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Recorded in 1971 by a 27-year-old pastor and an after school program choir, Like A Ship is a stirring and powerful meditation on the wayward aftermath of the Civil Rights Movement. Tracked with the help of Chess/Cadet maestros Gene Barge, Phil Upchurch, and Richard Evans, the album is a mix of euphoric gospel and Mayfield-esque political soul, with sleigh bells, hand claps, and jazzy piano stabs. Sampled by T.I., Kanye, and Khaled, Barrett created a rapturous, crossover gospel classic that's still wildly relevant.

There have been many great Jazz Pianists, but foremost amongst them is Bill Evans.
Accepted by all fans as being supremely influential for defining the format and scope of the
Jazz trio, Evans entered his first purple patch in the mid to late fifties and refined his playing
with a series of album. Over the years he recorded many trio albums with frequent changes
of members, with the most lauded being his first and second line-ups. By May 1962 Evans
cut what would be his seventh album for Riverside . New Bassist, Chuck Israels, joined the
group, and together this second classic line-up cut two albums in the same sessions. The
first was Moon Beams which contained ballads, while the second one, How My Heart Sings,
had the up-tempo numbers. These were recorded as a mixture during the sessions as
producer Orrin Keepnews wanted to release an album of just ballads from Evans, and so
made up the album from the varied session tracks. During the recordings, Evans only
revealed the tracks to his trio at the session itself. Fans and critics alike were more than
appreciative of Chuck Israels' ability to meld into the trio with his punchy lines, meshing in
especially well with Motian

Évariste is one of the rare specimens of artist-cum-scientists. Among his kind stand others like Pierre Schaeffer, a Polytechnique graduate (an engineer but also the father of musique concrète) and the eccentric Boby Lapointe (graduate of the École centrale and inventor of the Bibi-binaire system, patented in 1968). Évariste's songwriting, joyful and full of energy (albeit extremely critical), shrouds an original tragedy: born in 1943 among résistants, Joël Sternheimer (aka Évariste) grew up without a father, lost to Auschwitz. Although he makes little reference to Jewish culture in his music, his origins leave their mark: in 1974, he sings a Hebrew song on television. In 1966, the young Joël sports Princeton's colourful paraphernalia - that's because he's freshly returning from the US, where he was sent to pursue his research on "particle mass and the interpretation of observed regularities, such as the effects of a wave" (will understand who may). When he gets there the country's in the midst of the Vietnam War. With McNamara keen to find an alternative to the nuclear weapon and calling upon the country's biggest brains to undertake the task, there's a "fund shift" within the university - a diplomatic way to give notice to whoever may not be disposed to follow the government's scheme. Joël, who's under the supervision of a rebellious physician, is dismissed. He regardless keeps following the prestigious seminaries of the Institute for Advanced Study, chaired by Oppenheimer, inventor of the atomic bomb. Likely inspired by the hippie movement and music, Joël buys a guitar and starts playing in Washington Square - after all, Bob Dylan himself started there. He blithely skips Oppenheimer and receives a warm (though surprised) welcome from a crowd thoroughly unfamiliar with French. When the ageing physicist questions him about his decreasing attendance, Joël explains how drawn he is to music, and how he thinks it could help him in self-financing his research. Évariste recalls seeing the sickened man, his face torn by remorse, lighten up to his words and say: "What's keeping you - go for it! If I was still young that's exactly what I'd do." The student takes these words as a testimony from his professor - and it's enough to convince him . And so he takes the leap during the Christmas vacations he spends in Paris. A journalist friend he often sees around the Sorbonne introduces him to the artistic director of Disques AZ. The latter passes the tapes on to the label's boss, Lucien Morisse, also program manager on Europe N°1. Morisse is blown away - and signs him onto the label right away. Michel Colombier, arranger for Serge Gainsbourg and co-author of "Psyché Rock", with Pierre Henry, contributes some of his original ideas to the 7 inch "E=mc2": Évariste's preoccupation with the percussion sound on the track "Le calcul intégral" is that it goes "poom poom" and not "tock tock" - Colombier is aware of the issue and records Évariste's guitar like a percussion in an isolated booth. The organist Eddy Louis, who is to participate, in 1969, to the success of Claude Nougaro's "Paris mai", also appears on the record. It's 1966 and the Antoine phenomenon (signed on Vogue) storms through France. The two singers share similarities: Antoine is an engineer of the École centrale, gifted with a great originality in his song-writing. A godsend for the two labels who turn this resemblance into a commercial strategy, setting them out as rivals. To this day though, Évariste still denies what was little more than slushy tabloïd gossip. Success comes around swiftly and in 1967 Évariste launches into a second 7 inch, "Wo I nee", again arranged by Michel Colombier. Quantum mechanics fans finally get their anthem with "La Chasse Au Boson Intermédiaire" (or the "Intermediary Boson Pursuit"). To sum up what's a boson, say he's a close pal of the meson, photon and other gluons. A few months later, it's May 68 and everything's turned upside down. Évariste writes a series of songs inspired by the events, which he immediately submits to Lucien Morisse. When the man behind "Salut les copains", once married to Dalida, hears the song "La révolution" - a father and son dialogue - he can't take any more: AZ simply cannot release this. But there and then Lucien Morisse makes a gesture which will remain engraved in French music's history: sorry to be unable to officially stand by the singer, he encourages him to self-produce the record, but with his tacit support. He calls the pressing factory and asks they apply the same rate for Évariste as they would for AZ. The singer and his musicians use the same studio as for the previous record, all of them playing for free awaiting a return on investment. Évariste keeps singing at the Sorbonne with "Jussieu's gang" and "the young Renaud" he nicknames "le p'tit gavroche" (or "street urchin"). Renaud volunteers to type the lyrics of the song "La révolution" so that the chorus can be sung and recorded. A boy in the group is related to Wolinski and introduces them. The two get along so well that Wolinski ends up drawing the cover for the record "La révolution", for free. The self-released 7 inch "La révolution / La faute à Nanterre" is sold under the table and door-to-door for half the price of a standard record, on and around the boulevard Saint-Michel; and it runs out fast. In the end, there will be 6 releases of the record, and 25000 copies sold. When the theatre director Claude Confortès decides to adapt Wolinski's drawing series titled "Je ne veux pas mourir idiot" ("I don't want to die a fool"), he asks Évariste to write the original soundtrack. His friend, now cartoonist for Hara-Kiri Hebdo, often promotes him in accordance with a principle dear to him by virtue of which he gives a special place to his friends. Dominique Grange (writer of the song "Nous sommes les nouveaux partisans") soon joins the team. After 150 performances, Évariste leaves his place to Dominique Maurin (brother of Patrick Dewaere). Évariste composes the songs for Claude Confortès' next play, "Je ne pense qu'à ça" ("That's all I think about"), co-wrote with Wolinski in 1969. The comedians of the play record the songs on a 7 inch, with a cover signed, again, by Wolinski. In 1971, French television produces the documentary "Évariste et les 7 dimensions", but doesn't air it. Indeed, the scientific sub-comity of the programming comity (sic) censors the show. The given justification is that "Évariste dangerously mixed science with science-fiction, numerology and other non-scientific disciplines". The underlying motive might have been a will to censor the singer-mathematician's political discourse. In the documentary and among other things, Évariste discusses hierarchy, alienation and revolution. Half a century later the documentary remains invisible, though some excerpts resurfaced in 1992 in the cult show "L'oeil du cyclone", on Canal +. Though flourishing, Évariste's career is nearing its end. 1970 is the beginning of a decade in the course of which he is to make a decisive discovery in the musical and scientific domains. Following this breakthrough, he moves away from self-produced music and gaucho magazines to focus on science. He keeps Oppenheimer's encouraging words in mind, now freely pursuing his research thanks to the sales of his records. Joël realises that when decoding protein sequences, one finds musical sequences recognisable to humans. He names them "proteodies". If, when listening to a proteody, one responds by being so sensitive as to finding it beautiful, then it reveals a deficiency of the related protein - and this peculiar music may be the cure. We could trace back the music history in light of proteins lacking in a given artist, or within a public's majority. You always thought these hysterical groupies who'd throw their underwear with passion and faint in the pit had miraculously appeared because they had never heard anything as wonderful as the Beatles? Make no mistake! For Évariste, it all boils down to an intro's protein content. Indeed, the beginning of their first hit "Love Me Do" corresponds to dopamine, the neurotransmitter linked to compulsive buying. An intro like this could only unleash the fervour of groupies, victims of fashion and biology. Évariste's success is such that the income from his sales gives him the autonomy to which he had aspired when confiding to Oppenheimer. It made it possible for him to pursue his research without any institutional constraints. He now devotes himself to his proteodies, sat in the offices of the European University for Research, just around the corner from the Sorbonne he knew so well. Évariste is no more. Joël regained control of this strange and comical beast.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

