Across the vast expanse of the cosmos we approach a shimmering satellite globe. Entering its orbit in a hypnotic swirl our eyes peer closer and closer to the glowing sea below. We land near an intertidal zone wondering what enchants this world and its waters.
Coral Morphologic’s first album took us on a journey through space. Now with their sophomore LP we arrive at our destination, an aquatic world teaming with life.
*features a foldout poster with album art by Robert Beatty*
Across the vast expanse of the cosmos we approach a shimmering satellite globe. Entering its orbit in a hypnotic swirl our eyes peer closer and closer to the glowing sea below. We land near an intertidal zone wondering what enchants this world and its waters.
Coral Morphologic’s first album took us on a journey through space. Now with their sophomore LP we arrive at our destination, an aquatic world teaming with life.
*features a foldout poster with album art by Robert Beatty*
The third album from beloved Nashville indie rockers The Medium, City Life is the first they’ve produced on their own. Recorded in their homes with the help of a few friends, this grassroots approach to recording captures them simultaneously at their most relaxed as well as their most airtight. Ironically, City Life presents the quartet sounding their most country yet – sonically embracing some of the musical territory of their hometown as well as lyrically wrestling with the challenges of its rapid changes. The band’s penchant for saccharine harmonies, hypnotic riffs, and earnest ballads cohere everything into a uniquely relevant take on a classic 70’s rock sound. The record envisions ‘city life’ as a call for a better world – a society driven by care over productivity; by community over profiteering.
South London producer and musician Fr1th, presents Mind Blossom - a 13 track album displaying his creative output of over two years. It draws on influences as wide as J Dilla to Ludovico Einaudi. A blend of piano beats based production that spans true lo-fi, chill, ambient, electronic, jazz and Hiphop. Hypnotic head-nodding rhythms from this brilliant debut. Kaleidoscopic • Lush Lo-Fi • Keys Driven • Night Sky Beats.
Electronic titan Sasha combines with Sentre for the latest in a series of collaborative releases. The release of 'Glastacy' coincides with this year’s Glastonbury festival and comes with something special for fans.
Even by his own high standards, electronic luminary Sasha is in a superb run of form that has already yielded some stellar singles in the last year, both solo and in collaboration with like-minded talents. TheGRAMMY Award-nominated artist is renowned for pushing musical and technological boundaries, as well as for platforming exciting sounds on his Last Night On Earth label. The next release finds him working with Sentre, aka Dave Gardner & Dennis White, who have been electronic mainstays for many years. They have plenty of major credits under their belts, including working with Sasha on his seminal ‘Involver’ album and also 'Track 10' which they made with Sasha many years ago. It was Pete Tong’s Essential New Tune at the time and is one of many gems from these self-confessed studio nerds.
The release of ‘Glastacy’ also marks a new approach for Sasha and LNOE as they extend their relationship with fans beyond just the music. For the first time, along with the single release, fans will be able to collect and own the single artwork for free. The label has always sought to marry together music and art across its releases and now fans get the chance to own a piece for themselves. Using pioneering technology, those who claim the art will also be able to convert it to a smartphone wallet pass which will bring with it future benefits and surprises from Sasha and LNOE.
'Glastacy' is their latest collaboration, and it works angelic, wordless vocal sounds into heavenly loops that shimmer in and out of focus. Deft hi-hits and a supple bassline bring movement as a lead synth motif rises up out of the mix to bring dramatic tension and take dancers to the stars. It's emotive, hypnotic techno of the highest order, with a spine-tingling breakdown leading towards more trance-inducing musical pleasures. The Intro:Outro Mix is an ambient tool stripped of beats.
"Artist, multi-instrumentalist and astral traveller E Ruscha V releases a hypnotic suite of flow-state synth improvisations for Fourth Sounds.
Building on Ruscha’s 2022 collection Thinking A View, also accompanying an exhibition at Cedric Bardawil, Seeing Frequencies is as intuitive and it is experimental, as Ruscha follows melodic and rhythmic modulations like desire paths across 13 spacious recordings.
