Suche:enamor

Step inside the world of Ginger Root. Cameron Lew makes it easy to do so; every considered detail is his own manifestation, written, designed, and executed as an all-encompassing diorama of sound and sight. A multi-instrumentalist, producer, songwriter, and visual artist from Southern California, Lew has crafted his project steadily since 2017, inviting a fervent and growing legion of fans into storylines drawn across mediums: captivating albums with accompanying films and globe-spanning tours. The Ginger Root sound _ handmade yet immaculately polished synth-pop, alt-disco, boogie, and soul _ takes shape through Lew's lens as an Asian-American growing up enamored by 1970s and '80s music, specifically the creative and cultural dialogue between Japanese City Pop and its Western counterparts from French Pop to Philly Soul to Ram-era McCartney. He spins his retro-minded influences and proliferates savvily in the present, synthesizing a songwriter's wit, an editor's eye, and a producer's resource into something singular and modern. SHINBANGUMI, his long-awaited third LP, and Ghostly International debut set for physical release in 2024 with a visual album component, translates roughly to a new season of a show. It finds Lew more poised, idiosyncratic, and intentional than ever in a new chapter of life, unlocking "exactly what Ginger Root should sound and feel like," he says. "In terms of instrumentation and musicality, it's the first time that I felt very confident and comfortable with what everything should be comprised of. On the more personal side, I'm coming out of the last four years of writing, touring, and living as a different person; SHINBANGUMI is a platform to showcase my new self."

Aventura is an American bachata group that broke into the mainstream with their 2002 hit "Obsesión (featuring Judy Santos)". With a line-up comprising Romeo Santos, Lenny Santos, Henry Santos and Max Agende Santos, they are regarded as one of the most influential Latin groups of all time. They have sold out many arenas including the world famous Madison Square Garden. Aventura has been nominated for awards such as American Music Awards, the Latin Grammy Awards, Billboard Latin Music Awards, and Premio Lo Nuestro.

When the grunge explosion of the early `90s elevated Seattle's flannel-clad misfits out of the divey clubs of downtown and into the mainstream, a new generation of restless artists filled the void left in the Pacific Northwest's underground music scene. The under-21 crowd making music in the wake of Nevermind seemed even less enamored with the slick production values, classic rock nods, and testosterone-fueled moshing culture that came with the Zeitgeist, favoring their own kind of Revolution Summer-style pivot away from the popular sounds of the era towards a more emotionally nuanced, melodic, and inclusive style of punk. The Puget Sound trio Lync perfectly captured the spirit of that era, blending the passionate chaos of the DC and San Diego scenes with the rough-hewn DIY pop sensibilities of Olympia's thriving indie community into one unified sound. Though they were only a band for two years, they helped define the next era of the Northwest underground, inspiring countless other artists and instigating the creation of beloved records from the region. After being out of print for over a decade, the band's sole LP These Are Not Fall Colors has been remastered and expanded into a 2xLP with the inclusion of "Can't Tie Yet"_a compilation track from the album's recording session_into a deluxe edition available courtesy of Suicide Squeeze Records. Originally released on K Records in the summer of '94 just a few months before the band called it quits, These Are Not Fall Colors is a boisterous collection of scrappy basement-show anthems played on duct-taped-together gear. Led by the off-kilter melodies of late singer/guitarist Sam Jayne and hammered into place by the driving bass of James Bertram and drum battery of David Schneider, the album's eleven songs channel that undefinable sound of the early `90s before descriptors like "post-hardcore" and "emo" became pejorative terms. Sure, you get a sense of the more sophisticated mid-tempo punk approach on songs like "B" and "Silverspoon Glasses," and maybe catch wind of wistful songwriting on "Pennies to Save" and "Cue Cards," but Lync seemed to cull their ideas from whatever bits of inspiration they could find in the gray gloom and geographic isolation of western Washington, absorbing it all and churning it together into a style uniquely their own. Despite Lync's short existence, modest aspirations, and DIY approach, their work had a ripple effect. Jayne would go on to make music under the moniker of Love As Laughter. Built to Spill's Doug Martsch was so enamored by the album that he enlisted Bertram and Schneider to serve as his rhythm section on the There's Nothing Wrong with Love tour. These Are Not Fall Colors engineer Phil Ek would go on to help record and produce records by Fleet Foxes, Band of Horses, and The Shins. Early bassist Isaac Brock and These Are Not Fall Colors album art contributor Jeremiah Green would go on to form Modest Mouse. Bertram and Green would also go on to form the revered indie rock group Red Stars Theory. At times it feels like you could pick any major Northwest indie rock group from the `90s and `00s and trace their DNA back to Lync. The deluxe edition of These Are Not Fall Colors comes pressed on 180g vinyl and packaged in a gatefold cover with printed inner sleeves and expanded artwork by Jesse LeDoux. The 2xLP also features an 18x24 poster with extensive liner notes by Brian Cook. Altogether, this new version of These Are Not Fall Colors not only brings this celebrated classic back into analog libraries of old fans, it also provides new context and appreciation for Lync's ongoing impact on both a local and international level.

