Adrian Borland and Graham Bailey might be better known as members of legendary post-punk group The Sound, but the two were childhood friends and had been playing together even earlier in The Outsiders, and continued their deep musical rapport as a duo, creating these intense and engaging songs as Second Layer at the same time as their higher profile band output.
Combining their early recordings, including the 1979 Flesh As Property EP and 1980 State Of Emergency EP, Courts Or Wars takes its title from the first song that served as the pair’s introduction to listeners. Right from the beginning you are enveloped in what The Quietus described as, “a monochrome worldview morbidly obsessed with the dehumanizing effect of war, nuclear weapon annihilation, and the fracturing and negation of the self within an increasingly distorted and technologically mediated society.” Where The Sound fit snugly next to Echo And The Bunnymen, Second Layer had far more in common with the pulsing menace of Suicide.
Borland’s familiar vocals and sense of melody hold a connection to his other songwriting, but within these songs he takes far more risks in his guitar work to suit the subject matter. What really drives everything is Bailey’s propulsive bedrock, formed by his homemade pre-drum machine rhythm generators, creating an innovative mechanical approach that somehow inserts a jittery neurotic touch that merges perfectly with his electronic layers driven by the wasp synth, various unique effects boxes or tape loops. Adding in Bailey’s own distinctive bass playing, the results feel personal and experimental, pointed and harsh, while also bracingly accessible and covered in dark manic energy.
Over forty years later, these recordings feel shockingly appropriate. In painting a bleak reality and frightening future, there is real desperate beauty here.
The third installment of Numero's ode to lowrider souldies, Rust Side Story compiles highly sought after sweet soul singles from the Buck Eye State. Prepare for a low and slow ride from Youngstown to Dayton, Cleveland to Columbus, Toledo to Cincinnati, all soundtracked with silky falsettos and dreamy harmonies.
CHRISTIAN DEATH was formed by Rozz Williams in Los Angeles, California in 1979. Williams was eventually joined by guitarist/songwriter Rikk Agnew of ADOLESCENTS, James McGearty on bass and George Belanger on drums. This CHRISTIAN DEATH line-up was responsible for recording the band's iconic 1982 debut, ONLY THEATRE OF PAIN, widely regarded as the #1 American goth album of all-time. This exclusive double-LP version of OTOP commemorates its 40th anniversary- the first disc is the digitally remastered, original version of the album while the second disc is comprised of "Dogs" from HELL COMES TO YOUR HOUSE, four pre-Frontier demos, two studio demos made for a second Frontier Records' LP that never happened and two alternate studio mixes from OTOP. The gatefold LP jacket is printed in its original its black and metallic gold, includes a Colver collage poster and a hardcover copy of the photo book, ONLY THEATRE OF PAIN and all come in a hard slipcase. The oversized 12" x 12" book features rare and never-before-seen photos of CHRISTIAN DEATH as well as new interviews with photographer Edward C. Colver, the surviving band members, Frontier's Lisa Fancher and others. Colver befriended the band and followed them around in late 1981 and early 1982 at more than a dozen concerts as well as photo shoots in Rozz Williams' family home (used on the back cover and insert of ONLY THEATRE OF PAIN) and a session of now famous images at a Pomona CA cemetery. Info: Just as the theatrically-minded LA punk scene was beginning to give rise to such morbidly themed outfits as 45 Grave and the Flesh Eaters, an androgynous teenaged street performer named Rozz Williams (né Roger Painter) founded CHRISTIAN DEATH, one of the most prolific, enduring, and beloved gothic acts of all time. Williams' otherworldly groan can make "Only Theatre of Pain" difficult going for those that aren't the gothic faithful, but the loud/not-too-fast music (courtesy of ex-ADOLESCENTS guitarist Rikk Agnew and the walking-dead rhythm section of bassist James McGearty and drummer George Belanger) is appropriately doom 'n' gloomy, with inventive arrangements and clear sound - thanks to Frontier Records' go-to punk production legend, Thom Wilson- capturing the mood in full B-movie fidelity. The lyrics sacriligiously address horror topics and religion: they're overwrought (the backwards masking of 'Mysterium Iniquitatis' being one clever exception) but easy to overlook in the wash of inspired rock noise. The original lineup's recorded debut is a gem. Artists inspired by CHRISTIAN DEATH include Danzig, Craddle of Filth, Paradise Lost, Korn, Type O Negative, Nine Inch Nails, Marilyn Manson and Jane's Addiction. Press: "A depraved masterpiece, this was punk rock made poetic, subversive, and gracefully savage."- AV Club "The Gothic album to out-gothic all others" - Melody Maker "Only Theatre of Pain's influence should not be underestimated" - Record Collector Limited availability!
On their transformative debut album Nakshatra, violinists Trina Basu and Arun Ramamurthy reach both deep into their past and high into the celestial realm, culminating in a lush and spiritual collaboration that bridges traditions and defies genres
A Sanskrit word evocative of constellations, stars, and interconnectedness, nakshatra perfectly encapsulates the album's expansive sound, which quite surprisingly, is made by just two violins vibrating together in sublime harmony.
Profoundly intimate yet bearing a cinematic gravitas, this work five years in the making conveys a feeling of two souls in conversation spanning hundreds of years into the past and the future. Basu (Karavika) and Ramamurthy (Arun Ramamurthy Trio) are deeply rooted in traditions of South Indian classical music, Western chamber music, and jazz, uniquely positioning them to create a sound that feels ancient, orchestral, and contemporary or as The New Yorker put it, "free- flowing and globe- spanning.
Through the duo's grounding in tradition paired with their fluency in improvisation, the compositions on Nakshatra have a clear architecture, which allows space for
their two violins to be deliciously indiscernible while shining individually. Basu
says of the duo's collaboration, our hope for our music is to be a meeting point for
the tradition of South Indian classical music raga music that Arun comes from
and Western classical music and creative improvisation that I come from, and
bring these pieces together in a way that creates a sound that reflects who we
are, a sound that reflects our multicultural background, and our experiences in
this world."
Following the April 2022 reissue of the album Shrimp Boats, We Are Busy
Bodies presents companion titles Plum and Cherry and Deeper in Black
to round out a Lionel Pillay and Basil Mannenberg Coetzee trilogy as part
of the label's As-Shams South African jazz archive series
The connection between these three albums is tight as the 1987 release Shrimp
Boats compiled unreleased recordings from both the 1979 session for Plum and
Cherry and the 1980 session for Deeper in Black. These two rare records have
been carefully remastered from their original tapes and are back in print for the
very first time in over 40 years.Shrimp Boats and Plum and Cherry capture the
extraordinary musical chemistry that existed between pianist Lionel Pillay and
tenor saxophonist Basil Coetzee in the late 1970s. The respective album
showpieces Shrimp Boats and Cherry each occupy an entire side of vinyl with
both exquisite musical journeys clocking in at an epic 25 minutes a piece. While
Shrimp Boats was an instrumental reimagining of the popular 1951 song by
American singer Jo Stafford, Cherry drew inspiration from Abdullah Ibrahim at the
behest of producer Rashid Vally, who wanted to emulate the success of the
famous track that had helped launch his independent As-Shams/The Sun record
label in 1974.