Drawn in part from the CocoQuantus synth, built by a man Ruscha describes as 'too weird for Buchla', Seeing Frequencies rides high on tremolo waves and organic vibrations, rooted in ambient, Balearic and Kosmische music traditions, while simultaneously engaging in a dialogue with the synaesthetic qualities of Ruscha’ painting practice.
Allowing the music to flow through him, Ruscha describes the optimum moment of creation as one he imagines for the listener too. 'I really love when music forces you to forget,' he explains. 'There's this beautiful moment where everything coalesces, and you just don’t think about anything.'
To immerse yourself in Seeing Frequencies is to understand exactly what he means."
Edition of 300 marbled vinyl with risograph insert, liner notes by Anton Spice.
Last Train are an exception on the French indie rock scene. From the Olympia in Paris to the biggest festivals, the four Alsatians have won over a devoted audience with their hypnotic, moving concerts. Independent or nothing, they self-produce their records and tours, as well as their music videos, short films and even documentaries, with rigour and determination. At the end of 2022, the musicians had the luxury of taking their time and the right to experiment. Far from the beaten track, they are rewriting their own repertoire in a cinematic and contemplative way. By collaborating with the Orchestre symphonique de Mulhouse, Last Trainconfirm their viscerallove of large-format sounds and images, and present a veritable compendium of inï¬,uences in twelve tracks.Original Motion PictureSoundtrack is the soundtrack to a film that doesn"texist. From a symphonic chaseto a neo-classical interlude, from an organ requiem to an electronic soaring, the Mulhouse-based band play with the boundaries of genres. Last Train sets the bar ever higher with this unexpected, singular and striking album. It is accompanied by a mini-series documenting the work done in the studio, the collaboration with the orchestra and the day-to-day life of an authentic, inspired band.
Last Train are an exception on the French indie rock scene. From the Olympia in Paris to the biggest festivals, the four Alsatians have won over a devoted audience with their hypnotic, moving concerts. Independent or nothing, they self-produce their records and tours, as well as their music videos, short films and even documentaries, with rigour and determination. At the end of 2022, the musicians had the luxury of taking their time and the right to experiment. Far from the beaten track, they are rewriting their own repertoire in a cinematic and contemplative way. By collaborating with the Orchestre symphonique de Mulhouse, Last Trainconfirm their viscerallove of large-format sounds and images, and present a veritable compendium of inï¬,uences in twelve tracks.Original Motion PictureSoundtrack is the soundtrack to a film that doesn"texist. From a symphonic chaseto a neo-classical interlude, from an organ requiem to an electronic soaring, the Mulhouse-based band play with the boundaries of genres. Last Train sets the bar ever higher with this unexpected, singular and striking album. It is accompanied by a mini-series documenting the work done in the studio, the collaboration with the orchestra and the day-to-day life of an authentic, inspired band.
This new collaboration started by Dutch/Swiss baritone saxophonist Jeroen Visser and Ethiopian dancer and cultural ambassador Melaku Belay features nine musicians and dancers. Their album "GOJO" pays tribute to the golden age of the Ethio-jazz in many refreshing ways. Where the old recordings were played with western instruments, this release leans on traditional instruments like the Ethiopian lyre the kirar (Robel Solomon/Sentayehu Tadesse), a one-string violin the masinqo (Habtamu Yeshambel), and the kebero as percussion (Mesay Abebay). The additional saxes (Jeroen Visser/Steve Buchanan) go well with the soulful and funky arrangements. Changes in rhythm, some experimental improvisations and wild outbursts, and the mesmerizing voice of Nardos Tesfaw are completing the overall hypnotic mood.
Tokyo female group Gallhammer was formed in February 2003 by Vivian Slaughter (bass/vocals), following her passion for the primitive work of Swiss legends Hellhammer & other metal, punk & crust acts. The band's debut studio album, 'Gloomy Lights' swiftly followed the year after, leading to a deal with Peaceville Records for the release of the 'Ill Innocence' (2007) & 'The End' albums, before the band folded.
