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TORTOISE - RHYTHMS, RESOLUTIONS, & CLUSTERS LP

Tortoise has spent nearly 30 years making music that defies description. While the Chicago-based instrumental quintet has nodded to dub, rock, jazz, electronica and minimalism throughout its revered and influential discography, the resulting sounds have always been distinctly, even stubbornly, their own. One of the throughlines that create that distinctive sound is what might be called a pervasive element of group play, or ensemble-mindedness, as opposed to emphasis on a virtuoso soloist or frontman. Rhythms, Resolutions and Clusters follows in this line as Tortoise turned their iconic early songs over to their friends to play with. The remixes by other legends including Bundy K. Brown, Steve Albini, Jim O'Rourke, Brad Wood (Liz Phair), Casey Rice, Mike Watt (Minute Men), and Rick Brown (75 Dollar Bill) create a sense of community, and unlimited creativity. It's been out of print since 1995. Tortoise...have spent the past 25 years and seven albums fusing dub, jazz, prog, and indie into an instantly recognizable and much-loved trademark sound. - Pitchfork As with the best of Tortoise, these tracks can be enjoyed on many levels, but when listened to carefully, they reveal seemingly infinite sonic treasures. - Pitchfork

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25,84

Last In: 4 years ago
TORTOISE - RHYTHMS, RESOLUTIONS, & CLUSTERS LP

Tortoise has spent nearly 30 years making music that defies description. While the Chicago-based instrumental quintet has nodded to dub, rock, jazz, electronica and minimalism throughout its revered and influential discography, the resulting sounds have always been distinctly, even stubbornly, their own. One of the throughlines that create that distinctive sound is what might be called a pervasive element of group play, or ensemble-mindedness, as opposed to emphasis on a virtuoso soloist or frontman. Rhythms, Resolutions and Clusters follows in this line as Tortoise turned their iconic early songs over to their friends to play with. The remixes by other legends including Bundy K. Brown, Steve Albini, Jim O'Rourke, Brad Wood (Liz Phair), Casey Rice, Mike Watt (Minute Men), and Rick Brown (75 Dollar Bill) create a sense of community, and unlimited creativity. It's been out of print since 1995. Tortoise...have spent the past 25 years and seven albums fusing dub, jazz, prog, and indie into an instantly recognizable and much-loved trademark sound. - Pitchfork As with the best of Tortoise, these tracks can be enjoyed on many levels, but when listened to carefully, they reveal seemingly infinite sonic treasures. - Pitchfork

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27,10

Last In: 4 years ago
Various - Hallow Ground LP 2x12"

White vinyl, gatefold cover, silver stamped, spotgloss-printed On Epiphanies, the first-ever "concept-compilation" to be released by Hallow Ground, artists such as Maria W Horn, FUJI||||||||||TA, Lawrence English, Siavash Amini and Norman Westberg, who all have previously released music on the Swiss label, were commissioned to pursue a non-rational creative process in approaching the phenomenon of epiphany through sound. In very different ways, all of the compositions on the compilation draw on the unique emotional powers of certain acoustic instruments, obfuscating the borders between physicality and abstraction. The results, whether long-form, short vignettes, profane and concrete sounds or spiritual and abstract pieces, perfectly encapsulate what Hallow Ground as a label has stood for since its inception in the year 2013: challenging not only conventional notions of what music is supposed to sound like but also the listeners' perception through the power of sound. On Epiphanies, Hallow Ground also welcomes artists including Magda Drozd, Akira Sileas and Valentina Magaletti to make their first ever contributions to the label. For those who greet this compilation with open ears and minds, these 81 minutes will deliver on its title.

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29,12

Last In: 6 months ago
Various - Your Scared Of Falling In Love” b/w Richie Merrett “You’ll Always Have Yesterday Standing By”

The Hill District were a group of working musicians assembled by bassist Walter “Sonny” Hughes who following one afternoon rehearsal session together the very same evening recorded their only ever 45 outing the somewhat elusive and now sort after amongst group harmony collectors “Your Scared Of Falling In Love”. The other group members were Sonny’s brother Richard Hughes (Lead Guitar), Anthony Law (Keyboards), William M. Standard Jr (Piano), Mark Smith (Drums) and Daniel S. Lee Jr (Lead Vocals). The groups name was taken from a grouping of African American neighbourhoods in the city of Pittsburgh P.A. locally referred to as ‘The Hill’. The recording session was held under the direction of record producer and song writer James Richard Calloway (A.K.A) Rich Calloway. Calloway would go on to release “Your Scared Of Falling In Love” on his own ‘C-Way Records’ label featuring a instrumental version on the flipside. Rich Calloway hailed from Uniontown P.A. with Uniontown being known affectionately by the local black community as ‘Oniontown’ the name which Calloway adopted for his publishing company. Unfortunately for the Hill District the final mastering of their song left something be desired (a scenario we’ve now rectified with our release) and as a result local Pittsburgh Disc jockeys refused to plug their song leaving their one and only 45 outing to fade into obscurity with the group members going their own separate ways to continue their careers as session musicians with other ensembles. Producer and lyricist Rich Calloway also continued with his own C-way Productions company later composing both sides of The Cleveland Ohio group ‘The Entertains’1975 outing for Steel Town records “Love Will Turn It Around/Why Couldn’t I Believe Them”. Calloway was no stranger to Cleveland having been earlier employed by Way Out Records owner Lester Johnson to compose the lyrics to Jesse Fisher’s “Your Not Loving A Beginner”, the songs arrangement’s being originally laid down by members of the Way Out group The Soul Notes, William Bell (A.K.A Bill Spoon), John Washington and Ricki Dannison under the working title of “I’ve Been Waiting For Your Love”. Prior to the Hill’s District release Rich Calloway had penned and released a 45 single on another local Pittsburgh artist Richie Merrett. The 1973 outing You’ll Always Have Yesterday Standing By” b/w “I Gave It Up” (C-Way 103). Merritt a professional singer who performed with several groups including The Electron’s on their 1968 outing “Turn On Your Lovelight (Shock 209) recorded his first solo outing on the Nashville Deltron label “Can I Get A Rebate/It’s Never Too Late” which he later released again on his own R.A.M label followed by two early 90’s outings, the modern soul favourite’s “Where Did I Go Wrong” and “You Got Problems”. Richie still performs today doing one off shows in between his solo performances aboard 7 Day Cruise ships travelling between Los Angeles and Sant Cabos, Mexico. “You’ll Always Have Yesterday Standing By” was later produced by Walt Maddox under the shortened title of “Yesterday’s Standing By” on his own group ‘These Gents’.

Therefore Soul Junction brings you two 70’s soul/Lowrider in demanders back to back for your delectation.

pre-order now11.04.2022

expected to be published on 11.04.2022

17,86
VALENTINA GONCHAROVA - RECORDINGS 1987-1991, VOL. 1

Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies.

Valentina’s was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv- later in Leningrad & now St. Petersburg, from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. A student of the Leningrad conservatoire during the years 1969 - 1983, her repertoire included music for violin and later expanded to contemporary music composition.

The improvisatory nature of free jazz and then-budding experimental rock circles also intrigued Valentina during this period in Leningrad. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop- Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within ‘Recordings Vol. 1’, though as opposed to any degree of uncertainty Valentina’s practice is one
in flux by way of earnest curiosity.

Pushing further into an exploration of solo electro-acoustic sounds, she took to home taping on a modified Olimp reel to reel recorder. Intrigued by the manipulability of dubbing and the fresh sounds of DIY effects chains, Goncharova developed pickups alongside her husband Igor Zubkov. Her infatuation with the music of Stockhausen, Xenakis, Ganelin Trio and Pierre Boulez channels through considerations of space and erratic sound design, the 3 movements of ‘Metamorphoses’ embodying this textural approach to musique concrete.

The compositional skills developed in Leningrad unfold in the romantic gestures of ‘Higher Frequencies’, whilst manipulated cello combines with synthesise keys across ‘Passageway To Eternity’.
The slow, pulsating drone soundscapes recall the likes of Robert Rutman’s US Steel Cello Ensemble or even deep listening pioneer Pauline Oliveros.

The juxtaposition of written notation and improvisatory flare is central to Goncharova’s sound world. This period of home recording documents a confluence of minimalism, free form and flirtations
with new age tropes (inc. bell chimes and cavernous vocal mantras).

Experimenting with unusual performance techniques, such as shouting into amplified cello strings, Valentina’s home studio functioned as a place to foster full artistic and creative freedom
away from any academic strictures.

Relocating to Estonia in 1984, and in parallel to the deeply personal music of ‘Recordings Vol. 1’, Valentina performed at jazz festivals and gave classical concerts across Eastern Europe. In a sense, the recordings on these discs offer only a glimpse into her lifelong body of work. Over the past few decades she has taught at Tallinn Music College, expanded and updated post- Soviet popular music repertoire, collaborated with the Russian Philharmonic Society of Estonia and given concerts and charity events alongside the Catholic Church.

Hers is a life dedicated to the exploration of sound, a career forged through careful study and ceaseless intrigue. In a time where technological interconnectedness has allowed for music of the pas
to be continually mined and evaluated through new lenses, Shukai present an artist whose tendency for private home-taping had allowed recordings to go unheard for thirty years.

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23,74

Last In: 4 years ago
Prima Materia - La Coda Della Tigre

Prima Materia was a vocal improvisation ensemble, founded by Roberto Laneri in 1973. Composed entirely of vocalists with no academic training, the group developed various techniques – revolving mostly around the use of overtones – that would embody their unique sound. No instruments nor electronic manipulations were ever employed within the group's physiognomy, which was realized purely through the human voice.

La Coda Della Tigre, the group's sole album, was recorded in 1977 by Alvin Curran and released on Ananda, an artist-run label founded by Laneri, Curran and Giacinto Scelsi.

As the original liner notes state, "The music of Prima Materia may sound radically new, yet at the same time it is likely to ring some distant bell and evoke ancient emotions. This is not due to chance: indeed, the very name of the group points to a specific path, namely, the unfolding of the potential implicit in the alchemical symbol as embodying a process of transmutation of consciousness."

Prima Materia's four members (Laneri, Claudio Ricciardi, Gianni Nebbiosi and Susanne Hendricks) combine voices to create a singular, beautiful drone that is (as the group's name suggests) both impossible to define and fundamentally simple.

This first-time standalone reissue is recommended for fans of La Monte Young, Terry Riley and Disques Ocora.

pre-order now08.04.2022

expected to be published on 08.04.2022

23,40
Gil Evans Orchestra - Live at Fabrik Hamburg 1986

Second release of the new "Live At Fabrik Hamburg" series on Jazzline in
cooperation with the legendary venue and NDR Kultur - is this previously
unreleased concert from jazz great Gil Evans with a 16-strong all-star
cast from 1986
It will be released as a double CD in a three-piece digipak and as a triple LP in a
triple gatefold cover that includes detailed liner notes by Michael Laages. By the
1980s, the Gil Evans Orchestra's repertoire had developed into a distinctive blend
of Jimi Hendrix melodies, the band members' own compositions and occasional
references to Gil's older recordings. This concert in Hamburg contained four
songs by Hendrix, with only one ("Up From The Skies") being part of an original
studio album. The regular performances in Europe meant that the audience of the
band was getting younger and was also well acquainted with rock music.
A year and a half after this performance, Gil Evans passed away. He will rightly be
remembered forever for the brilliant albums he recorded with Miles Davis and
under his own name. In reality, however, he lived three quite contrasting musical
lives. As was the case with his Monday evening concerts in New York's Sweet
Basil, this Hamburg performance is a reminder of the lively late phase of Gil
Evans. Here a great all- star ensemble played an outstanding concert of eight
pieces in over two hours.

pre-order now08.04.2022

expected to be published on 08.04.2022

53,40
Envy Of None - Envy Of None

Envy Of None

Envy Of None

12inchKSCOPE1144
KSCOPE
08.04.2022

ENVY OF NONE IS THE NEW BAND & DEBUT ALBUM FROM ALEX
LIFESON (RUSH), ANDY CURRAN (CONEY HATCH), ALFIO ANNIBALINI &
SINGER MAIAH WYNNE
The ambient, cinematic darkness that the collective creates evokes a
powerful atmosphere that will excite superfans & new audiences alike
Lifeson & Curran's long-time friendship was the catalyst for the band's inception -
but Envy Of None is not defined by its members resumes - they aren't Rush or
Coney Hatch & far more than the sum of its collective parts.
Above the beautiful cacophony of guitars, synths, bass & drums sits the fragile
melodies of 24- year old vocalist Maiah Wynne - the newest name in Envy Of
None's impressive personnel. Hearing Mariah's voice intertwined with the music
will bring back memories of when you heard Shirley Manson of Garbage or Amy
Lee of Evanescence for the first time. Wynne brings charm & beauty to these
recordings in spades - with floating hooks & emotive lyrics transcending the
oftentimes textural aesthetic.
The Storm Thorgerson- esque visuals that grace the cover may remind fans of
Lifeson's earlier work - Andy Curran explains: "the Hypnosis style artwork of
albums like Pink Floyd & Led Zeppelin & others were so eye catching, surreal &
attention grabbing & we wanted to scratch that itch. We were instantly drawn to
Lebanese photographer Eli Rezkallah at Plastik's photography & design work. We
fell in love with a bunch of his work - we had a hard time choosing something
because he had so many great images". However, the 70s prog/ Rush
comparisons may end with the artwork - the music that this ensemble creates
treads new ground with each track throughout their 42- minute debut, from
industrial/electronic influences to post-progressive soundscapes. Envy Of None
create a sound that will haunt, comfort & ignite.
"If you can picture maybe Massive Attack with a little bit of some electronic stuff
with Nine Inch Nails influences, with this beautiful, fragile, sweet voice & some
very, very dark heavy sounds" - Andy Curran (Envy Of None)

pre-order now08.04.2022

expected to be published on 08.04.2022

31,47
JOHANN JOHANNSSON - DRONE MASS LP

The previously unrecorded Drone Mass was described by its composer, the late Jóhann Jóhannsson, as “a contemporary oratorio”. Written for voices, string quartet and electronics, it was commissioned and premiered by the American Contemporary Music Ensemble, aka ACME, who toured and recorded with Jóhannsson for almost ten years. Now they have made the world premiere recording of this richly atmospheric work, in collaboration with Grammy Award-winning vocal ensemble Theatre of Voices, conducted by Paul Hillier, also a multiple Grammy Award-winner. The members of both ACME and Theatre of Voices worked closely with the composer many times, both in the studio and in multiple live performances and tours, before his untimely death. Drone Mass is an extraordinary, mysterious accomplishment which at times bears comparison with the meditative minimalism of composers such as Arvo Pärt or Henryk Górecki. Beginning with strings and voices, but slowly integrating Joìhannsson’s electronic techniques into its landscape, the work represents what the Icelandic composer called “a distillation of a lot of influences and obsessions”.

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25,17

Last In: 13 months ago
CALEXICO - EL MIRADOR LP

CALEXICO

EL MIRADOR LP

12inchSLANG50410LP
CITY SLANG
04.04.2022
  • A1: El Mirador
  • A2: Harness The Wind
  • A3: Cumbia Peninsula
  • A4: Then You Might See
  • A5: Cumbia Del Polvo
  • A6: El Paso
  • B1: The El Burro Song
  • B2: Liberada
  • B3: Turquoise
  • B4: Constellation
  • B5: Rancho Azul
  • B6: Caldera
also available

Red Vinyl[23,24 €]


Calexico's Joey Burns and John Convertino return in 2022 with their luminous 10th studio album, El Mirador; a hopeful, kaleidoscopic beacon of rock, bluesy ruminations and Latin American sounds, to be released on April 8.

Convening at longtime bandmate Sergio Mendoza's home studio in Tucson, Arizona, the ensemble recorded throughout the summer of 2021, crafting one of their most riveting and whimsical productions to date. Convertino, who now resides in El Paso, and Burns, who relocated to Boise in 2020, channeled cherished memories of Southwestern landscapes and joyful barrio melting pots into an evocative love letter to the desert borderlands that nourished them for over 20 years.

pre-order now04.04.2022

expected to be published on 04.04.2022

27,27
GODSPEED YOU! BLACK EMPEROR - G_D'S PEE AT STATE'S END!

