Suche:hamilton

Joell Ortiz has a new solo album, "Autograph", coming out on Mello Music Group November 12th. Joell is 1/4 of the supergroup Slaughterhouse along with Joe Budden, Royce Da 5'9, and KXNG Crooked. His career started on Dr. Dre's Aftermath and then lead to Eminem's Shady Records, before joining the Mello Music Squad. He appears on Lin-Manuel Miranda's Hamilton soundtrack, as well as Eminem's most recent album "Music To Be Murdered By." Joell's upcoming album "Autograph" features production from 9x Grammy Nominee Salaam Remi, the Grammy Winning Heatmakerz, Hesami, and Detroit legend Apollo Brown, along with features from Sheek Louch, Marc Scibilia, KXNG Crooked, Pastor LBS, and CyHi the Prynce.

Orthogonal Eigenstates is the title of the new full-length album by Quantum Collapse aka Eduardo de La Calle where the author definitively moves away from dance music and starts a new period of exploration strongly influenced by the English Glicht IDM trends from early 90's and styles that goes from Soundtrack to Experimental Jazz ,Cinematic Electronica or Abstract Hiphop

Emotional Rescue completes the Dancefloor Records trilogy with a detour from House to the oft forgotten movement, Freestyle. Shavonne's So, Tell Me, Tell Me is a unique combination of all time-classic, but underground jam too. Emanating out of Hamilton, Ontario the one off project came about when Rose Iovio was introduced to Massimo Rosati. Her voice and tone instantly made the team pitch at their love of the burgeoning Freestyle scene and the raw track was soon formed. Things came together when they fell in to the orbit of Dancefloor's Jeffrey Osbourne. His expanding labels were looking at the new scene via the M-Pire label and under his guidance the record developed and was released in 1989. With 3 versions included here, the breathless vocals of the original Vocal Mix encapsulate Freestyle in essence. Pitched Lovers vocals atop arpeggios, electro-house bass and skipping hats meets breaks-influenced percussion and its all there. Do you smirk or dance For the deeper heads simply flip it for the Trance Mix. Accentuating the bass, added Enigma-style vocal samples and a yearning key line and you have a late night heads down DJ tool. The Dancefloor series ends with the all out Clubhouse Mix. A time capsule in vinyl form, everything is thrown in the mix. Held together with a stepping bass line and stabbing keys and there you have it - things can also end with an E.

Repress!

Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Fire Records will be reissuing the first 3 albums by the Lemonheads, Hate Your Friends (1987), Creator (1988) and Lick (1989), featuring copious bonus tracks and many never-before released rarities and live recordings on the download card. Together, these seminal albums showcase the band's early punk rock roots and trace the Lemonheads’ transformation towards becoming one of the most successful and influential bands in indie rock. Before the 90s. Before the internet. Before Nevermind. Back when something called “independent music” first began reaching a wider audience, through college radio, word-of-mouth, and that small “underground” record store you seem to find in every town…there was a band from Boston called Lemonheads. High school friends Ben Deily and Evan Dando, Lemonheads’ primary songwriters, co-guitarists and co-vocalists, first recorded together on 4-track cassette in the spring of 1985; by the end of the decade they—together with bass player Jesse Peretz, sometimes-guitarist Corey Brennan, and successive drummers Doug Trachten and John P. Strohm—had created a body of recordings which would see them on MTV’s fledgling “120 Minutes,” beating out the Grateful Dead on college radio charts, and entering the consciousness of a generation of music fans. Cited as influences by artists as varied as Billie Joe Armstrong and Ryan Adams, these fledgling Lemonheads recordings—part rock, part pop, part unique hybrid of the 80s punk styles beloved by the band members—mark the start of the trajectory that would eventually lead to “mainstream” success and stardom for a later version of the band. But they also represent a distinct, never-repeated phase of the band’s history: one that is finally receiving the attention it deserves. Lick is the third full-length album by the Lemonheads, and the last to feature founding member Ben Deily. It was the group's last independent label-released album before signing to major label Atlantic. An odd mixture of brand-new, and considerably older, sounds, 1989’s Lick brings together the output of several distinct recording sources: six brand new songs recorded with Minneapolis-based band friend and producer Terry Katzman, and a collection of older, B-side and never-released material originally overseen by producer and engineer Tom Hamilton. The difficulties of writing and creating a new full-length album every year (Hate Your Friends and Creator were released in 1987 and 1988, respectively) are clearly in evidence on Lick. While the newest material (“Mallo Cup,” “A Circle of One,” “7 Powers,” “Anyway”) hints at promising new song writing directions for both Deily and Dando, there’s an almost valedictory sense of the past in the inclusion of versions of “Glad I Don’t Know” and “I Am a Rabbit” (from the band’s first-ever, self-released EP), and the now-classic track “Ever,” a previously-unreleased tune from the original 1986 Hate Your Friends sessions. At moments, Lick almost sounds like an elegy for itself—or an elegy for a band that has reached the end of the beginning. Also audible in the heterogeneous songs are the tensions of line-up changes—and inchoate, growing frustrations. After various band break-ups or threatened break ups (such as Dando’s brief departure to play bass for Boston band the Blake Babies), the Lemonheads convened to record new material for Lick now featured Dando on drums, Peretz on bass, Deily on guitar (and “piano,” according to the album credits) along with the addition of long-time band friend—and former member of TAANG! labelmates Bullet LaVolta—Corey Loog Brennan on lead guitar. And yet the frenzied, quasi-ironic hammer-ons of Corey’s axe provide some of Lick’s most entertaining moments—like the unaccountably-translated-into-Italian paen to 70s detective Ironside, “Cazzo Di Ferro.” (The song’s music was originally composed by Brennan for his Italian punk band, Superfetazione.) After the album’s completion, Deily opted out of the subsequent European tour, before leaving the band permanently. Jesse Peretz stayed on to record their Atlantic records debut Lovey, but left after the supporting tour in '91. Since then, Dando has been the Lemonheads' sole permanent member. BONUS TRACKS: Features bonus tracks including several never-before-released live tracks from a 1987 radio session, live tracks and an interview from the 1989 European tour, and the 4 tracks of the Lemonheads self-released debut EP, Laughing all the way to the cleaners.

Wiederveröffentlichung eines lang vergriffenen Album das 1982 erstmalig erschien und im Channel One & Harry J Studio mit Soldgie Hamilton am Mischpult und den Musikern der Roots Radics eingespielt wurde. Neun der zehn Stücke wurden von Linval Thompson selbst produziert, der Titelsong der LP von Henry "Junjo" Lawes. Dieser basiert auf dem "I'm Not Getting Crazy" Riddim, der durch Frankie Pauls "Worries In The Dance" weltweit populär wurde. Der Tune "I Spy" wiederum hat den selben Riddim wie Eek-A-Mouses "Do You Remember". Die Riddims der Stücke "Are You Ready", "Call Me", "Things Couldn't Be The Same" und "Holding On To My Girlfriend" kamen auch bei den legendären Scientist Dub-Alben zum Einsatz.

(feat. Claire Davis)

300 copies pressed

The A side was released back digitally in March. "Hope To See You Again" Which is an original song with Claire Davis on lead vocals

Better things is coming out digitally 15th July and it will be on a Ltd edition 45 vinyl. The Pre-Orders for the vinyl will be starting soon.

The B side is a killer version of her classic tune, "Better Things" The soulful vocals of Claire Davis are accompanied by jaunty horns and keyboards, and the cool groovebefits the positive lyrics ("I'm a better woman than I have been")

Introducing The HP's. This talent-studded Hamilton-based funk/soul collective is poised to make major moves with the release of their debut 45. The group is the brainchild of drummer/bandleader 'Parkside' Mike Renaud, the founder/owner of noted Canadian music company Hidden Pony Records & Management. A life-long fervent fan of funk and old school soul, Parkside has assembled a crack team of musicians and vocalists dedicated to his vision of breathing vibrant new life into these classic forms. Drawing inspiration from the likes of James Brown and The J.B.'s and Sharon Jones and The Dap Kings. The title pays tribute to Renaud's hometown, Hamilton, and The H.P.'s sound

honours The Hammer's core characteristics of rugged authenticity. Get ready to get Gritty!

— The HP's have partnered with UK based soul label LRK Records for the release of their latest single "Hope To See You Again", featuring Canadian soul singer and LRK alum Claire Davis

— "Hope To See You Again" arrives digitally March 31st, 2022 with the 45" expected summer 2022

— The 45" single will also include a cover of the Sharon Jones & The Dap Kings classic "Better Things"

The HP's.

