Buscar:eve 6

Kompakt is proud to announce, finally, a reissue of the first, self-titled GAS album. Originally released on electronica imprint Mille Plateaux back in 1996, it’s been unavailable in its original form ever since – the version of GAS included in 2008’s Nah Und Fern box featured several different tracks. Here, however, GAS is restored in all its glory, the debut full-length from Wolfgang Voigt’s most enigmatic, quixotic project.

There had, of course, been signs of what was to come. Back in 1995, Voigt essayed the first GAS release, a slender, yet remarkable four-track EP, Modern. Its centre label featured a reduced symbol – an overhead or lamp light, switched on, its glow radiating outwards in four bold black lines – a perfect representation of the tight, stylised ambient electronic pop contained on that 12”. A few curious compilation tracks were floating around, too, for Mille Plateaux’s Modulation & Transformation and Electric Ladyland series. If you were attentive enough, you could tell something was up.

But nothing quite prepared us for the languorous, effervescing loops and regular-like-clockwork beats that Voigt folded together on GAS. Its six long tracks, all untitled, neither begin nor end but hazily fade into earshot, vibrate majestically in your cochlea for fifteen-or-so minutes – some a bit shorter, some longer – and then meander away, reading the mise-en-scène for the next example of Voigt’s drift and dream logic to unfold. The material is referential in the most distant way, and you can sense only the most evanescent of ghostly presences, haunting these six compositions.

GAS feels, also, like a more pliable hint at what’s to come, as the GAS concept really solidified on its successor, 1997’s Zauberberg, and reach its apotheosis on Königsforst and Pop. Those three albums share a very similar palette – blurred, hazy samples, often of classical music, stacked and cross-thatched across a muted 4/4 thud. GAS, then, is an outlier of sorts: it’s more expansive in its remit, lighter in its mood, perhaps more fleet of foot. This, of course, is part of its charm.

In clearing space for Voigt, by preparing the terrain, GAS sits both at the edge of the forest, and at the verge of an expansive, wide-eyed future; one where GAS would become truly eternal.

Text by Jonathan Dale

Kompakt ist stolz, endlich eine Neuauflage des ersten, selbstbetitelten GAS-Albums ankündigen zu können. Ursprünglich im Jahr 1996 auf dem Electronica-Label Mille Plateaux veröffentlicht, ist es seitdem nicht mehr in seiner ursprünglichen Form erhältlich – die gleichnamige Version von GAS, die 2008 in der Nah Und Fern Box enthalten war, enthielt verschiedene andere Titel. Nun liegt das 3er Album in seinem naturbelassenen Originalzustand wieder vor.

Bereits 1995 zeichnete sich mit der Maxi GAS - Modern auf Profan, sowie einigen Kompilation-Beiträgen auf Modulation & Transformation und Electric Ladyland auf Mille Plateaux dieser frühe, weltentrückte, rätselhafte GAS Sound ab, der sich erst in den sechs scheinbar endlosen, majestätisch-sprudelnden Tracks des Albums voll entfaltete. Die Musik ist von ätherischer Leichtigkeit, in der wie aus einer anderen Sphäre abstrakte Referenzen aus weiter Ferne nur andeutungsweise herüberzuwehen scheinen.

Dieser frühe, eher sphärisch-leichte, gleich einer sonnendurchfluteten (Wald-)Lichtung anmutende GAS Sound, stellt gewissermaßen den Ausgangspunkt der audiovisuellen „Welt“-Reise in den düster-romantischen Acid-Wald dar, in den sich GAS ab 1997 mit den Alben Zauberberg, Königsforst, Oktember und ab 2000 mit Pop an anderer Stelle wieder hinaus und in seine ganz eigene Ewigkeit begeben hat.

