quête:hilary

Multiplatin-Superstar Hilary Duff kündigt ihr erstes Album seit mehr als zehn Jahren an. luck…or something erscheint am 20. Februar 2026 über Atlantic Records. HIER kann man das Album ab sofort vorbestellen/vorab speichern. „Oft werde ich gefragt, wie ich nach all den Jahren in dieser Branche noch mit einem halbwegs klarem Kopf durchs Leben gehe“, sagt Hilary. Es ist Glück – aber in dem ‚…or something‘ steckt auch eine Menge Gewicht. Vieles, was ich erlebt habe, steckt darin, und genau das hat mich zu der gemacht, die ich bin.“ Im Januar bringt Hilary ihr neues Album mit der „Small Rooms, Big Nerves“-Tour auf die Bühne – eine Serie intimer Konzerte, die innerhalb kürzester Zeit ausverkauft war. Die ersten Headliner-Shows seit über zehn Jahren starten am 19. Januar 2026 im historischen O2 Shepherd’s Bush Empire in London. Es folgen Toronto (HISTORY, 24. Januar), New York (Brooklyn Paramount, 27. Januar) und Los Angeles (The Wiltern, 29. Januar). Nachdem die Shows so schnell ausverkauft waren, bedankte sich Hilary bei ihren Fans mit einer persönlichen Instagram-Nachricht hier ansehen. Das sechste Studioalbum luck…or something enthält unter anderem die gefeierte Single „Mature“, die bereits überall verfügbar ist. Duff schrieb den Track zusammen mit ihrem Ehemann, dem Grammy-ausgezeichnten Songwriter und Produzenten Matthew Koma (Britney Spears, P!nk) sowie der Hitmakerin Madison Love (Halsey, Ava Max). Der sarkastische, autobiografisch gefärbte Track kombiniert Erinnerungen an romantische Missgeschicke in der Jugend mit einer schillernden Produktion – genau jene Mischung aus Witz und Verletzlichkeit, die Duff seit jeher auszeichnet. Nur eine Woche nach Veröffentlichung hatte „Mature“ bereits über 5 Millionen Streams, dazu kommen über 2,5 Millionen Views des Musikvideos bei YouTube. Hier kann man den Clip ansehen, bei dem Lauren Dunn (Olivia Rodrigo, Dove Cameron, Saweetie) Regie führte. Anfang der Woche veröffentlichte Hilary zudem ein „Behind the Scenes“-Video vom Dreh – hier ansehen.

Nach zwei gefeierten experimentellen Instrumentalalben, Feral Hymns (2021) und Acts of Light (2023), kehrt Hilary Woods auf ihrer neuen LP Night CRIU zur Songform und vor allem zu ihrer Stimme zurück. Sie lernt erneut, wie sie ihre Stimme einsetzen kann, und komponiert Songs, die sich um sie drehen. Das intime Ökosystem von Night CRIU mit sieben Songs nutzt Vokalharmonien und die Aussprache der Texte als Mittel, um wieder in den Körper einzutreten, mit dem Unbewussten zu sprechen und es bewusst zu machen. Night CRIU ist eine Zeremonie aus Licht und Schatten, ein Album, das sich gegen die erdrückende Monokultur auflehnt, indem es gleichzeitig verlorene Unschuld zurückerobert und betrauert. Woods' Klangpalette ist dynamisch und verletzlich zugleich, in ihrem Bestreben, verlorene und zersplitterte Teile des Ganzen zu integrieren. Losgelöste Klangfäden erinnern an die Risse, Ränder, vergessenen Handlungsmöglichkeiten und vielschichtigen, schlummernden Persönlichkeiten, die nachts an die Oberfläche kommen und darauf warten, bei Tageslicht wiedergefunden und integriert zu werden. Inspiriert und beflügelt von vielen Dingen, darunter die Wiederbelebung indigener Sprachen, persönliche Erfahrungen mit Paraden und Prozessionen, frühe irische Musik, die Freude am Northern Soul-Tanzen, Aspekte des tschechischen und frühen italienischen Kinos, die Unmittelbarkeit des Klangs und das Aufbegehren einer Gegenwartskollektivität, die sich mit ihrer Stimme und ihrem Eintreten für das Menschsein angesichts von Tyrannei und Unterdrückung zu Wort meldet. Night CRIU wurde zwischen 2023 und Januar 2025 an der Westküste Irlands, in Dublin, London und teilweise in Lettland aufgenommen. Diese Lieder für Gesang, Blechblasinstrumente, Streicher, Elektronik, Feldaufnahmen, Texturen, Synthesizer und Klavier wurden aus vielen frühen Heimaufnahmen ausgewählt, die Woods als Spiegelbilder einander gegenüberstellte. Night CRIU wurde von Hilary Woods geschrieben und produziert, von Dean Hurley gemischt, mit zusätzlicher Produktion von Dean Hurley und Oliver Turvey, gemastert von Brian Lucey und mit Beiträgen von Hannah Fallon, Hangleton Brass Band, Gabriel Ferrandini und Ajo Gonsenica. ,Jede Platte ist eine Rettungsboje, eine Momentaufnahme, eine Markierung im Sand, ein Termin, den ich einhalten muss", so Woods. ,Ein Floß, das gleichzeitig kathartisch, schwimmfähig und verspielt ist - Platten aufzunehmen ist eine Art zu sein."

Hilary Woods' artistry is one of rare emotive reach. Her minimalist and compositional finesse combine with densely layered atmospheric instrumentation and dreamlike vocals to create music rich with both delicacy and intensity. The Sunday Times hailed her early solo recordings as "a revelation."After the release of two critically acclaimed EPs, Woods spent 2017 writing and recording songs on an eight-track in an abandoned flat she was living in at the time. Layering piano, synth, tape machine, field recordings, vocals, drone, unadorned beats, and old string instruments, these songs culminate in her debut solo LP Colt. Straddling the acoustic and electronic worlds, Colt is an intensely personal journey through grief, abandonment, and mutating love. Woods navigates this journey with a lyrical potency that cuts through stark piano, sensuous synth work, and textural acoustics. Somewhere between Marissa Nadler, Grouper and Julee Cruise, these songs evoke both the anguish of their content and the ecstasy of their craft.

"Acts of Light" ist eine Fuge, die aus neun langsamen, hypnotischen Klageliedern besteht. Auf ihrem dritten Album lehnen sich Woods' Experimentalismus und Klangforschungen an die Intimität und Zärtlichkeit dieser intuitiven Komposition an. Nach ihren Erkundungen von Gefühlen und Körperlichkeit durch Klang, die in ihrer 2021 erschienenen EP "Feral Hymns" gipfelten, ist "Acts of Light" ein beunruhigendes, persönliches Angebot an Wildnis, Verlust, Abwesenheit, Mysterien und höchste Liebe. Verletzlichkeit, Erhabenheit und Offenheit, hervorgerufen durch Drone, Noise, Synthesizer, Kontrabass, Field Recordings und sakralen Chorgesang, bilden das private Ritual. "Acts of Light" ist ein klangvolles, reichhaltiges und gewichtiges Lamento, das sowohl unterirdisch als auch abgründig ist, während gleichzeitig seine detaillierten Ranken verborgene Formen erwecken, die bei jedem Hören aus dem Schatten hervortreten. Texturaler Staub und gesprenkeltes Licht bewegen sich hier langsam und ausladend durch einen klanglichen und sensorischen Übergangsritus, bei dem Woods' bewegende Kompositionen uns das Gefühl vermitteln, mit dem ganzen Körper empfangen zu werden. Geschrieben, aufgenommen, gemischt und produziert über einen Zeitraum von zwei Jahren zwischen der Westküste Irlands und Dublin, nahm Woods die Chorsänger des Palestrina-Chores in der Pro Cathedral Dublin auf, zusammen mit den Stimmen des Galway City Chamber Choir. Die Streicher wurden von Jo Berger Myhre in Oslo aufgenommen, während die Feldaufnahmen nomadisch auf ihren Reisen durch den Nordwesten Spaniens entstanden.