Second Sub Pop album by acclaimed UK act TV Priest finds them building on the
post-punk of their early material and maturing into a powerhouse of tense, politically
caustic, and thoughtful rock music.
Without a brutal evaluation of their own becoming, TV Priest might have never made
their second album. Heralded as the next big thing in post-punk, they were
established as a bolshy, sharp-witted outfit, the kind that starts movements with their
political ire. There was of course truth in that, but it was a suit that quickly felt heavy
on its wearer’s shoulders, leaving little room for true vulnerability. “A lot of it did feel
like I was being really careful and a bit at arm's length,” says vocalist Charlie
Drinkwater. “I think maybe I was not fully aware of the role I was taking. I had to take
a step back and realize that what we were presenting was quite far away from the
opinion of myself that I had. Now, I just want to be honest.”
Having made music together since their teenage years, the London four-piece piqued
press attention in late 2019 with their first gig as a newly solidified group, a raucous
outing in the warehouse district of Hackney Wick. Debut single ‘House of York’
followed with a blistering critique of monarchist patriotism, and they were signed to
Sub Pop for their debut album. When ‘Uppers’ arrived in the height of a global
pandemic, it reaped praise from critics and fans alike for its “dystopian doublespeak,”
but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic
Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of
tea and marking time via government-sanctioned daily exercise. As such, the
personal and professional landmark of its release felt “both colossal and minuscule”
dampened by the inability to share it live. “It was a real gratification and really
cathartic, but on the other hand, it was really strange, and not great for my mental
health,” admits Drinkwater. “I wasn’t prepared, and I hadn’t necessarily expected it to
reach as many people as it did.”
As such, ‘My Other People’ maintains a strong sense of earth-rooted emotion, taking
advantage of the opportunity to physically connect. Using ‘Saintless’ (the closing
song from ‘Uppers’) as something of a starting point, Drinkwater set about crafting
lyrics that allowed him to articulate a deeper sense of personal truth, using music as
a vessel to communicate with his bandmates about his depleting mental health.
“Speaking very candidly, it was written at a time and a place where I was not, I would
say, particularly well,” he says. “There was a lot of things that had happened to
myself and my family that were quite troubling moments. Despite that I do think the
record has our most hopeful moments too; a lot of me trying to set myself reminders
for living, just everyday sentiments to try and get myself out of the space I was in.”
“It was a bit of a moment for all of us where we realised that we can make something
that, to us at least, feels truly beautiful,” agrees Bueth. “Brutality and frustration are
only a part of that puzzle, and despite a lot of us feeling quite disconnected at the
time, overwhelmingly beautiful things were also still happening.”
This tension between existential fear born from the constant uncertainties of life, and
an affirmative, cathartic urge to seize the moment, is central to ‘My Other People’, a
record that heals by providing space for recognition, a ground zero in which you’re
welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is
a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or
any audience pressure to commit solely to their original sound.