Celebrated Norwegian singer and composer Susanna announces her new album, Meditations on Love, out August 23rd via her own label SusannaSonata. Having spent five years writing material, Meditations on Love reflects the complexities and difficulties of maintaining love. So many songs celebrate the giddy joy of a new connection or lick the wounds from a break-up, but Meditations on Love explores what happens in between, examining the work required by a healthy relationship and contemplating the conditions that turn love into something toxic. Susanna's mastery of balladry is well documented, but on Meditations on Love, she introduces a rhythmic presence new to her work. The result is one of Susanna's strongest and most dynamic recordings of her career. The Norwegian artist Susanna has released albums as Susanna and the Magical Orchestra/Susanna/Susanna Wallumrod since 2004 on labels like Rune Grammofon/ECM/Grappa Musikkforlag and since 2011 on her own label SusannaSonata. Critically acclaimed for both her own songs and her highly personal interpretations of other people's songs, she wanders lightly and intented between champer folk, avantgarde, electronica, jazz and independent pop. Highly riyl Joanna Newsom, Sufjan Stevens, Kate Bush

"Magdalena Bay, the Los Angeles-based duo of Mica Tenenbaum and Matthew Lewin, create magical pop music that floats in the ether of our collective social cosmos. While they call California home, their essence lies in the clouds, emitting unique yet familiar frequencies of synthesized nostalgia, kitschy catchiness, and warped neo-hooks. Suited for the times, Magdalena Bay blends the known and felt with innovative sonic landscapes.

Tenenbaum and Lewin met as teenagers in a Miami high school music program. Tenenbaum, who moved from Buenos Aires to Florida at age one, and Lewin, a guitar shredder influenced by his dad’s prog and concept rock records, quickly recognized their kindred spirits. They formed a prog band called Tabula Rasa and began a romance. Both were skilled musicians; Tenenbaum a pianist and singer, and Lewin self-taught in production and music theory. Despite attending different colleges, they maintained their band, traveling hours to rehearse before realizing two things: their relationship was undeniable, and prog rock wasn’t resonating with young audiences.

Shifting their focus to pop, they explored its craft, leading to the creation of Magdalena Bay. They learned the complexities of pop writing and production, striving to create something interesting within the genre. Describing their music broadly as ""pop,"" they released several EPs and singles before debuting their album, ""Mercurial World,"" in 2021. Praised for its melodic hooks and meticulous production, it was often labeled as ""synth-pop.""

Their success is reflected in streaming numbers, social media followers, and festival appearances. Magdalena Bay's stylized online aesthetic complements their music, creating a cohesive artistic vision. Tenenbaum says, “We love extending the world of our music past sound into videos or graphics.” Lewin adds, “We’re trying to create an atmosphere or an emotional quality with it.” This integrated approach, termed ""world-building,"" is central to their artistry."

Guided by San Francisco musician Andy Pastalaniec, Chime School pays homage to the formative jangle of The Byrds by way of early Primal Scream and The Springfields; the production and pop sensibility of Biff Bang Pow! and The Razorcuts; and the spirit of great singles labels like Creation, Postcard and Sarah. Although it would have fit with any of those labels, Chime School found a natural home with Bay Area indie stalwart Slumberland Records, releasing a self-titled debut in 2021, and a follow-up 7” single in 2023, to broad acclaim.

The anticipated follow-up LP "The Boy Who Ran The Paisley Hotel" is as stellar as we could have hoped for — deeper, richer and evolved in every way. While still joyfully packed with janglepop gems, "Paisley Hotel" takes a turn toward the winsome melancholy of groups like East Village, The Go-Betweens, and The Loft, and represents a leap forward in production, composition and arrangement. "The first record was a bit manic. I was trying to stuff so many years of influences into thirty brisk minutes. With 'Paisley Hotel' I chose a more condensed palette, and I feel I'm getting closer to the sonic vision I had from the beginning."

Living Deathrock Legend of Manila, EAZYHEAD, is coming out of its Personal Echo Chamber. Recorded in a week in 2020, at the start of the universe’s second Black Plague. Similar to our now digital age of net prophetry, No phones are allowed entry. A sleep deprivation tank won’t have room for a journey like this one. EAZYHEAD will blow your mind, touch your soul, and massage your head, in an explosive lobotomy, as he tries to do the same, to himself. Like the trendy poser EAZYHEAD is, the prolific artist has decided to hide this 45 minute LP until it is conjured by the universe, to finally be heard by anyone who wants to enter the chamber. It has now been summoned by Oliver Ackermann of A Place To Bury Strangers/Death By Audio’s new label, Dedstrange. The entire 45 minute Ectoplasmic Fuzzy Washy Mind Halo Debut LP that will circle all your senses, Personal Echo Chamber is coming out soon and will be bouncing around everywhere, on vinyl stores near you and only on, Dedstrange.