180g LP + 10" im Gatefold mit Thermographie, bedruckten Innenhüllen und Download Coupon. GY!BE kehrt mit einem weiteren Soundtrack für unsere Zeit zurück, wie ihn nur dieses unnachahmliche und ehrwürdige Ensemble schmieden kann. Das neue Album besteht aus zwei fesselnden, 20-minütigen, LP-Seiten füllenden Epen aus lärmgetränktem Breitwand-Post-Rock, während die beiden begleitenden 6-minütigen Stücke der 10" die Band aus Kanada in ihrer verheerendsten, eindringlichsten und elegischsten Form zeigen. Unerbittliches Tuckern blüht auf, während einige der hochfliegenden, brennenden Melodien der Band inmitten von Geigen- und Basskontrapunkt abprallen und zusammenlaufen. Field Recordings und aufgewühlte, halb-improvisierte Passagen umrahmen diese inbrünstigen Epen. Ergreifende Atmosphären, geräuschhafte Orchestrierung, Drone, hypnotische Swingtime-Crescendos, unaufhaltsam geschichtete Türme aus verzerrtem Klargesang: STATE'S END verkörpert jede geliebte Facette der Band. Fünfundzwanzig Jahre später ist dieses neue Album so vital, mitreißend, zeitgemäß und unerbittlich wie jedes andere in der geschichtsträchtigen Diskographie von Godspeed You! Black Emperor. So wie STATE'S END die ganze Bandbreite der klanglichen Trademarks von Godspeed vereint, so umspannt auch das Album-Artwork die gesamte visuelle Geschichte der Band: die körnige, monochromatische Fotografie der letzten Veröffentlichungen findet ihren Weg auf die Innenhüllen, während das Klappcover auf die ikonischen Grafiken früherer Klassiker wie Slow Riot For New Zero Kanada und Lift Your Skinny Fists Like Antennas To Heaven zurückgreift. STATE'S END ist mit Illustrationen von William Schmiechen versehen, wobei die Taijitu-Blumen auf der Vorderseite und die Tränengaskanister auf der Rückseite des Covers in erhabener, thermografischer, schwarzer Tinte auf dem Doppelvinyl-Albumcover abgebildet sind. Das leuchtende Kreuz von Godspeeds Debütalbum F#A#INFINITY taucht auch auf der Innenseite des Klappdeckels wieder auf, als wiederkehrende Hommage an das elektrifizierte Hügelkreuz in der Heimatstadt der Band in Montreal. STATE'S END wurde im Oktober 2020 in Montreal im Homebase-Studio der Gruppe, Thee Mighty Hotel2Tango, von Jace Lasek aufgenommen und abgemischt, dem altgedienten und preisgekrönten Indie-Produzenten (und Mitbegründer von The Besnard Lakes), der mit Godspeed bei dieser Aufnahme zum ersten Mal zusammenarbeitet. Danke fürs Zuhören. UNSERE SEITE MUSS GEWINNEN. (R.I.P. D.H.) ENG audiophile 180gLP + 10" in gatefold jacket with thermography, colour flood interior, artworked inners, DL card. GYBE returns with another soundtrack for our times, like only this inimitable and venerable ensemble can forge. As the heretical impudence of the anarcho-punk title implies, Godspeed harnesses some particularly raw power, spittle and grit across two riveting 20-minute side-length trajectories of noise-drenched widescreen post-rock: inexorable chug blossoms into blown-out twang, as some of the band's most soaring, searing melodies ricochet and converge amidst violin and bassline counterpoint. Field recordings and roiling semi-improvised passages frame these fervent epics, and two shorter self-contained 6-minute pieces find the band at its most devastatingly beautiful, haunting and elegiac. Poignant atmospherics, noisedrenched orchestration, drone, hypnotic swingtime crescendos, inexorably-layered towers of distorted clarion sound: STATE'S END encapsulates every beloved facet of the band. Twenty-five years on, this new album is as vital, stirring, timely and implacable as any in Godspeed You! Black Emperor's storied discography. Just as STATE'S END summons the gamut of Godspeed's constituent sonic trademarks, so the album artwork spans the entirety of the band's visual history: the grainy monochromatic photography of recent releases finds its way onto the inner sleeves, while the gatefold cover art harkens back to the iconic graphics of earlier classic records like Slow Riot For New Zero Kanada and Lift Your Skinny Fists Like Antennas To Heaven. STATE'S END features illustrations by William Schmiechen, with the front cover taijitu flowers and back cover tear gas canisters rendered in raised thermographic black ink on the double-vinyl album jacket. The illuminated cross from Godspeed's debut F#A#8 also makes a reappearance on the inside gatefold drawing, in recurrent homage to the electrified hilltop landmark crucifix of the band's Montreal hometown. STATE'S END was recorded and mixed in Montreal in October 2020 at the group's homebase studio Thee Mighty Hotel2Tango by Jace Lasek, the veteran awardwinning indie producer (and co-founder of The Besnard Lakes) who works with Godspeed for the first time on this recording. Thanks for listening. OUR SIDE HAS TO WIN. (R.I.P. D.H.)

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25,84

Last In: 17 months ago
Emma6 - Alles Teil Des Plans

„Zwischen dem, was man sich vornimmt / und dem, was daraus wird / steht viel zu oft ein Leben / das sich dafür nicht interessiert.“ (EMMA6)
Wie kann es weitergehen mit dem Musikmachen, wenn man sein Leben nicht im Dispo oder in tausendfach getaggten Stockbetten des Konzert-Venues sieht? Wie kann man seine Leidenschaft bewahren, auch wenn sich nicht mehr alles um Wochenend-Ausfahrten, Merch und Cola-Rum dreht? Was für Lieder will man schreiben, die anderen aber vor allem einem selbst immer noch aus dem Herzen sprechen? Und natürlich: Wohin im täglichen Leben mit all dem Rock’n’Roll?
Mit ihrem vierten Album, mit „Alles Teil des Plans“ hat das Trio aus der Nähe von Köln Inventur betrieben – und bietet auch für die Hörer*innen den Soundtrack zu einer intensiven Auseinandersetzung mit sich selbst auf. Sehnsuchtsvoller Indie-Pop und Katharsis. Doppelten Boden gibt’s woanders, hier geht’s um alles, Leute.
„Ich liebe es, wenn ein Plan funktioniert“, das war einst die Catchphrase des „A-Teams“, einem ziemlich unsubtilen Ensemble.
EMMA6 sind dagegen eher das A-Team des Zweifelns, sind Honig auf die Wunden, sind Chronisten eines fragilen Erlebnisparks der 1000 Möglichkeiten – und „Alles Teil des Plans“ rettet einem mehr als nur ein bisschen das Leben.
Danke dafür!

pre-order now01.04.2022

expected to be published on 01.04.2022

19,54
Mestizo Beat - Poppin' Off All-Town Sound
 
2
also available

Black vinyl[7,19 €]


For fans of - The Meters, War, New Mastersounds, Jungle Fire. Mestizo Beat's first 45 release with All-Town Sound. An upbeat and eclectic blend of early 70s funk and soul. We are very excited to welcome Mestizo Beat to the All-Town family! MB incorporates a diverse mix of sub-genres within the Funk and Soul spectrum. They have released a string of 45s with labels like Colemine, F-Spot, Common Good, and now ATS! We couldn't decide which tunes should be assigned the A and B sides, so we left them unmarked, for you to decide. "Poppin Off" catches your attention right from the start with some Metersesque organ and guitar interplay. It settles into the groove and this is a feel good Southern Funk influenced burner. A 4 piece horn section comprised of members of Sure Fire Soul Ensemble mixed with Jungle Fire's Steve Haney on percussion, round out this recording. On the flip side is "City Of The Body Bag" which would have you believe you were hanging out somewhere in South East Los Angeles in 1973. This tune takes heavy influence from the band "War" and is destined to be another Latin Funk struttin' classic.

pre-order now01.04.2022

expected to be published on 01.04.2022

8,36
Mestizo Beat - Poppin' Off All-Town Sound
 
2
also available

Orange vinyl[8,36 €]


For fans of - The Meters, War, New Mastersounds, Jungle Fire. Mestizo Beat's first 45 release with All-Town Sound. An upbeat and eclectic blend of early 70s funk and soul. We are very excited to welcome Mestizo Beat to the All-Town family! MB incorporates a diverse mix of sub-genres within the Funk and Soul spectrum. They have released a string of 45s with labels like Colemine, F-Spot, Common Good, and now ATS! We couldn't decide which tunes should be assigned the A and B sides, so we left them unmarked, for you to decide. "Poppin Off" catches your attention right from the start with some Metersesque organ and guitar interplay. It settles into the groove and this is a feel good Southern Funk influenced burner. A 4 piece horn section comprised of members of Sure Fire Soul Ensemble mixed with Jungle Fire's Steve Haney on percussion, round out this recording. On the flip side is "City Of The Body Bag" which would have you believe you were hanging out somewhere in South East Los Angeles in 1973. This tune takes heavy influence from the band "War" and is destined to be another Latin Funk struttin' classic.

pre-order now01.04.2022

expected to be published on 01.04.2022

7,19
Field Works - Stations LP

Features new collaborations with Laraaji, Janie Cowan, Masayoshi Fujita, Qasim Naqvi, Brad Weber, Hanna Benn, and PRINTtEXT. A coproduction of Anchorage Museum, National Geographic Society, and Temporary Residence Ltd. What does the Earth sound like? In Stations, the 10th volume in the Field Works series, producer Stuart Hyatt approaches that question with a team of scientists working on the EarthScope experiment. Using sophisticated ground recording
devices, Field Works has created a new type of music in which human voices sing along with the actual voice of the Earth. Stations features an all-star ensemble of vocalists and instrumentalists, including Hanna Benn, Janie Cowan, Masayoshi Fujita, Stuart Hyatt, Laraaji, Qasim Naqvi, and Brad Weber. The deluxe vinyl edition includes a bonus digital album of peer reviews by Deantoni Parks, Green-House, Olga Wojciechowska, Afrodeutsche, Nathan Fake, Ben Chatwin, Sophia Loizou, Amulets, Penelope Trappes, and Alva Noto. Stations was commissioned by The Anchorage Museum and The National Geographic Society. “For those interested in the intersection between field recordings and music, this is a must-have.” A Closer Listen // “A beguiling and quietly astonishing piece of work.”

pre-order now01.04.2022

expected to be published on 01.04.2022

27,10
Jungle By Night - Livingstone LP 2x12"

REPRESS

5th album by the nine-piece instrumental collective from Amsterdam, Jungle by Night. Incl. downloadcard
After almost a decade of heating up dancefloors across the globe, Jungle by Night have reached manhood. In the process of creating their 5th album, the nine-headed collective melted years of passion, friendship, and influences from krautrock, dance, jazz, afrobeat together into new instrumental prose, fluently speaking the language of their instruments.

The band is an oddball ensemble within its own cosmos. A danceable and thundering live-act, connecting with crowds like no other, with beaming fun and energy along the way.

out of Stock

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16,18

Last In: 4 years ago
MASTER OOGWAY WITH EILERTSEN, HENRIETTE - HAPPY VILLAGE

Håvard Nordberg Funderud - guitar and 12-string guitar Lauritz Heitmann Skeidsvoll - saxophone Martin Heggli Mellem - drums Karl Erik Hornsdalsveen - double bass Henriette Eilertsen - flute Back in 2020, Kafé Hærverk, Oslo's live hotspot for a wide range of jazz and experimental music invited Master Oogway to do monthly concerts from August to December, bringing along a guest for each occasion. Two had to be moved to 2021 due to Covid restrictions, but the other three were recorded for possible use later. Initially we thought about doing a "best of" from all of the recordings, but after further listening it soon dawned on us that the concert with Henriette was nothing less than magical. To make room for the 45 minute vinyl edition, we had to drop one of the five pieces that were played on the night, and also make two minor edits. Other than that, this is what was played, there are no overdubs or cosmetic treatments. The album was brilliantly mixed in Athletic Sound by Dag Erik Johansen. Henriette Eilertsen (28) is part of the fertile and exciting environment around the Motvind label, and a member of Billy Meier and Andreas Roysum Ensemble. She released her solo debut "Poems For Flute" on Motvind in 2021.Håvard Nordberg Funderud (28) finished his bachelor at the Norwegian Academy of Music in 2018 and also studied in Gothenburg and Copenhagen. He is involved in several projects, Master Oogway being his priority. Lauritz Lyster Skeidsvoll (28) and Karl Erik Horndalsveen (27) are both educated from the same academy in Oslo as Håvard, while Martin Heggli Mellem (25) is educated from the jazz program at NTNU in Trondheim."Happy Village" is Master Oogway's third album, their second on Rune Grammofon. The music on the previous outing two years ago ("Earth And Other Worlds") was all written by Håvard, while the music on "Happy Village" is written by Karl Erik, one track co-written with Håvard. "Happy Village" finds the band in a more lyrical and exuberant mood than before, in no small part due to Henriette's beautiful contributions.

pre-order now25.03.2022

expected to be published on 25.03.2022

33,07
Thurston Moore - Screen Time'

Screen Time is a series of instrumental guitar pieces recorded during the summer of 2020 as the world confronted the pandemic shutdown and as the people of good conscious stood up against the oppression of racist police oppression and murder. How much screen time does a parent allow a child? How much screen time does a child need to realise a world which has the means to coexist as a community in shared exchange?
The cover image of Screen Time is of a youngster curled into a book, the pages vibratory with text radiating through the skin, blood and bone – an aspect entirely missing from digital media, though the actuality of transparency in our daily lives through streaming etc we can only hope leads to the awareness of fairness.
Screen Time is in reflection to dream time, a state of meditation, hypnagogia and pillow talk.

Thurston Moore born 1958, moved to NYC 1976, started Sonic Youth 1980, edited the fanzines KILLER, Sonic Death, and Ecstatic Peace Poetry Journal, started Ecstatic Peace records + tapes label, senior editor of Ecstatic Peace Library, and Flowers & Cream, edited books at Rizzoli and Abrams, on faculty at the Naropa University summer writing program since 2011, published through various imprints, worked collaboratively with Yoko Ono, Merce Cunningham, Cecil Taylor, Rhys Chatham, Lydia Lunch, John Zorn, Takehisa Kosugi and Glenn Branca, composed music for films by Olivier Assayas, Gus Van Sant, and Allison Anders, records and tours both solo, with various ensembles and with his own band, resides everywhere.
Mastered by Lasse Marhaug for Southern Lord.

pre-order now25.03.2022

expected to be published on 25.03.2022

22,56
Rizomagic - Voltaje Raizal

Voltaje Raizal is the first album of the tropical futurist music project Rizomagic, an electronic music duo, that consists of Diego Manrique, director of the avant-garde cumbia orchestra Niño Pueblo, and Edgar Marun, director of the ethno-afrobeat ensemble Dorado Kandua; Two outstanding projects from Bogota's new thriving alternative psychedelic scene.

The sounds of the album are rooted in the Afro-Caribbean musical tradition, in the mixed ancestry that defines Colombian culture, and IDM. The melodic construction of the album takes inspiration from variouscultures, including Indigenous chants from Colombia’s Embera people, the traditional scales from Mali’s Bambara ethnic group, and the Ghanian palm wine guitar interpreted by a Caribbean millo flute. The mix and mastering carried out by Eblis Alvarez (Meridian Brothers, Pirañas, Chupame el Dedo) and Camilo Manchego offered the final touches that make Voltaje Raizal a fresh proposal to Colombia’s futurist tropical scene. "Rizomagic set out to recontextualize their sources. It’s no coincidence that their name comes from rhizomatic, the botanically derived term for a subterranean, horizontal network of roots".

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24,33

Last In: 4 years ago
Alvin Lucier & Jordan Dykstra - Out Of Our Hands

“Out of Our Hands” brings together Alvin Lucier and Jordan Dykstra who, through the hands of Ordinary Affects, have created debut recordings of two new compositions.

These companion pieces have similar orbits as they were not only both composed in Middletown, CT (where Alvin and Jordan lived for a number of years), but are about Middletown, at least from a starting point. Alvin’s piece — a homage to the location of the house in which he recorded “I am sitting in a room” back in 1969 — continues his study into slow-moving glissandi and carefully crafted beating patters by interweaving three string players within a minor third (voiced by two vibraphonists). The result is entrancing, almost psychedelic, and opens space where one didn’t expect. Like much of his previous work, it is conceptual and process-based; once the wheels get turning they go on and on, giving the listener time to approach the piece, sit with it, and then move back inward.

On the other hand, Dykstra’s piece “32 Middle Tones” (a pun on his Middletown street address and the harmonic microtonality utilized in the composition) is a very textural work. His piece asks the cellist to sustain pitches for extended durations — at times quietly singing in close proximity to the stopped pitch coming from the cello — while the rest of the ensemble (violin, viola, and 2 percussion) voice a sequence of chords separated by notated silences. The cello voice is sometimes alone, but never for too long as it finds itself supported from both the top and bottom in a harmonic embrace. This supportive structure involves a percussion section which colors the seemingly simple chords (major 6th, inverted minor 7th, inverted minor 2nd, etc.) with a non-traditional toolkit of bowed singing bowls, stone sheets, harmonicas, and even leaves.

This is music that gently gives the listener a sense of predictability but always in an unexpected (and subtly indeterminate) shade. Speaking of shade, the album’s cover photo was taken in 2019 in Alvin’s backyard in Middletown. Alvin and Jordan sit with similar demeanors in front of his favorite tree — a crooked aspen which early on looked to be doomed — but which he would often saunter over to spend time with, giving it whispers of blessings and encouraging words.The world was blessed with Alvin’s presence and hopefully this album will whisper to you and yours.

Artist statement:
“With Alvin’s recent passing I was overwhelmed with messages and calls from friends, collaborators, and his former students. Everyone had a heavy heart, no doubt, but were grateful for the memories and their gift to be around Alvin during his lifetime of prolific dedication to the arts, his fascination with poetic storytelling through scientifically-inspired minimalism, and his calm and warmhearted spirit. In his last few years on earth, Alvin was busier than ever — brainstorming new ideas, creating new pieces, and planning big things. While he was here, he was alive, and may his music — and spirit — live on forever, spreading from his corner of Church and High (where he recorded his seminal piece I am sitting in a room) to every corner, concert hall, and loudspeaker in the world.”

pre-order now18.03.2022

expected to be published on 18.03.2022

27,94
Soreab - Perceptions EP

For their first outing of the year, Accidental Meetings deliver the goods once again. This time calling upon Baroque Sunburst's co-founder, Soreab. He's served up three contrasting club tools and finishes it off with a low-slung, bass-heavy drifter. It's a deeper look into Soreab's repertoire and one we have not seen yet, the release demonstrates his multiple styles with Soreab effortlessly weaving between tempos and tones.

The record starts with Drunken Ballad, clocking in close to 100bpm with a mutant dembow beat, its rattling percs switching up the techno/dancehall crossover with some squelchy sound design added in for good measure.

Maranza Percussion Ensemble takes it up a notch, with dubbed-out rhythmic percussion the theme and a surging sub throughout. Smidges of eerie echos and delayed vocals sprinkled from open to close.

The B side takes another turn, with Done Everything getting flipped on its head by the MC, Logan. Maximum energy on all accounts with Soreab at the controls throughout.

The Sphere closes out this slab of wax, low-slung and moody. A pulsating beat from the start, matched with ghostly drones & sirens. A perfect close to a contrasting and diverse release.

