"Circuit" is a recorded document of improvised music and the inaugural release on Pattern Dissection — an independent record label, radio show and concert organiser from Berlin. Dag Magnus’s down-tuned drum set builds the ground for relentless legwork and hectic wrestling, shaking the floor when confronted with Farida’s high string slaps on the bass guitar, which they occasionally swap for droning vibrations and scorching fingerpicking, neither shying away from a heavy riff nor stripped back momentum. Liz’s synth is an idiosyncratic creature of its own, birthing sounds rarely graspable but utterly fascinating, swift in taking turns and always one step ahead of any expectation.
Recorded on July 28th 2020 in Berlin at their second meeting as a band, that was initiated by a live gig six months earlier. All music was improvised and performed in a room with six microphones.
Mixed by Christoph Berg & mastered by Stephan Mathieu. Lacquer cut by Mike Grinser. Pressed at Pallas on 140g vinyl, wrapped in a 350g reverse-printed cardboard sleeve with A6 photo-card inside, including a download code. Artwork by Talita Santos & design by Espacioblanco. Photography by Stefan Lingg.
We are elated to invite the multi-talented and multi-national musical mastermind Portable in to the Circus family finally. After many years of traveling in similar scenes and orbits, and thoroughly enjoying his vast output on some of our favorite and best friends’ labels, the time has come to join forces with our now-fellow Parisian dweller.
The My Event Horizon EP is a truly creative treat, chock full of the charm and studio ingenuity that permeates all of his work, and a first look at what’s to come on his full length LP we have in store for you in the coming months as well. Two versions of the lead track “I Feel Stronger Now” are accompanied by an exclusive club cut, just in time for the world’s hopeful dance floor reopenings.
“I Feel Stronger Now” is one of those perfectly balanced tracks that is equal parts soft and edgy, mellow and exciting, and features a rich mix of sharp percussion, warm jazz-inflected piano motifs and Portable’s own inimitable dulcet-toned vocals, making it a sure-shot fit with the label’s modus operandi. The A2 track “My Art Sets Me Free” as the title may suggest, is a more abstract and artistic take on full-scale DSP dance floor equipment - we can already imagine hearing this on some of our most cherished club systems, head-down, fully immersed. Next up “I Feel Stronger Now” gets a fresh facelift treatment from Portable’s own and equally-notorious alter ego Bodycode, which follows suit to the pseudonym’s production quality, giving the avant-garde bounce of the original version a more syncopated and stripped-back feel, imparting a stronger physical sound bed with tasteful synth layering for the vocal Iines to ride over. And as a digital bonus addition to the package we have the Radio Edit of “I Feel Stronger Now” which is nicely tightened in all the right places to drive the point home for broadcast listeners, and further proof that this man’s music can be fully enjoyed in many settings - a big loving welcome to Mr. Portable!
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"Mirrors & Smoke" is the first single by GÍO from the album of the same name, which will be released in September.
The Artist behind GÍO is the Cologne musician Johannes Stankowski. Stylistically you can classify GÍO between Yacht-Rock and Italopop. Some people prefer to call it yacht-pop, because the rock influences of bands like the Eagles or the Doobie Brothers can also be found in GÍO.
the Doobie Brothers have long since faded from GÍO's music. GÍO prefers to make music in the spheres in which even a pop star like Harry Styles moves. Pop with the really big gestures. Soft rock and blue-eyed soul with a slight disco and funk touch.
A world in which indie was mainly found in the 5-euro grab boxes of record stores, GÍO finds himself detached from contemporary trends to escape back into a world where the promises of pop were always lager than life. Not a place of dystopia, but a place to fly away. Highly hedonistic and escapistic. Mirrors & Smoke is exactly such a song. A declaration of love to pop. You can choose to listen to Fleetwood Mac or Lucio Battisti afterwards.
On this essential new collection of forward-looking jazz reinterpretations, Kansas Smitty's bandleader Giacomo Smith delves deep into the catalogues of celebrated yet often overlooked artists that inspire his work with Kansas Smitty's; Jelly Roll Morton, Bix Beiderbeck, even Maurice Ravel. Created for the 'Plunderphonia' series for 7K!, itself a reinterpretation of the acclaimed !K7 DJ-Kicks series, the album owes as much to Giacomo's decade of living and playing in London as it does to the forefathers of jazz that he is paying homage to here.
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Flying is the latest track off of Steve Conte’s upcoming album, Bronx Cheer, out November 5 on Wicked Cool Records. While the song is coming out for the first time now, it has a history. zdyrbr says, “This one goes back to 1994 when I was working on a band that was never to be with Brynn Arens of Flipp. We jammed on this in my rehearsal studio very organically and I came up with the lyrics later. I did a few demos of it over the years and it never left my consciousness.” The lyrics focus on perseverance and how, “in the face of adversity, disappointment and trauma, a person of strong will can keep going for their dreams.” The bluesy ballad shows off Steve’s versatility and range, and is just a taste of what’s to come on Bronx Cheer.