Having become somewhat of an underground sensation in the years prior, the aptly-titled 2011 release, 'The End', was to become the farewell opus for Gallhammer. The album was recorded at Void)))Lab in Tokyo in mid-October 2010 & evolved further from the foundations of 'Ill Innocence', with an album of disturbing & dark drone music with a hypnotic bass & drum combination mixed with the band's raw black metal & punk origins. To further enhance the Gallhammer sound circa 2011, there was also the introduction of saxophone performed by Vivian, who at the time described the overall album direction as "strange & psychedelic experimental sounds of doom".
This edition of 'The End' is presented on black vinyl & appears on the format for the very first time.
Die lang erwartete Fortsetzung der beliebten Serie ist endlich
da: „80s Techno Tracks Vinyl Edition 3“. Diese Compilation
ist ein absolutes Muss für alle Vinyl-Liebhaber und Fans
klassischer Techno-Tracks aus den 1980er Jahren.
Mit großer Sorgfalt und Leidenschaft zusammengestellt, bringt
diese Edition die Essenz der 80er Techno-Szene direkt zu
Ihnen nach Hause. Jeder Track wurde sorgfältig ausgewählt,
um die Vielfalt und den Pioniergeist dieser einflussreichen
Musikära widerzuspiegeln. Von pulsierenden Basslinien bis
hin zu hypnotischen Synthesizer-Melodien – diese Sammlung
bietet eine beeindruckende Palette an Klängen, die die
damalige Clubszene revolutioniert haben.
FIRST TIME ON VINYL! AVAILABLE IN A BROWN & WHITE COLORED VINYL PRESSING IN A GATEFOLD JACKET WITH OBI LIMITED TO 1000 NUMBERED COPIES.
Memphis Rap legend Project Pat released his third studio album Layin' Da Smack Down in 2002 on CD and Cassette via Loud/Columbia/Hypnotize Minds. Following up Mista Don't Play, Project Pat spits rapid-fire street tales of the dirty south over DJ Paul and Juicy J's signature Three 6 Mafia bangin' 808 beats. From rowdy club tracks to smoother pimp tales and true-to-life stories of being incarcerated, Project Pat delivers another Hypnotize Minds North Memphis classic. The album also contains the single "Choose U" which would be reworked in 2007 for UGK's "International Players Anthem." Get On Down in partnership with Sony Music's CERTIFIED is proud to present Layin' Da Smack Down for the first time on vinyl. Pressed on colored vinyl packaged in a gatefold jacket with a printed insert and numbered OBI limited to 1000 copies.
Collaboration between Kilbey (The Church) and Kearns (Cactus World News), compiling before unfinished recordigs from late 1990s up to 2016. Initially issued as a 500 run CD available by mail order only in 2016, this is the very first time being released through global distribution, packaged in deluxe gatefold sleeve and containing two unreleased bonus tracks. Kilbey's The Church have returned to a high-profile status with both current albums 'The Hypnogogue' & "Ezra..." being critically acclaimed globally. The two new bonus songs are tracks 11 and 12, which were recorded in 2022. Kilbey and Kearns dive deep into atmospheric soundscapes and vocals and mysterious, yet revealing lyrics as Speed of the Stars. Easy Action will be issuing Steve Kilbey's solo and collaboration albums over the coming years.
Christopher Juul, Maria Franz, Kai Uwe Faust und ihr nordisches Kollektiv versetzen das Publikum mit Kehlkopfgesang, urwüchsigen Rhythmen, subtilen elektronischen Texturen, einer hypnotisierenden Lichtshow, einer Armee von Kriegern und Feuerstößen in Verzückung.
Gibt es einen besseren Ort auf der Welt, um ihr uraltes Ritual zu erleben, als Red Rocks? Der weltberühmte Veranstaltungsort, der außerhalb von Denver, Colorado, zwischen zwei riesigen Sandsteinen liegt, war einst die Heimat indigener Stämme. Als Heilung am 5. Oktober 2021 auftraten, würdigten sie diese Geschichte, indem sie die Eingeborenen zu dem Gebet einluden, mit dem alle ihre Rituale beginnen. „Denkt daran, dass wir alle Brüder sind. Alle Menschen, Tiere, Bäume, Steine und der Wind. Wir alle stammen von dem einen großen Wesen ab.“
Was folgte, war eine Nacht, die niemand vergessen wird. Erleben Sie die Magie von Heilungs erstem Red Rocks Auftritt immer wieder auf CD und Vinyl!