Ibrahim's hit Mannenberg had also featured Basil Coetzee and it was this zeitgeist
South African jazz recording that had given rise to his stage name. Capturing the
grace and vitality of working- class township life on the city fringe, Cherry
channels the type of laid-back Cape groove that Abdullah Ibrahim, recording as
Dollar Brand, introduced to South African jazz in the 1970s. On the flip side, Plum
appears to take its own simple chord change in the same direction before
breaking into a chugging 20-minute romp that verges on proto-electronica and on
which Pillay hangs all manner of savage keyboard riffing and experimentation.
The two distinct flavours of Plum and Cherry make for a well-rounded platter with
an iconic cover featuring the work of abstract expressionist painter and AsShams/The Sun collaborator Hargreaves Ntukwana.
Celebrating a momentous five decades in the industry, legendary
musician and songwriter Paul Carrack, who's 'Golden Voice' features on
numerous classic world wide hits such as 'How Long' (ACE') ,
'Tempted' (Squeeze), 'The Living Years', 'Over My Shoulder' ( Mike and the
Mechanics) teams up with the GRAMMY Award-winning SWR Big Band &
Strings on epic new album " Don't Wait Too Long"
The covers album celebrates the pioneering golden era in music from the 50s and
beyond spanning blues, gospel, country and jazz. The first single "Cryin' Won't
Help You" out in Jan 2023 is Paul's tribute to the legendary BB King.Paul has a
deep love of R&B songs from the fifties and beyond. For him, 50s music was filled
with intense emotion, it was wildly kinetic and had a profound impact on his
career. In Paul's mind, it's where all modern pop music began, the sounds were
spectacular and revolutionary. Days when the change from jazz to pop was
stretched via pioneers and great singers like Bobby Bland, Ray Charles, Aretha
Franklin, and Lloyd Price..These artists always resonated as fantastic performers
with stylistic records that had such joy and intensity.
The 50s were not only a time for musical revolution but a social and generational
upheaval of vast and unpredictable scope. The power of this music is as vital
today as it ever was with the power to change lives forever.
After working with the SWR band on a number of projects, Paul and his producers
had the idea to find and record a selection of these time-warped classics, some
well- known, others not so much, and the title track , a modern song that harks
back to those times called 'Don't Wait Too Long'. The result is an impassioned,
compelling album. Honest, epic, touching, the album showcases a great vocalist
who is at home with his art and talent.
NATIONAL TV & RADIO.BBC Breakfast - Will take first week Jan / BBC Radio 2 -
Cerys Matthews - First Week Jan / Talk Radio - 2nd week Jan / Sky News - Beth
Rigby Interview - Second Week Jan / Greatest Hits - First Week Jan / GB News -
Live Interview via Zoom First Week Jan / Talk TV - Live Interview via Zoom first
week Jan / Ch 5 News - TBC week 2 Jan / ITV News - 2nd week Jan
The debut album from post-folk travellers Immaterial Possession, a quartet, half of whom came from an artist commune and half who were card-carrying Elephant6 alumni. ‘Immaterial Possession’ is a rich tapestry of a record, a gorgeous, melodious return to a time when influences co-habited freely and whatever was close at hand made the music of the day. All set to Syd Barrett-era Floyd and Nico with haunting lines, it’s perfectly tinged with gamelan harmonies, evocative Spanish guitars and xylophone. Exuding mystical symbolism; they wear luscious threads, they’re part of something/anything; perhaps a neo-modern-folk commune of artists in search of a canvas to stretch out over their juxtaposed influences. Immaterial Possession was conceived by Atlanta natives, Cooper Holmes and Madeline Polites, who met while living together at an Atlanta artist commune that was integrated into the DIY music, theatre, and arts scene. Some years later the duo moved to the neighbouring musical town of Athens, GA. They were soon joined by seasoned drummer, John Spiegel, and eventually fulfilled with multi-instrumentalist Kiran Fernandes (keyboards, clarinets, flutes) - descendant of the Elephant 6 Collective scene. It’s eastern, it’s eerie dream pop, it’s spacious and ethereal… A perfectly wild trip, and where it ends is immaterial.
Formed in Louisville, KY in 1991, Falling Forward was a band made up of childhood friends Benjamin Clark, Gary Bell, Jonathan Mobley, Ben Lord, and Chris Higdon. Started in their early teens, the band released a handful of recordings on a few different labels (Noble Recordings, Initial Records, and Doghouse Records) before disbanding in 1995. Higdon, Mobley, and Lord would immediately regroup as the renowned atmospheric post-hardcore band, Elliott. Falling Forward's first 7" was originally released as the first (and only) title on local Louisville imprint, Noble Recordings, in a scarcely limited edition of 500. Shortly thereafter, they signed to rising Detroit-turned-Louisville label, Initial Records, for their lone full-length album, Hand Me Down. Founding member Benjamin Clark then left, replaced by Endpoint's Pat McClimans. In 1995, as their popularity and influence were peaking across the United States, Falling Forward released two final singles: an acoustic split 7" with fellow Louisvillians, Metroschifter; and a self-titled 7" EP on the prolific Midwestern indie label, Doghouse Records. All of those releases are long out-of-print, and Falling Forward's entire catalog has remained unavailable in any format for over 20 years. Let These Days Pass: The Complete Anthology 1991-1995 documents the entire recorded history of a young band who met in their pre-teens, wore their hearts on their collective sleeves, and incidentally inspired and influenced thousands of kids and dozens of bands (most notably Thursday) across the world with their unique union of chunky, metallic riffs, pop-punk-inspired hooks, and startlingly infectious, Sunny Day Real Estate-inspired melodicism. Restored and remastered from the original master tapes by Alan Douches at West West Side Music (The Promise Ring, Converge), Let These Days Pass is packaged in all-new artwork culled from elements of the band's history, and includes a 20-page full-color booklet of rare and unpublished photos, fliers, and lyrics.
In recent years, there has been a resurgence of interest in the incomparable 90’s band known as Brainiac. This is in part due to a 2019 full feature documentary about the band (Transmissions After Zero) plus the reemergence of surviving band members to celebrate their music in the last several years. In addition, a substantial pair of archival releases (Attic Tapes 2xLP, From Dayton Ohio 2xLP) were unearthed for release on Record Store Day 2021 by Touch and Go Records. Now, in 2023, comes the latest missive of the archive, harkening back to the band’s latter era - and their most prolific and confident period. The Predator Nominate EP is a celebration of what was to come before the tragic exit of ringleader/singer Timmy Taylor. Listen to these realized demos and imagine what only could have been the confident seed of what the group might be capable of in this future century versus the last one. The world will never truly know. BIO: Brainiac began in 1992 as the basement experiments of Dayton, OH natives Tim Taylor (vocals, synth), and Juan Monasterio (bass), who first met playing cello in fifth grade. Upon completing the lineup with Michelle Bodine (guitar) and Tyler Trent (drums), they released two full-lengths and toured vigorously, establishing themselves as the latest peg in Ohio’s diverse musical timeline. In 1994, Michelle left the band and was replaced by John Schmersal. In 1996, the band made their full-length debut on Touch and Go Records with the album Hissing Prigs in Static Couture. On May 23, 1997, only weeks after the release of Electroshock for President EP and the band’s return from a European tour supporting Beck, Tim lost his life in a car accident.