The wild greaser with an ever-broken heart, Cong Josie, is back! His eagerly anticipated sophomore album; Moto Zone, pulls up throbbing, revving, sweating and grinding hotter than bitumen on a summer day. It is a non-stop EBM’in’, synth-punkin’, rock ’n’ rollin’ and doo-woppin’ sizzler, in much the same vein as his 2021 debut Cong!. With this release however, Cong pushes his own M.O. even deeper. The throbs get bolder, the NRG goes harder, slow sleaze hip-grinding enters and the dream washes return to envelope all that hear them like a siren’s call. On Moto Zone, Cong conjures the age of rock ’n’ roll, a world of motorcycle gangs and hot rods, leather, chains, backcombing and hair pomade, with an Aussie twist on greaser ‘cool’. Confessional lyrics tell tales of addiction and mental illness tracing the scars of a troubled past. Cong says the “Moto Zone” reflects his daily life and mindset. A life of ADHD, burning the midnight oil, living on black coffee, obsessively creating and revving through every day. Ultimately Cong is reaching for bliss, feeling connection and a new world in these songs. Exhilarating? Anxious? Hedonistic? Dangerous? Beautiful? A lust for life? The record is all of the above.

Nick Maurer’s Come On In! is the stuff of a modern American fable. The 20 year-old Cincinnatian’s first release on Happy Families feels wise beyond years but is equally moving in its innocent enthusiasm. Written while still in highschool and recorded using his cellphone, Come On In! is best enjoyed live, but even on vinyl or digitally, the album feels timeless, like you are stepping into a colorful picture book illustrated with a careful hand.

The third album from beloved Nashville indie rockers The Medium, City Life is the first they’ve produced on their own. Recorded in their homes with the help of a few friends, this grassroots approach to recording captures them simultaneously at their most relaxed as well as their most airtight. Ironically, City Life presents the quartet sounding their most country yet – sonically embracing some of the musical territory of their hometown as well as lyrically wrestling with the challenges of its rapid changes. The band’s penchant for saccharine harmonies, hypnotic riffs, and earnest ballads cohere everything into a uniquely relevant take on a classic 70’s rock sound. The record envisions ‘city life’ as a call for a better world – a society driven by care over productivity; by community over profiteering.

The new album is ready and it’s the best! Cornell says “This is more than an album to me…. It is an up close and personal expression of the many things that move me in life and how I feel about life, love and all the things I value most. The love that went into making this album is without question a collaboration of great musicians and producers who put their Souls into it. No matter what your mood is, there is a song on this album that will relate to all of the different emotions we experience Every Day!”
The first single from this album was “The Change”, released earlier in the year ahead of the massive new song “Everyday”. The album is coming 26th July on CD and will be followed up with a vinyl release (of selected tracks) 23rd August.
Cornell is from Berkeley, California and raised in San Francisco where his debut album “Vindicated Soul” was released in 2017. Since then he has taken the soul scene by storm through further prolific albums “One Love”, “Absolutely” and “Next Life”. Earlier in his career he recorded with The Isley Brothers and performed on stage with James Brown. Cornell performs songs from the album for the first time at The Sussex Soul Weekender Friday 2nd August.

Optimo Music excitedly unleashes Japan’s GǼG and their Anarcho Disco volumes 1 & 2 into the world. We thought we were done with 12” single release, at least for now, but then these tracks showed up and it was instantly obviously ESSENTIAL that they get pressed up on big fat twelve inch singles. Every single track here has been tried and tested and caused delirious delight on the dancefloor over the last year. Now it is time to share them with YOU! Truly Anarchic, Psychedelic dance music for the open-minded and genre-free crews.

GǼG say – 
DISKO KLUBB boss MONKEY TIMERS, who leads Tokyo’s underground disco scene, and KEITA SANO, who has been gaining attention for his releases on labels around the world, have started the project “GǼG”.

Using a variety of sampling and unique FX, our music has created a unique GǼG sound that is psychedelic and anarchic.