10 Year Anniversary Vinyl Release (first time vinyl pressing of Blake Mills’ debut album). Includes Hi Res Audio Download Card & Poster Foldout. BLAKE MILLS is a Grammy-nominated songwriter, guitarist, producer, and composer based in Los Angeles. In 2010, Blake’s solo career began with this self titled critically acclaimed album released only on a limited run of CDs and digitally. It became a cult favorite over the years, with 2019 marking the first time it will be pressed on vinyl. In 2015 he produced the highly acclaimed sophomore album SOUND & COLOR for ALABAMA SHAKES. The album reached #1 on Billboard charts and was nominated for six Grammys, winning Best Alternative Album, Best Engineered Album, Best Rock Performance and Best Rock Song. Blake went on to produce the albums NO SHAPE for PERFUME GENIUS, DARKNESS AND LIGHT for JOHN LEGEND, WE’RE ALL GOING TO DIE for DAWES, and SEMPER FEMINA foR LAURA MARLING - earning him his second Producer of the Year Grammy nomination. Blake also composed original music for DAVID O’RUSSELL’S Academy Award nominated film JOY. As a session player and sideman he has worked with BECK, CASS MCCOMBS, JACKSON BROWN, LUCINDA WILLIAMS, BAND OF HORSES, FRANK OCEAN, RANDY NEWMAN and NEIL DIAMOND, among others. RICK RUBIN and T BONE BURNETT frequently call upon his services as a guitarist, and equally enamored is ERIC CLAPTON who told Rolling Stone magazine “Blake Mills is the last guitarist I heard that I thought was phenomenal

Pink Vinyl. The title of the most recent Atmosphere album, May 2023's So Many Other Realities Exist Simultaneously, evokes the multiversal storytelling that's recently vaulted into the mainstream consciousness. With their latest effort, the irrepressible Talk Talk EP, the Minneapolis legends dart across threads of space-time to grab hold of the one where Slug and Ant became titans of the electro-rap that was foundational to their youths. By evoking acts like Kraftwerk and Egyptian Lover, Atmosphere makes visions of the future from four decades ago seem new once again, the relentless forward churn of technological optimism reimagined as an endless loop with irresistible drums. The genesis of the Talk Talk EP was the session for a song of the same name that appeared on So Many Other Realities Exist Simultaneously. A collaboration with Lifter Puller alum Bat Flower, the song "Talk Talk" exists alongside electro classics in an uncanny valley that's been warped into a sweaty nightclub, at once vaguely alien and deeply human. Enamored with the song's outcome, Slug and Ant returned for a longer exploration of the sound, to mesmeric results. The pulsing "Rotary Telephone," where the TV antennas seem tuned to a world just slightly askew from ours, thrives on the tension between Slug's careening vocals and the song's taught structure_form matched perfectly with content. And on "Hear Hear," the struggle to make human connections is revealed as a beautiful one. For all its well-documented roots in disco and R&B, rap's connection to the electronic music of the 1970s and `80s is a core part of its DNA. The Talk Talk EP is one of the clearest articulations of this truth to emerge in many years, a testament to the communal power of programmed sound. For proof, look no further than "Traveling Forever," the haunting missive that closes out the record. Images flash: of police knees on necks, of prying cameraphones, another empty hotel room indistinguishable from the last. "I never got to learn how to dance for you," Slug raps, pointedly. "I don't know whether or not that's an attribute." A chill runs down your spine but the skull at its top keeps nodding.