Espen Friberg’s solo album debut. Sun Soon is Espen Friberg´s solo album debut, consisting of eleven compositions made up of synthesizer and field recordings. The album is formed as a collage, with compositions patched on a Serge modular synth and field recordings. The patches portray the mood and wandering in mountains and forests – while at the same time meditating on the area of the Norwegian valley Hallingdal´s local history. The collage technique is something Friberg uses in both his musical and visual art. The album is meditative and exploratory, and at the same time playful and immediate. Trucks, trash cans, flowing streams, lemon soda, horses and wandering mountains, find its place between slow melodies, scratching, sinus tones and bass lines. Dissonances and harmonies come together in gliding transitions and abrupt stops, while an electronic willow flute sings and the sun is rising. The recording is done at Leveld Kunstnartun in Ål in Hallingdal, later mixed and produced in collaboration with Jenny Berger Myhre. The project captures the ambiance in the valley around Leveld, through Espen´s experiences in nature, but also from the paintings of Marianne Røthe Arnesen and Gøsta Munsterhjelm. Espen Friberg is known as an artist, designer, illustrator, cartoon creator and musician, and has received numerous awards and stipends for his work. In the beginning of 2000 he was a part of establishing the design studio Yokoland, but later started his own studio. In addition to his visual practice he has built a sound studio consisting of complex synthesizer systems and a variety of obscure electronical instruments and effect processors. He has been a central person in experimental and electronic music in Norway. He started and runs the record company Take It Easy Policy in collaboration with Emil Høgset, and has been a curator for the concert series Rett Ned. Since 2005 he has participated in a long line of sample albums under different artist names, before releasing his first EP under his own name in 2015. After this he has released six different albums with Øivind Olsen, André Borgen and Marianne Røthe Arnesen. Friberg has been active on the concert stage, both as a solo artist and in different collaborations. 1.Lazy cobweb 2.Wandering mountain 3.Gøsta Munsterhjelm 4.Foggy glow 5.Pasture patch 6.Motor sunup 7.Thirteen paintings 8.Marianne Røthe Arnesen 9.Sinuous river (part one) 10.Sinuous river (part two) 11.Orange moss bridge
In Western thought and culture, voice without speech is viewed as irrational and dangerous. Across myth and history, these voices must be contained or prohibited due to the threat they pose on social order. Female, animal, artificial and inanimate, lamenting, screaming, dreaming, mumbling. Fugitive voices, entangled in a parallel ‘nonhuman history’ coming together to create a chorus. Future Chorus is based on a collection of readings, spoken word, nonlinguistic sound, poetry, MCing, and animal sound, combined with machine learning processes to generate a genderless voice speaking a nonhuman language. The vocal database and AI voice became the raw material for five remixes by AGF, Chino Amobi, Harrga, Savvas Metaxas, Trustfall and Lafawndah. The project was conceived and curated by writer, theorist and practitioner Eleni Ikoniadou, a Senior Tutor at the Royal College of Art and member of the art collective AUDINT. The album is released by Hypermedium in collaboration with MAENADS — Anne Duffau, Eleni Ikoniadou, Aphroditi Psarra — a platform for collaborative art projects, musical, visual, performative or text based, releasing work that seeks to inhabit polyvocal narratives, group joy, alternative worlds or subjectivities, spontaneous collective ruptures.
Aaron Mader, known professionally as Lazerbeak, is a Minneapolis-based artist and producer. Over the past decade he has collaborated with everyone from reigning pop queen Lizzo (producing her entire debut album), Doja Cat, Dessa, bluegrass heavyweights Trampled By Turtles, indie supergroup GAYNGS, and the Grammy-winning Minnesota Orchestra, all while continuing to build and create with life-long comrades from his own Doomtree artist collective and notching production credits on everything from Lin-Manuel Miranda’s Hamilton Mixtape to the dark electro-pop of Banks’ critically acclaimed III album. Aside from being a founding member of the Doomtree collective, he is also the CEO and General Manager of Doomtree Records, handling the day-to-day operations, management, and inner workings of the crew and label. His latest solo album Lava Bangers II, the second in an on-going instrumental beat tape series, is being released in two-song monthly installments throughout all of 2022, culminating in a 20 song limited edition 2xLP physical release in January 2023.
Neon Orange Vinyl. Reigning Sound's Memphis in June is a document of Greg Cartwright and the original Memphis lineup of his garage/soul group in the pocket and on their home turf. Live from the Harbor Town Amphitheater, right on the river, they forcefully knock out a dozen songs across the band's catalog with their friends, many of whom appeared on 2021's A Little More Time with Reigning Sound. The live album was pressed on neon orange vinyl, for Record Store Day 2022.
SUPER Limited private press release !!
80's infused synth soul, song based project by artist, BYAMM: The Anthropomorphic Fantasy EP
The project includes some really fresh creative UK soul talent inc singers Ade Omotayo (Gorrilaz / Amy Winehouse), Kevin Mark Trail (The Streets / Mike Skinner), Derek Green (Robbie Williams), Sharlene Hector (Basement Jaxx), Emily Holligan (Michael Kiwanuka), bass player Dale Davis (Amy Winehouse's Music Director), guitarist Tony Reme (Incognito/OMAR), guitarist Rob Harris (Jamiroquai) & Barima Yaw Asante (songwriter / keys / producer ) & Matt Myatt (beats / co-production)...aka the initials BYAMM...we hope you dig it!
out of Stock
Last delivered 3 years ago available to reorder, subject to availability
After entering the GER album charts at #17 with 2017’s Theater Of Dimensions, German symphonic metal icons XANDRIA mark a steadfast return with more facets than ever on their new single, appropriately entitled “Reborn”. Active since the early 90s, the band introduces this eagerly anticipated song of life, featuring the dynamic range of new vocalist Ambre Vourvahis, impressively varying between angelic harmonies, a powerful and classically-induced chorus and even harsh growls lurking!
With so much going on in the world right now, it's safe to say we need to spread far more Joy then is circulating…
And who else deliver's Joy of this magnitude? The king of disco, Dr Packer. The Legendary Champion Records has enlisted the mirror ball man of the last decade to flip this absolute classic from Staxx and the gorgeous vocals of Carol Leeming. Perfect for sunsets AND sunrises, charge your cocktails!