Two monumental full-side tracks from a pair of late 70s Orchestre Poly-Rythmo albums, ‘Unité Africane’ isn’t exactly a compilation, more a combination of the standouts at a time when the band was at the peak of its powers. Originally released in 1977, the title track is an infectious Afro-Latin workout that is interwoven with driving horn stabs by master trumpet player Tidiani Kone. ‘Unité Africaine’ was recorded over the Nigerian border at the state-of-the-art EMI Studios in Lagos, yielding majestic sonic results. ‘Mede Ma Gnin Messe’ is taken from the 1978 ‘Special 30 Novembre’ and this time Poly-Rythmo wore their Afro-funk hat to deliver almost sixteen minutes of dancefloor fire. Propelled by PolyRythmo’s super-tight beats and underpinned by a relentless keyboard refrain, the magic is in the stellar horn parts that take this track to another level. As with much of the Albarika catalogue, copies of the original LPs are incredibly tough to locate in anything approaching reasonable condition, so this should be a gift.
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"Dead Man's Hand" is six cold minutes of tooth-and-nail destruction from Black Yukon Sucker Punch. The flipside gives way to an equally heavy, acid-tinged remix by neurofunk mainstay Kemal.
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Clear History are a scorching post-punk trio from Berlin who make a big deal out of little things, sometimes vice versa.
Pressing of 500 copies worldwide on 180GM black vinyl.
Clear History’s debut mini-album is entitled 'bad advice good people' and will be released by Upset The Rhythm on November 5th. The six songs here cast a huge net across themes of raucous opposition, identity, closeness, gifting and exploding cars. They are a full-hearted call to arms from a stubborn Aries concerned with wasting time and energy. With such rapport for the touchstones of danceable post-punk (ESG, Kleenex, Gang of Four) Clear History are proud hi-hat botherers, bounding along with the plummy bassline, joining the dots whilst thinking to the beat. This debut documents the tantalising first sparks from a band intent on holding up a magnifying glass to the sun.
Their influences include correct grammar, Rihanna & ‘The Waiting Room’ by Fugazi. They make muscular songs about intimacy whilst dreaming of an extravagant breakfast the day after the rapture. What will the dance floors look like over there? What music will ring true and make the people move? Clear History are giving this their full atttention!
Francisco López offers a brand new field recording composition based on the recordings he did in the island of Tenerife whilst visiting for a performance at the Keroxen Festival, 2020.
Internationally recognized as one of the major figures of the sound art and experimental music scene, Francisco has an ear-like gift to point his microphones (and our ears) to the most special and unlikely of sound sources. For almost forty years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, the presentation here is not unlike his most famous and celebrated works whilst still maintaining its unique relevance among a prolific catalogue of sounds.
Entitled Hidden Island Music the work explores its aforementioned ‘hidden sounds’ of Tenerife with a high sensorial mix of environmental and ‘industrial’ recordings taken in and around the Massifs of Teno and Anaga and later composed into a unique sonic journey through the huge sound pits of this rugged region of north Tenerife.
Another masterful work from one of the masters of his craft, shifting from the limits of our perception to the most dreadful abyss of sonic power, a profound and transcendental listening open to sensory and spiritual expansion.
Original environmental sound matter recorded at multiple locations in Macizo de Teno and Macizo de Anaga (Tenerife), November 2020.
Evolved, composed, edited, mixed and mastered at ‘mobile messor’ (Tenerife, Den Haag) and Dune Studio (Loosduinen), 2020-21.
Limitierte farbige LP! "Public Storage" baut auf dem Sound von Vus früheren Veröffentlichungen auf und unterstreicht ihre Stärken als Songwriterin mit einem tieferen Sinn für Glanz, Raffinesse und Dringlichkeit. Sie nennt es eine "sehr invasive und intensiv klingende Musik", die erfrischend unkonventionell zu den zeitgenössischen Trends ist; dies ist Musik, auf die man sich einlässt, anstatt sich zurückzulehnen. Co-Produzent Jackson Phillips (Day Wave) half Vu dabei, eine riesige, körnige, facettenreiche Welt zu erschaffen, in die sie sich stimmlich hineinbegeben kann, wobei ihre ausgeprägte Altstimme frei zwischen beschwörenden, tiefgründigen Betrachtungen und gefühlvollen, himmelwärts strebenden Ausbrüchen hin- und herpendelt. Die ersten Klänge, die wir hören, sind bezaubernd: Vereinzelte Klaviertasten gehen in "April Fool" in warme Schläge und Selbstharmonien über, während Vus Protagonistin ihre Umgebung und ihre Fähigkeit zu kommunizieren verleugnet. Das sanfte bernsteinfarbene Glühen geht über in den Titeltrack des Albums, einen dunkleren, düsteren, lauteren Ort. Vu rennt durch "Public Storage" mit einer Reihe von trotzigen Zurückweisungen (Versagen, Familie, Magie) und kathartischen Forderungen. Es ist eine seltene und kraftvolle Zurschaustellung von Verletzlichkeit von einem Texter, der das Abstrakte dem Autobiographischen vorzieht. Aubade", das auf einem Disco-Synthie-Muster und groovenden Bass-Stabs aufbaut, hat den hellen Schwung seines morgendlichen Namensvetters, der geschickt im Widerspruch zu seinem niederschmetternden Thema steht. Der Kontrast setzt sich in "Keeper" fort, einem pulsierenden New-Wave-Song mit träumerischen Synthesizern und einem coolen, knurrenden Erzähler, der diese Kraft erneut herausfordert. "Gutter" kehrt zum grungigen Lowlight zurück, mit muskulösen Gitarrenriffs, die sich über einem Bett aus Rückkopplungen abzeichnen und zusammen mit orchestralen Streichern zu einem brüllenden Finale anschwellen. Die hintere Hälfte von Public Storage bietet einige der markantesten Momente: Das rhythmische, hooklastige "Everybody's Birthday" spricht von der bösen Absurdität der Gegenwart, dem Ende der Zeiten. Die Nacht ist rot, die Stimmung ist blau, und die Scham ihrer Figur ist goldfarben. Vu hebt sich "Maker" für den Schluss auf, einen letzten Versuch im Existenziellen.