To the Canadian music industry, 'Parkside' Mike Renaud is best known as the founder and owner of Hidden Pony

Records & Management, now widely recognized as one of Canada's premiere talent-development labels and artist

management companies. Past and present artists on Renaud's roster include Said The Whale, The Elwins, The Dirty

Nil, Hannah Georgas, Imaginary Cities, Jeremy Fisher, Odds, and many more.

Not many are aware that this popular industry power player actually got his start in music as a drummer in a '90s

Montreal soul/funk band called Parkside Jones (the source of his nickname). When he moved over to the business

side of music, beginning with top indie label Aquarius Records, Mike Renaud packed the kit away, launching himself

into the biz with full passion, commitment, and skill.

Mike has now resurrected his kit (after 20 years), honed his chops, and emerged as the driving force behind The

Renaud recalls the spark that reignited his love of playing drums: "The first time I played them in 20 years was at the

memorial for industry comrade Jon Box at The Opera House in Toronto. I was talked into playing with Chris Murphy

Sloan, Terra Lightfoot, and the Dirty Nil guys on a version of 'Handle With Care.'"

This renewed love affair would lead to Mike's vision for The H.P.'s. From his teenage years, his favourite musical

genre has been classic soul and funk, and he has an encyclopedic knowledge of these styles. Heartened to see the

growing international community building around these sounds, Mike decided to make his own creative contribution to

the form. He recruited musical and vocal collaborators from his hometown (plus a couple of Toronto imports) for the

project, and The H.P.'s were born.

The group name, The H.P.'s, pays homage to James Brown's legendary band, The J.B.'s, with these initials

referencing Hidden Pony. The album title is a tribute to Renaud's hometown, Hamilton, and The H.P.'s sound

honours The Hammer's core characteristics of grit and authenticity. Mike actually spent some time co-managing the

current J.B.'s.

The late Sharon Jones, a key inspiration for Renaud, is honoured via a killer version of her classic tune, "Better

Things." The soulful vocals of Claire Davis are accompanied by jaunty horns and keyboards, and the cool groove

befits the positive lyrics ("I'm a better woman than I have been").

Giving this cover extra resonance are the memorable encounters both Davis and Renaud had with Jones back in

2015. A documentary portrait of the soul great, Miss Sharon Jones!, had its world premiere at the Toronto

International Film Festival (TIFF), and Claire Davis was doing a house concert playing DapKings songs that night.

The band came across the party and jammed along, then, when one of the Dap Kings backup singers couldn't cross

the border, Claire got the call to fill in at Sharon Jones' headlining show at Hamilton's Supercrawl fest.

In a cool twist of fate, Mike Renaud was one of the organizers of that show, and was tasked with looking after

Sharon. The two bonded instantly and deeply, as Mike recalls. "While driving her to soundcheck, Sharon confided in

me that her cancer had returned. She didn't want anyone to know, as the documentary was about her conquering it,

and she didn't want people to be bummed out at the news. It was my 40th birthday that day, and Sharon actually

stopped her show to sing me Happy Birthday in a soulful way!"

Shakethehoof added "Hope To See you Again' to their playlist musicto/shake-a-hoof/the-hps-ft-claire-davis-hope-to-see-you-again-the-hoof-chats/

"BETTER THINGS" has gone straight into the UK Soul chart breakers at No 8

Cult South Asian New Wave! Naya Beat is proud to announce its second release, Tere Liye, the highly sought after and impossible to find New Wave album by the unsung pioneers of the British Asian music scene, Pinky Ann Rihal. Remastered for vinyl by multi Grammy-nominated Frank Merritt at The Carvery and available for the first time since its limited 1985 release, the album is as fresh and relevant today as it was 37 years ago.

South Asian New Wave. Four words that you will rarely see together. Pinky Ann Rihal were the brainchild of two London-based Punjabi immigrants and progressive rock musicians – Harry Rihal and Jati Sodhi – at a time in the U.K. when progressive rock musicians were almost exclusively white and Punjabi musicians were almost exclusively making Bhangra. Encouraged by their friend and disco pioneer Biddu (yes, that Biddu!), they cut ‘Tere Liye’ – a one-off Hindi-language New Wave album with producer John Hamilton and vocalists Pinky Rihal (married to Harry) and Anne Barrett (married to John). It is an album that exemplifies the cultural collaboration and musical synthesis of the time. Complementing the rich, cosmic and layered synths and drum programming of Hamilton and the distorted guitars of Rihal and Sodhi are the Hindi lyrics of vocalists Pinky and Anne. The result is an amazing one-of-a-kind South Asian New Wave album. Nothing like it has come out before or since.