Escapist Eschaton may be used as background music for the following:

Building a refuge for exiled planets.
Conscious absorption of rare elements.
Cloudlike observations of evaporated landmasses.
A wistful emulation of escape.
Preparing food for the moon.
Strange situation test for non-terrestrial officers.
Counterfeiting consumer electronics.
Retuning GABAergic interneurons.
Accompaniment for affective picture systems.
Rituals of self-decompression.
Inquiries into trace minerals.

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)

‘Free World’ is the first full-length issue from an
ongoing collaboration between Behavior (Bedros
Yeretzian, Evan Burrows, Justin Tenney, Robbie
Cody) and Mayako XO (Sara Gernsbacher). It was
tracked between 2019 and 2020 and assembled
over the course of the last year in Los Angeles.
 The album reflects its creation under open-ended
yet intent circumstances. What’s recorded is a
tangled pas de deux between discredited and
demonstrative characters, singing through shifting
voices over a living, melancholic music rendered
legible by surveillance.
 Mastered by Sarah Register.
 For fans of Sonic Youth, Velvet Underground,
Dead C, Blonde Redhead.

Introducing Skygirl, with their 4-track debut release.

Skygirl is Eva and Hanna. The two got together by chance, but definitely not by accident. After they were introduced at a festival through mutual friends and danced the night away, it became clear that both have musical ambitions and their artistic vision aligns. The band was formed before the hangover was gone, and songs were written before the weekend ended.

The kind of “after-party-Monday-mood” also functions as an entry to the band’s lyrical and musical cosmos. Rest assured, this is not your mundane headache, but rather a working class meets art school kind of philosophical approach. Sparse instrumentation meets two voices. Life-affirming, yet informed by a somber future.

Reference points may be groups like Young Marble Giants or Shakespears Sister. Brittle but strong voices, molded by urban decay.

Grace Cummings is an actor and musician from Melbourne, Australia. Grace
learned piano as a child and took up the guitar as a young adult, but only
began to write and perform music in 2018. She went from a debut gig at
Melbourne’s Old Bar to a breakthrough performance at Boogie Festival in the
space of six months, picking up support slots with J Mascis and Evan Dando
along the way.
 With buzz building around her powerhouse live show, Grace grabbed the
attention of Flightless Records (King Gizzard and The Lizard Wizard), who
released her debut album, ‘Refuge Cove’, in late 2019. Refuge Cove won
praise from publications around the world, including Pitchfork and All Music,
and Grace was tapped for support slots with Weyes Blood, Cash Savage,
Teskey Brothers and Allah-Lahs.
 In 2020, Grace recorded the single ‘Sweet Matilda’ for Mexican Summer’s
‘Through the Looking Glass’ series before landing a worldwide deal with
indie powerhouse ATO Records (Alabama Shakes, My Morning Jacket, King
Gizzard and the Lizard Wizard). Her sophomore album, ‘Storm Queen’, is
now set for release.
 Available on CD and opaque white vinyl. (Once the coloured vinyl format has
sold out, a standard vinyl format - ATO0589LP - will be made available.)
 A graduate of the drama program at the Victorian College of the Arts, Grace
appeared in Elbow Room’s award-winning production ‘Prehistoric’, which
played to packed houses and widespread critical acclaim at the 2018
Edinburgh Fringe. In 2021, she made her debut with the Melbourne Theatre
Company in 2021, in Joanna Murray-Smith’s ‘Berlin’.
 “Cummings isn’t content to merely sing along to her melodies. She tears her
low, surging voice to shreds, braying like she’s beckoning you from the
opposite end of a crowded room. It adds an eerie, intense quality to her
music - a desperation behind the calm of her arrangements.” - Pitchfork
 “One of Melbourne’s hottest new talents... filled with raw power.” - Beat
Magazine
 “Cummings has a voice that demands to be heard, while her lyrics cut
through to the heart, leaving listeners gasping for air.” - Folk Radio UK
 “Like a combination of Sandy Denny, Odetta, Tom Waits, Leonard Cohen
and Marianne Faithfull... as the last piano chord ends, you are left wanting
more.” - Your Music Radar
 “There’s a striking androgyny in her tone, it brings the power needed for
these songs to make you stop and listen...Her wit is very sharp and it bites
back with cunning rhetoric.” - Stomp and Stammer
 “Take notice of Cummings as a fresh new Australian talent.” - X-Press Mag

After the huge success of their last album ‘The Wild Root’ Alan Evans Trio (Ae3) returns with a brand new album release - ‘Elephant Head’. Elephant Head is an epic instrumental album of cinematic funk, in the pocket grooves, and infectious melodies. The album as a whole evokes a classic groovy vintage movie soundtrack. It also features virtuoso playing from all three band members. The band features Alan Evans of Soulive, Danny Mayer and Kris Yunker.

Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. Undercurrent, the outcome of two studio sessions with guitarist Jim Hall, is that project.

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Label LP edition bursts forth with brilliant textures, you-are-there realism, and extraordinary tonalities. No other version outside of this analogue copy brings you face-to-face with these two jazz giants' sonic communion, a kind of spiritual musical summit on which Evans' deft keyboard touches and Hall's reliably subtle phrasings seamlessly mesh and wonderfully dance, the compositions streaked with natural instrumental decay, full-frequency extensions, and poignant emotionalism that, on this LP, you can feel.

While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation - such is the level of introspective depth and quietly shaded interplay throughout. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty.

In tackling standards such as Rodgers and Hart's "My Funny Valentine" and the Broadway classic "Darn That Dream," as well as the Hall original "Romain," the pair traverses complex harmonies with the astute elegance of a figure skater. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title.

Indeed, even the album's cover - an iconic photograph by Toni Frissell - exhibits the surreal, almost-hallucinogenic properties of the fare contained within.

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.