The Black Keys release a special tenth anniversary edition of their landmark seventh studio. El Camino (10th Anniversary Deluxe Edition) will be available in several formats including a Super Deluxe edition of five vinyl LPs or four CDs, featuring a remastered version of the original album, a previously unreleased Live in Portland, ME concert recording, a BBC Radio 1 Zane Lowe session from 2012, a 2011 Electro-Vox session, an extensive photo book, a limited-edition poster and lithograph, and a ‘new car scent’ air freshener. A three-LP edition, which includes the remastered album and the live recording, will also be available. The Super Deluxe version will also be available digitally.
El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. The Black Keys won three awards at the 55th annual GRAMMY Awards for El Camino – Best Rock Performance, Best Rock Song, and Best Rock Album – among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band). The week of release, the band performed on Saturday Night Live, The Colbert Report, and the Late Show with David Letterman, and later that year, went on to perform their first Madison Square Garden show.
Rolling Stone, which featured the band on their cover around the release, hailed El Camino for bringing ‘raw, riffed-out power back to pop’s lexicon,’ and called it ‘the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.’ The Guardian said, ‘They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.’
In the newly written liner notes for El Camino (10th Anniversary Deluxe Edition), David Fricke says:
The story of the Black Keys' seventh album, named after an automobile, long out of fashion and featured nowhere in the artwork, begins on a sidewalk in the middle of a blizzard. On the afternoon of January 9, 2011, singer-guitarist Dan Auerbach and drummer Patrick Carney stood on the pavement outside the Bowery Hotel in New York City, saw the weather turning vicious, looked at each other and came to the same decision: They had to get off the road.
The night before, the duo scored another first in a season getting crowded with them: The Black Keys' debut appearance on Saturday Night Live, performing ‘Howlin' for You’ and ‘Tighten Up’, the breakout singles from their latest release, Brothers. Two days earlier, Brothers – the Keys' first Top 5 album, released in May 2010 – became their first Gold record, passing a half-million in sales thanks to heavy FM rotation and a near-year of gigging, now set to run deep into 2011 including a prestige slot at Coachella and victory laps in Europe and Australia.
The Keys "tried to settle down" after cancelling the tour, Carney says. But that didn't last. "I said, 'We should just make another record.' And I asked Dan if we should get Danger Mouse" – the hip-hop and modern-rock producer, real name Brian Burton, who worked on the Keys' 2008 record, Attack & Release, and co-produced ‘Tighten Up’. Auerbach and Carney did not have any new songs, but as the drummer notes, "Most of our records – we don't have material when we start. Brothers was made up in the studio."
In the UK, the record gave the band their first top 10 hit, and in the US it debuted at #2 on the Billboard Top 200. The band was also the #1 most played artist at Alternative and AAA radio formats for 2012 in the US. The album’s first single, ‘Lonely Boy’: reached #1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio. The second single, ‘Gold on the Ceiling’, also reached #1 on Alternative radio and the third single, ‘Little Black Submarines’, reached the top 3 at Alternative radio.
El Camino has been certified Double Platinum in the US; Platinum in the UK, Belgium, France, Ireland, and the Netherlands; Triple Platinum in Australia and New Zealand; Quadruple Platinum in Canada; and Gold in Austria, Denmark, Finland, Italy, Mexico, Norway, Spain, and Switzerland. Of the album’s singles, ‘Lonely Boy’ was certified Double Platinum in the US, nine-times Platinum in Canada, Triple Platinum in Australia, Platinum in New Zealand, and Gold in Denmark and the UK. ‘Gold on the Ceiling’ was certified Platinum in the United States, Australia, and Canada. ‘Little Black Submarines’ was certified Platinum in the United States. The Black Keys also were nominated for an MTV European Music Award in 2012.
Recently, the band announced their World Tour of America. The Black Keys will perform three intimate shows in Oxford, MS, Athens, GA, and St Petersburg, FL, surrounding their September 25 headlining set at Pilgrimage Fest in Tennessee.
The Black Keys recently released their tenth studio album, Delta Kream, which was recorded at Easy Eye Sound studio in Nashville. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.
Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.