Die dreifache Grammy-Gewinnerin Hilary Hahn präsentiert ihre neue Aufnahme von Eugène Ysaÿes sechs Sonaten für Violine solo op. 27. Inspiriert durch J.S. Bach schrieb der legendäre belgische Geiger und
Komponist Eugène Ysaÿe im Juni 1923 das erste Werk eines Zyklus aus sechs Sonaten. 100 Jahre später hat Hilary Hahn, „eine der wichtigsten Geigerinnen unserer Zeit“ (The New York Times), diesen Zyklus aufgenommen – angetrieben vom bevorstehenden 100-jährigen Jubiläum.

„Ich staune immer wieder über mein Glück, in dieser musikalischen Traditionslinie zu stehen“ sagt Hahn.
„Vor 20 Jahren waren mir diese Stücke irgendwie fremd, sie schienen Geheimnisse zu enthalten, die ich niemals enträtseln würde. Jetzt denke ich, ich kann diese Sonaten in seinem Geiste spielen und mir dabei trotzdem absolut treu bleiben.“

Eugène Ysaÿe (1858-1931), der weithin als einer der ersten modernen Geiger gilt, schuf technische und künstlerische Maßstäbe für sein Instrument, die bis heute gelten. Koryphäen wie Franck, Debussy und
Chausson komponierten bedeutende Werke für ihn. Im letzten Jahrzehnt seines Lebens konzentrierte sich Ysaÿe mehr auf das Komponieren. Er begann mit dem Schreiben der sechs Sonaten für Violine solo, nachdem er den ungarischen Virtuosen Joseph Szigeti Bachs Partiten und Sonaten für Solovioline spielen hörte. Hilary Hahn fasst ihre Bedeutung zusammen und beschreibt sie als „legendär, sie haben Generationen von Geigern geprägt und sind eine wunderbare Hommage an das Instrument“.

The inaugural 9128.live label release came from the UK's Jo Johnson and Hilary Robinson, featuring subtle, harmonic drones and manipulated piano, originally aired as part of the duo's set for the CALMA (Madrid) takeover on 9128.live, April 2020. Released digitally in 2020, the set is now available on 12" vinyl, split into two long-form compositions

New album by FLOCKS, the duo of drone specialist WERNER DURAND and percussionist ULI HOHMANN. Musical landscapes that move between traditional as well as experimental sounds with influences from Krautrock and JON HASSELL's "fourth world" aesthetics.

WERNER DURAND has made himself a name with various projects with Dhrupad singer AMELIA CHRISTIANSEN, DAVID CHRISTER HENNIX, as the co-founder of THE 13th TRIBE, ARMCHAIR TRAVELLER and TONALIENS (with ROBIN HAYWARD and HILARY JEFFERY) plus numerous solo albums, released on labels like Black Truffle, Unseen Worlds or Edition Telemark. Having studied saxophone as well as Indian / Persian flutes, the Berlin based DURAND is a highly reputated protagonist in the drone scene, famous for his self-built wind instruments like buzz-clarinets or his PVC neys & horns.

His partner in FLOCKS (and longtime personal friend) is ULI HOHMANN whose early encounters with music from Asia, India and Africa led to studies with the Ghanaian master drummer MUSTAPHA TETTEY ADDY and later Tombak and Daf with NEMAD DARMAN (Iran). HOHMANN played in a couple of projects that explored the language of classical Persian music, and started building his own stringed instruments (being an educated carpenter). In 2014 he joined DURAND and AMELIA CUNI for the album "Clearing", and 2018 DURAND and HOHMANN decided to con- tinue as a duo: FLOCKS was born.

On “Lagoon”, the duo further explores the aesthetics it has crafted on its selftitled debut (2023, on the now defunct ZEHRA imprint): DURAND and HOHMANN shape drone-y soundscapes based on their self-built wind- & stringed instruments, Persian percussion and subtle electronics, drawing ad- ditional inspiration from Krautrock (listen to the irresistible, hypnotique, ever-changing rhythmic pattern of the title track) as well as JON

DJ Support: Jamie Cullum (BBC Radio 2), Huey Morgan (BBC Radio 6), Gilles Peterson (BBC Radio 6), Deb Grant (New Music Fix, BBC Radio 6)

On debut album ‘While I'm Distracted’, London-based New Zealander Arjuna Oakes draws inspiration from contemporary soul and jazz, touches of global folk, electronica, modern classical, and post-rock, with dynamic arrangements and production. ‘While I'm Distracted’ is an album about fighting for your innocence and right to be a vulnerable and honest human. Arjuna’s songwriting explores themes of identity, depression, existentialism, social media, loss of innocence, and finding hope for the future through artistic expression.

'I'm obsessed with albums,' says Arjuna. 'I've made seven EPs, but needed time to tackle a full length record. I was using the EPs to learn the craft of how to make a great album, much like a director will make short films before they make a feature. I wanted to take the listener on a journey and spark their imagination. Hopefully the album expresses complex emotions, rather than having an intellectual concept. I'd rather ask questions than answer them'.

Across the album, Arjuna performs vocals, piano, keyboards, synths, production, and wrote the string arrangements. He’s joined by Harrison Scholes on bass, Jo Jenkins and Andre Smith on guitar, Sam Notman on drums, Louisa Williamson on saxophone, Nathan Haines on flute, Kate King on french horn, Leah Thomas on clarinet, Hilary Hayes and Emma Colligan on violin, Chris Van Der Zee on viola, Charley Davenport on cello, Zane Hawkins on percussion, James Macewan on trumpet, and additional production by Callum Mower.

born in canadian Newfoundland, aadja was drawn to music early. growing up in nature made a profound impact, the surrounding woods, rugged landscapes and nearby ocean inspiring her innate music language. she picked up a guitar at age five, and went on to play clarinet, piano, flute and baritone saxophone, as well as receiving classical vocal training.

isolation of the early 20's meant chaos for some, but for the canadian dj and producer this period in time presented itself as a gift. it became an environment to control and create, a time to dive into the fire of pyrocbs and emerge stronger and unfettered.

''pyrocbs'', the follow up of her excellent ''thought dealer'' record, features 11 compositions orchestrated by the prophet 6, and spiced with hilary's unique vocals. a bold, minimalist approach weaving a romantic dialogue between sounds.

like the eye of a storm, ''pyrocbs'' is what aadja defines as finding stillness amidst chaos.

In his most self-aware and sonically refined work to date, JORDY returns with In Retrospect—an 11-track journey through the clarity of hindsight. Transitioning from a breakup record into a manifesto on healing, the album captures the "push-and-pull" of turning 30 and finding power in the wreckage of the past.

Known for his unmistakable blend of "pop precision" and vulnerable storytelling, JORDY moves past the guilt of time wasted to celebrate the person he has become. This is an album about finding yourself again after the noise fades.