Stymied on its original release by bungled distribution, poor marketing and plenty of bad luck, this incredible album seemed destined to be lost to history. With Asian electronic music in the U.K. seeing a rebirth and capturing imaginations around the world,‘Tere Liye’ can finally take its rightful place as one of the pioneering albums of the Asian underground.

This is Naya Beat’s second release in a series of reissues, reworks and remixes, and compilations dedicated to uncovering electronic and dance music from the overlooked ‘80s and ‘90s South Asian music scene. Their first release Naya Beat Volume 1: South Asian Dance and Electronic Music 1983-1992 was named by the Vinyl Factory as the Number 1 reissue of 2021.

The Ebonettes were a female group Dave Hamilton cut on ‘Side By Side’ aka ‘Just A Mistake’ as issued by the Barrino Brothers on TCB in 1969. The song has a funky mid-tempo groove and is very in-demand. This is the first time on vinyl for this femme version which has been championed by DJ Snowboy over the years. The flip is the popular Northern Soul number ‘Lean Lanky Daddy’ sung by Little Ann about Dave and only previously available on a deleted Kent Select single.

Second full length album from the Hamilton, ON punk/hardcore band fronted by Alexisonfire vocalist George Pettit. - Have shared the stage with Cancer Bats, The Dillinger Escape Plan, Fucked Up and more - Festival plays at Heavy Montreal, Pouzza Fest, Beaus Oktoberfest and more - Received a sync deal for their track ‘Punks at the Gym’ in the Amazon original series ‘The Boys’. They were also filmed and appeared in the episode.

Joell Ortiz has a new solo album, "Autograph", coming out on Mello Music Group November 12th. Joell is 1/4 of the supergroup Slaughterhouse along with Joe Budden, Royce Da 5'9, and KXNG Crooked. His career started on Dr. Dre's Aftermath and then lead to Eminem's Shady Records, before joining the Mello Music Squad. He appears on Lin-Manuel Miranda's Hamilton soundtrack, as well as Eminem's most recent album "Music To Be Murdered By." Joell's upcoming album "Autograph" features production from 9x Grammy Nominee Salaam Remi, the Grammy Winning Heatmakerz, Hesami, and Detroit legend Apollo Brown, along with features from Sheek Louch, Marc Scibilia, KXNG Crooked, Pastor LBS, and CyHi the Prynce.

Der Soundtrack zum Disney Kino Highlight in 2021 mit brandneuen Songs von von Emmy®-, GRAMMY®- und Tony Award®-Gewinner Lin-Manuel Miranda (”Hamilton”, ”Vaiana”) wird die Zuhörer in die musikalische Welt Kolumbiens entführen. Auf dem deutschen Soundtrack steuert der internationale Superstar Alvaro
Soler den gefühlvollen Song ”Oruguitas” bei.

”Encanto” von den Walt Disney Animation Studios erzählt die Geschichte der Madrigals, einer außergewöhnlichen Familie, die versteckt in den Bergen Kolumbiens lebt, in einem magischen Haus, in einer lebendigen Stadt, an einem wundersamen, verzauberten Ort, einem so genannten ”Encanto”. Durch die Magie des
Encanto wurde jedes Kind der Familie mit einer einzigartigen Gabe gesegnet, von Superkräften bis hin zur Fähigkeit zu heilen - jedes Kind, bis auf Mirabel. Doch als sie entdeckt, dass die den Encanto umgebende Magie in Gefahr ist, stellt Mirabel fest, dass sie, die einzige gewöhnliche Madrigal, die letzte Hoffnung ihrer
außergewöhnlichen Familie sein könnte.

Der Soundtrack zum Disney Kino Highlight in 2021 mit brandneuen Songs von von Emmy®-, GRAMMY®- und Tony Award®-Gewinner Lin-Manuel Miranda (”Hamilton”, ”Vaiana”) wird die Zuhörer in die musikalische Welt Kolumbiens entführen. Auf dem deutschen Soundtrack steuert der internationale Superstar Alvaro
Soler den gefühlvollen Song ”Oruguitas” bei.