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14,24

Last In: 4 years ago
Emily Wells - REGARDS TO THE END LP

Emily Wells, die New Yorker Multiinstrumentalistin mit einem klassischen Geigen-Background, denkt beim Komponieren oft an ein Ensemble. Als klassisch ausgebildete Violinistin, Sängerin, Komponistin, Produzentin und Videokünstlerin wurde die Musik von Wells als "visionary" (NPR) und "quietly transfixing" (The New York Times) beschrieben. "Regards To The End" wurde 2020-21 aufgenommen und ist von Künstlern der AIDS-Krise inspiriert. Es handelt von der Art und Weise, wie ihr Aktivismus unsere eigene Herangehensweise an den Klimaschutz beeinflussen kann, und von Wells eigenen Erfahrungen als queerer Musikerin. Zusammen mit einer Reihe von Mitwirkenden baute sie die zehn Songs auf "Regards To The End" aus bewussten Schichten von Gesang, Synthesizern, Schlagzeug, Klavier, Streichinstrumenten (Geige, Cello, Bass) und Blasinstrumenten (Klarinette, Flöte, Waldhorn) auf. Ihre Musik ist u.a. deshalb so anziehend, weil das Hörerlebnis bei Emily Wells ein sehr körperliches ist. Der Gesang und die Bläser, die auf dem Album stark vertreten sind, stellen den Atem in den Vordergrund. Das Leben schwillt in jeder Note an, während das Schlagzeug uns sowohl an den Puls unseres Herzschlags bindet als auch erdet. Inhaltlich knüpft "Regards To The End" an das Leben und die Arbeit von Choreograph*innen und bildenden Künstler*innen an, die insbesondere mit der AIDS-Krise in Verbindung stehen.

pre-order now11.03.2022

expected to be published on 11.03.2022

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MALKA FAMILY - SUPERLUNE 2x12"

In the 1990s, Malka Family landed from the planet Kif to convert France to their vibrant and crazy madness made of euphoric riffs and glittering suits. Direct heirs of George Clinton and his cosmic P-Funk, they quickly burned stages around the world with this communicative energy which only large ensembles have the secret to. France, Europe, Japan, Africa, Canada… They will be forced to stop in the early 2000s replaced by DJs and computers.

2021. June 5th. Three years after the reformation of the band, Ground Control received a message from "Major Thom" - the astronaut Thomas Pesquet himself. The post is clear! Le Retour du Kif produced in 2018 is played in space… @Thom_astro and all the crew members of the ISS are totally fans of the Malka Family’s Music!

A new era begins, the Jedi of Funk have swept away the machines and their logarithmic music, groove and heavyweight Funk reign in the galaxy once again. The Malka Family is releasing a new 14 track album, SuperLune, a crazy and heavenly funk combo!

This time, back to Malka Family’s old recipes. They spend hours, nights in the studio, writing songs, arranging horns, recording vocals, slapping the bass guitar… "SuperLune is a more introspective album, we did everything without any restrictions, and our funk is more accomplished than ever…" says Jo Mannix fresh out from mixing the album. French Radio Nova tells: "In their spaceship, the bass is definitely queen. From your head to your feet and (especially) through your buttocks, “Blue Funk” will awaken your senses. Without even realizing it, you've already been swept up in the crazy storm of the Malka Family. All the ingredients are there: the dance, the music and an atmosphere that only they have the secret to…" Last but not least, to accompany the interplanetary release of SuperLune, Malka re-embark in their spaceship for the next cosmic tour. Let’s go to the Moon! The SuperLune!

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21,81

Last In: 4 years ago
Cécile McLorin Salvant - Ghost Song

Cécile Mclorin Salvant

Ghost Song

12inch0075597914665
NONESUCH
04.03.2022

Nonesuch Records releases Ghost Song, the label debut of singer/songwriter Cécile McLorin Salvant. Ghost Song features a diverse mix of seven originals and five interpretations on the themes of ghosts, nostalgia, and yearning. Salvant says, “It’s unlike anything I’ve done before – it’s getting closer to reflecting my personality as an eclectic curator. I’m embracing my weirdness!” Cécile McLorin Salvant plays at Cadogan Hall on November 16 as part of the EFG London Jazz Festival, four shows at SFJAZZ in February, and two nights featuring the music of Ghost Song at Jazz at Lincoln Center in May. Salvant says of the title track, out now, “What if the love has gone, the love has left you and you have the emotions around that, and you’re still going through them, still engaging with the ghost of that love?” She continues, “Some songs are so painful to come out but this one came out pretty quickly. I’ve had some loss the last couple of years: my grandmother, the drummer in my band Lawrence Leathers.”



Ghost Song opens and ends with a sean-nós (traditional Irish unaccompanied vocal style) performance by Salvant, recorded in a church. On track one, she transitions into Kate Bush’s 1978 classic ‘Wuthering Heights’. Salvant says of the song, “Wuthering Heights is a book that really struck me to my core as I was making this album, during the pandemic. And the best interpretation of the novel is Kate Bush’s song.” She continues, “It’s the most classic ghost story. I decided I wanted to do an album called Ghost Song, and I knew that one had to be on it. Then I had the idea to mix it in with the sean-nós ‘Cúirt Bhaile Nua’, which binds it to the traditional ‘Unquiet Grave’, the last track on the album. The ghost is not haunting me; now I am haunting the ghost. They parallel each other so well and they’re such different time periods. I wanted the album to be a circle, with the sean-nós reference at the beginning and at the end. So it is the first track but it’s also the last track and it’s also the middle track, which is how I listen to music, walking around my neighborhood, on a plane, travelling somewhere, putting stuff on repeat.” “All the songs on the album kind of mirror each other. I tried to create this strange symmetry. So as you go in from both ends, the songs are sort of matched together,” Salvant says. “‘I Lost my Mind’ is the center of the Russian doll. I wrote that in the middle of the pandemic. There were nights when I wanted to just scream. It was this deeper part of me saying, ‘It’s OK if this sounds completely crazy, OK to just go with the completely crazy thing and not worry if people think you have lost your mind for doing it.’



“The bands also mirror each other from top to bottom. In terms of the instrumentation, everything,” Salvant explains. “That’s why the songs are there in that relationship: they match each other, they’re like fraternal twins, or one is the evil twin of the other. I, as the living, am visited by the ghost, and then I go visit the ghost in turn. I am haunting the ghost and annoying the ghost, which is saying, ‘Get out of here and go live.’” Of the sonic variety on Ghost Song, Salvant says, “Texture is a big part of how I sing, having multiple textures in one song. It’s almost a compulsion. I can’t allow myself to stay in one texture. The instrumentation creates that but the recording process as well. It’s something I like, even when I’m eating. You want the creamy and chewy and crunchy at the same time. Warm and cold.”



Cécile McLorin Salvant, a 2020 MacArthur Fellow and three-time Grammy Award winner, is a singer and composer bringing historical perspective, a renewed sense of drama, and an enlightened musical understanding to both jazz standards and her own original compositions. Classically trained, steeped in jazz, blues, and folk, and drawing from musical theater and vaudeville, Salvant embraces a wide-ranging repertoire that broadens the possibilities for live performance. Salvant’s performances range from spare duets for voice and piano to instrumental trios to orchestral ensembles. Her unreleased work Ogresse is an ambitious long-form song cycle based on oral fairy tales from the nineteenth century that explores the nature of freedom and desire in a racialized, patriarchal world. Salvant studied at the Université Pierre Mendès-France. She has performed at national and international venues and festivals such as the Newport Jazz Festival, the Monterey Jazz Festival, the Village Vanguard, and the Kennedy Center. Salvant is also a visual artist.

pre-order now04.03.2022

expected to be published on 04.03.2022

27,35
KAINA - IT WAS A HOME LP

Kaina

IT WAS A HOME LP

12inchSLANG50353LP
CITY SLANG
04.03.2022

Munich quintet Fazer are set to release their third album ‘Plex’ on City Slang in 2022. Moving freely between composition and improvisation, the band’s spacious, organic sound pitches lyrical melodies from guitar and trumpet over double-drummer polyrhythmic grooves and dub-like basslines.

Coming from different musical backgrounds ranging from bebop to electronic, Fazer met while studying jazz at the Academy for Music and Theatre in Munich. The German city has a rich history of improvised music; home to labels ECM (Keith Jarrett, Chick Corea, the Art Ensemble of Chicago, Steve Reich) and Enja (Archie Shepp, Eric Dolphy, Freddie Hubbard, Elvin Jones) and Krautrock icons Embryo. Today much of the scene in Munich revolves around Radio 80000, an online community radio station located in the east of

the city. There, dedicated diggers like Karl Hector (Now-Again) or Marvin & Valentino of Public Possession are doing regular shows and it’s this diversity that drives the band’s DNA

pre-order now04.03.2022

expected to be published on 04.03.2022

25,76
KAINA - IT WAS A HOME LP

Kaina

IT WAS A HOME LP

12inchSLANG50353LPX
CITY SLANG
04.03.2022

Munich quintet Fazer are set to release their third album ‘Plex’ on City Slang in 2022. Moving freely between composition and improvisation, the band’s spacious, organic sound pitches lyrical melodies from guitar and trumpet over double-drummer polyrhythmic grooves and dub-like basslines.

Coming from different musical backgrounds ranging from bebop to electronic, Fazer met while studying jazz at the Academy for Music and Theatre in Munich. The German city has a rich history of improvised music; home to labels ECM (Keith Jarrett, Chick Corea, the Art Ensemble of Chicago, Steve Reich) and Enja (Archie Shepp, Eric Dolphy, Freddie Hubbard, Elvin Jones) and Krautrock icons Embryo. Today much of the scene in Munich revolves around Radio 80000, an online community radio station located in the east of

the city. There, dedicated diggers like Karl Hector (Now-Again) or Marvin & Valentino of Public Possession are doing regular shows and it’s this diversity that drives the band’s DNA

pre-order now04.03.2022

expected to be published on 04.03.2022

27,52
Diablo Swing Orchestra - Swagger And Stroll Down The Rabbit Hole LP 2x12"

Diablo Swing Orchestra is an Swedish eight-piece ensemble known for pairing elements of jazz, swing, classical, progressive rock with just about everything in between. Since the start in 2003 the band has released four studio albums pushing musical boundaries with humor, creativity and a healthy dose of positive aggression. Together they have dug deep into each genre explored on the 13 tracks on the album and worked hard to find the appealing characteristics within that genre and forged it into their own sound. This approach has resulted in a impressive list of guest musicians and some very interesting clashes between sounds which, at least on paper, shouldn’t work. But listeners with an open mind will be rewarded since there are a lot of goodies to be found on the album ranging from the tribal assault that is “War Painted Valentine” to the Zeppelin gospel infused “Snake Oil Baptism”. The band presents new interesting ways of looking upon rock and metal music while managing to stay quite accessible in spite of the fact they’re often described as avant-garde metal.

pre-order now04.03.2022

expected to be published on 04.03.2022

27,31
Diablo Swing Orchestra - Swagger And Stroll Down The Rabbit Hole LP 2x12"

Diablo Swing Orchestra is an Swedish eight-piece ensemble known for pairing elements of jazz, swing, classical, progressive rock with just about everything in between. Since the start in 2003 the band has released four studio albums pushing musical boundaries with humor, creativity and a healthy dose of positive aggression. Together they have dug deep into each genre explored on the 13 tracks on the album and worked hard to find the appealing characteristics within that genre and forged it into their own sound. This approach has resulted in a impressive list of guest musicians and some very interesting clashes between sounds which, at least on paper, shouldn’t work. But listeners with an open mind will be rewarded since there are a lot of goodies to be found on the album ranging from the tribal assault that is “War Painted Valentine” to the Zeppelin gospel infused “Snake Oil Baptism”. The band presents new interesting ways of looking upon rock and metal music while managing to stay quite accessible in spite of the fact they’re often described as avant-garde metal.

pre-order now04.03.2022

expected to be published on 04.03.2022

27,31
Alice Coltrane - Eternity (LP)

Alice Coltrane

Eternity (LP)

12inchWARNERBS2916
Warner UK
28.02.2022

"Eternity" - Alice Coltrane (org, hp, el-p; perc, arr, cond); Terry Harrington (ts); Jerome Richardson (ss); George Bohanon (tb); Oscar Brashear (tp); Tommy Johnson (tba); Hubert Laws (fl); Charlie Haden (b); Ben Riley (b, dr); Armando Peraza (cga); a.o.

When the brilliant saxophonist John Coltrane died in 1967, the core values of jazz music had long drawn him into the spiritual world ("A Love Supreme", "Ascension", "Meditations" etc.). His widow and final pianist followed in his footsteps. Alice Coltrane (1937–2007) sought after »cosmic sounds, higher dimensions, astral levels« – she had an important influence on the spiritualised, esoteric music scene of the 1970s. Her first album was only released after John Coltrane’s death, but "Eternity" was already her tenth. (In the same year she founded a Hindu Vedantic Center in California.) The album draws its power from highly contrasted sound worlds. The size of the ensemble ranges from an unaccompanied harp solo ("Wisdom Eye") to a large orchestra with a big band of up to 25 plus a 12-man string section. Alice Coltrane’s main instrument is the electric Wurlitzer organ, whose rasping sound conjures up John Coltrane’s saxophone (especially in the opening number "Spiritual Eternal"). Mostly she improvises modally, sinuously, or with meditative ecstasy – whether in the style of Latin rock ("Los Caballos") or quite without a firm tempo ("Morning Worship" with a tamboura accompaniment). Support comes from such renowned musicians as Charlie Haden (bass), Jerome Richardson (saxophone and flute), Hubert Laws (flute) and Ernie Watts (cor anglais). In the number "Om Supreme" Coltrane switches to a gently swinging Fender Rhodes electric piano, which is joined by a six-voice vocal group. A surprising finale to the album is an orchestral adaptation of an excerpt from Stravinsky’s "Le Sacre du printemps". Here the moments of dissonance and free jazz are far from meditative contemplation.

pre-order now28.02.2022

expected to be published on 28.02.2022

40,04
Matthew Halsall - Salute to the Sun 2x12"

Matthew Halsall unveils new band and announces 'Salute to the Sun'

his new album on Gondwana Records

Limited edition Double Clear vinyl, printed on reverse board with Gold foil artwork plus double printed reverse board inner sleeves including download code. Cover Artwork by Daniel Halsall with design and layout by Ian Anderson of The Designers Republic.

Comes packaged in a resealable, re-usable Polypropylene anti-static, acid-free, crystal clear sleeve for maximum protection.

Composer, trumpeter, producer, DJ and founder of Gondwana Records, Matthew Halsall has always worn many hats. But at the heart of everything that he does Halsall is first and foremost an artist and a musician. A trumpeter whose unflashy, soulful playing radiates a thoughtful beauty and a composer and band-leader who has created his own rich sound world. A sound that draws on the heritage of British jazz, the spiritual jazz of Alice Coltrane and Pharoah Sanders, as well as world music and electronica influences, and even modern art and architecture, to create something uniquely his own. A music that is rooted in Northern England but draws on global inspirations.

Salute to the Sun is his first album as a leader since Into Forever (2015) and marks the debut of his new band. A hand-picked ensemble featuring some of Manchester's finest young musicians: Matt Cliffe flute & saxophone, Maddie Herbert harp, Liviu Gheorghe piano, Alan Taylor drums and Jack McCarthy percussion as well as long-time Halsall collaborator, bassist, Gavin Barras who has been at the heart of Halsall's bands for over a decade. For Matthew it was important to have a band based locally and able, pre-Covid, to meet and play each week, and who also performed a sold-out monthly basement session at Yes in Manchester. The album draws energy from these sessions and inspiration from themes and ideas that have inspired Halsall through the years (on albums such as Oneness, Fletcher Moss Park and When the World Was One) ideas of ecology, the environment and harmony with nature.

"I feel Salute to the Sun is a positive earthy album. I wanted to create something playful but also quite primitive, earthy and organic that connected to the sounds in nature. I was listening to lush ambient field recordings of tropical environments such as jungles and rainforests and found myself drawn to percussive atmospheric sounds which replicated what I was hearing (bells / shakers / chimes / rain sticks) and I started to experiment with more wooden percussive instruments such as kalimba and marimba".

Salute to the Sun features lush wholly improvised tunes inspired by ambient rainforest and jungle field recordings, deeply soulful tunes built around hypnotic harp and kalimba patterns, deep Strata-East inspired spiritual jazz grooves and some of Halsall's most beautiful playing and inspiring healing melodies yet recorded.

The album was recorded at the band's weekly sessions, using Halsall's own recording set-up, giving the recordings a relaxed vibe and unforced energy that really lets the music breath. The album is also very much a family affair as Halsall's brother Daniel Halsall, artistic director of Gondwana Records, was an important presence at the sessions and co-produced the album. It is also his memorable artwork that adorns the cover of Salute to the Sun, an album beautifully designed by legendary designer Ian Anderson of The Designers Republic, who also created the covers for the recent archival releases Oneness, Sending My Love and Colour Yes and is one of Halsall's favourite designers. Together Daniel Halsall and Ian Anderson have designed all of Matthew's seven albums to date, so it felt extra-special to bring them together for, Salute to the Sun, an album that Halsall was determined to present in the very best way possible. The album was mixed with another long-time collaborator, George Atkins at 80 Hertz in Manchester, who works tirelessly with Halsall to perfect the sound and was mastered by noted engineer Peter Beckmann who brings an added depth to the sound specially around the bass notes as well as Halsall's trumpet. The magnificent double vinyl was cut as a Half Speed master by Barry Grint at Alchemy Mastering for the best possible analogue experience.

The result is arguably Halsall's most beautiful and complete recording to date, playful, charming and imbued with the warmth of the sun and the energy of life.