In Retrospect is a love letter to the music that shaped a generation. Sonically, JORDY pays homage to his roots, blending the infectious energy of early 2000s pop-punk and Hilary Duff-era bubblegum with the high-gloss production of modern synth-pop.
JORDY commented, “In Retrospect started as a breakup record, but it quickly became something much bigger. It turned into an album about healing. About growing. I think when people find themselves stuck in bad relationships, they often blame themselves for not leaving sooner. They carry guilt over the time they feel they’ve wasted. But writing this album helped me see it differently. The moment I chose to leave the toxicity behind, I felt like I found myself again. I got healthier, mentally and physically. I gave myself permission to mourn the life I thought I’d be living at 30, the future I imagined as a kid. I found peace in remembering that nothing is ever as serious as it feels. I found my power again. In retrospect, the pain and suffering may have been the very thing that saved me.

“Sonically, this album pays homage to my roots - to my younger self blasting Hilary Duff and pop punk bands alone in his room. It’s nostalgic. It’s the kind of music I love to listen to. It feels more like me than anything I’ve made in a long time. It’s funny and catchy, vulnerably heartbreaking, and beautifully hopeful all at the same time. It’s exactly where I am right now,” he added.

Loaded with tension and anchored by bold textural and stylistic contrasts, Sam Slater’s third solo full-length finds the British sound artist, composer, and engineer grappling with his creative contradictions head-on.

Having spent a life time in bands and producing records, Sam transitioned somewhat by accident through his work with Johan Johansson into working as a composer on high profile projects such as his collaboration with Hildur Guðnadóttir on the Grammy Award-winning Joker and Chernobyl, and with Pulitzer Prize-winning journalist Mstyslav Chernov on the soundtrack to the lauded 2000 Meters to Andriivka. Having a vast set of interests and influences is an asset when helping realise a directors vision for a soundtrack, but one's own musical voice can end up being constrained. In Lunng, Slater has gone back to his wildly divergent range of influences and rather than shy away from the extremes, he's used them to create a singular vision.

Take the opening track “Heatsick”: Slater imagines an extravagant fusion of 2000s drone metal and vintage British brass, welding ear-splitting overdriven drones and blown-out choral vocals to stirring trombone swells from veteran player Hilary Jeffery. On paper, it’s hard to imagine—but Slater’s intentionality conducts these polarizing elements into a surreal blur of sonic extremes, with the guitars’ relative harshness softened by Jeffery’s eerily nostalgic colliery echoes.

His last solo album, I do not wish to be known as a Vandal (Bedroom Community, 2022), showcased this breadth by assembling a team of collaborators including Sam Dunscombe and Yair Elazar Glotman. On this record he’s linking up with acclaimed multi-instrumentalist Maria W. Horn, idiosyncratic sax virtuoso Bendik Giske, versatile percussionist Adam Betts, and the aforementioned Jeffery, Slater ushers these players toward a lattice of calculated confutations.

Working to explore the tension between the divergent practices of his collaborators—Lunng was meant to be challenging. On “Praya”, Giske’s familiar overblown horn phrases are almost vaporized, vanishing among Slater’s weightless synths and Horn’s chillingly hoarse vocals. There are traces of Horn’s Funeral Folk project, but Slater shifts the emphasis, letting her voice brush past the other elements like a hallucination.

Slater’s use of extremes isn’t just in the micro; dynamics drive the album’s overall flow. “Praya” sets the stage for the record’s heaviest, most prickly moment: “Passengers”. Here, Horn’s voice cracks, rasps, and gurgles over serrated synths and Betts’ ritualistic drums. Slater turns an industrial symphony into a folk opera—dark, dramatic, and strangely beautiful—etched with Giske’s fluttering phrases.

But the mood soon shifts. Slater careens toward chaos, unleashing double-time rhythms and piercing textures familiar to anyone with a soft spot for classic black metal. These grotesque incongruities are deliberate; Slater surveys years of musical conflict and leans in, using dissent as fuel to build kinetic energy.

The weight of sentimentality bears down on “Black Metal Rewind (Night Drive Astra, 2006)”, melting teenage memories into hypnagogic ambience—shoegaze dreams whirled with angelic choral delusions. On “Death by Nostalgia, 1688”, he ventures further into polarizing territory, distorting AutoTuned voices with cryptic strings and medieval tonalities, unsettling any stable sense of past or present.

In this record Slater focuses on pure energy, color, and mood. Lunng distills years of listening into a bracing brew—boiling each sound down to its essence, then serving it with unflinching intent.

John Twells, 2025

After 10 years, WOLF HALL returned our screens in 2024 bringing Hilary Mantel's epic saga to its grim conclusion in WOLF HALL: THE MIRROR AND THE LIGHT. Directed by Peter Kosminsky, the six episodes tell the continuing story of Thomas Cromwell (Mark Rylance) and his complex relationship with Henry VIII (Damian Lewis) after the execution of Anne Boleyn,.

The new soundtrack reunites original Wolf Hall composer Debbie Wiseman with The Locrian Ensemble. Debbie Wiseman comments on her return to that world - "The distinctive sound of Wolf Hall is all about immediacy and being in the present with these characters. Drawing on elements from the original Wolf Hall score, new themes have been created for our soprano, Grace Davidson, our viola player, Philip Dukes, and our mandolin player and guitarist John Parricelli. It's been the most thrilling experience composing the score for this production."

Available on “Green Tea” colored vinyl, limited to 300. Remixed by Chris Teti & remastered by Kris Crummet for 10th Anniversary. Recommend If You Like: Prince Daddy & the Hyena, Into It. Over It., Blink-182. Maybe it always had to be this way. Posture & the Grizzly formed in Connecticut, in '08, and churned out a couple of demo tapes before dropping their debut LP in early 2014. Busch Hymns was scrappy and raw, all weed smoke and pent-up fury. Songs like "Egg Nog Drunk Off Hilary Duff's Piss" (yeah) and "You Know I Know What You Did Last Summer" exemplify the band's charm perfectly crystalline, wobbly leads ready to burst under bouncy hooks equal parts snarl and singalong. Just a glance at the tracklist lets you know what Posture & the Grizzly's all about: eight goofily titled songs in and out in eighteen minutes. Just in time for the LP's tenth anniversary, it's been given a remix by The World Is…'s Chris Teti, who originally produced and engineered the album back in 2013, along with remastering from Kris Crummett (Knuckle Puck, Dance Gavin Dance). Sometimes when an album like this is remastered, it loses some of its charm; the gloss crowds out the grit, the whole thing is recolored a bit too bright. But not so on Busch Hymns—these songs are crisper, but that doesn't mean they're cleaner. J. Nasty's throaty howls are as ragged as ever, but this time around they stand out against Piss Malone and Cabbage Pile's rhythm section, no longer straining for spotlight but basking in it. Their sound would get streamlined a bit over the course of their next two albums, I Am Satan and Posture & the Grizzly, replacing some of Busch Hymns's bite with a clearer-eyed sparkle and a newfound melodicism. Busch Hymns stands now as a document of the cult punks' early days, a transitional period from their throat-shredding demo days to their all-too-brief time as a pop-punk juggernaut. It's clearer than ever with the Busch Hymns remaster that Posture & the Grizzly was meant to sound like this, was meant for more than basement shows and beer-soaked floors. In this light, Busch Hymns is more than a transitional period; it's a glimpse into the greatness to come. So if you're sick of listening to modern punk too, then quit it. Listen to Busch Hymns instead