”Encanto” von den Walt Disney Animation Studios erzählt die Geschichte der Madrigals, einer außergewöhnlichen Familie, die versteckt in den Bergen Kolumbiens lebt, in einem magischen Haus, in einer lebendigen Stadt, an einem wundersamen, verzauberten Ort, einem so genannten ”Encanto”. Durch die Magie des
Encanto wurde jedes Kind der Familie mit einer einzigartigen Gabe gesegnet, von Superkräften bis hin zur Fähigkeit zu heilen - jedes Kind, bis auf Mirabel. Doch als sie entdeckt, dass die den Encanto umgebende Magie in Gefahr ist, stellt Mirabel fest, dass sie, die einzige gewöhnliche Madrigal, die letzte Hoffnung ihrer
außergewöhnlichen Familie sein könnte.

The long-awaited reissue of this rare Eastern and psychedelic Jazz LP by the famous Hungarian guitarist, originally
released in 1968. For the first time and as extended Edition with four bonus tracks: radio version from 1968/69 7”
singles 7”. Deluxe 6-sided Digipak CD with 20 page booklet and Gatefold Vinyl comes with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne.
“The performances on this LP have a restrained, introspective quality. Szabo’s work is lyrical, rather economical, and
somewhat angular, and his tone is warm and glowing.” – Harvey Pekar, DownBeat
“Gabor Szabo is at the musical zenith of his career. This album could rank as his best to date.” - Billboard
“But for sheer lyrical beauty, few players are in Szabo’s class. His startling use of dissonance is a delight, too, and
time and again he will alter a final phrase just slightly, totally reorienting a familiar tune.” – Alan Heineman, DownBeat
“This is definitely one of my ‘go to’ Gabor albums.” Mike Stax, Ugly Things
"Gabor Szabo’s Bacchanal documents one of the earliest and finest examples of what was then known as “jazz rock.”
Years before this new jazz style evolved – or devolved, according to some – into “fusion,” jazz rock was mostly
fashioned by younger jazz players whose ears were open to the emerging sounds coming out of rock and roll,
especially those of the Beatles and, later, Jimi Hendrix. " - Douglas Payne
After recording four albums for Impulse in 1967, the distinctive guitarist Gabor Szabo cut three strongest records for
the Skye label in 1968-1969: "1969", "Dreams" and "Bacchanal" all of them became a legendary classic. This time
EBALUNGA!!! are rediscovers "Bacchanal". Szabo's regular group of the era is heard on record for the last time:
guitarist Jimmy Stewart, bassist Louis Kabok, drummer Jim Keltner and percussionist Hal Gordon. With the exception
of two Szabo originals, the material is comprised of current pop tunes including two songs by Donovan, "Love Is Blue,"
"The Look of Love" and "Theme from the Valley of the Dolls."
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage
with a deep love of jazz and creating a distinctive, largely self-taught sound.
Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy Rogers cowboy movie to begin playing guitar when
he was 14 and often played in dinner clubs and covert jam sessions while still living in his hometown. He escaped
from his country at age 20 on the eve of the Communist uprising and eventually made his way to America, settling
with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles
Lloyd. Urged by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was
able to sound inspired during melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the popjazz of the Gary McFarland quintet and the energy music of Charles Lloyd's fiery and underrated quartet featuring Ron
Carter and Tony Williams.Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired
moments and "Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet
(1967-1969) featuring the brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums
during the late '60s. The emergence of rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found
Szabo experimenting with feedback and more commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting,
spellbinding style. From 1970, he locked into a commercial groove, even though records like Mizrab occasionally
revealed his seamless jazz, pop, Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times
during the '70s, finding opportunities to perform brilliantly with native talents. He was hospitalized during his final visit
and died in 1982, just short of his 46th birthday.