Recommended if you like: Chet Baker, Norah Jones, Kamasi Washington, BADBADNOTGOOD, Wild Nothing, DIIV, Kevin Krauter. "improvisational jazz, classical music, and Stereolab... his songwriting owes more to loop-based composition than garage-bound woodshedding." – Pitchfork // Inspired by a love of artists such as Bill Evans, Lester Young, Chet Baker and Vince Guaraldi, Dustin Payseur reimagines some of his greatest hits from the Beach Fossils catalog alongside a group of formally trained jazz musicians. A rich and mellow mix of piano, saxophone, upright bass and brushed drums explore the contours of familiar songs, soaring Payseur’s melancholic harmonies to new heights.

Recommended if you like: Chet Baker, Norah Jones, Kamasi Washington, BADBADNOTGOOD, Wild Nothing, DIIV, Kevin Krauter. "improvisational jazz, classical music, and Stereolab... his songwriting owes more to loop-based composition than garage-bound woodshedding." – Pitchfork // Inspired by a love of artists such as Bill Evans, Lester Young, Chet Baker and Vince Guaraldi, Dustin Payseur reimagines some of his greatest hits from the Beach Fossils catalog alongside a group of formally trained jazz musicians. A rich and mellow mix of piano, saxophone, upright bass and brushed drums explore the contours of familiar songs, soaring Payseur’s melancholic harmonies to new heights.

In pairing words with art, the ESP Institute often does everything journalists hate. We drown the reader in hyperbole, abstractions as opposed to didactic or literal depictions, and paint the press release with superlatives that construct an existential struggle around the art and its conditions. To articulate our reasoning behind collaborating with the artist, or the synergy between their work and our catalogue, is sometimes so challenging that crossing that finish line is achingly delayed. Patrick Conway’s 2xLP 'Cellular Housekeeping', his fourth release with the label, is one of these works so monumentally exciting for us that we’ve strained over how to deliver with honor his art unto the masses. After the initial hurdle of visual representation (in this case handled with gusto by artist Hassan Rahim), how do we directly and intentionally talk about the art we deeply love, when in reality we’re largely guided by instinct? We explore many angles, often failing along the way, until finding a final click in the combination that unlocks the floodgates. With Patrick’s album, that elusive impetus revealed itself in a literary gem that both symbolized his aggressive, melancholic, romantic, and bleak overtones, as well as synchronized his work and our task with a metaphor so grand it justified putting these words to paper. In the deeply British poem of despair and hope, 'Comus: A Mask Presented at Ludlow Castle', John Milton immortalized the classic idiom of the “silver lining”, and we find comfort in this transaction between struggle and what the poet considered divine intervention. Our bout of procrastination that brewed a cloud over the art may too tout a silver lining, the time that’s elapsed clearing a path for the album to exist in its rightful place, as opposed to fighting for a voice at an overcrowded table. In hindsight, this final hurdle might have only existed because without it, there is no glory, no resolution, but as all the pieces click and we collectively cross the finish line, Patrick Conway’s once captive 'Cellular Housekeeping' is now truly released.

There are records with empathy, records which are your friends and then there's the others... There might be little difference between them, a certain "je ne sais quoi", an "almost nothing but still something" which makes the difference between almost pointless and vital records. Despite, or rather thanks to his cynical despair, Matt Elliott's music never holds up a moralizing mirror to us - on the contrary, it creates a compassionate dialogue with listeners like the rhythm of two steps that synchronize to become as one. In 2016, Matt Elliot brought out his seventh solo album The Calm Before whose obscure title is neither exactly threatening nor comforting... the calm before what? Before the storm for sure but maybe also before the great record, the immediate classic we felt might be coming for a long time in the dual discography of the Bristol-born artist working under his own name and his electronic alias Third Eye Foundation. The elegant details and perspectives of Little Lost Soul (2000) already hinted at the upcoming masterpiece from the English singer-songwriter. The Mess We Made (2003) was Matt Elliott's first solo album and portrayed a universe in a kind of flight towards Balkan horizons made up of visceral despair. With the Songs trilogy, he put aside the electronic side of his work to continue working with a minimalist, stark and lucid style of writing. The Broken Man (2012) was full of tears and long laments sometimes carried by Katia Labèque's piano on a record which painted new shades of grey. On this record Matt began working with the producer, arranger and multi-instrumentalist David Chalmin (La Terre Invisible) who has kept on collaborating with the Bristol-born singer since then. Their partnership continued on Only Myocardial Infection Can Break Your Heart (2013) and The Calm Before (2016). Stéphane Grégoire is the head of the Ici D'Ailleurs label which has accompanied Matt Elliott since 2005 and perhaps he describes this album the best: "This new record by Matt is without a doubt his best album to date, a record that takes him into another dimension where he fully asserts himself as a songwriter and singer of the calibre of artists like Bill Callahan, Leonard Cohen or Johnny Cash." Matt Elliott's other records all seemed like empathic links between each other. Farewell To All We Know is an instant classic based on the sensitive piano and superb arrangements of David Chalmin, the sensitive cello of Gaspar Claus, the subtle bass of Jeff Hallam (who has also played with Dominique A and John Parish). There is a clear form of alchemy in all of this and still we find Matt Elliott's usual atmospheres and scenery, the same Eastern European folk music, long songs that take time to settle over time. Everything is the same but also is transfigured. By making his music stark and purifying and redefining the subject matter, Matt Elliott's work became so much more delicate. However this work is never frail nor really turned in on himself and thus becomes like a vital tune that vibrates and unfolds. The opening song Farewell To All We Know seems torn between the fear of what tomorrow may bring, inevitability and hope for the future in a permanent and progressive dramatic tension expressed by his Spanish guitar, the impressionist style piano and Matt's voice teetering on the edge of whispers. A funereal tribute to endless twilights and the dawns we all dream of seeing. There are touches of Leonard Cohen from Songs from a Room or Thanks For The Dance in The Day After That with Gaspar Claus's counterpoint cello. There is no spirit of resignation in Matt Elliott's work - life's path has to be followed against all odds. We have to follow the river's flow to reach the immense ocean and its infinite freedom. The haunted instrumental Guidance Is Internal harks back to the atmospheres of Howling Songs (2008) with its guitar parts full of scansions and muted threats. The music is transcendental but never seems afraid of the risk of falling. This is also what Bye Now tells us with its quasi-obsolete simplicity and sunburst melancholy reminiscent of the work of Luiz Bonfá, Bill Evans on Peace Piece or laidback crooners of the 50s. In Farewell To All We Know, Matt Elliott incessantly alternates between the dual desires to face up to the world or to protect himself from it. Hating The Player, Hating The Game is a lucid statement about the dullness of our daily lives sometimes, our right to get out of the game and no longer want to be part of it. Matt Elliott is tender but spares no one, particularly himself. Aboulia speaks of the tiredness of living and of looming death while Crisis Apparition says that there is always a time for reconstruction after chaos. This is like initially wearying wandering in the ruins of Aleppo with the slow dilution of the melody into a hallucinated drone. However the smell of great fires always fades and the earth always regenerates. Matt Elliott seems to suggest that the survival instinct is stronger than any cold winds could ever be. Matt Elliott never sings of certainties and prefers possibilities. Possibly the worst is over? Maybe... Maybe the storm has passed and devastated everything, now we just have to rebuild and live again. Farewell To All We Know shows us the distance that still needs to be walked and he walks next to you - right next to you, he is the friend who doesn't spare you the truth like all true friends really do.