DJ Feedback:
David Guetta - tasty update
Utah Saints - Minitsry Of Sound / FFRR - Cool groove. Production on point
DJ Kue - Dope!
MING - Nice one, I'll Play !!!
Steven 'Sugar' Harding - Milk & Sugar / M&S Recs - Love it!
Defected continues to commit the label’s biggest digital releases to wax, delivering some of the best house music on vinyl for the very first time. The thirteenth EP in this series brings some of 2022’s biggest tracks together while spotlighting the experienced producers behind them. The A-side celebrates Harry Romero & Inaya Day’s collaboration ‘Rise Up’, originally released in June, the duo brightened the summer that followed with this instant club favourite. The A-side continues with the Deep In Jersey remix of ‘Rise Up’, offering a deeper and dubbier version of the original for selectors. The B-side showcases two cuts from the industry’s best, ‘Push The Feeling’ by Spanish selector and Urbana Records boss David Penn, featuring expertly layered vocals from Leon Stanford. Next up, ‘When The Dust Clears’ is a soulful collaboration between Defected favourite Mike Dunn and songstress LOA., demonstrating the producer’s revered hip-hop inspired sound.
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Last delivered 12 months ago available to reorder, subject to availability
For the first time on CD and LP, an anthology celebrating the work of composer, arranger, producer and pianist Webster Lewis from his time at Epic Records. The era of 1976-1981 is one of polished, luxurious jazz funk and soul, defined by Webster across his four albums at Epic supported by an array of guest musicians, lush string sections and often uncredited singers. This collection contains the artist’s signature tracks “Barbara Ann”, “Give Me Some Emotion”, “El Bobo” and recently uncovered gems from the vaults “Reach Out”, “Boston” and “Japanese Umbrella”. The CD features an exclusive essay written by Will Fox with unique insights from the legendary DJ Patrick Forge. The recently discovered recordings appear on vinyl for the first time on the LP edition.
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Industrialyzer drops ‘Snake Whisperer’ on Rekids, backed with two Radio Slave remixes
Industrialyzer, real name Ricardo Rodrigues, is a Lisbon-born, Amsterdam-based DJ and producer who has released music on the likes of Ben Sims’ Symbolism, Tronic, Suara, and his Groove Matters imprint, under both his Industrialyzer alias as well as one half of The Advent. Arriving on Radio Slave’s Rekids for the first time, the DJ/producer delivers one hard-hitting original track backed by two stellar remixes from the label boss.
The original mix of ‘Snake Whisperer’ leads the release, bringing floaty bleeps, pounding drums, and grinding synths across the A-side. For the first of his remixes, Radio Slave extends elements of the original into a 10-minute trip with hypnotic low-end colliding with razor-sharp percussion. Rounding out the release is Radio Slave’s ambient version, which sees the Rekids head honcho stripping all percussion and emphasising the gorgeous pads and vast, reverberant atmospherics.
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Naglfar have an high quality of their recordings, this is the fifth album by those Swedes, and are here again be able to keep up to their high recording standards of the previous albums and if their music would still reek of hatred, evil and suffering. Naglfar is one of those bands that can effortlessly mix raw energy of black metal that we know from their first albums with the elements of melodic death metal introduced in their later releases. This mix makes their songs memorable to a point that you can recognize them from the first riffs. Traditionally of course, intensity mixes with atmospheric slower parts, melodic touches intertwine with ultra fast brutality, and in all that, solos, parts of keyboards or piano are thrown into as if into a twister of sickening sound. Musically, the whole band shows us solid compositional skills, supported by technical instrumentality and respectable experience. Christopher Olivius spits out wicked lyrics, he sang with such passion and malice, that vocals added an extra level of brutality, vocals are very strong and solid. Harvest is an inspired, interesting and originally diverse piece of work. This album comes out in deluxe gatefold edition on vinyl,
One of These Nights occupies an important, unique place in the Eagles' discography given it represents the final album the group made before releasing the bajillion-selling Their Greatest Hits (1971-1975) compilation. The timing is telling. A coming-out party for Glenn Frey and Don Henley's songwriting skills, the studio record – the band's fourth, and its first to hit #1 on the charts – signifies the group's ascent to superstar status. Home to three massive singles (the title track, "Lyin' Eyes," and "Take It to the Limit") and nominated for four Grammy Awards, the quadruple-platinum 1975 effort solidified the Eagles' Southern California-reared sound and made the band a household name.
Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and limited to 10,000 copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set takes One of These Nights to the limit. And then some. Playing with reference sonics and a practically indiscernible noise floor thanks to MoFi SuperVinyl's special formula, it provides a rich, dynamic, transparent, and three-dimensional view into a release that moved country-rock ahead by leaps and bounds – and paved the way for the Eagles' ascendancy to global superstardom. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.
Visually, the premium packaging and presentation of the UD1S One of These Nights pressing befit its esteemed status. Housed in a deluxe box, it features beautiful foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes. As much as any Eagles LP, the connection between the imagery and the music and the band on One of These Nights runs deep. No wonder it led to a Grammy Nomination for Best Album Package.
Devised by West Texas artist Boyd Elder, the striking skull-and-feathers themed piece gracing the front of One of These Nights represents where the Eagles have been and where they were headed. Album art director Gary Burden explained: "The cow skull is pure cowboy, folk, the decorations are American Indian-inspired, and the future is represented by the more polished reflective glass beaded surfaces covering the skull." Moreover, Elder had met the group years earlier when Henley and company performed at one of his gallery openings in California. MoFi's UD1S box set allows Elder's vision (and Burden's debossed treatment of the image) to pop and appear as if it was a stand-alone object.
Of course, what's inside the sleeves, and in the grooves, proves equally compelling. Though One of These Nights marks the final appearance of band co-founder Bernie Leadon on an Eagles LP and contains three of his tunes, the record's tremendous success owes to Frey and Henley's timeless contributions. Taking the next step in their maturation and evolution, the pair crafted several songs while living together as roommates in a rented house in which they converted a music room into a recording studio.
The duo's bond and chemistry pulse throughout the record – particularly in the tight arrangements, tasteful instrumental flourishes, and seamless blending of the folk, country, and rock elements. The musical combinations and partnership not only produced the Eagles' first million-selling single (the slow-dancing "Take It to the Limit," co-written with bassist-vocalist Randy Meisner) and the Frey-led cheating classic "Lyin' Eyes," but the famed title track, which nods to the era's nascent disco scene as well as Kenneth Gamble and Leon Huff's Philly soul platters.
Frey named "One of These Nights" as his favorite Eagles composition of all-time; Meisner's high harmonies alone send the track into a galaxy of its own. Speaking of the latter, Leadon's instrumental "Journey of the Sorcerer" ventures into another universe and was soon used by Douglas Adams as the theme to his "The Hitch-hiker's Guide to the Galaxy" radio series. Inspiration and creative experimentation also dragged the Eagles into the blues. Another Frey-Henley gem, the self-probing "After the Thrill Is Gone" serves as a response song to B.B. King's signature track and more evidence the band was turning the lens inward for lyrical narratives. Like everything on One of These Nights, the song confirms the Eagles were breathing rare musical air.