The Black Keys release a special tenth anniversary edition of their landmark seventh studio. El Camino (10th Anniversary Deluxe Edition) will be available in several formats including a Super Deluxe edition of five vinyl LPs or four CDs, featuring a remastered version of the original album, a previously unreleased Live in Portland, ME concert recording, a BBC Radio 1 Zane Lowe session from 2012, a 2011 Electro-Vox session, an extensive photo book, a limited-edition poster and lithograph, and a ‘new car scent’ air freshener. A three-LP edition, which includes the remastered album and the live recording, will also be available. The Super Deluxe version will also be available digitally.
El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. The Black Keys won three awards at the 55th annual GRAMMY Awards for El Camino – Best Rock Performance, Best Rock Song, and Best Rock Album – among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band). The week of release, the band performed on Saturday Night Live, The Colbert Report, and the Late Show with David Letterman, and later that year, went on to perform their first Madison Square Garden show.
Rolling Stone, which featured the band on their cover around the release, hailed El Camino for bringing ‘raw, riffed-out power back to pop’s lexicon,’ and called it ‘the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.’ The Guardian said, ‘They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.’
In the newly written liner notes for El Camino (10th Anniversary Deluxe Edition), David Fricke says:
The story of the Black Keys' seventh album, named after an automobile, long out of fashion and featured nowhere in the artwork, begins on a sidewalk in the middle of a blizzard. On the afternoon of January 9, 2011, singer-guitarist Dan Auerbach and drummer Patrick Carney stood on the pavement outside the Bowery Hotel in New York City, saw the weather turning vicious, looked at each other and came to the same decision: They had to get off the road.
The night before, the duo scored another first in a season getting crowded with them: The Black Keys' debut appearance on Saturday Night Live, performing ‘Howlin' for You’ and ‘Tighten Up’, the breakout singles from their latest release, Brothers. Two days earlier, Brothers – the Keys' first Top 5 album, released in May 2010 – became their first Gold record, passing a half-million in sales thanks to heavy FM rotation and a near-year of gigging, now set to run deep into 2011 including a prestige slot at Coachella and victory laps in Europe and Australia.
The Keys "tried to settle down" after cancelling the tour, Carney says. But that didn't last. "I said, 'We should just make another record.' And I asked Dan if we should get Danger Mouse" – the hip-hop and modern-rock producer, real name Brian Burton, who worked on the Keys' 2008 record, Attack & Release, and co-produced ‘Tighten Up’. Auerbach and Carney did not have any new songs, but as the drummer notes, "Most of our records – we don't have material when we start. Brothers was made up in the studio."
In the UK, the record gave the band their first top 10 hit, and in the US it debuted at #2 on the Billboard Top 200. The band was also the #1 most played artist at Alternative and AAA radio formats for 2012 in the US. The album’s first single, ‘Lonely Boy’: reached #1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio. The second single, ‘Gold on the Ceiling’, also reached #1 on Alternative radio and the third single, ‘Little Black Submarines’, reached the top 3 at Alternative radio.
El Camino has been certified Double Platinum in the US; Platinum in the UK, Belgium, France, Ireland, and the Netherlands; Triple Platinum in Australia and New Zealand; Quadruple Platinum in Canada; and Gold in Austria, Denmark, Finland, Italy, Mexico, Norway, Spain, and Switzerland. Of the album’s singles, ‘Lonely Boy’ was certified Double Platinum in the US, nine-times Platinum in Canada, Triple Platinum in Australia, Platinum in New Zealand, and Gold in Denmark and the UK. ‘Gold on the Ceiling’ was certified Platinum in the United States, Australia, and Canada. ‘Little Black Submarines’ was certified Platinum in the United States. The Black Keys also were nominated for an MTV European Music Award in 2012.
Recently, the band announced their World Tour of America. The Black Keys will perform three intimate shows in Oxford, MS, Athens, GA, and St Petersburg, FL, surrounding their September 25 headlining set at Pilgrimage Fest in Tennessee.
The Black Keys recently released their tenth studio album, Delta Kream, which was recorded at Easy Eye Sound studio in Nashville. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.
Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.
Having stepped into fourth year of existence the factory of Depth.Request manufactures an article in form of an EP titled "Night Wounds Time" produced by British-born underground scene veteran Mahk Rumbae under the guise Antechamber, which - in slight contrast to his arguably better known alias Codex Empire - he ostensibly reserves for a more dysfunctional brand of electronic music intended as much for frantic terpsichorean participation as for contemplating the inevitable under the gloom of moonless nights. In line with offbeat nature of sounds presented, the release gives a subtle nod to Tod Phillips' literary work "A Humument", borrowing its name and
track titles from the lines within the idiosyncratic book.
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New album of Québecois performer Bernardino Femminielli after several releases on Mind Records or Desire Records. Produced by Dominic Vanchesteing (Marie Davidson, Jef Barbara, Chocolat, Bernardino Femminielli...). A synth-pop/chanson act in between Sebastien Tellier, Serge Gainsbourg and lust.
Bernardino Femminielli, a lucid and tempestuous entertainer, abandons his performance and his leather clothes to take on the role of a triple agent in a sentimental mise en abyme, far from the tumultuous moral, political and philosophical conflicts. By turns storyteller, voyeur and actor of this tragedy in six acts, it is his word against that of another.
The other is Brad Cerini.