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33,57

Last In: 2 years ago
Holodrum - Holodrum

Holodrum

Holodrum

12inchWAAT079LP
Gringo
25.02.2022

FFO: Arthur Russell, Stealing Sheep, Neu!, Agar Agar, Galaxians
Holodrum are a new disco-infused synth-pop group, who feature members of Hookworms, Yard Act, Cowtown, Virginia Wing, Drahla and more.

Maybe Holodrum were destined to start at this point. This might be the first time they’ve all officially worked together, but between Emily Garner (vocals), Matthew Benn (synth/bass/production), Jonathan Nash (drums), Jonathan Wilkinson (guitar), Sam Shjipstone (guitar/vocals), Christopher Duffin (sax/synth) and Steve Nuttall (percussion) they’ve shared bands, mixed each other’s records, promoted live shows and made music videos together in and around Leeds. As Holodrum, this is the 7 piece’s debut album, but the interlocking grooves and hot headiness of their repeato-rock-via-CBGBs dopamine hits have in one way or other been fermenting for years.

“When it comes to doing music most bands fall between two extremes of doing it for some goal or as an end to itself” says Shjipstone. “I think Holodrum is about the joy and complexity of living, and I just hope to god everyone gets to have a good time doing it.”

Ultimately the core of the group comes from Shjipstone and his former Hookworms bandmates Benn, Nash and Wilkinson. After their abrupt dissolution in late 2018, the four of them spent six months apart; Benn still had Xam Duo, his ongoing project with Virginia Wing and some-time James Holden & The Animal Spirits live member Duffin, Nash remains vocalist and guitarist of long-running DIY rockers Cowtown and helms his solo project Game_Program; and Shjipstone plays guitar with Yard Act. However, the four of them missed the sixth sense synergy they’d built-up playing together over a decade and soon enough demos were being swapped and new ideas were discussed.

The vision of a large live electronic ensemble formed quickly. Friends were added: Duffin and Nuttall – who was keen to resurrect the double percussion interplay that he and Nash had been exploring as part of motorik trio Nope joined first. Then animator and VIDE0 singer Garner crystallised the line-up by joining on vocals.

“Apart from Emily, all of us had actually played together before in a covers band at a New Year’s Eve party at the Brudenell Social Club a couple of years ago, so we knew we could have fun together” says Benn. “So we set up to be a live party band early on. We wanted lots of people on stage having fun, playing for people that also wanted to have fun. It makes sense we take inspiration from bands like Tom Tom Club and Liquid Liquid; they were trying to help people to party at a point when New York was quite a scary and dangerous place we’re doing the same, albeit in the face of a decaying world and a global pandemic.”

Covid-19 hasn’t given them much opportunity to do that yet, with two fledgling shows in late 2019 to their name before festival appearances at the likes of Bluedot, Sounds From The Other City and Gold Sounds were scuppered last year. However, the 6 tracks on Holodrum crackle with the energy of the dancefloor. Opening cut 'Lemon Chic' described by Garner as her “workout track” starts out sparsely, with tight drum claps and burbling synths holding a teetering suspense before the whole thing’s prised open, allowing beaming saxophone skronk to shine in. Garner’s vocals bob and weave around the syncopations of the track’s building cacophony.

It sets the stall for an album heavy on euphoria, built atop crisp interplaying percussion and acid-flecked grooves. At times Shjipstone provides a raw counterpoint on vocals, while elsewhere - like on the strutting, swirling disco of 'Free Advice' and 'Low Light'’s late night ping pong synths - the pair indulge in playful call and response as the instrumentation builds and contorts around them. 'Stage Echo' provides a respite of sorts halfway through, a swirling, fever dream of a track that peaks with big squelchy frequencies and cavernous reverb, before the album returns to its repetitious exercises in body-moving catharsis underpinned at all times by a relentlessly propulsive rhythm section.

pre-order now25.02.2022

expected to be published on 25.02.2022

22,23
FELA KUTI - FELA WITH GINGER BAKER LP (2x12")

Fela Kuti

FELA WITH GINGER BAKER LP (2x12")

2x12inchKFR2003-1 / 39150031
KNITTING FACTORY
25.02.2022

Half a century ago, legendary rhythm and blues drummer Ginger Baker (Cream, the Graham Bond Organisation etc) moved to Nigeria to work with Fela Kuti and his dextrous drummer, Tony Allen. The resultant recordings, which featured Kuti, Baker, Allen and the rest of the Africa 70 ensemble, were released on the brilliant Live With Ginger Baker LP in 1972, which here gets a deserved, expansive reissue. What you get this time around is the original album - a freewheeling, ultra-percussive Afrobeat masterpiece, full of duelling drum solos, righteous horns and killer grooves - plus a second slab of wax. One side of that is etched, with the over featuring recordings of an infamous drum battle between Allen and Baker that's extraordinarily heavy, sweaty and on-point. In a word: essential!

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25,17

Last In: 4 years ago
Studiogruppe I - s/t

Studiogruppe I

s/t

12inchIFEEL076LP
International Feel
09.02.2022

Not much is known about the German session musician ensemble Studiogruppe 1 from the ‘70s and ‘80s. It’s believed that the grandfather of one member, known only as V.S., originally soundtracked silent films in theatres - although that hasn’t been proved. Studiogruppe1 never rose to prominence in the heyday of studio groups and library records, but it certainly wasn’t due to lack of trying.

Although it’s unknown who the individual members of Studiogruppe1 were, it’s clear they could find a groove within the machines. It appears the sessions were also engineered by V.S., and there’s plenty of space between the notes, which lends a heady atmosphere of anticipation to the music. Just close your eyes and you will find that the music triggers many scenes from the movies in your mind.

Take the opener Dunkler Sonnenaufgang, for example. Waves lap on the shore line of an alternate Coney Island, while the sound system of an abandoned amusement park plays arpeggios in the distance. Errinungen could complement expansive panoramic time-lapses of natural cycles and rolling clouds. The track Wenn Der Tiefe Schlaf Kommt, might accompany a documentary on REM dream cycles and flotation tanks. Sonnentanz raises the temperature, as act III in every movie narrative should, as protagonists rush to overcome their challenges. Ein Neuer Anfang would perfectly soundtrack the plot twist of any number of thrillers, film noirs, or sci-fi mysteries. Album closer War Alles Nur Ein Traum could supplement slow-motion shots of dawning realization, foreshadowing a betrayal or a cliffhanger.

V.S. and Studiogruppe1 have condensed the evocative sounds of the ’80s into something of an art form. Bringing to mind the lilting melodies and melancholy chord movements of Tangerine Dream, Vangelis or Manuel Göttsching, Studiogruppe1 manage to capture widescreen emotional flash points without the need for celluloid, or barely any visual aid, for that matter. These tracks work just as well in the furnace of your imagination or a dark room filled with dry ice and lasers.

out of Stock

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17,10

Last In: 4 years ago
Lonnie Liston Smith and the Cosmic Echoes - Cosmic Funk

For his 1973 debut album as a bandleader,
Lonnie Liston Smith assembled a killer
band of Cecil McBee on bass, George
Barron on sax, James Mtume and Sonny
Morgan on percussion, David Lee, Jr. on
drums, Badal Roy on table, Geeta Vashi
on tamboura, and Joe Beck on guitar.
Such a multifaceted ensemble was
perfectly suited to explore the spiritual
jazz that Smith had encountered while playing
with Pharoah Sanders (“Let Us Go into the House of the Lord” appears here
and on Sanders’ 1970 album Summun Bukmun Umyun which featured Smith),
all presided over by Flying Dutchman label owner and former John Coltrane
producer Bob Thiele. We’ve re-created the original gatefold artwork with Nat
Hentoff’s liner notes…one of the great jazz albums of its era!

pre-order now04.02.2022

expected to be published on 04.02.2022

32,73
JEAN-MICHEL BLAIS - AUBADES LP

Jean-Michel Blais

AUBADES LP

12inch3599821
Mercury
04.02.2022

Nach der Veröffentlichung des Soundtracks von Matthias & Maxime im Jahr 2019 erscheint nun die neue LP ”aubades” von Jean-Michel Blais. Das neue Album der in Montreal ansässigen Ikone der modern-klassischen Musik zeigt eine neue Seite des Künstlers, oder wie er sagt Neben der Entscheidung, für ein Ensemble zu schreiben, hat Blais auch andere Parameter für das Projekt festgelegt. ”Mit diesem Album habe ich definitiv auf bestimmte Trends in der klassischen Musik reagiert”, meint Blais.

”Zum Beispiel die Tatsache, dass das Soloklavier dazu neigt, immer melancholisch zu klingen. Das ist gut, aber das habe ich schon gemacht, ich wollte darüber hinausgehen. Es war auch
das erste Mal, dass ich so viel in Dur und nicht in Moll geschrieben habe. So viel Klaviermusik, vor allem in der modernen klassischen Musikwelt, steht in Moll. Ich wollte dorthin gehen, ohne dabei kitschig zu sein. Was ich in dieser Zeit am meisten liebte, war, zu laufen oder Rad zu fahren, während ich mir meine Demos anhörte und beobachtete, wie die Natur in die Stadt zurückkehrte, während es so ruhig war.

Die Natur geriet einfach außer Kontrolle.” Blais zögert, ”Aubades” als ein Pandemie-Album oder gar ein Trennungsalbum
zu bezeichnen. ”Das sind Dinge, die wir alle erleben”, sagt er. ”Aber gleichzeitig war es ein sehr fruchtbarer Moment der Kreativität für mich.

pre-order now04.02.2022

expected to be published on 04.02.2022

20,13
One Night In Pelican - Afro Modern Dreams 1974-1977 (2x12")

‘The Afro Modern Seventies Sounds of Soweto’s First Nightclub

• Over ten years in the making, this is the first compilation from South African vinyl re-issue specialists Matsuli Music

• Ten track double gatefold album journey through jazz, funk, fusion and disco, detailing the incredible story and sounds behind the Soweto nightclub during the height of apartheid

• Uniquely South African take on the trans-Atlantic sounds of Philadelphia, Detroit and New York City

• Cover artwork by Zulu Bidi (of Batsumi fame) with unseen photographs, and liner notes by Kwanele Sosibo featuring interviews with key musicians, players and a former president of South Africa

• Audio mastered and cut for vinyl by Frank Merritt at The Carvery with heavyweight 180g vinyl pressed at Pallas in Germany

A night-time haunt in the backstreets of Soweto run by a well-known bootlegger should have been a prime zone for nefarious underworld activities. Instead, it nurtured an underground of a different kind. Soon after its opening in 1973, Club Pelican became a spot where musicians steeped in the tradition of South African jazz began to cook up experimental sounds inspired by communion, competition and the movements in funk and soul blowing in from the West. Located in an industrial park on the western edge of Orlando East, Soweto, Club Pelican was off the beaten track, among a matrix of railway and industrial infrastructure. In a different time and place, this would have been a prototypical nightclub location, except there was no local precedent to follow. This was Soweto’s first night club.
In the intervening years, this location has served to heighten the now-defunct spot’s legendary status as a singular venue, one that ruled the night in the Seventies. Initially called Lucky’s and established in 1973, the Pelican’s impact on the Soweto cultural landscape was immediate. Lorded over by a charismatic figure known as Lucky Michaels, the club became the jewel in a nondescript collection of family businesses. It boasted a diverse pool of talent in its succession of house bands and an A-list of ghetto-fabulous singers as

its cabaret stars. Its VIP section was a veritable who’s who of Soweto society and its stage, hosting a mix of the day’s pop culture infused with the creativity and individual histories of the musicians, the Pelican filled a live music vacuum.
One Night in Pelican captures the halcyon seventies period with a single nightclub embodying an indomitable spirit of its troubadour players. While schooled and rooted in “standards” and local forms, the music could take any direction, at a moment’s notice. This compilation features all the key groups and players of the time: Abacothozi, Almon Memela’s Soweto, The Black Pages, Dick Khoza and the Afro Pedlars, The Drive, Ensemble of Rhythm and Art , The Headquarters, Makhona Zonke Band, the Shyannes and Spirits Rejoice.’

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27,69

Last In: 4 years ago
Kiyoshi Yamaya, Toshiko Yonekawa & Kifu Mitsuhashi - Wamono Groove: Shakuhachi & Koto Jazz Funk '76

Following the already classic Wamono A to Z trilogy, 180g presents an exceptional collection of jazz funk / rare groove tunes recorded in the mid-seventies at the Nippon Columbia studios by three giants of Japanese music: arranger Kiyoshi Yamaya, koto legend Toshiko Yonekawa and shakuhachi master Kifu Mitsuhashi.

- 180g heavy vinyl pressing, reverse board jacket

- Fully licensed Nippon Columbia masters available for the first time outside of Japan

- Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland

- Artwork by Nker

---

Born in 1932 in Tokyo, Kiyoshi Yamaya started his musical career in 1953 when he played in various jazz bands in town. In 1957, Yamaya joined Nobuo Hara's famous jazz big band Sharps & Flats as a baritone saxophone player and started composing, arranging, and recording for them and other big bands. He became a key jazz figure in Japan in the sixties together with Norio Maeda and Keitaro Miho, both jazz pianists, composers and arrangers, by forming the Modern Jazz Three Association – which aimed at improving the level of Japanese jazz composition and arrangement. In the mid-seventies, his Contemporary Sound Orchestra explored jazz funk fusions with traditional Japanese melodies and instruments such as the shakuhachi, koto, biwa, and shamisen. These works were recorded for a series of panoramic Japanese albums released domestically on Denon and Nippon Columbia, from which the tracks on this compilation are taken from.

Toshiko Yonekawa, born 1913 in the city of Himeji, not so far from Osaka, is the eldest daughter of koto and shamisen master Kin'o Yonekawa. She started studying both instruments with her talented father from the age of 3, played in her first concert at 8, and was only 12 years old when she first appeared on national radio. Her unique style of koto playing is widely recognized due to the extreme accuracy of the intonation and rhythm, as well as the unequaled beauty of the instrument's sonority. After a life decorated with awards and prizes, Toshiko Yonekawa was named a Living National Treasure in 1996.

Born in Tokyo in 1950, Kifu Mitsuhashi is a great master of Koto style shakuhachi. After completing the NHK Hōgaku Training Program in 1972, Mitsuhashi became a member of Pro Musica Nipponia, a group of leading composers and top-ranking musicians devoted to performing a wide-ranging repertoire of classical and contemporary compositions from both Japan and the West – in which all music is performed by traditional Japanese musical instruments. Mitsuhashi has toured the world for hundreds of recitals, also as a soloist, and has performed his art with the greatest ensembles such as the BBC Symphony Orchestra and the Berliner Philharmoniker. In 2020, Kifu Mitsuhashi was awarded the Order of the Rising Sun.

---

All tracks selected and compiled by Greg Gouty and Maxime Brottes, with the assistance of Ryohei "Nitchiku-kun" Tanaka.

All tracks licensed by Nippon Columbia, Japan.

Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

Artwork by Nicolas Kerembellec (Nker.fr).

Proofreading by Brian Durr (Diskotopia).

Executive producers: Greg Gouty and Maxime Brottes.

180GWALP04 - Manufactured and distributed by 180g.

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26,85

Last In: 15 days ago
IMMANUEL WILKINS - THE 7TH HAND

Alto saxophonist Immanuel Wilkins follows-up his acclaimed debut Omega (NY Times Best Jazz Album of 2020) with another striking album featuring his remarkable quartet with Micah Thomas on piano, Daryl Johns on bass, and Kweku Sumbry on drums plus special guest appearances by flutist Elena Pinderhughes and the Farafina Kan Percussion Ensemble The album consists of an hour-long suite comprised of seven movements that strive to bring the quartet closer to complete vesselhood by the end, where the music would be entirely improvised, channeled collectively. The title is derived from a question steeped in Biblical symbolism: If the number six represents the extent of human possibility, Wilkins wondered how it would sound to invoke divine intervention and allow that seventh element to possess his quartet. “It’s the idea of being a conduit for the music as a higher power that actually influences what we’re playing,” he says.

pre-order now28.01.2022

expected to be published on 28.01.2022

28,53
Maya Shenfeld - In Free Fall

Maya Shenfeld

In Free Fall

12inchTHRILL552LP
Thrill Jockey
28.01.2022

‘In Free Fall’ is composer and electronic musician Maya
Shendfeld’s debut album. Guests include James Ginzburg
(Emptyset), Kelly Odonighue and The Bethenian youth
Choir.
 Berlin composer Maya Shenfeld’s music is as powerfully
evocative as it is strikingly intimate. Through a mastery of
sound sculpting and visionary approach to composition,
Shenfeld has established herself as one of the most vital
voices in Berlin’s New Music scene. Her work exists in
liminal spaces, collapsing the boundaries between
electronic synthesis and organic sound as it draws equally
from classical tradition and underground experimentalism.
 Shenfeld is also in demand for her technical knowledge,
working with electronic music innovators Ableton in music
education and research.
 Shenfeld is a rising star in the active Berlin music scene.
Her numerous commissions range from largescale
orchestral to site-specific sound installations, performing in
venues such as the KW Berlin, in collaboration with Berlinbased artist Richard Frater, leading a performance of
Julius Eastman’s ‘Gay Guerrila’ by an ensemble of sixteen
women playing bass and guitar for the opening event of
the Disappearing Berlin festival or writing for the Bethanien
youth choir, who performed at Baerwald bad, an
abandoned 1902 swimming pool in the heart of Berlin.
 Deluxe LP package artwork is designed by fashion
designer, and Maya’s sister, Gal Shenfeld. LP includes
digital download card.
 Mastered by Rashad Becker (Matmos, Laurie Spiegel,
Black To Comm, Clipping., Alvin Lucier, Félicia Atkinson).