White Vinyl
E.VAX - the project of Ratatat’s Evan Mast - announces his new, self-titled album, out September 17th via Because Music. Performing as half of Ratatat for more than the last decade, Mast’s music has reached an enormous audience with its bombastic merge of rock and electronic music, as well as through his parallel work as a hip-hop producer for artists such as Kanye West, Kid Cudi, and Jay-Z . His new solo album, E.VAX is a collection of instrumental songs, dolloped with moments of exploratory dialogue, disembodied moments that are equally disorienting and moving. The throughline between the songs on his new album is not a certain signature sound, but Mast’s feel as a producer. Though one song may lean heavier on snappy drums and another on the coo of an organ, they all share a similar sensibility. The songs are sincere, playful, inviting, curious, and contemplative—all characteristics of Mast himself.

For this album, Mast loosened his attitude towards production, looking to capture some of the excitement of creation. He recorded at home, and then midway through the pandemic he spent time in Montana, recording in a friend’s art gallery. The blank space and isolation after so much studio time in close quarters allowed for a new looseness. He’d play songs at the wrong speed to see how it changed what he heard, or deliberately leave a melody untouched for months and then improvise over it after playing it anew for the first time. Unable to get lost in real life, he got lost in music. “I used to be way more precious,” Mast says about his songwriting. “A lot of this stuff on the record is about trying to skip the brain processes that can get in the way of making something that really feels sincere.”

Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or ICP) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP's legacy on improvised and free music is impossible to overstate.

A live performance from May of 1970 in Rotterdam, Groupcomposing features a North Sea-crossing ICP lineup of British free improv luminaries Derek Bailey on guitar, Evan Parker on saxophone, and Paul Rutherford on trombone, along with ICP mainstays Han Bennink, his brother Peter, Misha Mengelberg, and Peter Brötzmann. The first side, "Groupcomposing, Part 1" is a nearly all-out assault with the reeds trio and Rutherford's trombone blasting nigh-continuously for the album's first side, culminating in a blistering Peter Bennink bagpipes solo. "Part 2" acts at first as the comedown, beginning with a playful piano and percussion back-and-forth before meandering a dark, brooding, path of trill horns to the album's eventual, tense conclusion.

Recorded just a few years into the ICP's long tenure, it is hard to think of a release more representative of the label's musical principles – or, more broadly, of the power of free group improvisation – than the aptly-named Groupcomposing. This limited reissue marks the first time the album has been in print on vinyl in over forty years.

JANA IRMERT – THE SOFT BIT

"The compositions for this album were shaped over the course of one year, at first without a concept or storyline as a starting point. Yet what I became increasingly interested in was a kind of sensory aspect of sounds. I felt I wanted to get closer so the sounds, feel their structure and surface and how they contrast each other."

stick your hands into the sand and feel the grains against your skin.

"Throughout the musical process, I used materials like metal, water, sand and air in a very direct and maybe more raw way to create and record sounds than I did in previous works, where I had often manipulated field recordings that had a more ambient character and thus strongly carried the location of origin in them.So in a sense, for the compositions of this album, I used sounds without a place, or just an expression of the sound of the particular material itself."

submerge yourself in water and listen to the sounds you hear.

"It turned out the processed sounds resulting from hard materials would often have soft and tonal qualities whereas those made from "soft" materials like water or air would ultimately be of percussive or harsh and noisy character. Finishing the compositions was like feeling along the surfaces of the single pieces with closed eyes, making out their shape and outline inch by inch. Maybe this is why to me, some of the compositions feel solidified like pieces of rock, while others seem to be ready to evaporate into air."

stand as still as you can and feel the air moving against your face.

Toronto’s Ducks Ltd. will release their debut EP, Get Bleak on May 21, 2021 via Carpark Records. Composed of friends Evan Lewis, on lead guitar, and Tom Mcgreevy, on vocals and rhythm guitar, the band built a reputation in their hometown for their bright, sinewy, guitar sound while sharing bills with artists like Rolling Blackouts Coastal Fever, Weyes Blood, The Goon Sax and Juan Wauters. They have earned accolades from Pitchfork who praised the band’s “lilting, throwback jangle pop,” and acclaim from outlets like NPR, Paste, NME, Apple Music 1, and more.