More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.
MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
The timeless music and expert arrangements are about the only things smoother than the powder-blue suits sported by the Spinners on the cover of their resplendent self-titled 1972 record. The band's first album for Atlantic after departing Motown, Spinners ranks as an all-time soul classic – a filler-free set boasting immaculate harmonies, sweet melodies, and impeccably matched vocals. Thom Bell's flawless production puts it all over the top. Yielding an ideal balance of lushness and grit, the collaboration between the Detroit-based group and studio veteran yielded a record that birthed the celebrated Philadelphia Sound. Now, you can finally experience it in audiophile-grade sonics.
While the career-defining performances within the grooves cannot be overlooked, Spinners remains equally notable for its historical importance. At the dawn of the 70s, Motown still held sway as the dominant soul style. Yet the Spinners' decision to move to Atlantic – prompted by a suggestion by Aretha Franklin – and refashion their approach with Bell signalled a sea change that ushered in a smoother, sweeter variety of R&B punctuated with sweeping strings, jazzy flourishes, brassy replies, and funk rhythms. Few, if any, vocal groups mesh these traits more convincingly, pleasingly, and naturally than the Spinners on this watershed effort.
Anchored by Top 5 smashes like "Could It Be I'm Falling In Love," Spinners signalled the beginning of a partnership with Bell that lasted seven years and elevated the band to stardom. Indeed, even in spite of the four hit singles, the record remains defined by an artistic consistency, watertight focus, and collective unity that make everything here deserving of close attention. Flush with catchy hooks and pop accents, each song is treated as a potential anthem. Laden with depth and richness, Bell's savvy, wide-open arrangements frame the Spinners' satiny singing with sensual class and refined delicacy.
Heaven-sent voices do the rest. Making his first appearance on record as a member, Philippe Wynne treats the carefully honed material as a breakout session for his dulcet tenor on tracks such as "One of a Kind (Love Affair)." Not to be outdone, the equally measured Bobbie Smith mesmerizes with his deft phrasing, reedy timbre, and sparkling clarity, never finer than on the million-selling "I'll Be Around." Solo or paired together, Wynne and Smith's glorious leads run the gamut from upbeat and optimistic to sad and forlorn, forming the backbone of a masterwork that addresses romance ("Just You and Me Baby"), regret ("How Could I Let You Get Away"), and social ills ("Ghetto Child") with consummate passion.
"Web of Lies / Death Won’t Even Satisfy is the vinyl debut from this hardcore band from New Jersey, and it is a full-bore scorcher. Ammo plays ferocious US-style hardcore with a lunging, unhinged style that reminds me of groups like early Agnostic Front, Void, and Eye for an Eye-era Corrosion of Conformity… not so much in style, but in the way Ammo sounds like they’re maniacs who might materialize out of your home speakers in order to slash your throat. It’s a rare enough feat to capture this sort of wild energy on tape, but Ammo fuses this crazy energy with memorable songwriting, with tracks like “Black Site,” “Slam Slam Slam,” and “Ethnostate” hitting even harder because they’re so damn catchy. Sounding fast and crazy is Ammo’s forte, but their secret weapon is their ability to play at mid tempo, like on the crushing NYHC-style mosh part in “Known Unknown” and the singalong during the breakdown to the epic “All You Do (Is Want Me to Die).” I love music that expands hardcore’s boundaries, but Ammo isn’t that… they distill hardcore its essence, their sound ground down to the sharpness of a knife’s edge. This is not a record to sleep on."
Presenting the third volume of Keroxen's annual series of Radar compilations, joining the musical dots between restless and free-spirited artists working across the Canary archipelago.
With volume 1 loosely based around the indie and shoegazing art rock sounds made in the Islands, and a second volume exploring the experimental electronic music of Tenerife, we now welcome Volume 3, with a special showcase of Canary artists working from the diaspora.
Meet the hallucinatory acid folk from Tarragona based artist Transistor Eye, Amsterdam’s trio Halli Crigi raw, jazz/noise guitar improvisation, the glitchy and abstract piano minimalism by Sweden based Hara Alonso and the custom made midi based electronic orchestral compositions by Berlin based visual artist Arístides García aka Anisotrópico. Each artist delivers approximately 10 minutes of unique music which mixed together creates a weird and surprisingly fluid psychedelic journey, wrapped up as it’s always the case with these series in the pastoral retro-futurist collage artwork by Canarian artist Pura Márquez.
Another document showcasing the other side of this holiday destination, it’s not just hotel resorts and poolside lounging here, enter the wonderful and weird world of Keroxen.
In den 1990er-Jahren war Chris Eckman das erste Mal in Harney County, nachdem er die Memoiren des Schriftstellers William Kittredge gelesen hatte. Während Kittredge die Breitwandlandschaft dieses Wüsten-Countys im südöstlichen Oregon feiert, kritisiert er gleichzeitig den rücksichtslosen Verbrauch der Landschaft durch mehrere Generationen Viehzucht seiner Familie. Es ist ein Buch über gescheiterte Träume an einem Ort rauer Schönheit. Nach der Rückkehr von dieser ersten Reise schrieb der Walkabouts-Frontmann den Song "Death At Low Water", der auf dem Chris-&-Carla-Album "Life Full Of Holes" landete. Ein Vorgeschmack auf "Harney County", das Eckman ganz diesem Landstrich gewidmet hat. Er folgt dabei eben jenem Gefühl von Rauheit und Zurückhaltung, das Kittredge in seinem Buch beschreibt. Ursprünglich wollte Eckman, dass das Album wie ",Nebraska" als Dubalbum" klingen sollte. Das ist nicht ganz gelungen, aber für die Geschichten gibt es nun umso mehr Raum zum Atmen.