pre-order now28.01.2022

expected to be published on 28.01.2022

27,94
Combo Chimbita - IRE

Combo Chimbita

IRE

12inch278171
Anti
28.01.2022

Combo Chimbita unleash a primal roar of catharsis on their latest album,
IRE, channeling a burning spiritual awakening blazing through the world
and in their hearts
Rapturous cumbia, ancestral drumming, free jazz, electronic distortion and
wordless chants abound throughout IRÉ; a testament to the ever expanding
scope of Combo Chimbita's sonic palette and acts of resistance in realms both
spiritual and terrestrial.
The New York City- based quartet are tracing their roots back to Colombia and
even further to the precolonial continent of Abya Yala. Often described as tropical
futurists for their ambitious melange of ancestral musical traditions and cutting
edge experimentation, the creative unity of Carolina Oliveros (vocals,
guacharaca), Niño Lento es Fuego (guitar), Prince of Queens (bass, synthesizers)
and Dilemastronauta (drums) transcends common concepts of time and
nationality. By identifying as Abya-yalistas, the ensemble takes yet another step
towards unshackling their essence from the cruelty of conquest and the stifing
oppression of land borders.

pre-order now28.01.2022

expected to be published on 28.01.2022

27,94
Rude Skøtt Osborn Trio - The Virtue of Temperance

Martin Rude & Jakob Skøtt Duo released 2 albums in 2020: The Discipline of Assent & The Dichotomy of Control. For the third installation in their Stoic opus, they join forces with Tamar Osborn on saxophone & alto flute. Similar to their first 2 albums, Rude & Skøtt improvised a tidal wave of ideas and grooves in the studio of Causa Sui’s Jonas Munk, the perks of which were shipped to the UK for Osborn’s overdubs of echo-drenched sax and wah-flute. An improvisation rippling across time & space, merging a river of constantly in flux head-on improv, as well as making room for floating harmonies and studio-wizardry. Playful, experimental and explorative, the trio ventures into a free wash of exotica drenched in deep modal jazz-vibes - with splashes of something more futuristic and modern. But contrary to what the title suggests, there are also roaring waves of energy, sizzling funky grooves to complement the ambient undercurrent. It’s a record akin to the library & film music of the 60’s and 70’s and an ode to the willful river of experimental moderation. Far in. Bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a long-standing member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab, and is an in-demand session musician. Martin Rude: Multi-string instrumentalist & lead singer in Sun River, as well as stand-in bass player in Causa Sui. Jakob Skøtt: Drummer in Causa Sui with a slew of side projects on El Paraiso, as well as responsible for the label’s visuals.

pre-order now28.01.2022

expected to be published on 28.01.2022

26,01
Michael League - So Many Me

Michael League

So Many Me

12inchGUM2021MLLP
GroundUP Music
07.01.2022

For nearly two decades, four-time GRAMMY® Award-winning multi-instrumentalist, bandleader, producer, arranger, and songwriter Michael League has been an innovative force in modern music, whose grass-roots approach to the industry has made an imprint across multiple continents and genres. Known best as the leader of the instrumental ensemble Snarky Puppy, League has performed thousands of shows, released dozens of studio and live albums, and garnered accolades from the New York Times, Downbeat, Jazz Times, and Rolling Stone, among many others. The busy artist is also a founding member of the GRAMMY®-nominated supergroup Bokanté and oversees GroundUP Music—a fiercely independent label which he established in 2012. As a versatile producer and songwriter, League has collaborated with a broad spectrum of artists, including David Crosby, Esperanza Spaulding, Kirk Franklin, Joe Walsh, Daedelus, and Terence Blanchard. Throughout his many ventures, however, League has always felt most comfortable within a collaborative setting, whether he’s bringing musicians together from across the globe, planning the latest edition of the GroundUP Music Festival, or writing one-on-one with a partner. While the notion of a solo record first took shape in 2015, League’s demanding schedule always prevented him from pursuing it in earnest. And then, in March 2020, the world went into lockdown amid the COVID-19 pandemic. With tours canceled, studios shuttered, and projects on hold indefinitely, League finally had the time to make this record—titled So Many Me. Yet, lyrically and musically, his first solo album was a very different project—and process—than what he had initially envisioned five years earlier.

pre-order now07.01.2022

expected to be published on 07.01.2022

23,91
Fred Wesley - A Blow For Me, A Toot To You

Fred Wesley

A Blow For Me, A Toot To You

12inchATLANTICSD18214
Speakers Corner
Release unknown

hanks to their first-class training in funk and soul while playing in James Brown’s Band, Fred Wesley and Maceo Parker were the obvious choice when it came to participating in George Clinton’s P-Funk empire – the Godfather of Soul had had an enormous influence on Clinton anyway.

In 1977, Clinton and Bootsy Collins produced "A Blow For Me, A Toot For You", the début album by Fred Wesley & the Horny Horns – an ensemble with Wesley on the trombone, Parker on the tenor and alto saxophone, as well as Rick Gardner and Richard 'Kush' Griffith on the trumpet. The majority of the numbers are by Clinton and Collins, so it is not really surprising that much of the LP is pure P-Funk.

The album begins rather gloomily with a remake of Parliament’s "Up For The Down Stroke", and the influence of Parliament is also unmistakable in the other numbers. With regard to the instrumental numbers, "Four Play" fuses funk and jazz, while Wesley’s atmospheric "Peace Fugue" reflects the CTI sound of the 1970s. Actually "Peace Fugue" is the work which least sounds like Clinton on this LP. "A Blow For Me, A Toot For You" scarcely ranks behind Parliament’s "Mothership Connection" or Funkadelic’s "One Nation Under A Groove" and is certainly more than just a recommendable LP, which every funk lover should get to know.

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30,21
Miles Davis - Kind of Blue

Miles Davis Kind of Blue meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl!
Best-selling album in jazz history; mastered from the original master tapes by Bernie Grundman
Pressed at Quality Record Pressings using Clarity Vinyl® on a manual Finebilt press
Purest possible pressing and most visually stunning presentation and packaging!
Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history.

Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording — a five-track masterpiece of melancholy mood and melody.

It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wyton Kelly playing piano on "Freddy the Freeloader."

Now Analogue Productions, together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record.

The 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick," Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them." Kind of Blue is, in a sense, all melody — and atmosphere.

None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.

Miles remained proud of the album, performing at least two of its tracks — "So What" and "All Blues" — for years after, until his musical path took him in a different direction.

History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.

A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio's 3-track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What," "Freddie Freeloader" and "Blue in Green," making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records — or their latter-day parent, Sony Music — on a CD reissue in the late '90s.

Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.

pre-order now29.12.2021

expected to be published on 29.12.2021

193,24
Madlib - Sound Ancestors (Arranged By Kieran Hebden)

Now Available On Cassette Tape! Music By Madlib Arranged By Kieran Hebden. Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs. “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” - Kieran Hebden AKA Four Tet

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17,52

Last In: 4 years ago
Embryo - Auf Auf

Embryo

Auf Auf

12inchMMS047LP
MADLIB INVAZION
17.12.2021

The Lauded Krautrocking, Global Groove Ensemble’s First Album On Maverick Producer Madlib’s Label. The late Christian Burchard, who founded the Embryo ensemble in 1969, loved the slogan Auf Auf, German for Up, Up, or Keep On Going. Anyone with anything more than a passing interest in the German Krautock scene of the 1970s and 1980s knows that Burchard followed that intent, all around the world, tirelessly seeking out new sounds and inspirations and creating a catalog of music unlike most anything else the world has ever heard. Madlib has often said Embryo is his favorite rock band. Of course the hip-hop-producer-with-the-deepest-musical-knowledge knows Embryo is more than just a rock band – but, for the purposes of these notes, let’s keep it simple. When Marja Burchard, Christan’s daughter, who grew up with Embryo and toured with them for years, took the reins of the ensemble after Christian’s death in 2018, she started recording what would become this album, over the course of two years, finishing it in the throes of the Covid pandemic in 2020. She approached Madlib and Egon, who had, years back, visited and jammed with Christian Burchard, and Embryo musicians Uve Mullrich, Roman Bunka and Jan Weissenfeldt, in a Bavarian wine cellar, with the idea to issue Auf Auf on Madlib Invazion. The reply was a resounding, definitive “yes.” So here is Marja’s take on the Embryo ethos, continuing with her father’s intrepid style, and leading the band in her own style. Auf Auf ranges from the deep, free-form jazz of “Alphorn Prayer” to modal music from Afghanistan on “Baran” to psychedelic-tinged jazz-rock of the title track Joining Marja are those like Embryo veterans Bunka, on oud and guitar, and Karl Hector and the Malcouns/Whitefield Brothers/Poets of Rhythm producer and guitarist Jan Weissenfeldt and others, including important players on the global scene from Afghanistan and Morocco

pre-order now17.12.2021

expected to be published on 17.12.2021

31,72
HIGH PULP - MUTUAL ATTRACTION  VOL.3
  • A1: Unity
  • B1: Comme Des Garcons
  • B2: Wither

EXPERIENCE FRANK OCEAN THROUGH THE EARS AND SOUNDS OF HIGH PULP, AS THE MUTUAL ATTRACTION SAGA CONTINUES, WITH THE FINAL INSTALLMENT OF THE PROJECT.

While the first 2 volumes in the series pay homage to free and experimental jazz legends that have informed the lens of the Seattle, Washington-based band. Volume 3 steps into the R&B/Hip Hop world, as the band performs their fresh takes on 3 Frank Ocean tracks, from the ‘Endless’ album.

A Frank Ocean record that flew under the radar for some but didn’t miss with the High Pulp crew. The 3 arrangements are a homage and a thank you to Frank, who has had such a heavy impact on the band and the way they think about writing music. Mutual Attraction 3 challenged the band to think critically about these compositions and how they could deliver a similar sentiment that they were born out of, but also put it through the High Pulp lens.

Along with digging into a different genre of music and focusing on just one artist to pay tribute to for this volume in the series. MA 3 also has the band performing as their largest ensemble yet. A 15-piece band, including a 5-piece string section. Giving no limits to these reimagined versions of Frank Ocean tunes.

pre-order now17.12.2021

expected to be published on 17.12.2021

25,76
Albert Verrecchia - Il tempo degli assassini (Season of Assassins)

Between the 60s and 80s, Albert Verrecchia played a major role in Italian pop music and on the European disco and Afro-cosmic scene, both under his own name and under the monikers Albert Weyman and Albert Prince. He was the keyboardist of legendary Italian-French r'n'b band I Pyranas, served as a session Hammondist for singer and TV star Raffaella Carrà, and produced the disco trio Belle Epoque as well as the debut album of singer-songwriter Alan Sorrenti. Among his many incarnations, in the early and mid-70s he also composed a few soundtracks for Italian genre cinema, including for movies such as the poliziottesco Roma drogata, la polizia non può intervenire (Hallucinating Trip, 1975, Lucio Marcaccini) and the erotic drama Tecnica di un amore (1972, Brunello Rondi).

The score he wrote in 1975 for Il tempo degli assassini (Season of Assassins, a film about a gang of criminal youths who terrorize the city of Rome in the already violent 70s) is certainly his most accomplished work in the genre. Conceived for a small ensemble, it was written almost entirely on the spot in the recording studio. Verrecchia himself played the Moog, and his dynamic and percussive approach to the instrument resulted in a style midway between funk and proto-disco. A modern rhythmic style - or Ritmico Moderno, which is the title chosen by CAM for the LP containing the soundtrack and released two years later as part of a promotional library music series only distributed to film professionals and radio and TV programmers (CML series, cat. no. 131). One is led to wonder whether it was thanks to that LP that, in 1977, three pieces from the soundtrack found their way into another film about youth gangs, the Spanish Perros callejeros (Street Warriors), written and directed by Jose Antonio de la Loma. On a side but important note, there's the added bonus of popular 70s and 80s entertainer Sammy Barbot singing on Gang Leader alongside female vocal group Baba Yaga. What a pity that Verrecchia's career as a film composer ended here!

pre-order now17.12.2021

expected to be published on 17.12.2021

33,24
The Mars Volta - Frances The Mute

The Mars Volta

Frances The Mute

3x12inch4250795604921
CLOUDS HILL
17.12.2021

Triumph breeds confidence, and with confidence comes an expansion of ambition, a focus of ability, an emboldening of audacity. De-Loused In The Comatorium had risked everything Omar and Cedric possessed on the wildest of gambits, the most impossible of dreams: making sense of the riot of influences ricocheting about Omar’s head, and memorialising their departed friend Julio Venegas through Cedric’s magical realist roman-a-clef. It Clouds Hill shouldn’t have worked. But it did, and with that fiendish tightrope act successfully accomplished, the duo stretched the wire even further and higher, over a figurative fiery pit peopled with lions, crocodiles, piranha and other sharp-toothed beasts not yet known to man. Because how do you make great art without taking great risks? Frances The Mute was no De-Loused Part Two. For one thing, the band’s configuration had changed, in the most painful way. Shortly before the release of De- Loused, sound manipulator and founder member Jeremy Michael Ward passed away, a wound Omar says the group never recovered from. But even though his inspired fucking- with-the-sonic-parameters is absent from Frances The Mute, his spirit and influence can still be determined, the album’s concept derived from a diary Ward had encountered in his day-job in repossession. “Jeremy picked up lots of interesting stuff when he was a repo man,” remembers Cedric. “Weird things, including this diary, He let us read it a bunch of times. It was by a guy who’d been adopted and was searching to find his real parents. It was very surreal, it didn’t make much sense – the guy might’ve been schizophrenic – but it was very inspiring. It felt like how certain music helps you escape your boring every-day life. The names and scenes in the diary directly inspired these songs.” Some of the tracks pre-dated De-Loused, having their origins in early demos Omar recorded at the duo’s Long Beach home Anikulapo, songs such as The Widow and Miranda The Ghost Just Isn’t Holy Anymore. Cedric had heard these jams in their embryonic state and began working in his mind on what he could bring to them. “I was attracted to The Widow like you would be to a lover, right?” Cedric remembers. “I sang over it with Omar while we were touring De-Loused in Australia on the Big Day Out, like, ‘Okay, I’ve got something for this.’” A potent ballad, laden with emotional crescendos and evoking the epic drama of Ennio Morricone – an effect aided by an elegiac trumpet part performed by Flea – The Widow would become The Mars Volta’s first song to chart on the Billboard Top 100, capturing the album’s potent sorrow and widescreen sprawl in miniature. Indeed, the lush sound of the album, the depth of detail and breadth of instrumentation, belies its grungy roots. Having tasted the luxury of Rick Rubin’s mansion, Omar veered in the opposite direction when recording Frances, cutting the album in what he describes as “a shithole... Basically a warehouse with one little air conditioner on its last legs, awful wiring and a console you couldn’t rely on. We were there night and day – I would literally lock engineer Jon DeBaun in there. He slept on a mattress in the vocal booth.” A considerably more complex and ambitious album than its predecessor – four of its five tracks lasted over ten minutes in length, with its closing epic Cassandra Gemini spanning over half an hour – Frances The Mute wasn’t recorded “live” by an ensemble, but with the individual musicians coming into the “shithole” and recording the parts Omar had scripted for them separately. “They had to have absolute trust in me,” Omar remembers, “Like actors trust their director.” In addition to the core band – now fleshed out with incoming bassist Juan Alderete, and Omar’s brother Marcel on keyboards and percussion – the album featured guitar solos from John Frusciante, saxophone and flute by future member Adrian Terrazas-Gonzales, a full string section, and piano played by Omar’s hero, salsa legend Larry Harlow. “It was a childhood dream come true,” Omar says. “We recorded with him in my hometown in Puerto Rico, and my father flew in to watch the session. Larry was a perfect gentleman, and a very lively spirit.” The album’s fevered intensity infected even the staid string section, Cedric remembers. “When they performed the part on Cassandra Gemini, ’25 wives in the lake tonight’, one of the guys in the orchestra played so hard he broke his bow, this real old, antique bow. And you could see his ‘classical’ side come out – like, ‘I broke this playing a fuckin’ rock song??’ He was pissed off. But I was like, ‘Fuck yeah, man, that’s on the record! You’ve got to realise things like that are cool.’” The album also features field recordings of “the coqui of Puerto Rico” during the opening minutes of Miranda That Ghost Just Isn’t Holy Anymore. “We took a page out of the Grateful Dead’s book there,” laughs Cedric. “They recorded air. We recorded fuckin’ frogs in Puerto Rico.”

pre-order now17.12.2021

expected to be published on 17.12.2021

47,77
Hannes Buder - Outside Words

Hannes Buder

Outside Words

12inchLAAPS016LP
LAAPS
17.12.2021

Hannes Buder (born 1978 in the former GDR) is a musician, composer and improviser in the field of experimental music. His works concentrate on issues of movement, authenticity, intuition, minimalism, and slowness.

Buder's current projects include the bands 'Zug Zug' with Todd Capp and Andrew Lafkas, 'Gravity' with Hannes Lingens and Andrew Lafkas, the duo Nothingness with Sarah Jegelka, and his solo projects. Beyond that he has collaborated with Audrey Chen, Tony Buck, Audrey Lauro, Hilary Jeffery, Mike Majkowski, Steve Heather, Nicole Mitchell's Black Earth Ensemble, the Berlin Improvisers Orchestra and many others. Hannes Buder's Solo recordings include "Changes" (2000), "Dunkelbunt" (2004), "Openyoureyescloseyoureyes" (2006), "Changes II" (2015) and "Oustide WOrds" (2021). He performed concerts in Europe, Australia and in the USA.