Melbourne based record label Tanny Records is dropping its debut release in style showcasing a whopping lineup featuring Perlon's Wareika, FUSE label boss Archie Hamilton, vinyl don Charles Eddy and renowned Australian selector Lucca Tan.
The A-side showcases Wareika's tough but melodic minimal dance floor churner "Grapefruit all over me" (Original Mix) as well as his tripped-out experimental minimal groover "Jaguar" (Original Remix).
On the flip side Archie Hamilton delivers his take on "Jaguar" featuring his signature sound, and Label owner Lucca Tan and collaborator Charles Eddy give their twist on the already summer classic "Grapefruit All Over Me".

With Plum, the songwriting partnership rooted in the creative rapport between bandleader Molly Hamilton and guitarist Robert Earl Thomas continues to expand on shared visions, delving deeper into what was always there: dusty guitars, ear-worm melodies, warm expansive arrangements. Each entry to their catalog has marked a subtle reimagining of Widowspeak's sound, though perennial points of reference remain the same: 90's dream pop, 60's psych rock, a certain unshakeable Pacific-Northwestness. Speaking to the timeless feeling of each, the albums continue to be discovered well beyond their respective PR cycles, made beloved by new listeners through word of mouth. The band's fifth album feels comfortable and lived-in: humble in structure, heavy on mood. Perhaps that came taking time off from the touring grind, instead working full-time jobs and settling into the rhythm of daily life in a small upstate New York town. Plum was recorded over a handful of weekends last winter by Sam Evian (Cass McCombs, Kazu Makino, Hannah Cohen) at his Flying Cloud studio in the Catskills, and was mixed by Ali Chant (PJ Harvey, Aldous Harding, Perfume Genius). In addition to Hamilton (vocals, guitar) and Thomas (guitars, bass, synth), it features instrumental contributions by Andy Weaver (drums), Michael Hess (piano), and Sam himself (bass, synth). Plum nestles into the band's canon like it was always there, but with new textures coming to the fore, like the polyrhythmic pulse of "Amy" and "The Good Ones", or the watery, Terry Riley-influenced track "Jeanie" Plum navigates the spaces between the lesser emotions of modern life. Hamilton's lyrics speak to the unique turmoil of anyone who creates as their work, who must somehow survive off such "fruits of their labor." Yet, Widowspeak have always made a bitter pill much easier to swallow. The majestic "Breadwinner", the luminous "Even True Love" - these songs here were made to be listened to, enjoyed. "Money" is particularly hypnotic, built around a repeating, cyclical motif that serves as both skeleton and body. "Will you get back what you put in?" Hamilton asks over an insistent guitar riff. The line is delivered with a knowingness that transcends its surface critiques of late-stage capitalism, asking both herself and the listener whether this is, in fact, the world we want to live in. Through Plum, Widowspeak have brought something into the world that seems to know its own worth, even as it wonders aloud about what is to come. What value and meaning do we assign ourselves, our time, and how do we spend it?

Described as a ’60s garage rock band performing as a mini-orchestra stuck within a Tarantino film, Los Angeles-based Spindrift is a cinematically inspired rock band that has also been described as “Heavy Western” or “psychedelic spaghetti-western rocknroll.” Led by songwriter-producer-composer Kirpatrick Thomas on guitar and lead vocals, along with Portland-based guitarist Becca Davidson, bass / baritone guitarist, producer, and vocalist Riley Bray, and aerospace engineer Joe Zabielski on drums and electronics, Spindrift creates a cinematic scope that has been heard on their compilation albums like Classic Soundtracks Vol 1, 2, and The West (released by Xemu Records), HBO’s Eastbound & Down (Seasons 1 & 2), the Quentin Tarantino-produced biker exploitation film Hell Ride, the film Diablo (featuring Scott Eastwood), and “The Ballad of Darrell Lemaire” from Season 1 Episode 9 of Hamilton’s Pharmacopeia (Viceland). Classic Soundracks Vol. 3 is their tenth studio soundtrack compilation album, co-produced by Riley Bray and Jello Biafra. Released by Jello’s own Alternative Tentacles Records, it completes a trilogy of themes from various feature films, documentaries, and TV mini-series. This final installment reveals a new level of maturity from the band, opening doors to new genres including espionage-esque Bond themes, upbeat guitar duets, “Italian Polizia” car chase electronica, hard rock from the Middle East, psychedelic disco, and progressive “kung fu” rock." "Los Angeles-based cinematically inspired rock band’s third in a trilogy of themes from various features. Songs have been heard on HBO’s Eastbound & Down, the Tarantino-produced Hell Ride, Diablo and Hamilton’s Pharmacopeia on Viceland.