Repress auf babypink w/ blue splatter Vinyl, limitiert auf 200 Exemplare. Be Well - ein Zusammenschluss bekannter Gesichter der Hardcore Szene! Ins Leben gerufen von Brian McTeran, Gründer der ikonische Straightedge-Hardcore-Band Battery und ergänzt durch Mike Schleibaum von Darkest Hour und Battery, Aaron Dalbec von Bane sowie Peter Tsouras und Shane Johnson von Fairweathe, wurde Be Well gegründet um McTeran einen neuen Output für seine Emotionen zu geben. Nach der Auflösung von Battery im Jahr 2000 lenkte McTernan seine Energie zunächst in eine arbeitsreiche Karriere als Produzent um. Er hinterließ auf wegweisenden Alben von Bands wie unter anderem Thrice, Hot Water Music, Circa Survive und Turnstile seine Spuren. Bis er 2014 schließlich eine radikale Kehrtwende machte und eine Projektmanagement-Funktion für ein Bauunternehmen übernahm. Anfangs fühlte sich der Wechsel in Tempo und Karriere gesund an. Doch nachdem er oft zwischen Baustellen hin und her und reiste und dabei 400 Meilen pro Tag fuhr - traten größere Probleme in McTernans psychischer Gesundheit hervor. Eine Zeit schwerer Depressionen verlief laut McTernan jahrelang unkontrolliert, bis sich Battery 2017 vorübergehend wiedervereinigten und ihren ersten neuen Song nach 17 Jahren schrieben. Der Song, "My Last Breath", unterschied sich deutlich von allem, was vor ihm kam. In vielerlei Hinsicht diente der Text als spiritueller Vorläufer dessen, was schließlich zu Be Well wurde. Also schrieb McTernan weiter, began seine Erfahrungen durch Texte zu verarbeiten und eine neue Band zu formen. The Weight And The Cost ist das Ergebnis dieser gesammelten Erlebnisse. Ein Album das weit über die Grenzen dessen hinausgeht, was man über die früheren Bands seiner Mitglieder weiß. Die Vergangenheit der Be Well-Mitglieder könnte sogar das Uninteressanteste an diesem Projekt sein. Wo die meisten Hardcore-Platten ihren Inhalt an die Form der Genrekonventionen anpassen, zeigt dieses Album, was möglich ist, wenn der Inhalt die Form schafft: The Weight and the Cost folgt McTernans zutiefst persönlicher Erfahrung.
‘Questionably a hardcore band’ is how Daddy’s Boy describe themselves, and one listen to their discombobulatingly brilliant debut LP should answer all your questions as to what that could possibly mean. Recorded with Steve Albini at Electrical Audio, GREAT NEWS! is the sound of punk folding in on itself and racing through sounds you might have previously identified with dumb genre tags like post-punk and possibly even no-wave - except this isn’t either of those things. It rages smartly and discordantly across a wide terrain of undulating rhythms and coruscating rifferema, eventually settling on something that’s… well, kinda uniquely Daddy’s Boy. So what makes this sound? Specifically, four humans who are too clever to simply follow the ‘three chords, now form a band’ template without trying to fuck up the corners (and work their way into the centre). Members of Split Feet, Retreaters and Fake Limbs pile up together to create this delicious cacophony, and you’ll be glad they did. When vocalist Jes Skolnik intones, “I’m so fucking important,” you know it’s drenched in venomous irony, but it’s difficult not to agree: GREAT NEWS! feels like a record that’ll last way beyond those ‘best of the year’ lists and continue to pulverise your eardrums for years to come. It’s the sort of record that felt like the future when Touch & Go Records pushed hardcore past its knuckleheaded limitations 40 years ago, and still feels like no one ever really caught up. It’s the riffs from Cows’ Cunning Stunts, cribbing notes from Crass’ Feeding Of The 5,000, with vocal delivery pitched to ‘gloriously matter-of-fact’. Oh, and no spoilers, but in Skolnik, Daddy’s Boy might just have one of the smartest lyricists in (questionable) hardcore right now. Mark my words, this is some record. Will Fitzpatrick
1974 entstanden die Zusammenstellungen Planeten Sit-In und Sci-Fi Party mit der Musik aus den Jam Sessions der Cosmic Jokers. Unter einem konzeptionellen Mantel wurden die legendären Aufnahmen einem jungen Publikum nähergebracht. Unter den Musiker die Elite der damaligen Krautrocker, wie Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf und Dieter Dierks der für die Aufnahmen, Arrangement und den Mix zuständig war, aber auch als Musiker mitwirkte. Neu transferiert von den originalen analogen Bändern und sorgfältig und erstmalig remastert. ENG The compilations Planeten Sit-In and Sci Fi Party, both originally released in 1974, are a contemporary document of the legendary jam sessions of the Cosmic Jokers. Under a conceptual mantle, the recordings were brought to a young audience. Among the musicians the elite of the Krautrockers of that time, like Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf and Dieter Dierks who was responsible for the recordings, arrangement and mixing, but also participated as a musician. Newly transferred from the original analog tapes and carefully remastered for the first time.
1974 entstanden die Zusammenstellungen Planeten Sit-In und Sci-Fi Party mit der Musik aus den Jam Sessions der Cosmic Jokers. Unter einem konzeptionellen Mantel wurden die legendären Aufnahmen einem jungen Publikum nähergebracht. Unter den Musiker die Elite der damaligen Krautrocker, wie Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf und Dieter Dierks der für die Aufnahmen, Arrangement und den Mix zuständig war, aber auch als Musiker mitwirkte. Neu transferiert von den originalen analogen Bändern und sorgfältig und erstmalig remastert. ENG The compilations Planeten Sit-In and Sci Fi Party, both originally released in 1974, are a contemporary document of the legendary jam sessions of the Cosmic Jokers. Under a conceptual mantle, the recordings were brought to a young audience. Among the musicians the elite of the Krautrockers of that time, like Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf and Dieter Dierks who was responsible for the recordings, arrangement and mixing, but also participated as a musician. Newly transferred from the original analog tapes and carefully remastered for the first time.
Eric Clapton’s studio albums for Reprise Records are among the most beloved of the guitarist’s storied career and the focus of a new series of limited-edition, vinyl-only boxed sets. The first instalment, The Complete Reprise Studio Albums – Volume I, is available now The 180-gram, 12-LP set features Clapton’s first six studio albums for Reprise (Money and Cigarettes, Behind the Sun, August, Journeyman, From the Cradle, and Pilgrim) along with an additional LP of rarities from the era. The second instalment, coming in January, features 10 LPs that cover all five albums Clapton recorded for Reprise between 2001 and 2010, plus an LP exclusive to the collection that includes rarities from the same time.
The Complete Reprise Studio Albums – Volume II will be available on January 13, 2023. The set contains newly remastered versions of five studio albums pressed on 180-gram vinyl: Reptile (2001), Me & Mr. Johnson (2004), Sessions For Robert J (2004), Back Home (2005), and Clapton (2010). All the albums will be released as double-LPs except Sessions For Robert J, which makes its vinyl debut in the collection as a single LP.
Rarities (2001-2010), the collection’s final LP, brings together eight hard-to-find recordings from this prolific era in Clapton’s recording career. Highlights include the B-side “Johnny Guitar” and the Japanese-only bonus track, “Losing Hand.” “Midnight Hour Blues,” another rarity, was released in 2010 as a bonus track for Clapton.
VOLUME II covers a nine-year period that starts in 2001 with Reptile, Clapton’s 14th solo studio album. It reached #5 on the albums chart in the U.S. and sold more than 2.5 million copies worldwide. Two singles from the album – “Superman Inside” and “Reptile” – were nominated for Grammy Awards, with the latter winning for Best Pop Instrumental Performance.
Clapton returned in 2004 with Me and Mr. Johnson, an album of cover songs originally written and recorded by Delta-bluesman Robert Johnson, a trailblazing artist who profoundly influenced Clapton. Packed with passionate performances, the record sold more than two million copies worldwide and was nominated for a Grammy Award. The album is presented as a double-LP in the new collection and features an etching of the album cover on the final side.