Christopher Juul, Maria Franz, Kai Uwe Faust und ihr nordisches Kollektiv versetzen das Publikum mit Kehlkopfgesang, urwüchsigen Rhythmen, subtilen elektronischen Texturen, einer hypnotisierenden Lichtshow, einer Armee von Kriegern und Feuerstößen in Verzückung.
Gibt es einen besseren Ort auf der Welt, um ihr uraltes Ritual zu erleben, als Red Rocks? Der weltberühmte Veranstaltungsort, der außerhalb von Denver, Colorado, zwischen zwei riesigen Sandsteinen liegt, war einst die Heimat indigener Stämme. Als Heilung am 5. Oktober 2021 auftraten, würdigten sie diese Geschichte, indem sie die Eingeborenen zu dem Gebet einluden, mit dem alle ihre Rituale beginnen. „Denkt daran, dass wir alle Brüder sind. Alle Menschen, Tiere, Bäume, Steine und der Wind. Wir alle stammen von dem einen großen Wesen ab.“
Was folgte, war eine Nacht, die niemand vergessen wird. Erleben Sie die Magie von Heilungs erstem Red Rocks Auftritt immer wieder auf CD und Vinyl!
Christopher Juul, Maria Franz, Kai Uwe Faust und ihr nordisches Kollektiv versetzen das Publikum mit Kehlkopfgesang, urwüchsigen Rhythmen, subtilen elektronischen Texturen, einer hypnotisierenden Lichtshow, einer Armee von Kriegern und Feuerstößen in Verzückung.
Gibt es einen besseren Ort auf der Welt, um ihr uraltes Ritual zu erleben, als Red Rocks? Der weltberühmte Veranstaltungsort, der außerhalb von Denver, Colorado, zwischen zwei riesigen Sandsteinen liegt, war einst die Heimat indigener Stämme. Als Heilung am 5. Oktober 2021 auftraten, würdigten sie diese Geschichte, indem sie die Eingeborenen zu dem Gebet einluden, mit dem alle ihre Rituale beginnen. „Denkt daran, dass wir alle Brüder sind. Alle Menschen, Tiere, Bäume, Steine und der Wind. Wir alle stammen von dem einen großen Wesen ab.“
Was folgte, war eine Nacht, die niemand vergessen wird. Erleben Sie die Magie von Heilungs erstem Red Rocks Auftritt immer wieder auf CD und Vinyl!
As deep and wonky as it gets, Buffalo bass wizard isded is back with some potent dubstep saucery in the form of Swang EP - the latest release on Truth’s Deep, Dark & Dangerous imprint.
One slurp of the producer’s potion will see you hypnotized and intoxicated in equal measure as the four cuts of the most matured and delectable bass seep through your veins.
Tribal feels, sub-shattering lows and crisp percussion all coalesce to create the perfect conditions to take the step into the unknown crevices of your own mind.
Ready to get swang? We didn’t think so.
WHITE OPAQUE VINYL[23,49 €]
In den 1980ern zählte die Super Djata Band von Zani Diabaté zu den besten Orchestern Malis, dank ihrer unvergleichlichen Mischung aus Wasulu-Jäger-Musik, Griot-Lobpreisen, Senufo-Pastoral, Tänze, Fula und Mandingo Repertoire mit westlicher Psychedelik, Blues und Afro-Beat. Auf ihrem Album von 1982, verankerte sich Diabaté im Pantheon der mythischen westafrikanischen Gitarristen und zupfte sich hypnotisch durch acht lebhafte Kompositionen auf seinem Weg zum Status einer Gottheit.