This subversive sound is sure to be the key to shaking the dancefloor.

Gregory T.S. Walker’s Minstrels & Minimoogs was self-published by a young, nomadic composer and virtuoso in 1988 to accompany an immersive multimedia performance at the University of Colorado Boulder’s Fiske Planetarium. Created with this outer, and other, world setting in mind, the four tracks find Walker stretching toward an ancient-to-future vision where Egyptian myths and Hieronymus Bosch-ian tableaus are rendered in a screaming three dimensional circuitry of electronic drums, synth guitars, and, of course, Minimoog. Given the musical terrains and outmoded topics traversed, and that this entirely DIY effort was originally released as a micro one-sided 12” edition, Minstrels & Minimoogs is as perplexing and euphoric a document lost-to-time as it is now found.

Born in 1961 into an intensely musical family spanning four generations, Gregory’s mother Helen Walker-Hill was a noted musicologist specializing in the rediscovery and work of historical Black female composers, while his father, George Walker, was the first African American composer to win the Pulitzer Prize for music. Both parents studied with the famed (and famously strict) Nadia Boulanger in Paris in the 1950s, and held to lofty aesthetic standards in their home life. Walker began studying the violin as a child, but when a burgeoning interest in the electric guitar and rock music as a teen manifested, it was largely verboten in the household. The rule was that the music played in the home was to be acoustic and classical. Although the elder Walkers eventually relented and allowed Gregory’s guitar to be plugged in for a brief interval on the weekends, the remaining days he settled for strumming it sans amplification.

Gregory, conditioned and eager for a life in music but looking to get out from under the influence and yoke of his famous composer father, ultimately chose to study computer music at the University of California at San Diego, where he earned a Master of Arts. This was followed by another MA in electronic music composition at that hotbed of West Coast experimental music, Mills College. Intermedia and multimedia in the arts was the rage in the 1980s, and Mills was one of the centers for it; audacious spectacle meeting visionary performance, such as one of the realizations for Anthony Braxton’s music for multiple orchestras a young Gregory performed in with his violin.

After a series of solo synthesizer concerts around California, Gregory followed a girlfriend on a mid-country move to Boulder, Colorado. After picking up yet another composition degree at University of Colorado Boulder, his life as a composer really started, writing a piece for extended technique for guitar, a passacaglia for vocoder and orchestra, as well as Minstrels & Minimoogs.

Envisioned as a multimedia performance such as the kind he’d experienced at Mills (which was all but unknown in Boulder at the time), Gregory roped in a number of college going or aged friends of varying skill levels and musical sympathies to accompany him with distorted sax or oblique spoken interludes. Confronted with a lack of finances, but driven to get his ideas captured in a complete musical package, the album was recorded in his brother’s apartment. If not every player assembled was on Gregory’s virtuosic level, so be it; it was more about capturing the spirit of his intentions and embracing the serendipity of mistakes.

An inspired attempt at world building, Minstrels & Minimoogs draws on the deep well of musical knowledge Gregory gathered from his parents and teachers, but all the while subverting that historical basis by incorporating mutant strains of prog and pop music. The work accumulated is not unlike the playful 1980s work of Gregorio Paniagua, where medieval estampies and rondeaus are wrenched into an anachronistic present where Hildegard Von Bingen and Kate Bush are contemporaries. Ars nova, new art, a 20th century minimalist jester and troubadour.

A one sided LP was the cheapest option Gregory found to have Minstrels & Minimoogs memorialized on vinyl, so somewhere between 50 to 100 copies were pressed. There was no distribution, outside of copies that were handed out to friends or sold at the performances at the planetarium. Gregory T.S. Walker’s cosmic-futuristic forays into oblique pop and baroque subversion could forever reside perfectly in both the domed simulacrum of our universe for which it was composed, in the formats it is being reintoduced now, and our own biblical firmament. For in the words of Gregory, straight from the original liner notes: “God Is A Minimoog”

Gregory T.S. Walker’s Minstrels & Minimoogs arrives again August 23, 2024 on vinyl and digitally as part of uncommon¢ (“uncommon sense”), an open-ended, serialized endeavor from Freedom to Spend that provides new meaning for rarefied recordings from music's outermost fringe.