The opening track, “Get Bleak” sets a thematic tone for the EP, one of cultural self-awareness and satiric critiques of society’s pressures and the often ridiculous demands – and prices we pay – to exist. Chiming with breezy indie guitar sounds akin to those of Flying Nun and Sarah Records acts, the track, that features a contribution from Laura Hermiston of Twist, pokes fun at the idea that moving from city to city will fix the problems in your life. Following suit is “Gleaming Spires”, a track that zeroes in on the cities we live in and the push-pull relationships that we so often share with them. “Anhedonia”, via it’s tightly-wound rhythm and nostalgia-inked guitars, shifts focus to the times when one is unable to wring any joy out of the things that they find important in life.

Bringing the band’s characteristic restless bounce, thoughtful lyricism and penchant for orchestration, the tracks explore topics like troubled friendships (“It’s Easy”), self-destructive desires (“Oblivion”), and living with decline (“As Big As All Outside”) while maintaining the balance of earnest self-reflection and humor that endeared audiences to the original release.

Full of the unbridled radiance of jangle-pop, the debut EP from Ducks Ltd.’s Get Bleak celebrates their strengths while expanding their thematic and compositional horizons, and providing an intriguing glimpse of what’s to come.

Forest Green Vinyl

Toronto’s Ducks Ltd. will release their debut EP, Get Bleak on May 21, 2021 via Carpark Records. Composed of friends Evan Lewis, on lead guitar, and Tom Mcgreevy, on vocals and rhythm guitar, the band built a reputation in their hometown for their bright, sinewy, guitar sound while sharing bills with artists like Rolling Blackouts Coastal Fever, Weyes Blood, The Goon Sax and Juan Wauters. They have earned accolades from Pitchfork who praised the band’s “lilting, throwback jangle pop,” and acclaim from outlets like NPR, Paste, NME, Apple Music 1, and more.

The opening track, “Get Bleak” sets a thematic tone for the EP, one of cultural self-awareness and satiric critiques of society’s pressures and the often ridiculous demands – and prices we pay – to exist. Chiming with breezy indie guitar sounds akin to those of Flying Nun and Sarah Records acts, the track, that features a contribution from Laura Hermiston of Twist, pokes fun at the idea that moving from city to city will fix the problems in your life. Following suit is “Gleaming Spires”, a track that zeroes in on the cities we live in and the push-pull relationships that we so often share with them. “Anhedonia”, via it’s tightly-wound rhythm and nostalgia-inked guitars, shifts focus to the times when one is unable to wring any joy out of the things that they find important in life.

Bringing the band’s characteristic restless bounce, thoughtful lyricism and penchant for orchestration, the tracks explore topics like troubled friendships (“It’s Easy”), self-destructive desires (“Oblivion”), and living with decline (“As Big As All Outside”) while maintaining the balance of earnest self-reflection and humor that endeared audiences to the original release.

Full of the unbridled radiance of jangle-pop, the debut EP from Ducks Ltd.’s Get Bleak celebrates their strengths while expanding their thematic and compositional horizons, and providing an intriguing glimpse of what’s to come.

A crucial live at Carnegie Hall by the renowned trumpet player, subtitled The Legendary Performances of May 19, 1961. This live performance features Davis with his regular quintet and also accompanied by Gil Evans and his 21-piece orchestra. The orchestra is heard on several selections drawn from Miles Ahead as well as a complete reading of the adagio movement from Concierto de Aranjuez as recorded on Sketches of Spain. The concert begins with the orchestra playing the Gil Evans introduction to "So What", which is performed by the quintet, and then segues directly into the only recording of an Evans arrangement of "Spring is Here".

Horace Andy's voice is an instrument that once heard is never forgotten, regardless of whether you first hear it on one of the numerous Jamaican reggae singles that he recorded during the 70s or - like most people - on one of the Massive Attack albums he collaborated on as a vocalist. His falsetto and his characteristic slow-motion vibrato breathed life into tracks like "Spying Glass", "Cuss Cuss", "In The Light", "Skylarking" or "(You are My) Angel", ensuring that they still continue to resonate deeply with listeners. His vocal style influenced countless root singers and the combination of his timbre with Massive Attack's spartan hip hop beats still inspires legions of fans and copyists all over the world. Echo Beach has now picked up on this tradition - and the much older tradition of versioning - by asking friends of the label to rework Horace Andy's classic tracks in their own sound outfit. But this time the label hasn't trawled old Studio One tapes for historic vocal snippets - that would sooo nineties; no, Horace Andy personally put in an appearance to sing new versions of his classic tracks on top of timeless and contemporary riddims. Age may have deepened his voice, but it is by no means weaker, as can be heard on this album, on which Echo Beach welcomes old friends and new faces: there's Rob Smith, who as part of More Rockers and Smith & Mighty was just as crucial for Bristol's musical reputation as Massive Attack or DJ Krust & Roni Size. Today, he ensures continuity by working under the label and producer name.

Between Christmas 2000 and New Year 2001 producers Ekkehard Ehlers and Stephan Mathieu recorded an album of warm, soft, delicately crackling electronic music in the space of that week. It was christened with the ambivalent title "Heroin" and was released on CD via the label Brombron in 2001 and later in 2003 re-issued on Kit Clayton's Orthlorng Musork on double-LP with remixes the pair had commissioned as expansions.

17 years later Heroin sees its first vinyl release to include all 13 tracks from the original CD track-list on this LP + 12“ set. The centerpiece "Herz" finally receives its long deserved vinyl treatment (side C, at 45rpm) and on the flip side Thomas Brinkmann contributes a mirror in a magnificent remix of that very piece on side D.

