller joining the roster of the latter's sublabel Echo Echo, marking its fourth release. Title-track 'Set In Motion' leads with Brendon's signature murky synth textures at its core whilst lumpy low-end tones, shuffled hats and spiraling dub echoes fluidly undulate amongst one another throughout. 'Eastern Beach' follows, and as the name would suggest, nods towards brighter sounds with airy pads, soft bell chime synths and pulsating subs driving the composition alongside swinging, heavily reverberated percussion. 'Economy' then closes the package, stripping things back to gritty dub stabs, dusty 4/4 drums and billowing noise sweeps.
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Last delivered 5 years ago available to reorder, subject to availability
* This cut from east London's King General and Bush Chemists originally surfaced on a Conscious Sounds 7' in 1996, promptly sold out and has been troubling collector's bank balances ever since.
* This welcome repress is backed with a previously unreleased dub version from Bush Chemists.
* Yet another successful archive raid from Partial Records.
Originally released in 1972, Lord Of Lords was Alice Coltrane's final album for Impulse! and the last installment in her awe-inspiring trilogy that also included Universal Consciousness and World Galaxy. While all three records featured strings alongside a jazz ensemble, Lords Of Lords stood apart from its predecessors due to the sheer size of the orchestra (12 violins, 6 violas and 7 cellos, arranged and conducted by Coltrane herself) and its refined, blissful performances - shining a vital light on the devotional path that she would follow for the rest of her career.
On the first two pieces, "Andromeda's Suffering" and "Sri Rama Ohnedaruth" (titled after the spiritual name for her late husband), Alice's dazzling piano and harp blend perfectly with the blanket of strings, while the haunting rhythm section of Charlie Haden and Ben Riley and a magnificent, droning electric organ emerge immaculately on the title track and closer "Going Home." Coltrane's musical vision is bold in its imagination and cosmic in scope, yet remains intensely personal and immediate. Lord Of Lords points inward as much as to the beyond, recalling her classical roots and recasting Eastern modes to radically invert the American avant-garde and spiritual jazz traditions.
This first-time vinyl reissue has been carefully remastered from the original master tapes.