"Civilians" lädt Fans auf eine Reise in Joe Henrys poetische
Lyrik ein. Das Album überzeugt mit einem Mix aus Jazz-, Folkund Blues-Einfl üssen. Begleitet von langjährigen Weƽefährten
kehrt Henry mit "Civilians" zu einem traditionellen SongwritingAnsatz zurück

Joe Henry is one of the artists who have shaped the sound of modern American folk and blues music like hardly anyone else. “Civilians”, his 10th studio album, was originally released in 2007. It takes the listener on an intimate journey into Henry’s poetic lyricism and is heavily influenced and inspired by the more melancholic sounds of folk and jazz music. Recorded in Henry’s home studio at the time, the Garfield House in Pasadena, the album has a raw and stripped-back feel, with several of Henry’s close friends and collaborators, like Loudon Wainwright III, Bill Frisell, Greg Leisz, and Van Dyke Parks, joining him in the studio to bring these songs to life. Now available on 180g black double vinyl for the first time ever, the 2024 reissue edition of “Civilians” features not only the 12 songs of the original release, but also previously unheard bonus material, including intimate demo versions of several songs on the album, as well as the all-new bonus track “Bread & Flowers”.

A late period hard-rock, proto-punk entry in Zambian guitarist and bandleader Paul Ngozi’s extensive catalog. Featuring drummer Chrissy Zebby Tembo. LP includes oversized 8 page booklet detailing Ngozi’s arc, rare photographs, discography and annotations. Released under license from the Estate of Paul Nyirongo. “Zambia's Zamrock movement that exploded in the 1970s ... provided young musicians access to European and American music, and created a unique sound. At its root, Zamrock melded fuzz-toned psychedelia, chugging garage rock and roiling funk with a broad mix of African cadences and beats.... enlivening a scene that included bands like Musi O Tunya, Amanaz and the Ngozi Family.” - The New York Times Zamrock was a bona-fide rock scene, with albums released through independent labels based in Zambia. This music scene was complete, encompassing the genres of rock, acid folk, fusion, Afro-beat, South African jazz and traditional Zambian melodies. It quickly became a uniquely Zambian movement, befitting of its name. WITCH, Paul Ngozi and Amanaz sound nothing like other rock music from the African continent or elsewhere.

Limited pressing of 300 LPs ! 180gm VINYL LPS w/ INSERT & DOWNLOAD FILE UNDER : GARAGE ROCK / PUB ROCK "I wanted to make a very NOW album, our past was fantastic at the time but it was exactly that.the past. We've learned a lot since then and with the combination of influences and personal tastes we've concocted a combination of Raw Power guitar grunt, a touch of The Cars' pop sensibilities and Bad Seeds brood." Dave Butterworth Veteran rockers The Double Agents return with their third album New Motion a powerful new recording evoking directness and immediacy and marking their first release of new material in nearly two decades. The Double Agents' initial incarnation circa 2000 saw the fiercely independent quintet rise from humble stages to becoming one of Melbourne's most revered pub rock bands. They twice toured Europe and eventually shared the stage with iconic luminaries Dead Moon, Mudhoney, The Dirtbombs, Celibate Rifles, The White Stripes and The Black Keys before an amicable hiatus in 2008. New Motion is a modern Australian rock record and marks a departure from their garage rock roots, as best exemplified in their self released 2023 anthology compilation Best Bits. So Far spanning their first three releases. The familiar twin vocals remain, Kim and Dave summoning that deep Dead Moon energy, as does Ryan Tandy's singular lead guitar playing and the rock solid backbeat of Myles Gallagher, but the band's scope seems to have widened on this record, with the inclusion of longtime cohort Mick Stylianou (Saint Jude) adding style and harmonic punch on bass guitar and backing vocals. ..The New Motion sessions were tracked to analog tape by Finn Keane at Head Gap and Julian McKenzie at Newmarket with vocal post production by Dave Larkin (Dallas Crane), mixing by Callum Barter (Courtney Barnett, Kurt Vile), mastering by Mikey Young. Dave Butterworth also produced the album.