Lulled by the variety of his Italy, this unaware student of Vannier, Lai and Musy projects Femminielli into the heart of the torments of a high school girl in love and betrayed.
The mouse slips out of the shadow of the palaces and embraces her fate with a gunshot. Iris embarks on a hellish journey, assumes her excesses of politeness and turns an unexpected encounter into a grandiose event.
An introspective and/or schizophrenic tale that polarises a toxic, vital desire, carried by a flowery music that frees the artist from her principles.
Femminielli plays "an assumed, sincere role, a more serious posture and a more serious tone, but also an emotional distance in the face of this painting of manners. I had to act for her and him.
Directed by Dominic Vanchesteing (Marie Davidson, Jef Barbara, Chocolat, Bernardino Femminielli...), Dans les yeux d'Iris is the first release of the Parisian label Corps Double.
Haley Dahl, die seit ihrer Teenagerzeit als Sloppy Jane auftritt, ist neuerdings bei Phoebe Bridgers' Label Saddest Factory Records unter Vertrag. Phoebe und Haley sind schon seit Schulzeiten eng befreundet. Damals war Sloppy Jane eine Teen-Punkband. Die ersten Mitglieder waren Phoebe Bridgers am Bass, Sarah Cath an der Gitarre und Imogen Teasley-Vlautin am Schlagzeug. Heute hat die Band mehr als ein Dutzend Mitglieder und sich in ein Kammerpop-Projekt verwandelt. Für ihr neues Album "Madison" verbrachte Dahl drei Jahre damit, Höhlen zu erkunden, die ihre Vision für das Album einfangen könnten. Ihre Suche führte sie quer durch die USA, wobei sie sich mit der unterschiedlichen Akustik jeder Option beschäftigte, bevor sie bei den Lost World Caverns landete. Das Ergebnis ist ein wunderschönes, persönliches Werk, eine große Geste, ein kraftvolles Statement über obsessive Liebe und über das Hineinwachsen in sich selbst nach einer lebensverändernden Beziehung. Dahl und ihre 21 Bandkollegen nahmen Madison zwei Wochen lang jeden Tag von 15 Uhr bis 8:30 Uhr in den Höhlen auf. Um in die Höhle zu gelangen, mussten sie durch die Rückseite eines Geschenkeladens in einen langen Tunnel eindringen, wo sie über 200 Treppen zum Eingang hinuntergehen mussten. Dahl und Co. bewältigten diesen steilen Weg mit einem Klavier. Die Decke der Lost World Caverns ist riesig hoch und bildet eine perfekte Kuppel. Außerdem herrschte im Inneren eine Luftfeuchtigkeit von 98 Prozent, was sowohl zu einem hervorragenden Klang als auch zu Problemen mit der Stimmung und der Ausrüstung führte. Der Tontechniker Ryan Howe saß mit seinem Mischpult und seinem Computer im Subaru seiner Eltern oberhalb der Höhle und fädelte Kabel durch ein Loch im Boden bis zur Decke der Höhle. Auf dieses Album, das so vollständig realisiert und sorgfältig ausgeführt wurde, hat Dahl lange gewartet und auch als Musikerin viel gelernt: Für Madison lernte sie, wie man für Kammermusikinstrumente schreibt und brachte sich selbst das Klavierspielen bei. Die Platte lässt sich nur schwer kategorisieren. Es ist David Bowie wenn der Song "Crying" von Roy Orbison am Ende von Harmony Korines Film "Gummo" gespielt wird. Es ist My Chemical Romance trifft Sgt. Pepper. Courtney Love und Queen. Es ist ein riesiges, blumiges, samtiges Ding voller Spielzeugpferde und Stalagmiten. Er folgt einer großen Linie: einer großen Geste, die so groß ist, dass sie die ganze Erde bewegt. "I'm glad to live in a world where Haley Dahl wanting to go to a cave to make a record just makes sense. This is already a classic album." - Phoebe Bridgers
Named after the most notorious street gang of Victorian Liverpool,
'The High Rip' formed in 2017. Early gigs and rehearsal rooms were
located in that gang's old stomping ground and the synchronicity
was unavoidable. United by their shared love of post-punk and new
wave artists, their songs combine the high drama of Joy Division and the pop sensibility of XTC.
“This is Rock & Roll revitalised. It's easy to see this is no throw away pop crusade. Things that are
made into song are cared for, not just sang about. Their music is bigger than the band.”
Scene and Heard
"This is a record that sits perfectly between The Damned and Echo & The Bunnymen, The Adverts
and Gang of Four. This is a record everyone needs to listen to, so please go and check out Rule of
Four."
The Last Stop Sounds
Gewalt - "Paradies" A cross-reference of music influences may be difficult for even the most inclined listener to deconstruct. Partly due to our personal limits and partly because of the short time for songwriting and production, we didn’t arrive with a plan. Instead, we went for it. We indulged ourselves. We owned it. And this is what it is.
Three years after the platinum Effet Miroir (Mirror Effect), Zaz is about to release her fifth album. A record she began making during the spring 2020 lockdown.
