Buscar:its a musical

The long lost 1968 debut album by singer-songwriter, Scott Fagan, once tipped to be bigger than Elvis, is set for release on 9th February 2024 via Earth Recordings. 'South Atlantic Blues' will be reissued for the first time in its original artwork, with an iconic portrait of Fagan by famed rock photographer, Joel Brodsky, following a widely celebrated 2015 release. Revisiting his mystical, mythical, and deeply soulful masterpiece, this psych-folk gem doffs a Tropicalia hat direct from downtown New York. "His songs embrace a broad sonic fantasia, swirling in '60s New York R&B and '40s jazz, as well as the Caribbean rhythms of calypso, meringue and Pachanga." New York Times Scott Fagan's story is worthy of a movie in itself. A swinging hipster who landed in 60s Greenwich folk scene, escaping the abject poverty of his U.S. Virgin Islands upbringing, Fagan found himself mentored by the Brill Building's Doc Pomus and Mort Shuman, and feted as the next big thing. "Forget Rodriguez, forget Searching for Sugar Man," says Sharyn Felder, daughter of the late Doc Pomus, the legendary songwriter who signed Fagan to management in 1964. "Scott was so much more. He was cut from a different cloth." 'South Atlantic Blues' is the perfect soundtrack to this tale, an epic song cycle wrapped around an impassioned love story, driven by Fagan's dense, allusive lyrics, and production by Elmer Jared Gordon (Pearls Before Swine) and rich arrangements by Horace Ott (Nina Simone, Sam Cooke, The Shirelles). The Earth Recordings reissue coincides with a resurgence in activity for Fagan, with a new album in the works - the never-recorded soundtrack to 'Soon', the 1971 Broadway rock musical he co-wrote and starred in - and a documentary 'Soon: the Story of Scott Fagan' currently filming through Scissor Kick Films, from director Marah Strauch, writer Chris Campion (who rediscovered the singer-songwriter in 2015), and producer Eric Bruggeman. Classic Black Vinyl + DLC

Get ready to unleash another fine release on BCSM Records. We present you a powerful tune and version by singer Christine Salem from Reunion Islands and danish dub wizard Dub Across Borders (DAB) , combining the best of world music and dubwise business.
The characteristic, deep and powerful voice of Christine Salem first made its way to
the speakers in the Dub Across Borders studio one winter night in 2018. Through a musical friendship in Brazil, DAB was presented with a recording of one of Salem’s live concerts.

Instantly, the stripped down vocal/percussion style arrangements of the songs resonated with a raw authenticity and nerve which sparked inspiration. Shortly after, with a sort of ‘bootleg-approach’, DAB was found reworking the song “Kadjembawe” into a heavy dub version, adding several other instruments like, organ, bass, guitars, etc. Some years later when the rework had gone rounds with friends and alike, it was presented to the Swiss bass clarinet virtuous Eloi Cálame.

From his studio in Switzerland he then transcribed and recorded the horn arrangements with trumpeteer Jaronas Hoehener. After many e-mails with Christine and her management, the song being reborn into its dubby self. Then it was presented to Tino from BCSM who took charge in the endeavour to present it to the world.

This is the story of the one the great disco labels, a legendary label who were at the forefront of a genre during it fruition and creative peak. Sam Weiss started SAM Records in Long Island City, New York in 1976. Sam, and his brother Hy, were born in Romania before moving to the Bronx in New York City when they were young. Sam and his brother were no strangers to the music business having been in the industry since the mid-50s running labels Old Town and Parody Records. • During the mid-1970s Disco took New York by storm and emerged into a revolutionary musical force that re-shaped the face of the City. It was however a genre major labels largely ignored initially. It was the smaller, independent labels that led the way in disco’s early years. Founded in 1974, Salsoul was the first. Sam’s new label SAM Records arrived a year later, followed by West End and Prelude in 1976: four labels from which umpteen disco classics emerged. • This compilation compiles all of the classic material that SAM release during the years 1975 and 1983. Offering up a treasure trove of disco essential this compilation features tracks from Gary’s Gang, John Davis & The Monster Orchestra, Komiko, Rhyze, Convertion, Vicky “D”, Greg Henderson alongside deeper cuts by Lucy Hawkins, K.I.D and more. • The audio used here has been sourced from the SAM archives and in many cases the mixes are appearing in their truest 12-inch form. The set is complete with extensive liner notes by The Guardian’s chief music critic and disco authority Alexis Petridis. • SAM Records has forever left its footprint on the Disco and music history, and this compilation is an essential addition to anyone’s collection.