Also in 2004, Clapton released Session for Robert J, a companion piece to Me and Mr. Johnson. The album captures acoustic and electric performances by Clapton and his band in Dallas and England as they rehearsed and recorded songs for Me and Mr. Johnson. The album, which makes its vinyl debut in this collection, includes fantastic versions of “Terraplane Blues” and “Sweet Home Chicago.”
Clapton’s hot streak continued in 2005 with Back Home, his 17th studio album. Certified gold in the U.S., the record featured guest performances by Vince Gill, John Mayer, Robert Randolph, Billy Preston, and Steve Winwood. On the album, Clapton paid tribute to his close friend George Harrison with a cover of Harrison’s 1979 song “Love Comes To Everyone.” Back Home won the 2006 Grammy Award for Best Engineered Album, Non-Classical.
Clapton is the final studio album on Volume II. It debuted in 2010 and peaked on the album charts at #6 in the U.S. and #7 in the U.K. Once again, Clapton was joined in the studio by an all-star group of guest musicians that includes Derek Trucks, Wynton Marsalis, Allen Toussaint, and J.J. Cale. On the album, Clapton mixed Tin Pan Alley standards and New Orleans jazz with new songs like “Run Back To Your Side,” which was nominated for a Grammy Award in 2011.
The Complete Reprise Studio Albums Vinyl Box Set - Volume 2 track listing
Reptile
• Reptile
• Got You On My Mind
• Travelin’ Light
• Believe In Life
• Come Back Baby
• Broken Down
• Find Myself 5:15
• I Ain’t Gonna Stand For It
• I Want A Little Girl
• Second Nature
• Don't Let Me Be Lonely Tonight
• Modern Girl
• Superman Inside
• Son & Sylvia
Me & Mr Johnson (3-sided Album)
• When You Got A Good Friend
• Little Queen OF Spades
• They're Red Hot
• Me And The Devil Blues
• Traveling Riverside Blues
• Last Fair Deal Gone Down
• Stop Breakin' Down Blues
• Milkcow's Calf Blues
• Kind Hearted Woman Blues
• Come On In My Kitchen
• If I Had Possession Over Judgement Day
• Love In Vain
• 32-20 Blues
• Hell Hound On My Trail
Sessions For Robert J
• Sweet Home Chicago
• Milkcow's Calf Blues
• Terraplane Blues
• If I Had Possession Over Judgement Day
• Stop Breakin' Down Blues
• Little Queen Of Spades
• Traveling Riverside Blues
• Me And The Devil Blues
• From Four Until Late
• Kind Hearted Woman Blues
• Ramblin' On My Mind
Back Home
• So Tired
• Say What You Will
• I'm Going Left
• Love Don't Love Nobody
• Revolution
• Love Comes To Everyone
• Lost And Found
• Piece Of My Heart
• One Day
• One Track Mind
• Run Home To Me
• Back Home
Clapton
• Travelin' Alone
• Rocking Chair
• River Runs Deep
• Judgement Day
• How Deep Is The Ocean
• My Very Good Friend The Milkman
• Can't Hold Out Much Longer
• That's No Way To Get Along
• Everything Will Be Alright
• Diamonds Made From Rain
• When Somebody Thinks You're Wonderful
• Hard Time Blues
• Run Back To Your Side
• Autumn Leaves
Rarities Vol 2
• Johnny Guitar
• Midnight Hour Blues
• You Better Watch Yourself
• Traveling Riverside Blues
• Little Queen Of Spades
• Take A Little Walk With Me
• Losing Hand
• I Was Fooled
Magnetically energetic and eternally hopeful, Dayglow (the project of Austin, TX based Sloan Struble) excels in creating catchy, carefully crafted, effervescent indie pop. His home-recorded 2018 debut album Fuzzybrain featured the Platinum Certified single “Can I Call You Tonight?”, which went on to be hailed as 2020’s biggest independent alternative hit. Following up with his sophomore album Harmony House in 2021, Dayglow generated a mountain of indie buzz and critical acclaim anchored by lead single "Close To You". Now, after racking up over a billion streams and selling out headline tours around the world, Dayglow returns with his third album People In Motion. Fun and colorful, People In Motion meditates on the ideas of commitment, inner peace, and movement, while inviting the listener to the dance floor to leave the chaos and noise of our current culture behind.
Magnetically energetic and eternally hopeful, Dayglow (the project of Austin, TX based Sloan Struble) excels in creating catchy, carefully crafted, effervescent indie pop. His home-recorded 2018 debut album Fuzzybrain featured the Platinum Certified single “Can I Call You Tonight?”, which went on to be hailed as 2020’s biggest independent alternative hit. Following up with his sophomore album Harmony House in 2021, Dayglow generated a mountain of indie buzz and critical acclaim anchored by lead single "Close To You". Now, after racking up over a billion streams and selling out headline tours around the world, Dayglow returns with his third album People In Motion. Fun and colorful, People In Motion meditates on the ideas of commitment, inner peace, and movement, while inviting the listener to the dance floor to leave the chaos and noise of our current culture behind.
With this release the label celebrates the return to the ranks of the founder Worg. A triumphant homecoming comparable to that of Jason, the main character of the Argonautica, who travelled in search of the Golden Fleece (Il Vello d'Oro) aboard the ship Argo. After many vicissitudes, the hero returned to Iolco, his homeland, to reclaim the throne usurped by his half-brother Pelias.
This new chapter in the Lykos saga focuses on the deeds of Jason and the Argonauts, but also on a key figure who was indispensable to the success of this quest, Medea. Thanks to her and her magical skills, the fellowship of heroes succeeded in grabbing the Golden Fleece. Through careful sound design, hinted melodic cells and complex rhythms, Il Piano di Medea by Worg, sums up details and facts related to this extraordinary legend. Starting from the prophecies of the Oracles, to the tragic and bloody ending of the epic poem, which took place with the death of King Pelias by his own daughters, hypnotized and manipulated by Medea's magic.
The narrative begins with the track Oracolo, characterized by a syncopated groove, nebulous atmospheres and the presence of a dark anthropomorphic synth, which alludes to the solemn, grave and authoritative voice of an entity. A prophetic spirit that warns the listener of the dangers that lurk for those who dare to enter this new sonic adventure. In order to foretell the future and to spread their word, the gods took possession of the bodies of priests who had fallen into ecstasy, using them as intermediaries. In his reinterpretation of Oracolo Neel, the grand Maestro of techno, in a similar way uses musical elements such as a harsh and acid bass line or a tight rhythm to lead the listener into a psychic state of suspension and mystical elevation.
In the music piece Il Vello d'Oro, Worg draws attention to the rare preciousness of this magical relic, rumored to have the power to heal all wounds and for this reason longed by Jason. To evoke the purity of the golden mantle, the artist uses shimmering percussion, radiant textures and the omnipresence of an FM synth bass, full of brilliant harmonics. All enhanced by sound details scattered throughout the arrangement.