San Francisco Moog: 1968-72 documents a missing link in the history of electronic music, as well as the little-known moment when psychedelic music went electronic.

In 1968, Bay Area native Doug McKechnie got hold of one the very first modular Moog synthesizers ever made and began finding his own way to play it. Soon, he was hauling the finicky instrument around to perform improvised concerts at colleges and ballrooms, as well as an ill-fated appearance on the bill at Altamont. Many of the performances were recorded, and the surviving tapes—never before released—capture a free- flowing, transportive sound that fills in the gap between the austere mid-century academic avant garde and the expansive cosmic suites of Tangerine Dream and the rest of the Berlin School in the ‘70s.

This is not another corny old Moog record. San Francisco Moog sounds as fresh as anything by today’s analog-synth heads while bringing to life a lost moment in the development of the music.

All pieces were created improvisationally in an atmosphere of exploration and discovery on a Moog Modular Series III synthesizer and recorded live with no overdubbing to Ampex PR-10, Nagra 3, or TEAC four-channel recorders.

Produced by Doug McKechnie, Lee Gardner, and PJ Dorsey
Mastered by A.F Jones at Laminal Audio
Art direction by Frank Hamilton and Nolen Strals
Mandala art by Richard Winn Taylor

"My aim for my new record was to find really unusual combinations,"
explains Rolf Kühn, in cheerful mood after his last day in the studio
The special attraction of these 13 'Spotlights' emanates from the extraordinary
combination of instruments and styles, and above all from the fact that a group
of virtuoso artists from very different musical backgrounds have come together
to participate in a a project very close to their hearts. The theme running through
and joining up the album is of course the unmistakable sound of Rolf Kühn's
clarinet. Hamilton de Holanda, the distinguished Brazilian expert on the bandolim,
a kind of mandolin, immerses Kühn's clarinet in Latin- sounding melancholy.
Albrecht Mayer, international classical star and solo oboist with the Berlin
Philharmonic, provides a fascinating angle with his highly sensitive playing and
the rich facets of his art. Asja Valcic, the outstanding Croatian cellist, contributes
her impressive, classical virtuosity and daring improvisation, as she races
frantically through the notes with Kühn. Christian Lillinger, the exceptional
percussionist with the Rolf Kühn Unit, adds his wild groove to the mix and 0 like
Berlin bassist Oliver Potratz - accentuates the tense dynamic mood. Ed Motta,
heavyweight Brazilian singer and megastar in his homeland, brings out his
baritone to sound like a synthesizer suffering voltage fluctuations, breathing and
scatting resounding word scraps into Kühn's compositions.

"Black Truffle proudly presents The Refrain from Melbourne-based artist Francis Plagne, whose growing catalog of collaborative and solo releases range from song-based work to abstract audio collages.

Closely aligned with Plagne's Moss Trumpet LP (released by Penultimate Press in 2018), The Refrain’s two side-long tracks mix sounds of the mundane with the otherworldly; rising, receding and overlapping. The result feels like being led through a series of scenes devoid of context or direction. Furthermore, it’s hard to define the scenes as either inviting or disconcerting, as they’re often both at the same time. As the record progresses sounds reappear and are juxtaposed so as to only hint at the familiar. A hall of mirrors, perhaps?

Completed in 2020 using material recorded from 2012-2020, the record uses tapes of shelved, unfinished, and forgotten projects that featured field recordings from various locations, domestic sounds of plastic bottles, bubble wrap, creaking chairs, voice, and instrumental recordings, including an appearance from crys cole on Casio. These pieces were re-amped, processed and edited, then additional instrumental pieces featuring synths, guitars, plastic saxophone, melodica, and percussion were added, the results shaped into drifting, episodic assemblages.

Although essentially a tape piece, The Refrain presents as a crude, non-idiomatic composition that feels both timeless and transitory. It’s a million miles from the polish and rigour of GRM, perhaps more in line with Jacques Bekaert’s eponymous Igloo LP, or Costin Miereanu’s Luna Cinese. The Refrain could be read as a psychedelic Krapp’s Last Tape; one man’s response to listening through forgotten and discarded tapes, reflecting, reconciling, and forging a new path. A potent tonic for these absurd times."

-- Nick Hamilton, August 2021