and the novelty goes on: mule musiq welcomes another fresh producer to its vast catalogue of music from all around. this time andro gogibedashvili aka saphileaum. he is coming from tbilisi, georgia and already released an impressive body of work, considering he just publishes music since 2016. countless eps and albums, digital, on tape, documenting his feverish creative urge on labels like not not fun records, good morning tapes, diffuse reality, or vodkast. they cover a comprehensive stylistic range from ambient and downtempo to tribal, house, and techno nuances. a deeper shade of soul, precisely fashioned, growing from different playgrounds of inspiration. he was born into a musical family. as a kid he studied georgian folk. in his school rock band, he sang, and the guitar was his love. then electronic music called the tune, and techno hit his heart. in the midst of it all the 26-year-old never lost contact with his spiritual home. “i find deep inspiration in georgian myths and legends, occultism and esoteric teachings, lost civilizations, earth, unity, truth, information, and the secrets of the universe. these things, to name a few, inspire me daily and help me create the music I make.” saphileaum reveals. “exploring together”, his debut album for mule, navigates all these elements through a merry-go-round of gentle driven rhythm zones. fourth-world spheres, balearic tropes, field recording zones, tropical downbeat, tribal percussions, trancing sounds, balafon hums, mallet airs, hooky house – it’s all there, circling the eavesdropper into a dreamland of melodic undercurrents. “my loops come from tribal and cosmic inspirations. tribal, as below, and cosmic as above. the combination of these two, is very interesting to me”, he clarifies, while joking “but, to put it super simply, loops are super handy for djing”. which brings us to the final promotion of “exploring together” - it’s playability. its vast. multifunctional. spiritual. made for gatherings, were all dance time away. lost in music actions, only touched by the hand of rhythm and sound. his ten tracks are created for such flashes, wide spreading a musical narration of illuminating durability. “cosmic, relaxing, fun, tribal, and mystic.”, as saphileaum declares.

1000 miles away from the beating musical hearts of Rio and São Paulo in the late ‘70s, the Brazilian city of Belém gave rise to a little-known record label called Erla - Estudio Rauland. Though not prolific in its output, the label made up for it in quality and experimental offerings, with several records on the label now becoming sought-after pieces among collectors. One such release is the sublime four-track psych, MPB, rock EP by singer-songwriter Jarbas Mariz.

They say never judge a book by its cover, though on this occasion you pretty much can. The wonderful tripped-out ‘70s artwork by Baby is a sure-fire indication of the music lying within. Though the EP was recorded in ‘77, it clearly gained inspiration from the psychedelic hippy idols of the previous decade and could easily have been a soundtrack to an acid trip scene in an obscure Brazilian movie.

Low-fi and quirky, there are moments of beauty and splendour but also hints of darkness; with a sublime balance of music and styles throughout. At points Jarbas will have you drifting through a folk flute daydream, the next moment a growling, psych-distorted guitar breaks and parts the calm. An ability to make those elements blend cohesively is where Jarbas’ true brilliance shines through.