As the title suggests, the recording Tenorlee finds Lee Konitz, the great American saxophonist,
playing exclusively on tenor. It was a spontaneous decision, and a tribute to his dear friend,
Lighthouse All-Star saxophonist Richie Kamuca, who had passed away just days before Konitz
entered the studio for these sessions. Konitz classically trained on the clarinet, but switched to jazz
saxophone after being enamored by Lester Young. By 1945 the 18 year old Konitz was performing
professionally. He made a staggering 150 albums as a band leader over the course of his long and
storied career. He played and recorded with everyone from Dave Brubeck, Charles Mingus, Ornette
Colman, Elvin Jones, and Gerry Mulligan, to Elvis Costello, Brad Mehldau and Charlie Haden.
Between 1948 and 1950, he was a member of Miles Davis’ group, and participated in the recordings
that would eventually be collected and released as Birth of The Cool. With a trio featuring Lighthouse
All-Star alum Jimmy Rowles on piano and Michael Moore on bass, Kontiz called out old and familiar
songs. The intention was to “let the tunes happen” as only finely tuned jazz musicians of certain
experience can. Of note is “Lady Be Good” which finds Konitz and Rowles quoting Lester Young’s
solo from the 1936 recording with Count Basie. From 1978, originally on the Choice label, this album
has been remastered and is presented here as the artist intended, with its original title, track order and
album artwork, for the first time since its original release. Remastered by Alex McCollough at True
East Mastering. Vinyl cut by Jeff Powell at Take Out Vinyl.

Bachman has a dedicated fan base who is tightly focused on his next steps. While he has always been restless with his art, his stylistic changes in 2020's "Axacan" demonstrated - and excited - many within that fan base as to how transformative his work and vision can be for "traditional" music in these modern times. This fresh work continued with 2022's "Almanac Behind". "When The Roses Come Again" is a perfect next step to this trendline, a synthesis of tradition and abstraction. In other words, it is yet another vivid reimagining of what a "traditional" album can be in modern times. On this LP Bachman takes acoustic guitar, banjo, fiddle and mouth harp alongside oscillators, drum apps and more to construct one-man string band compositions. Integrating technology as a tool for collage, as well as acoustic instruments that pre-date all of us, Bachman excitingly creates an album that has as much to do with Terry Riley, Laraaji, Eno’s late 70’s ambient albums, and 75 Dollar Bill, as it does the Carter Family, Stanley Brothers, and Hobart Smith. "When The Roses Come Again" is destined to thrill those who have been so enamored with Bachman's past exciting turns as well as pull new folks into the folks who are excited by new sounds.

Bachman has a dedicated fan base who is tightly focused on his next steps. While he has always been restless with his art, his stylistic changes in 2020's "Axacan" demonstrated - and excited - many within that fan base as to how transformative his work and vision can be for "traditional" music in these modern times. This fresh work continued with 2022's "Almanac Behind". "When The Roses Come Again" is a perfect next step to this trendline, a synthesis of tradition and abstraction. In other words, it is yet another vivid reimagining of what a "traditional" album can be in modern times. On this LP Bachman takes acoustic guitar, banjo, fiddle and mouth harp alongside oscillators, drum apps and more to construct one-man string band compositions. Integrating technology as a tool for collage, as well as acoustic instruments that pre-date all of us, Bachman excitingly creates an album that has as much to do with Terry Riley, Laraaji, Eno’s late 70’s ambient albums, and 75 Dollar Bill, as it does the Carter Family, Stanley Brothers, and Hobart Smith. "When The Roses Come Again" is destined to thrill those who have been so enamored with Bachman's past exciting turns as well as pull new folks into the folks who are excited by new sounds.

Call Me By Your Name, the film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.

Summer of 1983, Northern Italy. An American Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

The film received widespread critical acclaim, particularly for Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction, and the screenplay. Call Me By Your Name won a variety of awards, including an Academy Award, BAFTA, GLAAD and the 23rd Critics' Choice Award amongst others. Sufjan Stevens' song "Mystery of Love" was also nominated for the Academy Award for Best Original Song.

Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and "the kind of canon they would be a part of."

Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: "Visions of Gideon", which was used at the end of the film, "Mystery of Love," which was featured in the film's first trailer, and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.

Call Me By Your Name is available as a limited edition of 15.000 copies on "Velvet Purple" coloured vinyl. The 2LP is housed in a deluxe gatefold sleeve with rainbow laminate finish and includes printed innersleeves, an insert with movie stills, and a poster.

Call Me By Your Name, the film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.

Summer of 1983, Northern Italy. An American Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

The film received widespread critical acclaim, particularly for Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction, and the screenplay. Call Me By Your Name won a variety of awards, including an Academy Award, BAFTA, GLAAD and the 23rd Critics' Choice Award amongst others. Sufjan Stevens' song "Mystery of Love" was also nominated for the Academy Award for Best Original Song.

Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and "the kind of canon they would be a part of."

Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: "Visions of Gideon", which was used at the end of the film, "Mystery of Love," which was featured in the film's first trailer, and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.

Call Me By Your Name is available as a limited edition of 15.000 copies on "Velvet Purple" coloured vinyl. The 2LP is housed in a deluxe gatefold sleeve with rainbow laminate finish and includes printed innersleeves, an insert with movie stills, and a poster.

Everybody Digs Bill Evans was Evans's second album, done two years after his first record as a leader. Though his producer (Orrin Keepnews) had wanted Evans to record a follow-up album to his debut sooner, the self-critical Evans felt he had "nothing new to say" before this album.

The recording captures Evans at a time when he frequently played extended musical ideas using block chords, a technique also favored by Milt Buckner, George Shearing, Oscar Peterson, and other jazz pianists. That combined with his use of pedals gave him a sound considered by critics to be innovative. Though Evans had quit the Miles Davis band a month before the album was recorded, Davis was enamored of Evans's piano sound as it was developing through 1958, and decided to use him as the pianist for four of the five tracks on the 1959 recording Kind of Blue.

Belgian-Japanese piano wizard Alex Koo seemed destined for a career as a classical concert pianist, but in his teens, he became completely enamored with jazz. Driven by his passion, he moved to New York, where he studied and taught at the renowned NYU Steinhardt. There he came into contact with jazz greats Mark Turner and Ralph Alessi, with whom he released the album "Applebueseagreen" in 2019, which was promptly included in the prestigious list of "Best Albums of 2019" by the legendary Downbeat Jazz Magazine with the words "Stunningly original". Domestically, too, one blazing review upon another: "Belgium is too small for pianist Alex Koo" or "We are stunned ", we read in national newspapers De Tijd and Le Soir.
With his brand new Etudes for Piano, composed for and commissioned by BoZar Brussels, he shows how his passion for both worlds - jazz and classical - merge perfectly. Adventurism and virtuosity go hand in hand with melancholy and elbow work (literally, for those who really know Koo knows). His music sounds like a marriage between Debussy, Chopin, Reich, Rachmaninov on the one hand and Keith Jarrett, Craig Taborn, Brian Eno and Philip Glass on the other. Alex Koo is a conjuring natural born storyteller on piano.

Tape

The next issue in the on-going Mastermix series features a centerpiece of Frankfurt’s club history: Wild Pitch Club.

A predecessor to the esteemed Robert Johnson and a stepping stone for Panorama Bar’s very own nd_baumecker.

Founded by Playhouse masterminds Ata and the late Heiko M/S/O it was a Thursday club night that heavily featured house music as a prescription to the ongoing techno fever. Enamored with the US-American roots of it and all things deep, it not only presented the right records, but also their creators and protagonists. With a string of guest DJs from Robert Hood and Claude Young to Kerri Chandler and Theo Parrish as well as talent from the UK and Europe, it was one of the culture’s hubs at the time.

Here you have its testimony. Selected and mixed by Ata and nd_baumecker, it’s an authentic snapshot of the club’s vibe and spirit, spread over a collectable tape (download included) and a pleasant streaming version, it’s the full dosage. Like Roach Motel confessed: Wild Pitch, I love you.

Impatiently returning to the golden age of Ecuadorian musica national, this second round of retrievals is more of a selectors’ affair: less reverent, more free-flowing, with more twists and turns. There is no let-up in musical quality, maintaining the same judicious, heart-piercing balance between emotional desolation and dignified endurance, the same bitter-sweet play between affective excess and musical sublimity.

This time around, the woman steal the show. Laura and Mercedes Suasti were child stars, with an exclusive Radio Quito contract. Unlike nearly all the men here, they lived long and prospered: Mercedes died last year, at the age of 93. Gladys Viera and Olga Gutierrez both came to Ecuador from Argentina. To start, Gladys plugged the scandalous new Monokini swimwear; Olga performed for visiting British royalty in 1962. Olga was glamorous but tough. She would make little of the amputation of one of her legs: ‘I don’t sing with my leg.’ She is accompanied on our opener by quintessentially reeling, sultry musica national: haunted-house organ, twinkling xylophone, Guillermo Rodriguez’ heart-plucking guitar-playing, and lilting, dance-to-keep-from-crying double-bass. ‘Sometimes I think that you will leave me with no memories,’ she sings, ‘that you hold only disappointments in store for me… In the future your love will search me out, full of regret. By then it will be too late, there will be no consolation, only disappointment awaiting you.’