Black Vinyl[22,27 €]
In den 1980ern zählte die Super Djata Band von Zani Diabaté zu den besten Orchestern Malis, dank ihrer unvergleichlichen Mischung aus Wasulu-Jäger-Musik, Griot-Lobpreisen, Senufo-Pastoral, Tänze, Fula und Mandingo Repertoire mit westlicher Psychedelik, Blues und Afro-Beat. Auf ihrem Album von 1982, verankerte sich Diabaté im Pantheon der mythischen westafrikanischen Gitarristen und zupfte sich hypnotisch durch acht lebhafte Kompositionen auf seinem Weg zum Status einer Gottheit.
Black Truffle is thrilled to announce a reissue of Chico Mello and Helinho Brandão’s self-titled release from 1984, the first return to vinyl of this classic of Brazilian experimental music with its original cover art and complete track listing. An under-recognised figure whose work inhabits a singular terrain where radical new music techniques and music theatre meet musica popular brasileira, Mello has lived and worked in Berlin since the late 1980s. A student of Dieter Schnebel, Mello played in the 90s iteration of Arnold Dreyblatt’s Orchestra of Excited Strings alongside compatriot Silvia Ocougne, with whom he produced a radical and hilarious deconstruction of MPB classics on Musica Brasileira De(s)composta (an early and rather atypical release on Edition Wandelweiser).
On this release, his only recording predating his move to Europe, Mello works with the alto saxophonist Helinho Brandão, who appears to be otherwise unknown outside Brazil. The record’s six tracks range from solo saxophone improvisation to densely layered ensemble works bridging minimalism, acoustic sound art and a plaintive melodic sensibility that calls up Edu Lobo or Milton Nascimento. Beginning with a dramatic, dissonant wind and string surge from which emerge ominously pounding piano chords, opener ‘Água’ slowly builds in intensity, a halo of clustered vocal harmonies gradually closing in on Brandão’s squealing sax until the piece opens up to reveal a gorgeous passage of melodic singing. The piano accompaniment reduces to tolling bass notes as the voice begins a repeated incantation, suggesting a ritualistic atmosphere reminiscent of parts of Xenakis’ setting of Oresteia. Dissonant, sawing tremolos on the strings climb to a crescendo before disappearing into the sounds of water being poured and splashed into metal vessels, presented not as a field recording but as a percussive element performed by the ensemble. A child’s voice then appears, singing to piano accompaniment the same melody heard earlier in the piece. After a brief solo alto improvisation from Brandão, working with the guttural pops and fleeting melodic gestures of Braxton or Roscoe Mitchell, the remainder of the first side is dedicated to the leisurely unfolding of ‘Baiando’ over the course of twelve minutes. A trio for Brandão on soprano saxophone, Mello on a very period-appropriate phased nylon string guitar and Edu Dequech on bongos, the performance eases its way hypnotically through subtle variations on a set of rhythmic and melodic patterns, almost derailed at points by Brandão’s wild forays into extended technique but held together by Mello’s droning guitar notes.
The second side opens with another multi-part epic for a larger ensemble, ‘Matraca’, which makes use of strings, electric guitars and a wide range of South American percussion instruments. Rasping violin harmonics hover as drum hits, repeated guitar notes and triangle accompany a slowly descending bass glissando. A sudden change in direction introduces a thrumming, incessantly repeated bowed bass tone, beginning a series of episodes of minimalist phasing and pattern variation, the combinations of electric guitars and orchestral instruments giving the ensemble an ad hoc charm like the early Penguin Café Orchestra but with more percussive drive. Eventually the piece is overrun by a cacophony of the titular matracas (a kind of ratchet/cog rattle). Following a lyrical trio improvisation by Mello, Brandão and Gerson Kornin on bass, the final ‘Danca’ focuses entirely on Mello’s layered acoustic guitars and vocals, using this restricted palette to build up a haunting piece of almost orchestral density, reminiscent of the 70s work of Egberto Gismonti in how it thickens a folkish ambience with harmonic sophistication.
Arriving in a starkly beautiful gatefold sleeve and sounding better than ever in its new remaster, one might call the stunning music contained on Chico Mello/Helinho Brandão ahead of its time. But what (other than some of Mello’s own work) produced in the years since its initial release has really touched the organic fusion of minimalism, free improvisation, radical instrumental technique and popular song achieved here? Forty years after its first release, Chico Mello/Helinho Brandão remains music of the future.