Ehlers and Mathieu were both highly prolific solo artists during the period 2000-2004, and in just two years after the initial release of "Heroin" each had produced over half a dozen new solo recordings: among them the serial masterpiece Ehlers' "Plays" (Cornelius Cardew, Hurbert Fichte, John Cassavetes, Albert Ayler, Robert Johnson) released as 5 stunning LPs in a series on Staubgold, while Mathieu's 'Full Swing Edits' spread over five 10" records plus his album 'FrequencyLib' on Mille Plateaux, 'Die Entdeckung des Wetters' on Lucky Kitchen and ‘The Sad Mac’ on Atsushi Sasaki’s Headz label were greeted to critical acclaim.

Both artists were expanding their conceptual sonic approaches in the glow of developing laptop technologies which would to these times in 2020 seem quite primitive, but these two in that period used the state-of-the-art to aid and abet their conceptual visions, while at times the duo used unorthodox experimentation - yet always had a distinctively melodic and musical form at its heart and soul.

Ehlers can be seen as a conceptualist, as a meta-musician who interrogates the mediums and methods of sound production - reflecting on the conditions and possibilities of improvisation (e.g. "Plays Albert Ayler") and exploits ideas of mutation and distortion of popular aesthetics played out within a ghostly form of divine pop beauty in his project März.

Mathieu, originally a drummer and co-founder of what has come to be known as the Berlin 'Echtzeitmusik' scene. His approach could be similarly described as working a critical analyst and researcher: Subtly and precisely working in the realm of processing as a method of intervening in melodious/harmonic analog sound sources.

Ehlers and Mathieu may not think too much about their singular productions and publications outcomes, but instead concentrate on the process and musical personality that characterizes their gesture- style itself stays in the background - and they usher a music from small minimal sound sources coaching a patient music of slow intervention - much like a refraction of light than a concrete painting or a blurred photograph - beatus accident.

And indeed, "Heroin" is an album that embraces the happy accident being made up of reduced, often very catchy and very direct micro hooks which seem laser-guided into a space accepting obvious melodic beauty in what feels like an observation of musics unfolding and revealing it's DNA, embed with for a kind of yearning for innocence and naiveté - as if Satie were on the jukebox in "The Crying of Lot 49". Not to say the music is "reduced", but rather: 'restricted' and born from acceptance of limitations, and the artists allowing the sounds to just "be.." with some incremental degrees of coercion.

The album not only sounds like that of 2 producers who are both dreamers and scientists, but that Ehlers and Mathieu chose to work with these means in a dialogue together to reduce pop music to its musical/tonal core, it is not Pop music anymore, rather a ghostly pointilistic itteration of song. "Heroin" is located at this transition, around that point at which tracks, that were or could have become pop compositions, irrevocably slip into a static harmonic nirvana. We are invited to follow the arch of Heroin in a slow-motion morphine musical haze.

Heroin sounded timeless when originally released and proof is that it remains so, one wishes that Ehlers and Mathieu would convene again for a week, a month or an entire year to continue this process of slow rumination, picking affectionately over the sounds they both love - and then maybe when everything is condensed, evaporated they would write more songs with those sonic refractive elements that remain.

The third long player on Night Defined Recordings sees SUED affiliate SW. presenting his new mini LP ‘Night’ and walking a tightrope between jazz and club music. The tracks manifest and dematerialize themselves almost in a non-tangible and floating way, which can be seen as more than just a musical approach but rather shows the artist referring to issues of volatility and evanescence. While listening, some may find themselves in the dark and dusty atmosphere of a jazz club, where the band in the corner at the other end of the room is playing their instruments just when the beat kicks in and puts you right into the club atmosphere.

Written & produced by SW. at SUEDstudio Mastering by Mattias Fridell

Artwork by Studio Belser

In 2017 Brooklyn's Bryce Hackford spent a week at the PRAH Foundation in Margate (UK) recording rhythmic foundations and the environment around him. After his residency, eleven musician friends contributed their performances to what would become Safe (Exits). All of these contributions, however, were made in isolation and the task of mixing them together became the crux of the production.

Bryce's records largely explore improvisation with electronics, using recording as the compositional medium, and feature the occasional contributing musician. Eleven make Safe (Exits) more of a chance ensemble record, with players in unlikely combinations, from disparate backgrounds both personal and musical, pushing a collage aesthetic beyond sampling. The poetics of these sounds is the focus of this album.

Safe (Exits) attempts to create a rare space where rhythms get propulsive enough to make one dance yet become subtle enough to make them nod into the serene vistas of distant, contemplative waves.

Safe (Exits) is Bryce's first album since 2015 and second release with Spring Theory.

Featuring: Gabi AsFOUR, Brian Close, Matt Evans, Adrian Knight, Kiki Kudo, David Lackner, Frank Lyon, Camilla Padgitt-Coles, Bernardo Risquez, Viktor Timofeev and Justin Tripp

The record you are holding in your hands is a previously unheard masterpiece of Israeli multimedia artist Ami Shavit. As a professor of both philosophy and art and established kinetic artist in the 1970s Shavit was fascinated with new and interactive technologies. While mostly focusing on visual art and mixed-media installations, a trip to New York in 1972 introduced him to synthesizers and triggered his curiosity to do some explorations into the world of music or "sound" as he preferred to call it.

Ami's research was focused on the concept of meditative music that would help people to relax and create a cosy mood associated to the alpha brain waves and biofeedback. Before starting his artistic career, like all Israeli citizens, he had to serve in the army to his personal regret. Shavit had an operational position, which meant a high probability to get involved in a so called 'hot situation'. When in 1973 the Yom Kippur war broke out, Ami was enlisted again and got the unfortunate opportunity to encounter, in Hanoch Levin's words 'the dead'. Being an operation officer he was in charge of evacuating Israeli wounded officers from battlefields to hospitals. Some 6000 injured men passed through us during that war, he recalled one year later in a newspaper interview.

'I witnessed some sights that I can hardly forget. On the one hand I felt that as an artist I had to express the war events, on the other hand I felt that this is an almost impossible mission. Only Goya and Picasso, in his Guernica, addressed this topic successfully.'