Other highlights include the two contributions of Orquesta Nacional: Ponchito Al Hombro, like an off-the-wall forerunner of the Love Unlimited Orchestra, beamed into the tropics from an unknowable time and space; and the tone poem Atahualpa, a mystical yumbo invoking Quito’s most ancient inhabitants, the Kichwa. Also the tremulous, gypsy-flavoured violin-playing of Raul Emiliani, who arrived in Quito from Italy, suffering PTSD from the Second World War; the inscrutable, sardonic experimentalism of organist Lucho Munoz; and the mooing and whistling of Toro Barroso — school of Lee Perry — in which a muddy bull dashes home to his darling chola, fearless, full of desire.

Lavishly presented, with a full-size, full-colour booklet, with transporting art-work and expert notes. Luminous sound, by way of Abbey Road, D&M and Pallas.

Los York's became the epitome of Peruvian garage sound and the kings of the multi-group concerts which teenagers flocked to on Saturday and Sunday mornings in Lima's main movie theaters. It took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. It features a beat-influenced go-go twang guitar garage psych tone throughout, including a bunch of covers like Alan y sus Bates' 'Pronto Un Doctor' or The Box Tops' 'The Letter', and amazing originals like 'No Puedo Amar' with an intense garage beat. First time official reissue. - DESCRIPTION: The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers and, of course, Los York's took over. Their supportive fans would follow them to every gig. After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The band was backed by Melcohita on vibraphone and Mario Allison on percussion.

Released in 2019. His debut studio album includes the successful "Otra Noche Mås” remix featuring Farruko. Wheeler first became widely known after a video of him singing went viral in 2016, after which he began pursuing a career as a musician. Signing with Dynamic Records in 2018, Platónico was released the following year, executively produced by DJ Nelson. 2 LP/Colored Vinyl: LP 1 - White Marble + LP 2 - Red Marble.

Volker Bertelmann and Hildur Guðnadóttir hardly need an introduction - their distinct styles have graced the speakers of pretty much anyone enamored with experimental music in the last decade, and between them the two have chalked up an enviable canon of successes. Bertelmann, under the Hauschka moniker has explored the extremities of prepared piano improvisation, and Guðnadóttir has taken cinematic, explorative cello music into a new era of depth and passion, so to hear them both together is a rare and unexpected treat. Rare is putting it lightly even - „Pan Tone“ is a recording of a single concert which the duo performed on the 26th of February 2010 as part of Arctic Circle - Bubbly Blue and Green festival at Kings Place in London, and documents an event that would truly never be repeated. Sure, they could attempt to re-create the event, but the spontaneity and glorious serendipity in this particular recording is a pleasure to behold.

Bertelmann and Guðnadóttir decided to create a set of compositions which based on the idea of the ocean, and took a book of Pantones to extract exact references to the specific colors of the sea. These watery tones form the backbone of the performance and inform the direction of the collaboration, guiding us through rich blues, glassy greens and frothy whites. In listening to the music it seems incredibly appropriate that the artists should choose blue as the middle ground in their work; the ineffable lightness that Bertelmann brings to the table is a stark contrast to Guðnadóttir's sinking darkness, and as the two styles collide we witness a plethora of tones, shades and hues. It sounds as if the two artists have been playing together for decades, and their sound is so perfectly matched you might wonder why it's taken them this long to collaborate. All that's left for us to do is to soak in the tidal beauty of this very exclusive body of music, to listen to it sing, bubble and crash through its duration before settling in total silence. When the record reaches its conclusion there is an unsettling calm, a sense that you have witnessed something very special indeed, and that is a feeling to prize amongst all else.

Superb EP !
The A1 tune from C. Ysme is a pure jewel... Mental sneaky and twirling, and it's followed by another pearl !
The flip opens with a crazy collab between C.Ysme and Sevenum Six

... but what to say about the Yakh track : a superb creation of a kind... Experimental and dancefloor... Splendid tune !

Mit mehreren Milliarden Streams auf seinem Konto ist Maluma ein herausragender Künstler der Latin-Szene auf der ganzen Welt. Endlich veröffentlicht Maluma seine 6 Studioalben auf Vinyl