Dutch lute player and composer Jozef Van Wissem's new album The Night Dwells in the Day out 19th January 2024. “It's like a part of my body,” says Jozef Van Wissem of the relationship he has to his chosen instrument, the lute. “The complexity of it is what keeps me going because you can always find something new.” The ability to constantly extract something different and explore fresh terrain is evident throughout Van Wissem’s sprawling back catalogue and up to his latest album, ‘The Night Dwells in the Day’. Over the years he’s released countless solo albums stretching into double figures, there’s been collaborations with Jim Jarmusch and Tilda Swinton, award-winning computer game soundtracks, along with award-winning film soundtracks, from Jarmusch’s Only Lovers Left Alive to Pierre Creton’s 2023 film A Prince. Since studying the lute in New York with Patrick O'Brien in the 1990s, Van Wissem has gone on to create works equally as rooted in classical Renaissance and Baroque forms of lute music, as contemporary sounds spanning drones, electronics and field recordings. Throw in some of his formative influences from the no wave and industrial scenes, alongside a dedicated approach to minimalism and this has resulted in Van Wissem producing distinct and singular work whose sound is often a marriage of opposites; meditative and intense, forward thinking but with a sense of the arcane. The Quietus has called him “probably the most famous lutenist in the world”. The genesis for his latest album began during lockdown in Warsaw, where Van Wissem splits his time between Rotterdam. “The Call of the Deathbird” was the first song he wrote from the album and is the first to be shared, along with an accompanying video today. Over a hypnotic yet beautifully fluid and plucked melody - captures scenes of deserted streets, death and the intense isolation that gripped us all. One of the relatively rare tracks that Van Wissem sings on - along with some stirring and enveloping guest vocals from Hilary Woods (who will tour with Van Wissem later this year – details below) - his towering voice circles above the music much like the swooping deathbird he sings of. Normally Van Wissem writes all the music for one album within a confined period but this one song from a few years ago stuck around and took on a new lease of life and so joined a bunch of freshly written songs for the album. While one song written during, and about, the pandemic came to be the album’s centerpiece, the rest of the album grapples with the world as it moved on and all the dualism and dichotomies that followed. “It has to do with darkness and light,” Van Wissem says of the album. “The title can mean different things to people but sometimes people say that if I play a happy piece of music that it still sounds sad. So this is why I came up with that title.”

Für sein Album "Night After Night" hat Komponisten-Star James Newton Howard acht neue konzertante Suiten auf Basis der bekanntesten Melodien seiner poetischen Soundtracks aus seinen Filmen mit Regie-Star M. Night Shyamalan geschrieben. Ein All-Star-Ensemble klassischer Solist*Innen hat die so entstandenen neuen Stücke des mit dem Grammy ausgezeichneten Komponisten in den berühmten Londoner Air Studios aufgenommen: Pianist Jean-Yves Thibaudet, Geigerin Hilary Hahn, Cellistin Maya Beiser sowie ein Session-Orchester und der Chor "The New Voice" unter der Leitung von Gavin Greenaway. Zur Gestaltung seiner neuen Suiten hat James Newton Howard zentrale Motive und Themen aus seiner Filmmusik zu "The Sixth Sense" (1999), "Unbreakable" (2000), "Signs" (2002), "The Village" (2004), "Lady in the Water" (2006), "The Happening" (2008), "The Last Airbender" (2010) und "After Earth" (2013) verarbeitet. Das Klavier steht dabei immer im Mittelpunkt. Pianist Jean-Yves Thibaudet ist auf allen Stücken zu hören. Hilary Hahn spielt die Solo-Violine, wie bereits auf dem Originalsoundtrack von 2004, in der Suite zu "The Village". Auch Maya Beiser hat das Cello bereits in der Filmmusik von "The Happening" gespielt und tut dies nun ebenfalls in der gleichnamigen Suite. "Night After Night" feiert die einzigartige Zusammenarbeit zwischen dem berühmten Filmregisseur M. Night Shyamalan und dem Emmy- und Grammy-prämierten sowie neunfach Oscar-nominierten Komponisten James Newton Howard. Eine kreative Partnerschaft, die vor einem Vierteljahrhundert während der Produktion von "The Sixth Sense" begann. M. Night Shyamalan erinnert sich, wie er schon bei der ersten Begegnung das große "Potenzial und die Begeisterung", die aus ihrer Kollaboration erwuchs, spürte. In James Newton Howard fand der Ausnahme-Regisseur einen vertrauensvollen Partner, um die passende musikalische Sprache für seine übernatürlichen Thriller zu entwickeln. "Es gab keinen festen Plan", erinnert sich M. Night Shyamalan, "im Rückblick ist seine Fähigkeit, verschiedene Genres zu verbinden, das Wichtigste. Das interessiert mich. Es gibt den Aspekt des Thrills und des Schreckens in meinen Filmen, aber genauso wichtig ist die Emotionalität. Ein Komponist muss musikalisch sehr vielseitig sein, um all diese Facetten ausdrücken zu können, und einer der wenigen Komponisten, die das können, ist James.""Night ist ein unglaublich positiver Mensch", erklärt James Newton Howard, "er hat mich immer unterstützt, wenn ich verunsichert war oder an meiner Arbeit zweifelte. Das bedeutet mir sehr viel." "Das ist keine Fassade", erwidert M. Night Shyamalan, "es kommt wirklich aus meinem Glauben an dich."

In 2023 Deutsche Grammophon celebrates a wonderful milestone: its 125th birthday. To mark the occasion the Yellow Label makes a selection of LPs available on vinyl for the first time ever. Including legendary recordings by Daniil Trifonov, Hélène Grimaud, Hilary Hahn, Jan Lisiecki and many others. Gustavo Dudamel and the Simón Bolívar Symphony Orchestra of Venezuela celebrate the best in Latin American music, which “is all about dance, about rhythm” (Dudamel). “They set the concert hall afire with an enthusiastic fervor the likes of which none of us had ever witnessed from a symphony orchestra” (Los Angeles Times). Here is their recording – live, in concert, in Caracas – of the repertoire with which they’ve been thrilling audiences in around the world.

In 2023 Deutsche Grammophon celebrates a wonderful milestone: its 125th birthday. To mark the occasion the Yellow Label makes a selection of LPs available on vinyl for the first time ever. Including legendary recordings by Daniil Trifonov, Hélène Grimaud, Hilary Hahn, Jan Lisiecki and many others. Perahia's grandiose recording of Bach's French Suites is a true feast for music lovers and connoisseurs. Never has Bach sounded so natural and casual as in the hands of Perahia. The New York-born, multiple Grammy and Echo Klassik award winner has felt a close connection with Bach for decades. At the age of 15, a performance of the St. Matthew Passion made such an impression on him that it sparked a remarkable passion for the master of baroque music. Thanks to Perahia's intensive study of Bach's works, one can enjoy the enormous emotional range of the French suites from the very first minute: From bittersweet melancholy to exultant joy, Bach's masterpiece covers an incomparably rich spectrum of emotions. Due to Perahia's brilliant interpretation, this recording will certainly join the ranks of the most legendary contemporary piano recordings.

"In 2023 Deutsche Grammophon celebrates a wonderful milestone: its 125th birthday. To mark the occasion the Yellow Label makes a selection of LPs available on vinyl for the first time ever.
12 LPs for 12 months of celebrations. Including legendary recordings by Daniil Trifonov, Hélène Grimaud, Hilary Hahn, Jan Lisiecki and many others.About this release:
""The Berlin Recital"" sees pianist Yuja Wang take on works by late Romantic and 20thcentury composers. Recorded live in Berlin during a critically-acclaimed recital tour, the album features works by Rachmaninov, Scriabin, Ligeti, and Prokofiev."