Jarbas played, and still plays, with some of the key figures in Brazil's musical underground. Guilherme Coutinho (whose Guilherme Coutinho - E O Grupo Stalo album from ‘78 was also re-issued on Mr Bongo) features on electric piano for this release, with fans of his work being able to pick out his tones and playing style. Elsewhere, Jarbas also collaborated with the late great Lula Côrtes on the 'Bom Shankar Bolenath' album from 1988 and 'Rosa De Sange' from 1980. He was a member of the wonderful Cátia de França band and is a regular in the legendary Tom Zé group.

'Transas Do Futuro' is a special record and one we are honoured to be reissuing.

toechter is an all-female trio operating from Berlin. toechter’s 2nd full-length album »Epic Wonder« sees its classically trained members blend elaborate string arrangements with ethereal indie pop and delicate rhythms. Katrine Grarup Elbo, Lisa Marie Vogel and Marie-Claire Schlameus exclusively use analogue sound sources (such as violin, viola, cello, and their voices), which were then electronically processed.

Named after the Greek god of the wind, toechters 2022 album »Zephyr« exhaled deeply with concurrently invigorating and confusing sounds. »Epic Wonder«, their second album, was created in the spring and summer of 2023. Playing with forms and contours, the music sounds like the awakening of something new. One seems to be listening to an ongoing conversation, an exchange about what music could be, where it wants to go and how it contributes to our view of life. It all rests on a simple premise:

»Every sound you hear in our universe comes from us. The string trio is the core of toechter, the starting point of all our work.«

Those looking for new worlds of sound can find them in the work of this classically- trained musicians. Whether they add voices or percussive instruments, sample the sounds, or manipulate them electronically; ultimately they are exploring the string trio's place in a world shaped by the digital.

»Prelude« opens the album, seemingly a conversation, yet not only between humans. We catch the word ›love‹ which soon morphs into pure sound images, while a violin theme tentatively takes over. Is it the dawning of a new day? The chorus of sound transforms into a fascinating rhythmic figure, creating a club-like experience that fades out in delicate structures. A perpetual transformation.

According to toechter, »Epic Wonder« is all about making connections. Connections between people, animals, plants, fungi, rocks, soils, oceans, ice caps, stars, and planets. One imagines oneself in a folk-pop song of the 60s, or even blown around by Morricone's desert wind:

»The world as we see it is in desperate need for a deeper understanding; for compassion, for empathy. We have to understand that we are all part of the same organism. Epic Wonder is a dream, a wish, a longing for kinship between all species that share the world - all that is alive.«

The acoustic throbbing and knocking in »Sea Of Serenity« makes you think of encounters with mythical creatures or planetary oceanography; and out of the mechanically clacking groove of »Shift Souls« a gentle, but steady movement awakens with voices that seem to sound from the depths of the sea. Everything is in flux, floating in and out of dimensions and elements.

The album ends with »Mercury«, spherically elegant and almost science fiction-like. Here, a pizzicato melody leads us back to the baroque, simultaneously representing a detail of intertwined sonic worlds, while the steady, housy baseline develops its driving theme.

»Creating the music for the album, we allowed ourselves to waft away with the aspiration that connections are possible. Sometimes dwelling on subtle, yet marveling phenomena like the evening fog covering a valley on Midsummer, sometimes on grandiose splendors like the genesis of mountains or the birth of a child - letting interactions and encounters with other beings float through the musical universe as drips of emotional perceptivity.«

For the visual manifestation of »Epic Wonder«, toechter has engaged with Finish up-and-coming lens-based artist Aino Kontinen. Her work will grace both the cover art of the album and accompany the first single and video as an ephemeral tale in motion.

The Bony King of Nowhere is the artistic alias of Belgian artist Bram Vanparys. He made a mark in 2018 with the release of his critically acclaimed album Silent Days. The record received consistent 4- and 5-star press reviews and was hailed as his best album to date. It also earned Vanparys a Music Industry Award (BE) for 'best author-composer'. Silent Days revealed the full potential of the singer-songwriter and his commitment to never repeat himself and keep surpassing his creative abilities.