Buder has also composed, improvised and recorded music for different dance (Oxana Chi, Judith Sanchez Ruìz), theater (Jörg Mihan, Johannes Maria Schmit) and film projects (Barbara Lubich, Annick Gaudreault). He's been giving workshops at festivals, music schools and with prisoners in jail. He studied guitar in Weimar and Dresden.

pre-order now17.12.2021

expected to be published on 17.12.2021

20,80
Various - Pyramid Pieces 2: Modern Jazz Australia 1969-1980

Following the critical acclaim of the 2020 compilation Pyramid Pieces, The Roundtable return with a second offering of modernist jazz from Australia. Another vital document further examining the nation's jazz scene during the late 1960s and 70s. A fertile period that witnessed the birth of an independent movement and the development of a distinct Australian jazz sound. While continuing to focus on the modal forms explored in Volume 1, this second edition shifts direction slightly, this time also surveying other post-bop modes representative of the scene including soul jazz, avant-garde ballet music and Eric Dolphy-inspired free jazz.

Again featuring tracks from the esteemed independent imprints Jazznote and 44 Records, the collection also offers never before published pieces from less obvious Australian jazz groups. Compositions by internationally renowned musicians including Bob Bertles (Nucleus/Neil Ardley), Bruce Cale (The Spontaneous Music Ensemble/Prince Lasha) and Allan Zavod (Frank Zappa) alongside pillars of the local scene, Charlie Munro and Ted Vining plus the lesser-known yet formidable free jazz unit 'Out To Lunch'. Pyramid Pieces 2 is another timely insight into the evolution of the incredible yet obscured Australian modern jazz movement.

A compilation of Australian modern jazz. 1969-1980
Rare modal, soul-jazz and free jazz from artists including The Charlie Munro Trio, Bob Bertles Moontrane, The Bruce Cale Quintet and The Ted Vining Trio.
Tip-on sleeve featuring artwork from renowned Australian modernist painter James Meldrum.

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26,01

Last In: 4 years ago
Matthew Halsall - Salute to the Sun - Live at Halleì St. Peter's’

Salute to the Sun: Live at Halleì St Peter's documents a very special concert recorded at the iconic Manchester venue during lockdown.

Released in November 2020, Matthew's Halsall's Salute to the Sun was the trumpeter's first album since 2015's Into Forever, and marked the debut of his new band. A hand-picked ensemble featuring some of Manchester's finest young musicians. The album drew it's energy from the band's weekly sessions and was inspired by Halsall's love of nature. Lush and spiritual it received universal praise, but Halsall and his band were frustrated that they were unable to share their beautiful new sound live with an audience.



On November 25th 2020, Halsall took his band into the iconic Manchester venue, Hallé St Peter's, for a concert recording in aid of the charity Mind, that was streamed on January 21st 2021 to a global audience in the thousands. The concert was also recorded for posterity.



"When we recorded Salute to the Sun, I wanted to create something playful but also quite earthy and organic that connected to the sounds in nature. It seemed to strike a chord with people and I was blown away by the response to the album. Our concert film, recorded at the height of last winter's lockdown was a special moment for us all and I feel that the concert recording captured something beautiful that we wanted to share".



Salute to the Sun: Live at Halleì St Peter's features Matthew Halsall– trumpet, Matt Cliffe- flute & saxophone, Maddie Herbert– harp, Gavin Barras– bass, Liviu Gheorghe– piano, Alan Taylor– drums and Jack McCarthy- percussion



The recording has been mixed by Matthew Halsall and George Atkins at 80 Hertz and is mastered by Peter Beckmann at Technology Works. The vinyl was cut at Calyx in Berlin and the album is pressed at Optimal in Germany. It is presented in the form of a limited edition 2LP set with artwork by legendary designer Ian Anderson of The Designers Republic.



Spread over three sides of the vinyl LP for maximum fidelity the fourth side of the LP (side D) features an etching of Daniel Halsall's now iconic artwork for the album Salute to the Sun and copies are strictly limited with just 3000 available in total. The album will also be available for download and on streaming platforms.

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28,36

Last In: 4 years ago
Oren Ambarchi - Live Hubris

Black Truffle is pleased to announce Live Hubris, documenting the hypnotic and electrifying live performance of Oren Ambarchi’s 2016 LP Hubris by a fifteen-strong band at London’s Café Oto. Over three days in May 2019, Oto toasted Oren Ambarchi at 50/Black Truffle at 10 with Ambarchi and a large group of close friends and collaborators in a series of performances that interspersed existing projects with new collective endeavours, culminating with this: fourteen members of the extended Black Truffle family together on stage, joined by one special virtual guest, to translate the intricately studio-constructed layers of Hubris into a muscular live band workout.

Operating with only the bare minimum of pre-gig preparation after the planned afternoon rehearsal had to be wrapped up prematurely due to noise complaints, the gargantuan group lurches into motion with a 21-minute rendition of ‘Hubris Part 1’, powered by the pulsating electronics of Konrad Sprenger (the ‘ringmaster’ at the ensemble’s core) and no less than seven electric guitars spinning a web of intricately interlocking palm-muted polyrhythms. The layers of closely related but metrically distinct lines create ripples of shifting accents, flickering changes in emphasis that ricochet along the endless central pulse. Gradually building in density, this motorik continuum becomes the backdrop for the haunting tones of Eiko Ishibashi’s processed flute and an extended feature from long-distance guest Jim O’Rourke on guitar synth.

After the brief interlude of the second part, where Albert Marcoeur-esque guitar arpeggios accompany a halting attempt at phone conversation, the full ensemble gears up for the epic side-long rendition of ‘Hubris Part 3’. Now joined by the astonishing triple drum line-up of Joe Talia, Will Guthrie and Andreas Werliin, the layered pulse of the opening piece becomes a burning funk-fusion groove. Beginning on a medium simmer, the ensemble initially stick to its pulsating one-note mantra, over which Ambarchi unfurls a beautiful example of his signature shimmering Leslie-toned guitar harmonics, eventually joined by Ishibashi’s flute and some brooding, distorted dissonance from Julia Reidy’s guitar. Building steadily for the first nine minutes, the heat then rises dramatically with a first, gloriously loose chord change: with the all drummers now rolling and tumbling like a twice-cloned Jack DeJohnette circa 1970, Mats Gustafsson enters on baritone, his tortured roars and shrieks driving the band to peaks of insane intensity. Finally, the exhausted ensemble drops out, leaving only the jagged, skittering fuzz of Ambarchi’s guitar, brought to an abrupt conclusion at the command of crys cole. Arriving on hot pink vinyl with artwork by Lasse Marhaug and an extensive selection of live photos by Ivan Weiss and Fabio Lugaro, Live Hubris brings this ambitious and outrageous evening of music to the safety of the home stereo.

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18,95

Last In: 4 years ago
SHAY HAZAN - RECLUSIVE RITUALS

The multi-talented Shay Hazan fuses rubbery North African Gnawa grooves, with haunting jazz horns and hip hop inflected beats on 'Reclusive Rituals'. His first project for international groove artisans, Batov Records. Tel-Aviv based musician Shay Hazan is a composer, producer, bassist & bandleader. His versatile bass is frequently heard on national radio, providing the hits of tomorrow with a foundation in the groove. Hazan's presence has been felt on major international stages having toured with popular hip hop ensemble, Lucille Crew, and Batov fans will have heard his bass lines propelling the grooves of Sandman Project's breakthrough EP, 'Royal Family'. Moreover, Hazan's straight jazz project, the Shay Hazan Quintet has been heavily playlisted across Spotify editorial playlists and recently released a fast-selling 7" on Jazzman Records.

pre-order now10.12.2021

expected to be published on 10.12.2021

21,39
Tahiti 80 - Wallpaper For The Soul

After the worldwide success of their first album Puzzle (1999), which sold over 200,000 copies and went gold in Japan, Xavier Boyer (vocals, guitars), Pedro Resende (bass), Médéric Gontier (guitars) & Sylvain Marchand (drums) reunited with producer Andy Chase to record the follow-up, Wallpaper for the Soul, in New York City. Starting in November 2001 at Stratosphere Sound, the prolific sessions gave birth to twenty tracks, twelve of which appeared on the original tracklist. The eight outtakes were compiled on the mini albums A Piece of Sunshine (2003) & Extra Pieces of Sunshine (2004). This new vinyl edition will be the first time all these songs appear together.

Almost 20 years on, WFTS is a tour de force of contemporary songwriting with obvious nods to the past somehow revisited in a timeless fashion. Tahiti 80’s second effort can also be seen as an alternative and more sophisticated snapshot of an era often associated with the rebirth of rock (The White Stripes, The Strokes…). This set of songs also established them as stalwarts of the Post French Touch cannon, showcasing both their ability to write catchy songs and their knack for mélanges & experimentation. 1,000 Times or The Train are unique examples of blue-eyed soul augmented with French flair (« Prefab Sprout as produced by Thomas Bangalter » suggested Uncut which listed WFTS in their Top Ten’s albums of 2003). Listen to Don’t Look Below today, and ask yourself who was mixing Destiny’s Child with My Bloody Valentine in 2001? Delicate numbers like Open Book or live favorite Better Days Will Come both demonstrate T80’s songwriting skills and their innate sense of melancholia.

Listening back to WFTS today, one cannot help but think of it as an album recorded in a state-of-the-art fashion. All four members would typically perform together in the same room. Basic takes were printed on a 24-track analog tape machine and then bounced onto a computer for editing. A fine example of this method is the title track itself. Originally written on acoustic guitar, Wallpaper … is the result of three eight minutes synthesizer jams pieced together. The Frenchmen were keen to try out multitude of ideas and had developed a taste for experimentation. The sessions also coincide with a rich outburst of creativity from a band on top of their game after several months of touring around the world.

Another typical WFTS characteristic is Richard Hewson’s orchestration. Veteran string arranger, famous for arranging The Beatles’ The Long And Winding Road or writing RAH Band’s ‘80s classic Clouds Across The Moon Hewson gave the songs a sweeping orchestral touch. Strings, Horns & woodwinds were all performed at the now defunct Olympic Studios in London. Urban Soul Orchestra, a 24-piece ensemble who played on Oasis’ or Spice Girls’ hits can be heard on five songs: the opening trilogy Wallpaper…, 1,000 Times and The Other Side, then on the Northern Soul revival Soul Deep and lastly on the album’s closer Memories Of The Past.

Rouen’s most famous four-piece, now relocated in a house on France’s North West Coast, in the quiet seaside town of Étretat, added more bells & whistles and resumed production on the songs. With one last transatlantic leap during the summer of 2002, the boys flew to Portland, Oregon to attend the mixing sessions held by sound wizard Tony Lash (Elliott Smith, The Dandy Warhols…). Suggested by Sub Pop’s craftsman Eric Matthews, also a guest on trumpet and keyboards, Lash would later become a major collaborator on Tahiti 80’s subsequent albums.

In the meantime, Laurent Fétis, the designer behind Puzzle’s iconic artwork, had started working with artist Elisabeth Arkhipoff on a set of nostalgic photographs transfigured with a soft air-bush technique. Those visuals, like their predecessors, have since become an inseparable companion to Tahiti 80’s music.

Many musical fashions and flavors of the month have come and gone, but twenty years after its release, WFTS still sounds fresh and relevant. And always forward-looking, Tahiti 80 is currently wrapping up the recording of their eighth album, to be released in early 2022.

pre-order now03.12.2021

expected to be published on 03.12.2021

22,82
FUZZY HASKINS - A WHOLE NOTHER THANG

Westbound 1976 Funk classic - Featuring an all-star Parliament/Funkadelic line-up - Limited 180g TANGERINE COLOR Vinyl Edition (400 copies) - Comes in Deluxe Gatefold Jacket with Obi Strip - Comes with liner notes // A co-founder of the P-Funk movement, Clarence Eugene "Fuzzy" Haskins was born in West Virginia in 1941 and started as a singer in the doo-wop vocal group The Parliaments, led by George Clinton in the late 1950s. He was a founding member of the groundbreaking and influential 1970s funk bands PARLIAMENT-FUNKADELIC. Fuzzy Haskins toured and appeared on P-Funk albums as a singer, and occasionally as a guitarist, throughout the 1970s. He is a member of the Rock and Roll Hall of Fame, inducted in 1997. Despite the success of Mothership Connection, Fuzzy Haskins was growing frustrated that his songs were no longer being featured on albums by Funkadelic and Parliament. He also watched as Bootsy Collins, a relative newcomer to the family, embarked upon a solo career. This added to Haskins' frustration and at the height of P-Funk's popularity, Fuzzy left the ensemble to pursue a solo career. Fuzzy Haskins released his first solo album, A WHOLE NOTHER THANG, in 1976. The album features funk `all-stars' from the likes of Bernie Worrell, Donald Austin and Bootsy Collins. Haskins wrote eight of the nine songs and served as producer, singer, songwriter, guitarist and even drummer. The result was an album that oozed quality. With his brand of earthy and heavyweight funk, Fuzzy Haskins' solo work fits right in with many of the other great P-Funk side projects. Also featured on the album is the track "Cookie Jar", which was later recorded by Prince. Despite the quality of music, the album didn't sell in vast quantities and didn't find the audience it deserved. `A Whole Nother Thang' is a true gem to funk fans, mint vinyl copies are hard to find and pricey these days. If you are a Funkateer_this one's for you. Originally released on Westbound Records in 1976, now back available as a limited deluxe 180g TANGERINE COLORED vinyl edition packaged in a gatefold jacket featuring the original artwork and liner notes.

pre-order now03.12.2021

expected to be published on 03.12.2021

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HIFIKLUB/DUKE GARWOOD/JEAN-MICHEL BOSSINI - Last Party on Earth

Since its creation in 2007, Hifiklub has led more than 150 collaborations which have allowed the Toulon trio to open its music to multiple artistic experiences revealing a constant desire for research and novelty. From unprecedented encounters to unique projects, Hifiklub has developed over the years a now substantial discography whose musical proposals range from pop to jazz through the most experimental sounds and even traditional music. One path, however, remained unexplored: contemporary music."Last Party On Earth" is organized around the association of three energies: contemporary composer Jean-Michel Bossini, singer Duke Garwood and the instrumental ensemble Hifiklub.

Surrounded by mysticism and darkness, the creation has cinematographic dimensions. It positions the listener in a depth and disposition of soul where the voice - and the poetry - of Duke Garwood is carried by Hifiklub and Jean-Michel Bossini around cold and tormented atmospheres. The album seduces by the detail of its sounds, its apparent tranquility and its intimate atmospheres thwarted by harsh flashes.

Mixed by Alain Johannes (Queens of the Stone Age, Them Crooked Vultures, Eleven), the album sees the exceptional participation of the string trio Anpapié (Alice Piérot, Fanny Paccoud and Elena Andreyev) who magnificently perform the score by Jean-Michel Bossini.

All songs performed by Hifiklub, Duke Garwood and trio Anpapié (conducted by Jean-Michel Bossini)

Pascal Abbatucci Julien – drums, percussion
Eléna Andreyev – cello
Jean-Loup Faurat – guitar
Duke Garwood - vocals, guitar
Régis Laugier – bass
Nico Morcillo – guitar
Alice Piérot – violin
Fanny Paccoud – alto

Collaboration is an essential ingredient to this open trio’s creative approach, forming a recurring theme in Hifiklub’s extensive discography and filmography. Based in Toulon, the hyperactive experimental rock band offer a diverse ever-evolving catalogue that now boasts over 150 artist collaborations since they started in 2006. Over the years they have formed as many fruitful artistic friendships allowing them to explore the endless possibilities of expression combining sound, image and text.

Some of the artists that feature in Hifiklub’s kaleidoscopic discography: Lee Ranaldo (Sonic Youth), Alain Johannes (Queens of the Stone Age, Them Crooked Vultures, Eleven), Roddy Bottum (Faith no More, Imperial Teen), Matt Cameron (Pearl Jam, Soundgarden), The Legendary Tigerman, Jad Fair (Half Japanese), Iggor Cavalera (Sepultura, MixHell), Jean-Marc Montera, R. Stevie Moore, Mike Watt (Minutemen, The Stooges), Fatso Jetson, Nels Cline (Wilco), Scanner, Mike Cooper, Eugene Chadbourne…

pre-order now03.12.2021

expected to be published on 03.12.2021

26,01
Various - Buganda Royal Music Revival
 
17

From its founding in the late 14th century, the kingdom of Buganda has been celebrated through sound and nurtured a rich musical tradition in its royal court. Coming from across the kingdom, musicians would take turns in the palace to sound drums, xylophones, flutes, lyres, and more to praise and honour the existence of the kingship. In recent years however, the tradition has been more difficult to maintain, especially since 1966 where there was a violent attack on the palace that abruptly abolished the kingdom and during which royal musicians fled or were killed. And while the kingdom was re-established in 1993 as a cultural institution, many of the remaining musicians had since chosen to sideline their skills to deal with the issues of their day to day lives, the practice of the royal tradition waning in popularity, especially with younger listeners and players. But all is not lost. Scattered across the kingdom, a motivated team of older veterans and attentive young players are still keeping the tradition alive. Offering a transversal glimpse into the past and the present, "Buganda Royal Music Revival" collects recordings made in between the late 1940s and 1966 illustrating the older generation's skills, and presents them alongside recent recordings featuring old and young musicians who still carry on this musical tradition, some even performing for the current king, Muwenda Mutebi II. The later were made during the shooting of the 2019 documentary "Buganda Royal Music Revival" that presents through a film what this album conveys through sounds: a packed dive into a century-old tradition. The music displayed here is diverse and vibrant, presenting a variety of styles and highlighting instruments that illustrate the depth and sophistication that stemmed from the royal court experience of Buganda. As a starter, the album opens with 'Mujaguzo'. Often translated as 'The Drums of the Kingship', the mujaguzo is a crucial ensemble for the cultural tradition, made from drums collected by the kingdom throughout its long history and numbering around 100 drums (historical records suggest there were at some point over 300). They are the vitality of the kingship packaged into sound. From here, we're introduced deeper to an array of instruments and textures, like the buzzing Bugandan lyre (endongo) by contemporary royal player Albert Bisaso Ssempeke, the resonant akadinda xylophone with its 21 large wooden keys, Temutewo Mukasa's restless praise sung with his harp (ennanga), the hand-made gourd trumpet (amakondere), the entenga "drum-chime" and its core set of 12 drums tuned like the amadinda xylophone, or the tightly intertwined melodies of the flutes ensemble (abalere). With the music, the hissing and swishing sounds of old tapes reminds at times the listener of the long process, from the original recording to its archival digitization, that allows the talent of past musicians to still vibrate nowadays. This rousing selection of music and moods is a unique and all too rare exploration of sounds that celebrates the common history of generations of musicians, and the question remains open as to how this rich cultural tradition will shape and be shaped by the upcoming Bugandan future, and what engagement it will trigger among audiences within, but also beyond, the kingdom of Buganda.

pre-order now26.11.2021

expected to be published on 26.11.2021

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Clara Rockmore - The Lost Theremin Album

A new LP collection of incredible performances by the virtuosa of theremin, Clara Rockmore, accompanied by her sister Nadia Reisenberg on piano.