"In 2023 Deutsche Grammophon celebrates a wonderful milestone: its 125th birthday. To mark the occasion the Yellow Label makes a selection of LPs available on vinyl for the first time ever.
12 LPs for 12 months of celebrations. Including legendary recordings by Daniil Trifonov, Hélène Grimaud, Hilary Hahn, Jan Lisiecki and many others. About this release:
The live album from charismatic Russian pianist Daniil Trifonov's debut recital at Carnegie Hall in February, 2013."

"In 2023 Deutsche Grammophon celebrates a wonderful milestone: its 125th birthday. To mark the occasion the Yellow Label makes a selection of LPs available on vinyl for the first time ever.
12 LPs for 12 months of celebrations. Including legendary recordings by Daniil Trifonov, Hélène Grimaud, Hilary Hahn, Jan Lisiecki and many others. About this release:
The incredible Jan Lisiecki performs both cycles of Chopins virtuosic Etudes; among the most challenging and evocative pieces of all the works in the piano repertoire. This is the second Deutsche Grammophon release from the young Canadian pianist, and his first-ever studio recital album."

Sometimes, a change of view can transform a person’s world. On ‘Don’t Come Down’, the artist formerly known as Matt Pond PA can be found with his “shoulder on the concrete” of a pavement, scoping out the world anew. This granular realignment of perspective serves as an open door to the debut album from The Natural Lines. At once clearly Pond’s work yet a huge leap forward in its measured songcraft, melodic immediacy, collaborative detail and wryly questioning lyrics, the result is a gorgeous album of intimate reflections from a relocated, renamed, revivified talent.

Recorded with close collaborators and friends over a period that saw Pond make vital adjustments to his life, its stealth emergence reflects his desire to set a fresh pace for himself and come from somewhere new, somewhere more open.

Now based in Kingston, New York, with his partner and wild dog Willa, Matt explains the album’s gestation thus. “It was something different from the start. I wanted to write as purely as I could. Instead of getting stuck in the ‘tour, write an album, release an album, tour’ cycle, which is not a natural way of writing or living, I wanted to write an album and when it was done I wanted to make sure it was done. I didn’t want this feeling of, ‘Oh, we didn’t have time’, or, ‘I don’t know whether I believe in the songs but it’s coming out anyway.’ I used to be always racing to the finish line, but I’m not anymore.”

For Matt, the call to ring the changes came with the recognition of “a certain nihilism or narcissism” involved in making music. “In some ways, you have to get in your own head and I think I went too far with that, with drinking and shutting people out. In something that I believe is collaborative, it’s not helpful.”

“I quit lying,” he adds. “I checked my harsher tones. I cut my drinking down. I went to therapy and figured out how to stop shouting at cars.”

Car troubles inspire ‘No More Tragedies’, the album’s standout second track, where he wryly details his desire to dampen his twinned impulses to take pictures of license plates blocking his parking space or take bricks to said car windshields. Warming melodies and harmonies soothe his rage, a balance maintained elsewhere on the album.

A need for connection underpins the lilting ‘Alex Bell’, where Matt’s lyrics playfully reference the inventor of the telephone over a plaintive cello and bubbling keyboards – evidence of the album’s carefully nurtured arrangements. With nimble sequencing, ‘My Answer’ follows with a question: do artists really need to get messed-up to create? Matt may not have the answer, he admits, but he articulates the question beautifully, channelling the influence of Blue Öyster Cult’s ‘Don’t Fear The Reaper’ into a song of fleet, melodic electric-folk drive.

Featuring 17-year-old MJ Murphy on misty backing vocals, the softly insistent ‘Don’t Come Down’ is an album centrepiece, detailing a need to see things anew. Like The Flaming Lips writing a classicist piano ballad, the twinkling ‘Artificial Moonlight’ finds Matt writing late at night, illuminated by the lights from streetlamps. Finally, ‘Mahwah’ closes the album on a note of arrival. While Matt Pond PA’s albums emerged from the disconnection of touring and living in vans, Pond is now happily – cruel winters aside – ensconced in Kingston. “I have found a place I love. Mercury Rev lives near here. It is a cool place to be, an artistic, mountainous, wild place to live. So – maybe this is it.”

In the case of The Natural Lines, a sense of arrival suggests itself. For Matt, the album follows two decades’ worth of Matt Pond PA records and soundtrack works. In a career he once described as “a series of benign mistakes,” Matt travelled far, moving from his band’s starting point in Philadelphia to Florida, Oakland and beyond while releasing 14 well-received albums. In 2017, he declared his intent to retire the Matt Pond PA name, though it lived on briefly in the reissue of The State Of Gold and EPs such as Free Fall, a tribute to Philadelphia.

Now, the name change honours his collaborators. Among a revolving cast, one constant presence in his work has been Chris Hansen, who plays guitar, bass, keys, saxophone and vocals on The Natural Lines’ debut. Matt’s partner, Anya Marina, contributes vocals. Other band members number Hilary James (cello/vocals), Kyle Kelly-Yahner (drums), Louie Lino (keys), Sarah Hansen (horns), Sean Hansen (drums/bass), Kat Murphy (vocals) and, also on vocals, MJ Murphy, for whom Matt brims with praise: “She can do anything she wants to musically.”

A heartening rebirth for Pond and his friends, the result also pays warming, witty, reflective and infectious testimony to the value of reconfiguring one’s outlook. “Once I took control of my mind, I could see what I wanted to say more clearly,” says Matt. “Instead of random floods of mania and panic, I felt like I was composed and composing. It has become as simple as reading the words of a sentence in the right order. As small as the pause before I hit ‘send’.” A development, you might say, conducted along the most natural of lines.

Die dreifache Grammy-Gewinnerin Hilary Hahn präsentiert Eclipse: ein Album, das ihre Rückkehr auf die Bühne feiert. Aufgenommen mit dem hr-Sinfonieorchester und seinem Chefdirigenten Andrés OrozcoEstrada, liefert die Geigerin Interpretationen von drei Werken, die mit universellen Emotionen aufgeladen sind und dennoch im musikalischen Erbe ihrer Komponisten verwurzelt sind: Dvořáks Violinkonzert, ein Meisterwerk aus der „slawischen Periode“ des tschechischen Komponisten, Ginasteras Violinkonzert und
Sarasates Carmen-Fantasie, eines der größten virtuosen Prunkstücke aller Zeiten.

Auch für Hahn markiert das Album eine Reihe musikalischer Meilensteine, vor allem aber ihre Rückkehr zur Aufnahme nach einem einjährigen Sabbatical und vielen weiteren Monaten künstlerischer Einsamkeit abseits der Bühne. „Ich habe das Gefühl, dass wir mit diesem Album etwas Wunderschönes in so schwierigen Zeiten erschaffen
haben“, sagt Hilary Hahn. „Nach dem Schlussakkord der Carmen-Fantasie fühlte ich mich, als hätte ich
einen enormen Perspektivwechsel durchgemacht. Durch etwas wirklich Herausforderndes gegangen und
gestärkt daraus hervorgegangen zu sein, als Musikerin verwandelt, zu allem bereit.“ Wie die Rückkehr
des Lichts nach einer Sonnenfinsternis (Eclipse). „Vieles kann eine künstlerische Entwicklung befeuern,
aber oft wird sie durch große Ereignisse in Gang gesetzt. Ich bin froh, dass dieser Schlüsselmoment hier
dokumentiert ist, dieses Ankommen, dieses neue musikalische Zusammenfinden.“

Sacred Bones is an independent record label and publishing company based in Brooklyn, NY that started over 15 years ago in the basement of a record store and has gone on to become a critically respected label that is synonymous with forward-thinking music and culture and won the 2020 Libera Award for Label of the Year. With over 300 releases under our belt, we’ve had the distinct pleasure to work with legendary artists the likes of Mort Garson, Patti Smith, Trent Reznor, and the late Genesis P-Orridge, as well as fostered the respective music careers of film directors David Lynch, John Carpenter, and Jim Jarmusch. We’ve also released career-defining albums by newer artists like Zola Jesus, SPELLLING, Molchat Doma, Marissa Nadler, Amen Dunes, and Jenny Hval, all while retaining our cult underground through smaller curated releases from some of the best punk and experimental artists.