The new album, entitled Everybody Knows, has been a long time coming, partly due to Vanparys' aforementioned pledge to artistic evolution. The first two tracks he unveiled give a definite hint of what to expect from this album. 'Are You Still Alive' and 'Almost Invisible' carry the quality mark, known colour scheme and scent of The Bony King of Nowhere, but add many more hues and details. The new record showcases the new league Vanparys is playing in. Themes like rusted patterns in society, the obedience of the everyday man, the structural false ignorance of big shots, the toxicity of online communication and other very recognisable but not always pleasant subjects. Inspired by the observations of many sociologists, Vanparys dissects our society, the loneliest ever. This album is not just disconcerting though, in its strength lies a sense of hope and vigour.

The first singles promise a new album with lots of punch and energy, while Vanparys is unveiling the complete complexion of his voice whilst remaining vulnerable and honest. On the album, he is accompanied by multi-talent guitarist Vitja Pauwels (Naima Joris), pianist Hendrik Lasure (Tamino, Bombataz), drummer Simon Segers (Sylvie Kreusch, Stadt) and bass player Jasper Hautekiet.

While the songwriting legends, particularly Neil Young and Bob Dylan, have always kept Bram company, his latest compositions also draw inspiration from more contemporary artists. The influence of PJ Harvey, Blur and Nick Cave are unmistakable when you listen to his music. While staying true to his heartfelt songwriting style and captivating voice, The Bony King Of Nowhere embarks on a journey into uncharted musical and thematic realms.

The last time this band was on tour in support of 'Silent Days', they took a big leap forward while touring 75 shows across renowned venues and festivals in Belgium, The Netherlands, Germany, and France, with a packed Ancienne Belgique in Brussels as one of the highlights. Now the five-man-band, consisting of Jasper Hautekiet, Simon Segers, Thijs Troch (Nordmann), Gertjan Van Hellemont (Douglas Firs), will start this tour with shows in Ekko, Utrecht on March 6 and Ancienne Belgique, Brussels on March 8.4

The Bony King of Nowhere is the artistic alias of Belgian artist Bram Vanparys. He made a mark in 2018 with the release of his critically acclaimed album Silent Days. The record received consistent 4- and 5-star press reviews and was hailed as his best album to date. It also earned Vanparys a Music Industry Award (BE) for 'best author-composer'. Silent Days revealed the full potential of the singer-songwriter and his commitment to never repeat himself and keep surpassing his creative abilities.

The new album, entitled Everybody Knows, has been a long time coming, partly due to Vanparys' aforementioned pledge to artistic evolution. The first two tracks he unveiled give a definite hint of what to expect from this album. 'Are You Still Alive' and 'Almost Invisible' carry the quality mark, known colour scheme and scent of The Bony King of Nowhere, but add many more hues and details. The new record showcases the new league Vanparys is playing in. Themes like rusted patterns in society, the obedience of the everyday man, the structural false ignorance of big shots, the toxicity of online communication and other very recognisable but not always pleasant subjects. Inspired by the observations of many sociologists, Vanparys dissects our society, the loneliest ever. This album is not just disconcerting though, in its strength lies a sense of hope and vigour.

The first singles promise a new album with lots of punch and energy, while Vanparys is unveiling the complete complexion of his voice whilst remaining vulnerable and honest. On the album, he is accompanied by multi-talent guitarist Vitja Pauwels (Naima Joris), pianist Hendrik Lasure (Tamino, Bombataz), drummer Simon Segers (Sylvie Kreusch, Stadt) and bass player Jasper Hautekiet.

While the songwriting legends, particularly Neil Young and Bob Dylan, have always kept Bram company, his latest compositions also draw inspiration from more contemporary artists. The influence of PJ Harvey, Blur and Nick Cave are unmistakable when you listen to his music. While staying true to his heartfelt songwriting style and captivating voice, The Bony King Of Nowhere embarks on a journey into uncharted musical and thematic realms.