Eryx, the record's final track, has a fluid and sinuous flow, with sound elements that recall water, a natural element, protagonist of the Argonauts' journey to the remote Colchis. A melody echoes in the distance, disappears and resurfaces to then collide, like waves on the rocks, with the complex and jagged rhythms that mark the gradual evolution of the
track.
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Don"t ask Rozi Plain to explain her spellbinding fifth album Prize. Its ten, magical tracks exist as if in another realm, where feelings matter more than meanings, where thoughts have room to roam and where you can live in the moment for as long as you like. Rozi"s signature, free-floating sound was set with her 2015 breakthrough Friend and cemented with 2019"s globally adored What A Boost ("Like slipping between cotton sheets" was Pitchfork"s description). Prize builds on both, but takes its cues from elsewhere. By a stretch, it"s Rozi"s most upbeat and daring album to date. Electroncia, jazz and saxophone treated to sound like strings, synths and harp all play a part. Economy is key - every sound has an impact out of proportion to its size, every texture pays dividends. Rozi"s bewitching vocals are bolder and brighter than ever before. Male and female backing vocals feel like friends dropping by.
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Don"t ask Rozi Plain to explain her spellbinding fifth album Prize. Its ten, magical tracks exist as if in another realm, where feelings matter more than meanings, where thoughts have room to roam and where you can live in the moment for as long as you like. Rozi"s signature, free-floating sound was set with her 2015 breakthrough Friend and cemented with 2019"s globally adored What A Boost ("Like slipping between cotton sheets" was Pitchfork"s description). Prize builds on both, but takes its cues from elsewhere. By a stretch, it"s Rozi"s most upbeat and daring album to date. Electroncia, jazz and saxophone treated to sound like strings, synths and harp all play a part. Economy is key - every sound has an impact out of proportion to its size, every texture pays dividends. Rozi"s bewitching vocals are bolder and brighter than ever before. Male and female backing vocals feel like friends dropping by.
RÜBEZAHL - melancholisch, magisch und dunkel. In Zusammenarbeit mit Lord Of The Lost-Mastermind Chris Harms als Produzent entsteht das bisher düsterste Album in Witts gesamter Diskographie. Thematisch unter anderem angesiedelt im Gebirge, bei Riesen und Berggeistern, beweist Joachim Witt hier wieder einmal mehr auch seine Liebe zum romantischen Naturalismus, ohne dabei seinen ureigenen Stil zu verlieren.
Wunderblock Records and La Notte Di Architetto label are proud to present a debut release of a new project, Urstadt, ruled by Michael Teplov of Wunderblock and Nikita Melnikov, also known as Relic Radiation. Been released on the Planet Rhythm label before, and now the duo appears in a pure new form with fresh techno material.
The EP is called "Ritornels Of Decay" and presents the Urstadt duo's view on the state of the electronic music scene during the post-Covid times, through the prism of classic Detroit and Birmingham techno grooves. As a special VIP guest featured Andreas Sandoval, also known as Developer, with a hyperkinetic, ultra-minimalistic rework of the first track.
Overall, all the tracks of the EP are like polyrhythmic, slowly developing mechanospheres with a touch of cold-euphoric and dreamcore harmonies, fused altogether in a modern superhybridic way. For true techno believers.
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Ltd Glow In The Dark Vinyl-Version! "Eigenuran" ist ein Adventskalender mit 19 Türchen. (Spoilerwarnung): Hinter 18 Türchen verbirgt sich eine Dose Krawallbrause. Beim 19ten gibt's eine Erleuchtung - allerdings nur für Leute, die alle Türchen am selben Tag öffnen. (Spoilerwarnung Ende). Ein Dosenbier macht noch keinen Frühschoppen - Leute, die dieses Album in einem Stück durchhören, wissen ganz genau, warum sie schon morgens anfangen zu saufen. Deutschpunk braucht einen Reset, diese Platte ist eine Kampfansage an pseudointellektuelle Scheiße. Die Ausnüchterungszelle ist nur der Beginn eines mitreißenden Showdowns, den man in kugelsicherer Inkontinenzwindel noch am ehesten überlebt.
There is an endless abundance of variations that the clarinet can use in changing the colour of a single note. As a privileged listener - and - experiencer, Ben Bertrand through his favourite instrument shared the musical blueprints with me, which resulted in this album. His music has become a vivid part of my almost daily thoughts - allowing what I hear to clash and sing with the patterns and rhythms already established in my mind. A voluntary trip, an absorbing experience in our Brussels vibrant cultural life. With his instrument and countless machines, Ben creates a web of sounds that are hard to pin down but easy to absorb as a whole. Ben Bertrand happened to me. His music, full of beauty, is good to listen to and pleasant to follow. A sense and perception of continued growth too illuminated and overwhelming to resist. While I sense when a new composition is coming, Ben was able in our daily conversations, to progressively untangle a musical mystery and layout the puzzle of a new creation. Listening to his music is like sitting at the sea, watching a slow motion of our crazy life sailing by. You, as a listener, with this record stepped in an early stage of his career, with hardly any involvement of other people, composition wise. Besides composing alone, there have been countless hours when Ben Bertrand worked and interacted with Christophe Albertijn for the recordings. There is also the essence of our regular exchanges and the visions we knit. These are in my opinion just the starting points of plural interactions and musical endeavours to be. It is a matter of his artistic trust and let go, while Ben creates his own language, package and macrocosm. The excellence of Ben Bertrand's music lays in its involving and easily accessible nature, regardless of your personal or musical past experience. Ben Bertrand is all before you for you to dig, and nobody is asking you to file him away under any category. - Tommy Denys
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Bear McCreary, known for his incomparable world-building and use of innovative musical approaches in the worlds of television, film, and video games, will guide audiences through the major events of the Second Age of Middle-earth, as seen in the series. Working out of the iconic Abbey Road Studios as well as AIR Studios and Synchron Stage in Vienna, he has recorded and composed hours of music for the score, weaving together his original themes into a sonic tapestry for a full symphonic orchestra, alongside vibrant folk instruments and choral singers.
“J.R.R.Tolkien’s stunning novels and their film adaptations have had a profound impact on my imagination for nearly my entire life,” McCreary said. “I am honored to compose the music that will help guide audiences through the major events of the Second Age of Middle-earth."
Legendary composer Howard Shore has composed scores for some of the most memorable and world-renowned film and television series. Globally respected for his passion for J.R.R. Tolkien’s work, he is perhaps best known for his work on The Lord of the Rings and The Hobbit film trilogies.
The Season One: Amazon Original Series Soundtrack also includes two performances by The Lord of the Rings: The Rings of Power actors—Sophia Nomvete (Princess Disa) on the track “A Plea to the Rocks” and “This Wandering Day,” sung by Megan Richards (Poppy Proudfellow).