Sacred Bones is an independent record label and publishing company based
in Brooklyn, NY that started over 15 years ago in the basement of a record store and has gone on to become a critically respected label that is synonymous with forward-thinking music and culture and won the 2020 Libera Award for Label of the Year. With over 300 releases under our belt, we’ve had the distinct pleasure to work with legendary artists the likes of Mort Garson, Patti Smith, Trent Reznor, and the late Genesis P-Orridge, as well as fostered the respective music careers of film directors David Lynch, John Carpenter, and Jim Jarmusch. We’ve also released career-defining albums by newer artists like Zola Jesus, SPELLLING, Molchat Doma, Marissa Nadler, Amen Dunes, and Jenny Hval, all while retaining our cult underground through smaller curated releases from some of the best punk and experimental artists.

Sacred Bones is an independent record label and publishing company based in Brooklyn, NY that started over 15 years ago in the basement of a record store and has gone on to become a critically respected label that is synonymous with forward-thinking music and culture and won the 2020 Libera Award for Label of the Year. With over 300 releases under our belt, we've had the distinct pleasure to work with legendary artists the likes of Mort Garson, Patti Smith, Trent Reznor, and the late Genesis P-Orridge, as well as fostered the respective music careers of film directors David Lynch, John Carpenter, and Jim Jarmusch. We've also released career-defining albums by newer artists like Zola Jesus, SPELLLING, Molchat Doma, Marissa Nadler, Amen Dunes, and Jenny Hval, all while retaining our cult underground through smaller curated releases from some of the best punk and experimental artists. Our fifteenth anniversary as a label will be honored with several events and an exciting vinyl repress collection but the crown jewel of this year's celebration is the compilation Todo Muere that features beloved artists from our roster covering their favorite songs that we have released over the years. The compilation features innovative pairings, like punk stalwarts Institute covering art pop sensation SPELLLING, and matches made in heaven like Marissa Nadler's gorgeously eerie cover of David Lynch's already eerie song "Cold Wind Blowin." Some songs are sister renditions with their own imaginative touch like Constant Smiles' cover of Jenny Hval while others, like the Zola Jesus song performed by Thou, Mizmor and Emma Ruth Rundle take on entirely different genres. And while each song on the comp stands on its own as a testament to the many song writing and song performance talents housed on the Sacred Bones roster, the compilation as a whole was sequenced as a cohesive whole deserving prime placement on any record shelf.

Following the release of his exhilarating recent album Bring Backs, London based producer, pianist, bandleader and MC Alfa Mist today announces news of an upcoming EP, Two For Mistake alongside the track 'Bumper Cars'. The EP, out via ANTI-, will be available digitally on 17th November before getting a physical 10" vinyl release on 18th March 2022. Alfa's upcoming tour will be starting in November in the UK and starting Janaury for mainland Europe. The run will be the first time fans will be able to hear tracks from Bring Backs, and Two For Mistake, in a live setting. Bring Backs marked Alfa's first release for the label ANTI- and is also the most detailed exploration of his upbringing in musical form, one which has resonated with audiences to the tune of 7.5 million culuated streams to date. The album's nine tracks of groove-based intricacies, lyrical solipsism and meandering fragmentations are tied together by a remarkable poem written by Hilary Thomas expressing the sensuous realities of building community in a new country. Entirely written and produced by Alfa, the album was recorded in London with a core band of longtime collaborators including Jamie Leeming (guitar), Kaya Thomas-Dyke (bass and vocals) and Johnny Woodham (trumpet).

Hannes Buder (born 1978 in the former GDR) is a musician, composer and improviser in the field of experimental music. His works concentrate on issues of movement, authenticity, intuition, minimalism, and slowness.

Buder's current projects include the bands 'Zug Zug' with Todd Capp and Andrew Lafkas, 'Gravity' with Hannes Lingens and Andrew Lafkas, the duo Nothingness with Sarah Jegelka, and his solo projects. Beyond that he has collaborated with Audrey Chen, Tony Buck, Audrey Lauro, Hilary Jeffery, Mike Majkowski, Steve Heather, Nicole Mitchell's Black Earth Ensemble, the Berlin Improvisers Orchestra and many others. Hannes Buder's Solo recordings include "Changes" (2000), "Dunkelbunt" (2004), "Openyoureyescloseyoureyes" (2006), "Changes II" (2015) and "Oustide WOrds" (2021). He performed concerts in Europe, Australia and in the USA.

Buder has also composed, improvised and recorded music for different dance (Oxana Chi, Judith Sanchez Ruìz), theater (Jörg Mihan, Johannes Maria Schmit) and film projects (Barbara Lubich, Annick Gaudreault). He's been giving workshops at festivals, music schools and with prisoners in jail. He studied guitar in Weimar and Dresden.

Having already unearthed three collections of archival ‘70s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer’s music by turning to more recent work with this first-time vinyl edition of Hennix’s “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis,” a 2014 piece first released as a CD in 2016 (Important Records).

The double album captures the April 22, 2014 premiere of Hennix’s composition by by the Chora(s)san Time-Court Mirage, her expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the blues’ origins in the eastern musical traditions of raga and makam, “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis” has its roots in Hennix’s 2013 realization of an “Illuminatory Sound Environment,” a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix’s own “The Electric Harpsichord.”

As Hennix explains in Other Matters, Blank Forms’ 2019 collection of her writings:

“Rag Infinity/Rag Cosmosis presents fragments of ‘raga-like’ frequency constellations following distinct cycles and permuting their order, creating a simultaneity of ‘multi-universes.’ When two such ‘universes’ come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated—the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically ‘transfinite’ Poincaré cycles (cyclic returns to initial conditions).”

As with Hennix’s best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Upon its mesmerizing ebb and flow, the vocalists incant a devotional poem written in Arabic by Hennix and featuring quotations from the Quran. Also reproduced on the album’s gatefold jacket, Hennix’s reduction of the sacred text to its most elegant formulation invites the contemplator to bring their inner knowledge to the composition for use as a prompt for meditation. Yet the piece offers depth to even the most secular listener willing to immerse themselves in music brimming with such serene intensity.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

• The tracks from the group’s two 1984 EPs together on a swanky 10-inch vinyl LP. Inner bag features liner notes by Kris Needs incorporating new interviews with all three Delmonas and a series of great photos by Eugene Doyen.