Yom Kippur is the final and seminal of Shavit's sound experiments ever recorded and now finally available to the world. We believe that this is an extraordinary strong piece in which the hectic moods and terrific experiences of war are deeply transmitted to the listener. May all soldiers, who are often forced to go through traumatic experiences beyond their own will, find ways to artistically digest and process the unwanted memories.

Ami Shavit was born in 1934 in Tel Aviv-Jaffa. Known as visual artist, his work involves in creating virtual environments with optic and kinetic art, including structures worked by electricity, moving tubular configurations illuminated by colored lights. He published In Alpha Mood in 1977 on Amis records, his own record company, at 500 copies, republished by Finders Keepers Records in 2015 and Neural Oscillations And Alpha Rhythms in 2018. Yom Kippur is his ultime recordings.

Recorded in 1971 by a 27-year-old pastor and an after school program choir,

Like A Ship is a stirring and powerful meditation on the wayward aftermath of the Civil Rights Movement. Tracked with the help of Chess/Cadet maestros Gene Barge, Phil Upchurch, and Richard Evans, the album is a mix of euphoric gospel and Mayfield esque political soul, with sleigh bells, hand claps, and jazzy piano stabs. Sampled by T.I., Kanye, and Khaled, Barrett created a rapturous, crossover gospel classic that's still wildly relevant.

This record is meant to be enjoyed like a seascape. It offers a Mediterranean journey, one that Ulysses, Aeneas, and Jason with his Argonauts charted first and Valencian artist, Pep Llopis, retraced and retread — from the islands of Menorca to Santorini. All of his experiences are aboard this vessel of sound: no format in mind, no course but the chasm within self. While Poiemusia La Nau Dels Argonautes materializes at this moment as an album, another object suits Pep's project: Lewis Carroll's Map of the Ocean' from his The Hunting of the Snark. It's a simple illustration: the thin outline of a blank rectangle that represents the sea with no trace of land. Carroll offers this empty space as an object that all can understand, a container for possibility. Likewise, Poiemusia offers a musical language that any listener can understand. Untethered to the meaning of words, one is set adrift and free in minimalist sound and traditional music. Llopis, who often composed for dance, originally wrote Poiemusia for a performance at the Poiemusia festival (the Greek contraction of poetry and music). Peer composers, Carles Santos and Wim Mertens, also participated in the festival, which took place over several days at the Teatro Princesa in Valencia. Llopis paired his newly formed avant-garde compositions with the poems of fellow Valencian, Salvador Jàfer.

In the studio presentation of Poiemusia, voices softly converse, only to evaporate. The poetry is incanted by the poet himself. Jàfer enunciates at the verge of song, drawing dimension from his Mediterranean travels. He is accompanied by Montse Anfruns' vaporous voice. She extends the roll of her r's and the hiss of each s as if casting a spell of Salacia. Pep bathes their conversational performance in slight delays and reverb, allowing their voices to dissolve into an ocean of sound.

Llopis was influenced by minimal American composers like Steve Reich and La Monte Young. He embraces the melodic sides of these masters in the winds of El Vell Rei De La Serp' and the tender piano on Nits de cristall.' You will find yourself submerged in tonality on tracks like Jardins Aquàtics' and La Nau Dels Argonautes' which have a kinship to Philip Glass or Daniel Lentz. Each piece extends from 5 to almost 14 minutes. The music gently laps against listening skin— sometimes placid, sometimes shimmering. Ripples of sound swell and quicken. Flutes like schools of fish. The spray of chimes. Taught strings break like the shore. Tingling, undulating synths. The record cover acts as a map, tracing the forms of the original art and providing the poems in Catalana and Spanish. Once bathed in these sounds one will emerge like Carroll's map: a perfect and absolute blank.' Poiemusia La Nau Dels Argonaute emerges in vinyl and digital formats on May 19, 2017 through Freedom To Spend.

With House Warming - Andy Vaz returns with his 3rd full lenght album on his own Yore Imprint. Due to Andy's half Indian roots, he is lucky enough to owe a Beach House just outside of Mangaluru, South India in the State of Karnataka. - where most parts of the Album were written over a period of 6 months. In this totally isolated, entirely tourist free hidden spot, which had become Andy's second home over the past years, he found himself away from the usual routines of western life, to find himself in a position to simply sit down and create. The result is House Warming". As the Title suggest's - think of house, sure and no doubt- but here on this album, thought all the way thru from beginning to end. The result then is House Music in all it's aspects: The Soulful, the deep and the raw or if you want - Deep House, Acid House, Garage/Vocal House - the joints range from downtempo, elektro and even hip hop beats. Oldschool you may think Maybe in spirit, as entirely produced with analogue synths & the roland series from 808, 909, 505, 606 to the original 303, but used in a modern studio environment. Andy Vaz is someone who has been around long enough to know how to programme his very personal idea's into the music - without denying influences such as Detroit, Chicago and New Jersey, to create something that goes further than a simple reflection of the past. Deep isn't a genre, it's a feeling. A warm feeling most of all. Be invited to come and see if you'll find it here.

Petwo Evans return with another stonking release! This time around, they've went pretty melodic on us - not that we're complaining.. Something for everyone here with a belting peak time title track - first heard on the most recent Auntie Flo Boiler Room - alongside some really beautiful moments; which you may have heard opening our Truants and Electronic Exploration mixes in recent times, to form one of our most unusually brilliant releases yet.

A unique piece of work by another new project, this time by some industry veterans.
Next up is a unique piece of work by another new project, this time by some industry veterans.
Petwo Evans features live drumming accompanying some dinky electronic magic.
Each track differs in pace and style, sharing similar idiosyncratic qualities as Swim-era Caribou, Shackleton and maybe a hint of Border Community in there too Great, in other words..

On May 11, 2008 the Turbinnenhallen (Oberhausen, Germany) was the location of the first edition of THRILLZZ!