160 gram vinyl comes in old school tip-on jacket and includes an 8-page full-size booklet of interviews, photos, and insights with Clara Rockmore, Nadia Reisenberg, Robert Moog, and more.

Recorded in 1975 and never before released on vinyl, this compendium features stellar performances of compositions by Bach, Chopin, Schubert, Gershwin and more, and even features a cello ensemble on a few songs!

Some of the finest examples of Clara Rockmore’s unrivaled art - rich with bittersweet moments of air, electricity, human grace and emotional composition all merging into some new thing that is transcendent of time.

pre-order now26.11.2021

expected to be published on 26.11.2021

22,65
RUFUS WAINRIGHT & THE AMSTERDAM SINFONIETTA - RUFUS WAINRIGHT & THE AMSTERDAM SINFONIETTA LIVE

In January 2017 Rufus Wainwright toured with the prestigious all string ensemble Amsterdam Sinfonietta through the Netherlands. Critics and audiences of the ten concerts were enraptured by the intimacy and intensity of the program curated by Wainwright. The concerts reflected the immense bandwidth of Wainwright’s musical influences and interests from Verdi Arias to Leonard Cohen and Joni Mitchell, from Rameau pieces to the American songbook and French chanson and from Wainwright’s beloved Berlioz to his family’s and his own songs, some of them written for this program. Emotional center piece of the album is Wainwright’s almost 9 minute version of late Canadian singer songwriter Lhasa de Sela;s harrowing “I’m going in”, a song she wrote about her own death from cancer at the age of 37. All arrangements were created specifically for the Amsterdam Sinfonietta and around Wainwright’s voice that is truly at the peak of its power. The artistic kinship between Wainwright and the Amsterdam Sinfonietta lead by Candida Thompson is astounding and make these live recordings into something utterly unique and breathtaking. “Rufus Wainwright and Amsterdam Sinfonietta Live 2017” will be released on BMG’s Modern Music Label as vinyl, CD and digital releases with two bonus tracks on the digital formats.
The album was mixed by multiple Grammy winner Ryan Freeland and mastered by Ruairi O’Flaherty both in Los Angeles and is comprised of live recordings from five of the ten concerts.

pre-order now26.11.2021

expected to be published on 26.11.2021

23,74
SIRONE - Artistry

Sirone

Artistry

12inchM-B-S-3WHITE
Moved-by-sound
25.11.2021

Artistry was Sirone's first album as a leader, recorded in 1978, just after the split of the Revolutionary Ensemble. Artistry has an Atypical combination of instruments, bass, cello, flute and percussion and delivers aplenty.

Available in White coloured vinyl (200 ltd press only) and Black standard vinyl



Sirone - Bass

James Newton - Flute

Muneer Bernard Fennell - Cello

Don Moye - Percussion



Sirone (Norris Jones) had an enormously prolific career as a bassist, both as a member of the Revolutionary Ensemble and playing with many of the best musicians of the 20th century - from Pharoah Sanders, Albert Ayler, John Coltrane, Gato Barbieri, Noah Howard, William Parker, Cecil Taylor, Sun Ra, Sonny Sharrock ,Marion Brown ... and the list goes on.

pre-order now25.11.2021

expected to be published on 25.11.2021

41,98
SIRONE - Artistry

Sirone

Artistry

12inchM-B-3BLACK
Moved-by-sound
25.11.2021

Artistry was Sirone's first album as a leader, recorded in 1978, just after the split of the Revolutionary Ensemble. Artistry has an Atypical combination of instruments, bass, cello, flute and percussion and delivers aplenty.

Available in White coloured vinyl (200 ltd press only) and Black standard vinyl



Sirone - Bass

James Newton - Flute

Muneer Bernard Fennell - Cello

Don Moye - Percussion



Sirone (Norris Jones) had an enormously prolific career as a bassist, both as a member of the Revolutionary Ensemble and playing with many of the best musicians of the 20th century - from Pharoah Sanders, Albert Ayler, John Coltrane, Gato Barbieri, Noah Howard, William Parker, Cecil Taylor, Sun Ra, Sonny Sharrock ,Marion Brown ... and the list goes on.

pre-order now25.11.2021

expected to be published on 25.11.2021

35,71
Đ.K - Eighteen Movements

‘Eighteen Movements’ is a collection of recordings captured at live performances between 2017 – 2019. The record’s rich textures combine ambient, tribal rhythms, field recordings, ritualistic vibes, and a meditative feeling that runs through the entire LP. Đ.K. is in full flight mode, illustrating the project’s aptitude for deep transcendence.

Đ.K. is a DJ, composer & producer based in Paris, France. A versatile and prolific artist, D.K. has cultivated an eclectic body of work in recent years, with acclaimed output on renowned labels including Antinote, Melody As Truth, 12th Isle, Good Morning Tapes, Music From Memory’s Second Circle imprint, and L.I.E.S. (as 45 ACP).

Luminous and mesmeric, D.K.’s work combines finetuned traces of house, synth pop, ambient, balearic, minimalism, and fourth world music, creating energies and soundscapes which aim to invoke elevated forms of consciousness.

Prismatic tones exchange space with devotional drums on ‘Clarity’ and ‘Echo Chamber’, as Đ.K. hits a hypnotic stride somewhere between Jon Hassell, HTRK & a Folkways percussion ensemble. With ‘Full Consciousness’ meditation bells ring out across a progression of gleaming new age emanations, conjuring an entrancing spell. Movements of pulse and ether.

On ‘Mirror’, sonorous, elaborate percussive phrases are interwoven with drifting ambient vapours, while ‘The Other Side’ veers into broad, rolling blasts of dub and Antipodean drone, a cavernous trance evoking the early roots of Ras Michael and Yabby You, pared back to resolute drum sequences and infused with esoteric chimes and sultry synthesis.

The finale of ‘Eighteen Movements’ represents one of Đ.K..’s most ambitious recordings. ‘Awakening’ is an epic tone poem of aqueous, outer planetary resonance that completes this mercurial cycle with a poignant, euphoric fadeout. Chronicled in the moment, alternating between rhythm and repose, momentum and aviation, 'Eighteen Movements' sees Đ.K. voyaging further, into vast, uncharted outskirts of sound. A collection of movements for heightened states and new diversions.

Mastered by Jose Guerrero at Plataforma Continental. Graphic Design by Javi Tortosa.

out of Stock

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16,77

Last In: 4 years ago
J.R.C.G. - AJO SUNSHINE

J.r.c.g.

AJO SUNSHINE

12inchCF138
Castle Face
19.11.2021

Ajo Sunshine (pronounced “Ahh-Ho”) is heralded by
an alarming horn ensemble, stabbing with the dramatic
urgency of a killer’s theme in a midnight movie. It’s a
jarring but appropriate entry point for this brilliantly blasted
listen, an array of exquisitely sharp edges punctuated by
kaleidoscopic respites of throbbing warmth and surprising
tenderness. J.R.C.G. (Justin R. Cruz Gallego)’s previous
work with Seattle’s excellent Dreamdecay may foreground
the broad strokes here, but he’s pushed things way outward
in terms of his sonic palette. Abutting field recordings
captured from rodeos off Ajo Way, a stretch of highway
that leads one westward out of Tucson Arizona directly into
the sun, both acoustic instruments and gleaming walls
of synthetic noise are framed in dour and dissonant chord
shapes, crackling with overdriven drum mics and seasick
waves of distortion. It’s homage that plays out like a
collage, a dream switching from station to station, a series
of dedications broadcast on late night radio. All pin-hole
size images from scenes never seen whole, strung together
in but one version of complete, all making for a dazzling
listen.

pre-order now19.11.2021

expected to be published on 19.11.2021

26,60
VARIOUS - NEW HORIZONS 2

Various

NEW HORIZONS 2

2x12inchAFS051
Afrosynth
15.11.2021

Following a definitive first volume jam-packed with forward-thinking musical talent working in the South African creative improvised music idiom, New Horizons returns with a fresh iteration of young artists who continue in the same tradition and tone.

The compilation showcases recent recordings from 14 more leading lights in South Africa’s contemporary jazz scene: pianists Thembelihle Dunjana, Afrika Mkhize, Sibusiso ‘Mash’ Mashiloane, Blake Hellaby and Siphephelo Ndlovu’s The SN Project; saxophonists Sisonke Xonti, Muhammad Dawjee and Linda Sikhakhane; singer Spha Mdlalose; drummers Ayanda Sikade, Leagan Starchild and Tefo Mahola; and trumpeters Ndabo Zulu and Marcus Wyatt accompanied respectively by Umgidi Ensemble and The ZAR Jazz Orchestra.

Together they form part of a vibrant, connected community charting new sonic territory that speaks to today’s troubled times while building on the country’s unique and proud jazz history.

out of Stock

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20,55

Last In: 4 years ago
Marco Gomes - Week

Marco Gomes

Week

12inchKARATLP05
Karat Records
15.11.2021

Marco Gomes is coming with a much personal and intimate album named ” week “, as much as a real research on sounds and textures. It’s a day to day travel in which each element of the week, each day, with its particular soundscape, is part of an ensemble that expresses the complexity of emotions and the difficulties to catch the real life in its crudeness. This album is kind of melancholic, it’s hard to deny it, but it’s not expressed in a naive or depressed language. Some dark sounds, industrial, are always balanced with melodic or harmonic elements. Rhythms change along the pieces, the idea remains, in this kind of sharp and sweet poetry, in a kind of spiritual romanticism. This quest of sound of structures is an existential investigation on the modern life through the prism of ruled time oppression versus sublimation of the machines.

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21,22

Last In: 4 years ago
Orquesta Akokan - 16 Rayos

Recorded in Havana’s famed Egrem Studios, the group displays a cohesion forged by an intense performing and touring cycle. The musical conversation that began in the Areito studios three years earlier blossomed into an easy, intimate dialogue between good friends - allowing full, fearless musical expression and risk-taking outside of their comfort zones.

Building upon Perez Prado’s dissonant, near avant-garde vision of the mambo, and highlighting the Lucumí subtext of Cuban rhythms and styles, the band continues to explore, develop and expand the island’s rich rhythmic palette and repertoire - pushing the conventions of what is considered “mambo” - and drawing deeply from folkloric and religious traditions seldom heard in popular music. 16 Rayos is here to shine its musical rays on us, warm our hearts, and irresistibly move our bodies.

When Orquesta Akokán burst onto the global music scene a mere three years ago, their no-holds-barred 21st century take on the venerable Cuban mambo lit up stages around the world with a fierce and unremitting joy. Singer José "Pepito" Gómez, Chulo Records producer and multi instrumentalist Jacob Plasse, and arranger Michael Eckroth joined forces with a carefully curated selection of Havana’s most extraordinary musicians as Orquesta Akokán, polishing Cuban mambo’s golden sound to a luminous, contemporary sheen. Along the way Orquesta Akokán imbued these legendary Cuban grooves with a renewed vitality and powerful sense of akokán ---the Yoruba word used by Cubans to mean “from the heart” or “soul.”



On the Cuban side of the equation the Orquesta boasts some of the island’s greatest instrumentalists culled from members of near-mythical groups such as Los Van Van, NG La Banda, and Irakere (notably César Lopez, Orquesta Akokan’s point man in Havana). The ensemble for 16 Rayos shines a light on Cuba’s musical families and multigenerational legacy with the participation of two fabled Vizcainos on percussion - Roberto "Tato" Vizcaino Jr. and his father Roberto Vizcaino Guillot, a member of Chucho Valdes’ seminal 90’s quartet. Another family duo added their masterful legacy to the recording, with trumpeter Reinaldo “Molote” Melián bringing in his son, Reinaldo Melián Zamora, to play trumpet on several tunes alongside lead trumpet Harold Madrigal Frías. The winds and brass are rounded out with a rich saxophone section made up of young lion Jamil Shery and Germán Velazco (musical director for Pablo Milanés)on tenor, with Evaristo Denis on baritone and César López on alto, along with Yoandy Argudin and Heikel Fabián Trimiño on trombone. Coros were sung by Eddie Venegas and Luis Soto. Significantly, Orquesta Akokán added strings to the ensemble for the first time, with the participation of violinists Amelia Febles Díaz, Jenny Peña and Anabel Estévez Acosta, whose virtuosity stems from the classical training for which Cuban musicians are so renowned. The power and grace of Pedro "Tata" Francisco Almeida Barriel’s vocals lead the way on “4 de Octubre” and “Llegue con mi Rumba,” evincing why he is considered one of the Cuban rumba’s premier exponents. Another highly recognized singer, legendary guarachera Xiomara Valdés - who’s shared the stage with legends such as Beny Moré and Omara Portuondo and received the Ministry of Culture’s Distinción por la Cultura Nacional de Cuba as a significant contributor to Cuba’s musical legacy - is the featured guest on the title track.

pre-order now12.11.2021

expected to be published on 12.11.2021

20,38
THINK OF ONE - MARRAKECH

For the first time ever Think Of One on vinyl! Around the turn of the century the Belgian fanfare Think Of One got fascinated by the North African shabi rhythm.This LP compiles their 3 Marrakech Emballages Ensemble CDs, recorded in 1999, 2000 and 2002.

pre-order now12.11.2021

expected to be published on 12.11.2021

18,03
JUNGLE BY NIGHT - ALGORHYTHM

Jungle By Night

ALGORHYTHM

12inchVVNL41491
V2
12.11.2021

After more than a decade of heating up dancefloors at over 600 festivals and stages in 34 countries and 6 released albums, the nine-headed instrumental collective Jungle by Night melted their years of passion, friendship, and influences from krautrock, dance, jazz and techno together into a new analogue composition that will put us in a trance. > makes us revel in the human things around us and connect with each other like never before in times of rampant digital distractions.

Jungle by Night: ''In a world in which technology and its algorithms have become highly influential in our daily lives, we'd almost rather stare at our screens than look out for each other. With >, we pay a tribute to natural, spontaneous HUMAN rhythm as a counterpoint to the sophisticated intoxicating algorithms of the computer.''

With this new analogue album, nine-headed instrumental collective Jungle By Night bursts our bubble and reminds us to surrender to being human. The oddball ensemble exists within its own cosmos and serves us a danceable and thundering live act, connecting with crowds like no other, with beaming fun and energy along the way.

"Jungle By Night has been one of the best live bands in the Netherlands for years."
- The Independent (UK) -

" To top it all off, they turn the stiffest festival audience in the Netherlands into a football choir at the long end. Jungle by Night can simply do all the festivals for another year.
- VPRO, 3voor12 -

"They're undeniably cool, they've come from Amsterdam and they're killing it! We're talking about Jungle By Night, the young Dutchmen who have been acclaimed by Tony Allen and described as the "future of Afrobeat".
- Radio Nova (FR) -

Tracks>>
1.Scrolling in the Deep 2.Axolotl 3.Cookies 4.E17 Snack 5.Angelo Samsonite 6.Where Are We Going
7.Destination A2 8.Multi Beam 9.Force 10.Odyssey

pre-order now12.11.2021

expected to be published on 12.11.2021

19,29
Various - SOMEWHERE BETWEEN: MUTANT POP

LTD. COLORED VINYL

Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980–1988 hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed Japan Archival Series—Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 and Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream.

Sonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of Mkwaju Ensemble and Yoshio Ojima, to the leftfield techno-pop of Mishio Ogawa and Noriko Miyamoto (featuring members of YMO), and highlights from the groundbreaking Osaka underground label Vanity Records, these are blurry constellations defying collective categorization.

These tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like Warner Music and Nippon Columbia explored new sounds through traditional channels, it was possible for Vanity, Balcony and other indie labels, not to mention self–released artists like Ojima and Naoki Asai, to publish their work via affordable media such as cassettes, 7" vinyl, and flexi–discs.

Expertly curated by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. They are the sounds of transition and searching—a celebration of the freedom found in floating.

Note: The track “Days Man” by Yoshio Ojima is only available on the LP and Cassette versions.