After a frenzied decade of sold-out concerts, awards and prestigious collaborations (Quincy Jones, Charles Aznavour), it was after her last world tour which ended in the United States that Zaz refocused herself. For this album, recorded between Provence (Southern France), Brussels and Amsterdam’s area, Zaz worked with Dutch producer REYN (Vanessa Paradis, Stephan Eicher, Benjamin Biolay, Gaëtan Roussel…). “Imagine a world in tune with you”, advises Zaz in the first single. “When you see the state the world is in, it saddens me. What are we going to leave for our children?", asks the artist, who has always held deeply ingrained questions of education and environment. “It's sad, scary. But ‘Imagine’ is a song of hope", she explains, putting things into perspective.
Fela Kuti (1938-1997) was a Nigerian musician,
producer, arranger, political radical and outlaw, and the
originator of Afrobeat. A titanic musical and sociopolitical
voice, Fela’s legacy spans decades and genres,
touching on jazz, pop, funk, hip-hop, rock and beyond.
After graduating from Trinity College of Music (now
Trinity Laban Conservatoire of Music and Dance) in
London, Fela returned to Nigeria with his band Koola
Lobitos. Fusing the sounds of Jazz and Funk with the
traditional African music he had been raised on, his star
status began to flourish.
EMI, his label at the time, saw the true power of his
musical creation, what we now know as Afrobeat, and
brought Fela and his band back to London. The result
was ‘London Scene’. While recording, Fela began his
friendship with Ginger Baker, who plays uncredited on
the track ‘Egbe Mi O’.
‘London Scene’ is the beginning of what would become
Fela’s signature Afrobeat style and serves as a great
introduction to Fela’s music. Recorded and remastered
at none other than Abbey Road Studio.
This 50th Anniversary edition of the classic Fela album
comes on red, blue and white splatter vinyl, with a gold
foil obi strip that will be the hallmark of all of the Fela
50th Anniversary reissues.
Liner notes by the legendary Chris May.
Fela recently came in second place, behind Tina Turner,
for the fan vote for the Rock & Roll Hall of Fame
nominations and received great press coverage in NY
Times, Rolling Stone, MOJO, Record Collector and
more.
With another week comes another gem to be let loose into
the world via Nice Swan. This time it’s the turn of Brighton
set Opus Kink, releasing their second offering of the year
in ‘Wild Bill’ / ‘This Train’.
Having been recorded at the seminal Rockfield Studios in
Wales and produced by Tim Burgess, it’s every bit as
zealous and free as we’d expect and in discussing the
release, the group revealed: “‘This Train’ is a hell-forleather ride through humanity’s self-destructive tendencies
and futile battle against nature, flipping on its head the old
adage that ‘this train is bound for glory’.”
A spooky intro converts to a fast-paced and frenetic sound
as trumpets and sax blare with feral delight. The single
comes to a screeching crescendo and we’re sonically
transported to what could easily be a pub parlour, perched
on the crimson material of a baby bar stool as beautifully
bedraggled chants echo out. They can’t remember how
they got there but are united in their message: “Don’t lose
yourself to everyone else; Don’t lose yourself to this train.”
So far, Opus Kink have succeeded in turning listeners on
their head, leaving a simultaneous excitement and
perplexity as the struggle to brandish them with a ‘wemust-define-you’ handle ensues. With an underlying tone
likened to that of a Dickensian tale, they possess the edge
of a brooding petty criminal, the charm of a street urchin
and the philanthropic spirit of any good protagonist.
The band have a flurry of nationwide gigs scheduled over
the coming months, including two Nice Swan showcases
alongside labelmates Malady, Mandrake Handshake and
Hallan. Taking the studio energy and general raucousness
into consideration, catching them live will be well worth a
look-in.
‘X’ is the first new music from Working Men’s Club
since their acclaimed self-titled debut was released
in the autumn of 2020. The album was the band’s
perfect statement of intent, ‘X’ is the delivery, the
message, the action.
‘X’ rides on a sustained attack and gives way to a
glorious synth heavy release of a chorus that’s just
biding its time for a summer of discontent and
dancing. This is the sound of your new favourite
band hitting their stride. Count the days ’til you can
see them in a field or in a club again.
Self-produced by Syd Minsky and once again
mixed by Ross Orton, ‘Y’ is a synth heavy assault
which picks up where X left off before venturing off
into deeper acid-laced territory.
Following the 7” release of ‘X’, the first new music
from Working Men’s Club since their acclaimed
self-titled debut was released in the autumn of
2020, the band share remixes from Paranoid
London and Minsky Rock.
A side project of Syd from the band and producer
Ross Orton, the Minsky Rock remix channels the
energy of the primetime Detroit electro of Aux 88 or
Cybertron, while Paranoid London, the duo made
up of Quinn Whalley and Gerardo Delgardo, turn in
a bubbling 303 drenched acid workout.
JOSHIE JO ARMSTEAD recorded her giant crossover smash “I Got The Vibes” in 1973 when she signed to Gospel Truth Records, part of the mighty Stax group. It soon caught the attention of DJ Ian Levine and became one of his all time “Mecca Monsters”. It is reissued here for the first time in almost fifty years!