• Sarah Crouch, Hilary Wilkins and Louise Baker started singing together as a unique spark of spontaneous magic inextricably linked to their boyfriends in the Milkshakes, then rocking a garage-punk antidote to shiny synth-pop and brash chart stars with a direct lifeline back to rock’n’roll’s original simplicity and wildness. After Billy Childish and Bruce Brand formed the Pop Rivets in 1978, the guys hooked up with Micky Hampshire and Russell Wilkins to found the Milkshakes. Sarah shared a student house with boyfriend Micky plus Billy. After she and Hilary, then dating Russell, sang backing vocals on the Milkshakes’ rollicking Beatles-translated take on the Shirelles’ ‘Boys’, Louise’s arrival turned them into a girl group pretty much by accident.

• “I loved the music the Milkshakes were playing,” Louise recalls. “Loved the small, intimate venues and most of the bands that played with them, especially the Prisoners. I’d gone with the Milkshakes to Belgium and was somehow persuaded to get up on stage and sing something. Next thing I knew, there was some kind of plan to get the three of us in the studio.” At first the three girls were called the Milk-boilers, renaming themselves the Delmonas by the time Ace Records’ Roger Armstrong and Ted Carroll suggested recording the EPs that furnish this collection. “I think we were asked to each think of three songs and turn up,” says Louise. “I mostly listened to music from the 60s: lots of girl groups, Irma Thomas, Dusty Springfield, Bo Diddley, Velvet Underground, Kinks. Bruce had the best record collection; Mel Tormé was in there somewhere and one of my faves. Sarah came up with doing the Doors cover.”

• ‘Comin’ Home Baby’ was written as an instrumental before Bob Dorough added lyrics and Mel Tormé recorded it in 1962. The Delmonas’ finger-clicking, noir-dynamic version kicked off their first EP with authentic-sounding 60s production resonance, iced with mysterioso organ. The Cookies scored a hit with Goffin & King’s ‘Chains’ in 1962, the Beatles’ version providing the Hamburg Star-Club template for the Delmonas’ energised rendition. The first EP, “The Delmonas Volume 1”, rounded off with two songs from the Childish-Hampshire songwriting partnership: ‘Woa’ Now’ and ‘He Tells Me He Loves Me’, the latter recalling the New York Dolls covering the Shangri-Las’ ‘Give Him A Great Big Kiss’, mainly because it has similar chords.

• “The Delmonas Volume 2” opened with Sarah’s idea of covering the Doors’ hit. “We thought, ‘How would the Kinks have played it?’” she affirms. ‘Hello, I Love You’ had got the Doors into hot water with the Kinks’ publishers for its resemblance to ‘All Day And All Of The Night’. The Delmonas home in and highlight that similarity, adding bonkers psychedelic drop and evocative new coda. Their surf-tinged version of the Milkshakes’ ‘I’m The One For You’ is followed by the swampy screaming of ‘Peter Gunn Locomotion’, a cover of a 1963 single by Freddie Starr in his pre-stand-up comedian days as singer with the Midnighters. The set closed with the sultry organ-led vamp of the Milkshakes’ ‘I Want You’, the nearest the Delmonas get to the slowies Sarah helpfully points out they referred to as “shag songs”.

• All these tracks would re-appear on their “Dangerous Charms” album, along with out-takes and recordings from a BBC session, before the original trio splintered, leaving Sarah and Hilary to return for further adventures as Ludella Black and Ida Red. The eight tracks here capture a moment when three fun-loving friends got to live out some musical fantasies and had a blast doing it. 37 years later, it sounds just as contagious.

Recently signed to FatCat’s 130701 imprint, Dutch
composer Rutger Hoedemaekers makes his debut
solo release with a stunning album that marks the
culmination of a decade spent in the hypercreative studio environment he co-founded in
Berlin, including four years working closely
alongside Jóhann Jóhannsson.
Sonically rich, emotionally deep, and immaculately
handled, ‘The Age Of Oddities’ showcases a
brilliant new talent, its cinematic eloquence bearing
witness to Rutger’s experiences composing for film
alongside Oscar-winner Hildur Guðnadóttir and
Jóhannsson, for whom the album is partly a
eulogy.
‘The Age Of Oddities’ is a bold and forwardthinking record, with a rich, hybrid sound seeing
vocals processed and blurred alongside brass
parts and a wall of strings shadowed by Rutger’s
understated, textural electronics.
The album features the Budapest Art Orchestra’s
23-piece string ensemble alongside vocals (Kira
Kira, Else Torp and Laura Jansen), horn (Morris
Kliphuis), trombone (Hilary Jeffery) and violin (Una
Sveinbjarnardóttir, Viktor Orri Árnason), with
Hoedemaekers contributing trumpet, piano,
keyboard and electronics.
For fans of Jóhann Jóhannsson, Hildur
Guðnadóttir, Mica Levi, Max Richter, Olafur
Arnalds.

Clear / Orange Vinyl
Factory Benelux presents a remastered 2xLP coloured vinyl edition of Circuses and Bread, the seventh studio album by Manchester ensemble The Durutti Column. Originally released by Factory Benelux and Factory in 1986, the original 9 tracks have now been expanded with 6 bonus pieces.

The cover art retains the original design by 8vo. The remastered limited edition CLEAR+ORANGE vinyl set is housed in gatefold sleeve, with liner notes and rare band images. A CD version is also available (FBN 154 CD).

Self-produced by Vini Reilly at Strawberry and Revolution studios, the album saw Durutti playing as a quartet, with Reilly on guitar, vocals and keyboards, Bruce Mitchell in drums and percussion, John Metcalfe (viola) and Tim Kellett (trumpet).

‘The music ends up being very simple,’ Vini told NME. ‘People can dismiss it as being very simplistic, easy listening or whatever. It’s very honest, it’s very personal. People say it’s ambient, and it’s like Eno. I don’t like that, because the music’s made to be listened to, it’s not wallpaper.’

Of extended piece Blind Elevator Girl – Osaka, Vini adds: ‘The music really writes itself. For example, we’re in Osaka, in Japan, getting in this elevator. It’s very crowded with all these Japanese businessmen talking about distribution deals, and going on and on. On this lift was a beautiful Japanese girl, in an immaculate uniform. Each floor we arrived at, she’s starting talking Japanese, obviously saying what was on each floor. We went higher and higher, and finally we get to the top. And then, sort of walking out of the elevator, I suddenly realised she was blind... It got to me, this girl. It was incredible. So maybe a day later, I was thinking about that, and the whole tune came out. And every single piece of music is like that.’

Bonus tracks include Italian-only EP Greetings Three, scarce compilation track The Aftermath, and a previously unreleased working version of 1987 single Our Lady of the Angels produced by the late Stuart ‘Jammer’ James.

*Repress*

Robert Rental is an artist as influential as he is overlooked. An anchor of the early British DIY and post-punk scene, his name is most frequently uttered alongside illustrious collaborators such as Thomas Leer and Daniel Miller. Dark Entries and Optimo ally to illuminate some of Rental’s early solo works with an expanded reissue of his debut 7” Paralysis /A.C.C.. Both labels have previously excavated Rental’s catalog; we reissued the collaborative LP with Glenn Wallis in 2017, and Optimo released a collection of demos in 2018.