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43,49

Last In: 2 years ago
NAIR MIRABRAT - UNTOS AHORA

Nair Mirabrat is a Uruguayan ensemble led by the composer Martín Ibarra. The candomberos of Montevideo are dressed in the infinite colors of the world and they immerse themselves in the world of song and dance, building bridges between the inside and the outside. "Juntos ahora" is built based on the myth of the hero and his journey through the symbolic labyrinth. Death, time and place are the themes where the lyrics wander. DESCRIPTION Martín Ibarra and his Nair Mirabrat ensemble bring a garden variety of electrifying rhythms with "Juntos ahora", fusing together elements of candombe fusion, jazz, and pop. Deep in the Montevideo music scene, Nair Mirabrat effortlessly transcends genres and local tradition bringing forth a new era of influence as they revel in the bliss of Ibarra's soaring vocals over tropical rhythms. Ibarra and crew are a modern-day mixture of Jaime Roos, OPA, Hugo Fattoruso and Eduardo Mateo with their explorative, forward-thinking passion of keeping it 100% Uruguay. Chris J. Morris

pre-order now05.11.2021

expected to be published on 05.11.2021

33,07
Trees Speak - Ohms

Trees Speak

Ohms

12inchSJRLP453C
Soul Jazz Records
02.11.2021

This is a super-limited strictly 1000 copy one-off only edition pressed on white coloured vinyl of this in-demand Trees Speak classic debut album.
When the band Trees Speak, coming out of nowhere, released an exclusive one-off 100-pressing white label 45, described as CAN/NEU! meets LIQUID LIQUID, it sold out so quickly (in less than 30 min) that Soul Jazz Records decided to release their album almost immediately.
Soul Jazz Records rarely release new music but found the music of TREES SPEAK’s album ‘OHMS’ so stunning and to have so many elements of music that they admired that they felt compelled to release it.
The group Trees Speak are from Tucson, Arizona and create new music that sounds like GERMAN KRAUTROCK meets NO WAVE/POST-PUNK and PSYCH ROCK – music for fans of CLUSTER, TANGERINE DREAM, CAN, NEU!, SILVER APPLES and early KRAFTWERK.
The album ‘OHMS’ sounds at times like a tripped out & moody JOHN CARPENTER/GOBLIN/MORRICONE soundtrack that seamlessly segues into propulsive, ‘motorik’ Krautrock instrumentals loaded with fuzzy, hypnotic mellotron, synths and analogue effects, as well as elements of ART ENSEMBLE free jazz, and all at times reaching a kind of post-rave psychedelia. More recent comparisons would include BEAK and GHOST BOX who draw upon similar themes and styles.
Trees Speak are Daniel Martin Diaz and Damian Diaz plus musicians from the Tucson, Arizona scene such as Giant Sand, XIXA and James Hunter. ‘Trees Speak’ relates to the idea of future technologies storing information and data in Trees and plants – using them as hard drives – and the idea that Trees communicate collectively.

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28,53

Last In: 4 years ago
BADBADNOTGOOD - Talk Memory

Badbadnotgood

Talk Memory

2x12inchXLLP 1176
XL Recordings
30.10.2021

Das kanadische Ensemble BADBADNOTGOOD machte sich einen Namen als sie kurzerhand Jazz und HipHop miteinander verbanden - nun kehren sie mit ihrem Debüt auf XL Recordings zu ihren instrumentellen Anfängen zurück! Mit dem Talk Memory reflektieren sie die Geschichte und die Innovationen der Musiker und Komponisten, die sie auf dem Weg zum eigenen Sound beeinflussten. Die Band formte sich 2010 im Humber College Jazz Kurs in Toronto, das feste Trio-Line-Up mit Alexander Sowinski (Drums), Chester Hansen (Bass) und Leland Whitty (Gitarre und Holzbläser) existiert seit 2015. Für die drei ist ein Song ein lebender und atmender Organismus, der sich natürlich entwickelt und je nach Umgebung anders klingt. "Talk Memory" ist ein Album, das ganz in diesem Sinne entstanden ist und markiert auch einen Wechsel vom Ego hin zum Kollektiv, zur Balance und zur Harmonie. Es enthält musikalische Beiträge von Arthur Verocai, Karriem Riggins, Terrace Martin, Laraaji und der gefeierten Harfenistin Brandee Younger, die bereits mit Moses Sumney und Thundercat gearbeitet hat. Die Visuals entwarf Virgil Abloh mit seiner Designfirma Alaska-Alaska_äó, der auch das Albumcover gestaltet hat. "Talk Memory" ist ein Album, das betont, wie Musik als Konversation unabdingbar kollektiv und improvisiert sein muss. Es erinnert dabei an die typischen Momente einer Live Jazz- oder Soul-Show, in der der Frontmann jedes einzelne Bandmitglied vorstellt, um ihm/ihr den gebührenden Applaus zukommen zu lassen. Und so ist ein Album voller tiefer Zuneigung zur Musik und zur Community entstanden.

pre-order now30.10.2021

expected to be published on 30.10.2021

28,87
Alter Ego + Matmos - Pranam – A(Round) Giacinto Scelsi

Diving into the archives of Alter Ego - the experimental ensemble of Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, Fulvia Ricevuto, and Eugenio Vatta - Die Schachtel is thrilled to present Pranam - A(Round) Giacinto Scelsi, a never before released body of recordings interpreting the works of the legendary Italian composer Giacinto Scelsi, made with Matmos (Martin Schmidt and Drew Daniel) in 2005. Resting at the outer reaches of avant-garde chamber and electronic music - moving at a glacial pace of tightly wound energy - Pranam’s two sides radically rethink the terms electroacoustic music in ways that still feel radically ahead of their time, more than 15 years after they were first laid to tape.

A modular chamber ensemble with a pointedly anti-academic approach to music, over the course of its activities - running roughly between 1990 and 2010 - Alter Ego developed a devoted following among some of the most forward thinking voices in experimental music, all the while collaborating widely with artists spanning a vast range of practices and disciplines, including Robin Rimbaud, Philip Jeck, Pan Sonic, Matmos, Gavin Bryars, Andrew Hooker, William Basinski, David Moss, Alvin Curran, Terry Riley, and near countless number of others.

Alter Ego’s diverse activities can be understood as interventions with the disposition toward formality within contemporary chamber music, often pairing themselves with artists working well beyond their own context as a means to develop highly original interpretations of a specific composer’s work. In 2005, this process led them to invite Matmos, the American duo of Drew Daniel, Martin Schmidt - acclaimed for a body of visionary albums at the vanguard of electronic process and sampling - to collaborate on a series of interpretations of works by the legendary Italian composer Giacinto Scelsi.

Realized in collaboration with The Fondazione Isabella Scelsi, which holds Giacinto Scelsi’s archives, and performed at the Festival Roma Europa and the Festival Aeterforum during May of 2005, the album’s four works - Estratti dal Quartetto per archi n.3 (1963), Ko-Lho (1966), Riti: I Funerali di Carlo Magno A.D. 814 (1976), Aitsi (1974) - shift the boundaries of 20th Century chamber music toward markedly new and contemporary terms, incorporating everything from the sounds of the Revox tape machine that Scelsi used to record his own improvisations and processed electronics, to the plastic trumpets used by fans during football matches.

From intertwining, shifting lone-tones that render startling resonances and dissonances, to passages guided by a vast pallet of electronics and flurries of acoustic sounds, joined as a single ensemble, across the two sides of Pranam, Alter Ego and Matmos infuse these four works by Scelsi with humor and playfulness, while retaining all the urgency and rigour with which they were initially composed.

Delicate and meditative, while tightly wound and brooding, Pranam brings the works of Giacinto Scelsi to life in ways that almost no group ever has. Riveting and immersive from start to finish, Die Schachtel is thrilled to present these never before heard recordings from the archives of Alter Ego. Pranam is available on black vinyl, in a limited edition of 350 copies.

pre-order now29.10.2021

expected to be published on 29.10.2021

22,65
Alter Ego + Pan Sonic - Microwaves

Diving into the archives of Alter Ego - the Italian experimental ensemble of Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, and Eugenio Vatta - Die Schachtel is thrilled to present Microwaves, a never before released body of recordings of works composed by Atli Ingólfsson, Giovanni Verrando, Yan Maresz, and Riccardo Nova, made with Pan Sonic (Mika Vainio and Ilpo Vaisanen) in 2005. Resting at the outer reaches of avant-garde chamber and electronic music, the LP’s blistering structures, tones, and textures - plowing forward with frenetic energy - remain radical and ahead of their time, more than 15 years after they were first laid to tape.

A modular chamber ensemble with a pointedly anti-academic approach to music, over the course of its activities - running roughly between 1990 and 2010 - Alter Ego developed a devoted following among some of the most forward thinking voices in experimental music, all the while collaborating widely with artists spanning a vast range of practices and disciplines, including Robin Rimbaud, Philip Jeck, Matmos, Gavin Bryars, Andrew Hooker, William Basinski, David Moss, Alvin Curran, Terry Riley, and near countless number of others.

Alter Ego’s diverse activities can be understood as interventions with the disposition toward formality within contemporary chamber music, often pairing themselves with artists working well beyond their own context as a means to develop highly original interpretations of a specific composer’s work. In 2004, this process led them to instigate a collaboration Pan Sonic, the Finnish duo of Mika Vainio and Ilpo Vaisanen, pioneers of a remarkably distinct form of rhythmic, experimental electronic music, and regarded by many as one of the most visionary and irreverent projects working in the field during the '90s and 2000s.

Initially conceived with Fausto Romitelli in 2004 before being sidelined by the composer’s untimely passing the following year, Microwaves acts, in part, a remembrance in sound, featuring four works by some of his closest friends, the composers Atli Ingólfsson, Giovanni Verrando, Yan Maresz, and Riccardo Nova. Each composition, Ingólfsson’s Snap, Verrando’s Harmonic Domains #3, Maresz’s Link, and Nova’s Thirteen13x8@Terror Generating Deity, have roots in a pallet of samples and fragments drawn by each composer from existing works by Pan Sonic. Upon completion, these compositions then entered into a collaborative process between Mika Vainio and Ilpo Vaisanen (Pan Sonic) and Alter Ego (Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, and Eugenio Vatta), and were performed collectively by both groups during an extensive tour that year.

Distinct and free-standing, while operating as a seamless whole, the four works encountered across the album’s two sides - built from the sounds of flute, clarinet, violin, cello, piano, electronics, and further treatments - present an engrossing intersection between electronic and acoustic sound that diverges from most standing conceptions of electroacoustic music. Each composer’s carefully rendered structures rise and fall within the startling, conversant interplay between the two groups, finding perfect balance - between the frenetic and restrained - in what can only be regarded as one of the most striking and singularly unique expressions of contemporary chamber music realized during the 2000s.

Vast in scope, visionary in concept and artistry, and sonically engrossing, Die Schachtel is thrilled to present these never before heard recordings from the archives of Alter Ego. Microwaves is available on black vinyl, in a limited edition of 350 copies.

pre-order now29.10.2021

expected to be published on 29.10.2021

22,65
Trees Speak - Trees Speak LP 2x12"

Trees Speak

Trees Speak LP 2x12"

2x12inchCNTS1-2RE
CINEDELIC
29.10.2021

Trees Speak is an experimental rock band that transcend mainstream influences by incorporating elements of Avant-garde, Neo-psychedelic, Minimalism, art and electronic - along with violin-bowed guitar, Theremin and a glut of effects pedals, and it's an ear-bending rush of lush soundscapes.

Trees Speak - as much a sound laboratory as a rock and roll band - is the musical venture of acclaimed visual artist and musician Daniel Martin Diaz (formerly of Blind Divine and Crystal Radio). For the debut double-LP Trees Speak is joined by Michael Glidewell (Black Sun Ensemble), Gabriel Sullivan (XIXA, Giant Sand), Connor Gallaher (Myrrors & Cobra Family Picnic), Damian Diaz (Human Error), and Julius Schlosburg (Jeron White Acoustic Trio). The studio itself should also take top billing, because in the tradition of krautrockers Can and Bitches Brew-era Miles Davis, the band takes its winding, incandescent motoric rock and roll improvisations and edits them into coherent compositions using the mixing desk after recording. And that's where the sound lab half of the equation appears. The end result is flowing and droning ambient proto-punk reminiscent of fellow travelers NEU!, Stereolab, - Joshua Levine

Our intention is to create music with an unrehearsed minimalist approach performing simple beats, riffs, and sequences that take one inward. We attempt to create a sonic environment to set one's mind free and to become aware of the nuances of tone, melody, and structure. We organize our recording equipment with the same approach, in a transparent manner. Our recorded performances are never rehearsed. Our belief is that a brilliant rehearsal is a lost opportunity to capture a magical moment. We are chasing the mystery of music and tone. We let the musical performance sculpt its own destiny and create imperfect perfection. Our tool of creation is the anxiety one feels when they are unrehearsed or prepared for a performance. We believe this approach brings us closer to the authentic self. The result is genuine music without an agenda that captures the unfiltered spirit.
- Trees Speak


The music was recorded live in one room with no overdubs or repairs, only using edits to create arrangements. All tracks were written over a 5 day period at Sacred Machine Studio and Dust & Stone Studio.

pre-order now29.10.2021

expected to be published on 29.10.2021

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Joe Harvey-Whyte - Flatland/Spaceland

Flatland/Spaceland is the debut solo release from renowned pedal steel player, visual artist and composer Joe Harvey-Whyte, who has worked with the likes of Tony Visconti, The Hanging Stars and Susanne Sundfor. Flatland/Spaceland blurs the borderlines between ambient and neoclassical to create an engaging and meditative listening experience.


The first side of the 2 track EP, titled Flatland is a glacial ambient creation made using pedal steel guitar processed through multiple effects together with field recordings and occasional revelatory sounds from Himalayan singing bowls. Spaceland, on side B, takes the composition and refracts it through an orchestral lens. A 26-piece ensemble delicately creep in to the calming world echoed by side A. As the piece develops the result is something more akin to a film soundtrack. Occupying the space between ambient and neoclassical, Flatland / Spaceland by Joe Harvey-Whyte invites us to take a step back from the busyness of our lives for 20 minutes and reflect.

pre-order now29.10.2021

expected to be published on 29.10.2021

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MOLYBARON - The Mutiny

Molybaron

The Mutiny

12inch19439934191
Inside OutMusic
29.10.2021

In divided times, the power of music is undeniable. When that music is ferociously original and defiantly uplifting, the impact is even greater. Formed in Paris, December 2014, by Dublin-born singer/guitarist Gary Kelly and Parisian guitarist Steven Andre, MOLYBARON have swiftly become one of the most talked-about bands in the modern metal scene. With a sound that encompasses everything from state-of-the-art tech-grooves and anthemic metal to multi-layered atmospherics and giant, muscular hard rock riffs beyond, the band’s eccentric flair always sets them apart from the rest. From the infectious aggression and giant hooks of opener “Animals”, to the thunderous denouement of crushing closer “Ordinary Madness”, The Mutiny once again affirms MOLYBARON’s idiosyncratic identity and irresistible charms. As Metal Hammer UK put it: “Diverse and satisfying, The Mutiny is a banger!” The album was also declared Album of the Month in Rock Hard magazine. Kelly’s songwriting has hit new heights of ingenuity, and the ensemble performances of comrades Steven Andre (guitar), Sebastien de Saint-Angel (bass) and Camille Greneron (drums) are never less than precise, potent and bursting with personality. Right now, these fearless artisans are in a field of one, evoking the visionary fervour of bands like System Of A Down, Muse, Pain Of Salvation and Rush, while never sounding remotely like any of them. The Mutiny will be re-released by InsideOut Music/ Sony Music Entertainment and is available as 180g black Vinyl + 2page Insert, Ltd. CD Digipak and Digital Album.

pre-order now29.10.2021

expected to be published on 29.10.2021

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Circuit Des Yeux - -io

Circuit Des Yeux

-io

12inchOLE1788LP
MATADOR
22.10.2021

-io is the sixth album by vocalist and composer
Haley Fohr, best known as Circuit des Yeux.
A celebrated figure in Chicago’s music community,
she has released acclaimed albums via De Stijl,
Thrill Jockey and Drag City and toured throughout
the world. However, ‘-io’ is Circuit des Yeux’s most
ornate and elaborate work to date - a set of
compositions that nest Fohr’s otherworldly fouroctave voice amid a 24-piece string, brass and
wind ensemble.
The album was put to tape last fall by Cooper
Crain at Chicago’s Electrical Audio studio and
mixed by Marta Salogni (Bjork, Holly Herndon)
with Fohr acting as arranger and producer. Written
in the wake of personal loss and recorded in the
midst of the pandemic, ‘-io’ maps a geography of
grief - a place where “everything is ending all the
time.”
While Fohr’s music has never been short on
ambition, these songs are striking in their brilliance
and strangeness. On '-io', Circuit des Yeux has
delivered a work that is vivid, immense and fully
illuminated.

pre-order now22.10.2021

expected to be published on 22.10.2021

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A.A. Williams - arco

A.a. Williams

arco

12inchBELLA1245V
Bella Union
15.10.2021

Making her stage debut in April 2019 and selling out her first
headline show at London’s prestigious Southbank Centre less
than a year later, A.A. Williams hit the ground running. Similarly,
the acclaim for her performances and her music has been
unanimous from the start. After one self-titled EP and a
collaboration with Japanese post-rockers MONO, the Londonbased singer songwriter signed to Bella Union and released her
stunning debut album, ‘Forever Blue’, in July 2020.
 That Southbank show would prove to be the last time she would
take to the stage for a long while as the world struggled to cope
with unforeseen and extreme challenges. Never a musician to sit
still, the classically trained multi-instrumentalist focused her
creativity on arranging - firstly, by stripping back to the most
delicate bones on her ‘Songs from Isolation’ covers record and
now with a complete reimagining of her own material as the four
songs from her debut EP become ‘arco’.
 Not many musicians have the ability - or indeed bravery - to
rework a collection of their own full band ‘rock’ songs into a stringand-voice arrangement. A.A. Williams, however, is not like many
musicians and the minimalism of Arvo Pärt and Gorecki has long
since sat beside Vaughan Williams' folk-inspired classical work as
important influences on her music. Indeed, the intention with the
EP was for Williams to challenge herself by not retaining guitars
and drums, meaning ‘arco’ had to be truly reimagined with a full
string ensemble.
 As Williams describes it: “The main focus of the arrangements is
trying to maintain the authenticity of the original songs that, whilst
embodying some of the more familiar elements of the full-band
settings, draws focus on the voice.”
 Conducting the ensemble of string musicians in the studio, A.A.
Williams has evolved her own compositions with new
instrumentation and arrangements, encapsulating the singular
vision of a unique artist.
 12” pressed on 140g ‘Galaxy White Purple’ vinyl with signed
12”x12” print and digital download code.

pre-order now15.10.2021

expected to be published on 15.10.2021

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