CARLA THOMAS, “The Queen of Memphis Soul”, was a major artist for Stax Records following in the footsteps of her father Rufus Thomas. “I’ll Never Stop Loving You” was unreleased at the time and thanks must go to UK lable Kent for unearthing this masterpiece in 1991.
out of Stock
Last delivered 4 years ago available to reorder, subject to availability
Storage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Hana Vu (born in 2000s California) grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 20-year-old musician sees the art of making and releasing songs in a similar sense: “these public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as ‘albums.’” She lived next to one of these buildings when she started writing her full-length Ghostly International debut, Public Storage, and its towering presence lends a metaphor to a record that sounds far bigger than the bedroom it came from.
Vu’s relationship with music began when she picked up a guitar her dad had lying around and taught herself to play. She’d wake up every day and listen to LA’s ALT 98.7, home to ‘90s and ‘00s alternative rock; later in high school, she found the local DIY scene. She remembers, “A lot of my peer musicians were surf rock/punk type bands and so I tried to fit into that when I was gigging around. But what I was listening to at that time St. Vincent, Sufjan Stevens was very different from what I performed.” Ultimately she’d do her own thing, keeping a journal of bedroom pop ex-periments on Bandcamp, including a low-key Willow Smith collaboration and covers of The Cure and Phil Collins. She caught the ear of Gorilla vs. Bear, who released Vu’s self-produced debut EP in 2018 on their Luminelle Recordings imprint, followed by a double EP the next year.
Public Storage builds on the sound of Vu’s early work underscoring her strengths as a songwriter with a deeper sense of luster, sophistication, and urgency. She calls it “very invasive and intense sounding music,” refreshingly out of step with contemporary trends; this is music to engage with rather than lean back to. For the first time, she welcomes a co-producer, Jackson Phillips (Day Wave), who helps Vu create a vast, grainy, multifaceted world to stretch into vocally, her distinct contralto drifting freely between evocative low-lit ruminations and soulful, skyward bursts.
Storage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Hana Vu (born in 2000s California) grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 20-year-old musician sees the art of making and releasing songs in a similar sense: “these public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as ‘albums.’” She lived next to one of these buildings when she started writing her full-length Ghostly International debut, Public Storage, and its towering presence lends a metaphor to a record that sounds far bigger than the bedroom it came from.
Vu’s relationship with music began when she picked up a guitar her dad had lying around and taught herself to play. She’d wake up every day and listen to LA’s ALT 98.7, home to ‘90s and ‘00s alternative rock; later in high school, she found the local DIY scene. She remembers, “A lot of my peer musicians were surf rock/punk type bands and so I tried to fit into that when I was gigging around. But what I was listening to at that time St. Vincent, Sufjan Stevens was very different from what I performed.” Ultimately she’d do her own thing, keeping a journal of bedroom pop ex-periments on Bandcamp, including a low-key Willow Smith collaboration and covers of The Cure and Phil Collins. She caught the ear of Gorilla vs. Bear, who released Vu’s self-produced debut EP in 2018 on their Luminelle Recordings imprint, followed by a double EP the next year.
Public Storage builds on the sound of Vu’s early work underscoring her strengths as a songwriter with a deeper sense of luster, sophistication, and urgency. She calls it “very invasive and intense sounding music,” refreshingly out of step with contemporary trends; this is music to engage with rather than lean back to. For the first time, she welcomes a co-producer, Jackson Phillips (Day Wave), who helps Vu create a vast, grainy, multifaceted world to stretch into vocally, her distinct contralto drifting freely between evocative low-lit ruminations and soulful, skyward bursts.
Echolocation is the debut album by Pamela Z, the pioneering Bay Area intermedia composer and performance artist. Written and recorded over three years, and self-released and distributed on cassette in 1988, Echolocation is genre-defying document of Z’s earliest experiments with live voice and delay, and the impetus of an artist’s three decade search for sounds yet unfelt.
Born and raised in Buffalo, New York, Z traded one snowy backdrop for another to attend the University of Colorado in Boulder at the tail end of the 70s, where she pursued a degree in music while taking local gigs covering Joni Mitchell and Malvina Reynolds b-sides on an acoustic guitar. While a host at KGNU, Z discovered a vast world of avant-garde music in the community radio station’s library, and was inspired to create towards, and alongside, the fringe sounds she pulled from the stacks and broadcast. This revelation intersected with a new era of accessible and affordable instruments and home recording technology, and a diversifying community of artists self-releasing music on cassette and finding an audience through underground publications.
Z moved again to San Francisco in 1984, legally changed her last name, and furthered her practice of vocal processing in live environments. A city simultaneously nurturing and stratifying the free spirit of the two decades prior, Z assumed an immediate role in the Bay Area’s interdisciplinary performance art scene, and began curating Z Programs, her own concert and event series.
The American frontier: where burning skies meet sandblasted mesas. Where lost highways stretch into darkness and undisturbed deserts speak a language as ominous as it is otherworldly. This is the tableau of SPIRITWORLD. SPIRITWORLD is also the aural vision quest of Stu Folsom, a Las Vegas native who has taken the intensity of that blasted desert heat and given it voice, howling through the Slayer-like chug of his band’s Century Media debut, Pagan Rhythms. It was that purity of Folsom’s vision that immediately won SPIRITWORLD international acclaim on the limited 2020 self-release of Pagan Rhythms. Even the likes of Exodus/Slayer guitarist Gary Holt and Former Sepultura/current Soulfly leader Max Cavalera raved about the album on social media. Stu and SPIRITWORLD had staked their claim like firebrands and outlaws coming off the deadlands to shoot, ride and speak their truth. Pagan Rhythms is available as Ltd. 180g black Vinyl + CD and Art Print. This Vinyl-Edition features an alternative cover artwork which will be only available for the 1st pressing. Furthermore, the debut-album of SPIRITWORLD is available as Ltd.