From two recording sessions between Decka and Roseen in the summer of 2021, the results fused into an EP on Freddy Ks label, KEY Vinyl. They also kicked off a new label with an album from that same material. Now, they've dropped a remix EP featuring interpretations by DisX3 (aka Alexander Kowalski), Border One, and Don Williams, along with a new track from Decka and Roseen. The EP covers a broad spectrum of sounds, reflecting the philosophy that everything is a like yet distinct. For more info, let the music do the talking!

Last Summer, Daniel Foggin, guitarist, writer and chief architect of Smote, uprooted himself from his usual home in Newcastle to live and work in a farmhouse in Kelso, near the Scottish border. “Through the summer when I was working up there, myself and Rob (Smote drummer) would finish work and go sit by a small river and have a couple of beers in the sun, and it was the best thing ever” he relates “So I guess the philosophy is that to some people it looks like any other stream, but to us it was supreme happiness.” Hence came the title of the fourth Smote album proper, one largely recorded in this same farmhouse – A Grand Stream. It’s an album that’s the truest incarnation thus far of his vision for this band – a full-scale psychic voyage into the ether and a drone-and-repetition-fuelled series of incantations that takes simple, primal ingredients and utilises them for the purposes of aural sorcery, summoning spectres and revelations aplenty in its wake. Whilst the folk-tinged, ceremonial ambience that Smote have made their trademark is present and correct here, utilising Swedish classic psych heaviness and Swans textures as fuel for the ominous rhythms of ‘Coming Out Of A Hedge Backwards’ and the uplifting cadences of opener ‘Sitting Stone Part 1’, Foggin and his cohorts also waste little time exploring new more eerie and ethereal textures and dimensions. The meditative ‘Chantry’ in particular sees them gravitate towards a headspace akin to the drone-based epiphanies of Kali Malone’s ‘Does Spring Hide Its Joy’ filtered through the transcendent amplifier worship of ‘Earth 2’. A Grand Steam takes this band – one who’ve always eschewed the cliches and stumbling blocks of all contemporary psych rock in favour of their own unique and wyrd vision – into a realm in which they transcend through willpower and skill alike into something preternaturally thrilling, mapping out their own crepuscular new territory Question is; dare you step over the threshold?

After a debut LP a couple of years ago, Patrick McEachnie (Chain Whip) is back with a stunning sophomore LP. Where the first LP was Pat taking care of everything, this time it is a full band, resulting in a album of bouncy, power-poppy rippers with great hooks and pop sensibility, inspired by the less abrasive, more melodically driven side of ’70s punk. 13 brand new songs to full in love with. Summer never tasted so good

The French-Mauritanian conductor, pianist and composer Leila Olivesi presents her sixth album ASTRAL - a brilliant opus with the best musicians on the French jazz scene. The albumis also her second with a large ensemble, the first being the acclaimed Suite Andamane,which received a coveted "Coup de Coeur" from the Academie Charles Cros.

A gifted composer, Leila was inspired by the great jazz masters, including Duke Ellington, and Mary Lou Williams. 'ASTRAL'demonstrates their influence and her talent for creating harmonic and melodious original music, full of modernity.

"Leila's music has compositional and conceptual integrity - recurring themes intertwine and morph through the title track 'ASTRAL', the trippy interlude 'Interstellaire' and the song 'Au Feu Des Reves'. There are surprises waiting around every corner, and she deftly avoids any hint of that tired old "head insolo-solo-solo-head out" formula. Odd meters dance effortlessly, and she's not afraid to swing! While her original music is the focus of this album, Leila's fresh arrangement of Mary Lou Williams' classic 'Scorpio' is a lovely bonus. This is fully contemporary acoustic jazz on a high level, with brilliant musicians that interpret and breathe her musical visions to life." - Geoffrey Keezer

On their new studioalbum '...and everything in between' progressive boundary pushing quartet
UNPROCESSED are taking all influences and combining them into an ultimate evolution of everything
UNPROCESSED has ever been, while still adding a new flavour and style to the mix. Epic riffs with intricate
licks and mind-bending rhythms, brutal breakdowns, epic guitar solos and big and catchy choruses.
Opaque Sunburst colored vinyl