The double A-side Paralysis /A.C.C. 7” was self-released on Regular Records in 1978, around the same time as Leer’s Private Plane/International 7”. The record is a perfect document of the DIY ethos. It was recorded with the assistance of Leer in the council flat that Robert lived in, using an assortment of budget electronics: a Roland drum machine, a Stylophone, an Electroharmonix DrQ, and a TEAC A3440 4-track recorder. The record’s sleeves were surreptitiously photocopied after hours at the offices of Virgin Records by Robert's partner Hilary Farrow, and the labels were hand-stamped The initial print run was a scant 650 copies. With its prominent notes of Krautrock, prog, dub, and ambient, Paralysis /A.C.C. points to a then-emergent musical form. “Paralysis” makes its four and a half minute runtime feel like an eon, an endless morass of processed vocals and mournful melodies underpinned by the static whirrings of synthesizers. “A.C.C.” is an angular pop song that is at once both fractured and droning, like a skipping record that sounds incrementally more warped with each iteration. The original 7” material is joined here by three previously unreleased tracks. Instrumentals “G.B.D.” and “Ugly Talk” evidence Rental’s outre-prog and melodic electronic sides, respectively. Sitting between the instrumentals is “Untitled”, a sparse gem that layers Rental’s gently processed vox with guitar and drum machine, beautiful in its simplicity.

The Paralysis EP has been remastered for vinyl by George Horn at Fantasy studios. The record comes in a sleeve with the original xeroxed 7” artwork. Also included is a four page booklet with lyrics, photos, and archival press material.

Unbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works and Selections from 100 Models of Hegikan Roku (named the #1 archival release of 2019 by The Wire), in addition to a two-volume collection of Hennix’s writing titled Poësy Matters and Other Matters.

Recorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, and electronics) and Hans Isgren (bowed gong), Hennix’s realization of Karlheinz Stockhausen’s “Unbegrenzt” (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen’s conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young’s event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer’s Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen’s 1969 recording, Hennix’s alternative realization of the “Unbegrenzt” score’s instructions to “play a sound with the certainty that you have an infinite amount of time and space” is based on her concept of Infinitary Compositions, the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen’s compositional method of “moment-forming” to heart, her version’s dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen’s score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind.

Audio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

Seit einiger Zeit arbeitet die deutsch-brasilianische Künstlerin Gloria Endres de Oliveira, die auch als Filmemacherin (Musikvideos, Kurzfilme) und Schauspielerin (u.a."Babylon Berlin", "Die Pfeiler Der Macht", "Counterpart" und aktuell in Christian Petzolds "Undine" (Berlinale 2020)) aktiv ist, an der Verwirklichung ihrer musikalischen Vision. Zuerst gemeinsam mit spampoets im Duo Lovespells, seit letztem Jahr als Solo-Artist GLORIA DE OLIVEIRA. Nach Auftritten beim Further Festival und der c/o pop veröffentlichte sie in der zweiten Jahreshälfte 2019 die beiden EPs "La Rose De Fer" und "Lèvres De Sang" auf ihrem eigenen Label La Double Vie. Abgemischt im Hamburger Studio Cloud Hills Recordings, definieren sie Gloria de Oliveiras betörendes Soundspektrum zwischen Dreamwave, Ethereal und Goth Pop. Nun veröffentlicht das Kölner Label REPTILE MUSIC die Compilation der beiden EPs als "Fascination" (sprich Französich fa·si·na·syon) erstmals auf Vinyl und CD. Die LP beinhaltet die 10 original Songs der beiden EPs remastered und in neuer Reihenfolge, die 17-Track-CD-Version sowie das Digitale Album kommen mit zusätzlichen sieben Remixen von u.a.Gudrun Gut (u.a. Malaria, Monika Enterprises, Greie Gut Fraktion) Box And The Twins, Fragrance., Tellavision und The Wide Eye. Unterstützt wird die intime Atmosphäre ihrer Songs dabei durch eine entsprechende Visualisierung in bisher größtenteils selbstproduzierten Videos. Zur Vorabsingle "The Only Witness" erlaubt ab Anfang März der von der Hamburger Regisseurin Julia Ritschel aufwändig produzierte Videoclip einen weiteren faszinierenden Einblick in Gloria de Oliveiras universelles Kunst- und Klanguniversum. Parallel dazu wird GLORIA DE OLIVEIRA Ende März das US-Duo TEMPERS (DAIS/Secretly) bei fünf Konzerten ihrer anstehenden Deutschlandtour begleiten. Für Liebhaber von Cocteau Twins, Lebanon Hanover, Stina Nordenstam, Hilary Woods, introvertierter Marie Davidson Genres: Independent | Dreamwave | Synthwave | Ethereal | Electronica

Twenty years ago the duo HIL ST SOUL released a groundbreaking debut album SOUL ORGANIC.
Zambian-born vocalist Hilary Mwelwa and producer/musician/songwriter Victor
Redwood-Sawyerr (VRS) had been working away in a North London studio creating a unique blend of neo soul, jazz and R&B that had critics on both sides of the Atlantic in raptures.

Billboard magazine enthused: “Brimming with R&B/hip-hop/jazz-flavoured rhythms and image-rich
lyrics….Even Aretha’s Until You Come Back To Me glows again under Hil’s touch”.
And talking about the lead single Strictly A Vibe Thang, US magazine Radio & Records were
smitten: “You can’t sit still on this one. While listening to this infectious tune you got to move something – even if it’s just your big toe!” In the UK Echoes magazine called it “one of the best UK soul albums ever”.

Strictly A Vibe Thang charted on the Billboard R&B Singles chart, following in the footsteps of Loose Ends, Soul II Soul and Brand New Heavies, while Hil’s acoustic take on the Stevie Wonder-composed Until You Come Back To Me came out of nowhere to be a sensation at America’s Smooth Jazz radio format It ended 2000 as the most-played vocal track of the year across US Smooth Jazz radio stations, and in the ensuing two decades it has been the most-downloaded - and one of the most-streamed - tracks on the Dome label. Also heavily played: the joyful mid-tempo groove of For Your Love

This 20th Anniversary Edition of the album – now in a gatefold sleeve – includes three bonus tracks not included on the original vinyl release: the acoustic version of Until You Come Back
To Me, the VRS Remix of Just A Matter Of Time, with its insidious groove, and Down To Business.

Hil is still very active, playing several UK shows this autumn, including one at London’s Jazz Café, where she first performed 20 years ago.

A trio of guitar, bass and drums, Elektro Guzzi overcome the boundary between analogue versus digital, performing techno live with the drive of a machine and the sonic detail of an instrument - without any computers or loopers. For their upcoming album Polybrass, Elektro Guzzi have drastically expanded their sonic repertoire: both in the studio and on stage, they are joined by an ensemble of three trombonists, opening up a whole new realm of possibilities. With Hilary Jeffrey, Daniel Riegler and Martin Ptak, the band are joined by three brass heavyweights, each of them well renowned for both their solo ventures as well as projects such as The Kilimanjaro Darkjazz Ensemble, Sand and Zeitkratzer. By treating the three trombones not simply as a set of extra instruments but rather as one coherent body of sound on its own, Elektro Guzzi dissociate the brass instruments from their conventional use and repurpose them into something completely different: a modular synthesizer, with each trombone representing one oscillator. In doing so, Elektro Guzzi add new layers of depth to their music, emphasizing a more cinematic side of their music: like the soundtrack for a movie, Polybrass is bigger, darker, more dramatic, more intimate. Warm and fuzzy textures float weightlessly above fragile soundscapes and complex sonic fragments. At the same time, the band's signature sound runs distinctly through the entire album: solid percussive grooves, stripped down to the absolute minimum it takes to make your body move. Hypnotic repetition, building tension and suspense up to a point where the energy of the music gets so intense you feel like you can physically touch it with your hands, interlaced with organic patterns of sound, constantly changing and evolving, pulsating and oscillating. Vinyl: heavy sleeves + heavy printed inner sleeves, 180g vinyl with download code.