Hungry for some modern melodic death metal with ridiculously catchy pop influences? Well, your dinner has just been served. This steaming nine-course setting is called "Origin" and it is honoringly brought into the table by the renowned Finnish heavy metal band Omnium Gatherum. Omnium Gatherum – OG for close friends – has been offering remarkable pieces of melodic death metal for already twenty-five shining years. While storming through these ferocious decades, Omnium Gatherum has convinced worldwide legions of heavy metal lovers by releasing unstoppable musical onslaughts and touring relentlessly all over the world. "Any sort of popularity hasn't come overnight for OG, and rising to that "next level" has sometimes taken a considerably long time, but one thing has been set in stone: progress has been inevitable. In other words: a lot of great things have happened along the way but the journey hasn't been the easiest one", says longtime singer Jukka Pelkonen. ... And recent times are no exception. Contrary to what you might think, we are not talking about a global scourge that gripped the entire world about a year and a half ago. "Although most of the things around "Origin" have been really good – we have never had so much time to compose and sharpen the material for instance –, there have been some serious roadblocks as well. This, of course, has not come as a big surprise as OG was not born under the happiest stars", laughs guitarist extraordinaire and the band founder Markus Vanhala. "Above all, our dear fans should know that since the previous studio effort "The Burning Cold" (2018), half of the band's line-up has changed. I would say quite surprisingly as we haven't really had any major problems, at least to my knowledge." "This internal turmoil lifted dark clouds into the band's vast sky and everything was falling apart... well, for a few hours at least. After that, as many times before, we decided to turn these difficulties into something better!" Before the arrival of "Origin", Omnium Gatherum's colourful discography features eight studio albums, but the newcomer does not pale in comparison. The truth is, in fact, quite the opposite... By the stylish, majestic and melodic splendor of "Origin", it really feels like the band's original style called AORDM – adult oriented death metal – has reached its peak. Well, so far... "Over the years, OG's material has been deliberately moving further away from the anxiety of the windy Northern shores and traditional melodeath's gloomy despair. These days our music is a powerful mixture of older deadly roots and newer AOR-vibes that you get while listening to Survivor and driving a Corvette along the sunny shores of Miami of us, we will not forget the original enthusiasm for playing heavy metal... And therefore we will never give up!"
For those only familiar with her previous releases, aya sinclair’s ‘im hole’ will be a dramatic revelation. Under the LOFT pseudonym, she attracted global acclaim for her fwd-thinking club inversions that juxtaposed the British addiction to breaks 'n bass with critical, self-sluicing logic and untethered abstraction, tearing down dance music's hallowed pillars of respectability while winking knowingly to voyeuristic onlookers. On ‘im hole’ this routine has evolved; aya has distilled the incisive sonic experimentation of her earlier releases, the tongue-in-cheek giggles of her DJ sets and edits, and the identity-fluxing lyricism of her live shows. Contorting language, dialect, gender and sexuality between intermittently controlled bursts of rhythm, noise and aural goop, she has sculpted a set of autobiographical vignettes that challenge established norms, question supposed truths and affirm a spectrum of interlocking experiences. But while it's wide open and personal, ‘im hole’ also challenges queer art's tendency to veer towards repetitive solipsism, the music fragmenting familiar sounds and twinning them with familiar words, assembled in unfamiliar ways. Stories are muddled with phonetics just as dubstep is macrodosed with microtonal drone.The anxious, explorative personality that made aya’s past releases so magnetic is magnified here, and her sense of humour is completely naked. It's a Gregg Araki animated biopic of Burial. It's Shakespeare with hoop earrings and a busted skateboard. ‘im hole’ will physically manifest as a hardback cloth-bound book of lyrics, poems and photographs, designed in collaboration with Oliver Van Der Lugt, with single-use download code included.01. somewhere between the 8th and 9th floor 02. what if i should fall asleep and slipp under 03. once wen’t west 04. dis yacky 05. OoBrosThesis 06. the only solution i have found is to simply jump higher 07. still i taste the air 08. Emley lights us moor (ft Iceboy Violet) 09. Tailwind 10. If redacted Thinks He's Having This As A Remix He Can Frankly Do One 11. Backsliding
Dark and yet still luminous, the new album of The Buttshakers, Arcadia remains true to
the spirit of soul : hope out of struggle, light out of fear; even when the cracks expose the
darkest side of humanity, soul music has always given us the assurance that out of this
chaos, a better day will come. A philosophy on which they built their discography and their
stage presence; founding principles that the group has always been faithful to: to awaken
the listener, to ignite the fire, to bring the dance.
out of Stock
Last delivered 3 years ago available to reorder, subject to availability