The last time this band was on tour in support of 'Silent Days', they took a big leap forward while touring 75 shows across renowned venues and festivals in Belgium, The Netherlands, Germany, and France, with a packed Ancienne Belgique in Brussels as one of the highlights. Now the five-man-band, consisting of Jasper Hautekiet, Simon Segers, Thijs Troch (Nordmann), Gertjan Van Hellemont (Douglas Firs), will start this tour with shows in Ekko, Utrecht on March 6 and Ancienne Belgique, Brussels on March 8.4

Skydaddy, the moniker of London based musician and bandleader Rachid Fakhre, has announced his debut EP, Pilot, releasing on the 2 February 2024. Alongside this announcement, Skydaddy has shared a new single ‘His Masterpiece’

Having spent the last few years writing and producing as one half of the acclaimed musical duo Spang Sisters, Skydaddy’s debut EP Pilot promises to be a ray of light bursting out from an increasingly busy London indie scene. Combining cello, violin, flute, piano and intricate vocal harmonies, Skydaddy cuts an utterly compelling figure, leading a fluid and interchangeable band, at its largest 7 people strong, they delicately glide through intricate passages of chamber-folk-rock, into swelling orchestral crescendos.

Released today is new single ‘His Masterpiece’ a piano driven track bristling with both a sense of hope and of melancholy. Skydaddy’s vocals sit alongside ear worm hooks from violins and flute. Following on from debut single ‘That Morning’ (also on upcoming EP Pilot) Skydaddy manages to capture a sound of yearning and nostalgia, whilst still sounding completely fresh and incredibly exciting. Offering insight on the inspiration on the track, he offers:

“Inspired by the story of Claude Lantier from Emilie Zola’s L'Œuvre (Commonly translated to ‘His Masterpiece’), the song charts the plight of an early impressionist painter in Paris whose works are unappreciated and gawked at by the Parisian artistic elite who are still tethered to the Romantic trend in painting. Lantier (whose character is based on Paul Cézanne) becomes madly obsessed in a painting which he believes to be his masterpiece and the ultimate demonstration of his talent and genius; an obsession which leads to his eventual, self-inflicted demise. The song is ultimately about alienation, bitterness and the struggle of creativity.”

Merengue Típico: Nueva Generación! delves into the heart of Dominican merengue, a genre whose significance often eludes the spotlight. Bongo Joe"s venture into unexplored terrain takes us to the Caribbean, specifically the Dominican Republic, shedding light on its musical tapestry Curated by Xavier Daive, aka Funky Bompa, the compilation unveils rare "60s and "70s gems, providing a glimpse into a transformative period following the fall of the Trujillo regime.

THE 2016 RELEASE OF SUPREME SICKNESS FROM THE US GORE LEGENDS

Skull Grinder was originally released in 2016, and contained 7 new tracks of gut-wrenching death metal delivered in the unmistakable Autopsy way, from members Chris Reifert, Eric Cutler, Danny Coralles & Joe Trevisano.

Recorded once more at Fantasy Studios in Berkeley, California, with Adam Munoz, Skull Grinder perfectly captures the rancid essence of Autopsy in all its savage glory, with a suitably dirty and organic sound mixed with brutal riffs, resulting in a slab of perfect and relentless horror.

“Musically, it's just what you'd expect from us; no style changes, wimp outs, sell outs, settling down or caving in. Add to that acknowledgement of the obvious, some of Wes Benscoter's sickest art yet to (dis)grace the cover, and you have a new sledgehammer to the bowels with no apologies offered whatsoever.”

One of the early breed of US death metal acts, Autopsy formed in 1987 in San Francisco, and released 4 albums on Peaceville Records - beginning with the classic debut Severed Survival in 1989 - before disbanding in 1995, with members going on to form Abscess. Autopsy triumphantly and officially returned from the grave after a 15 year hiatus with the 2010 EP, The Tomb Within. This was followed by the release of the band's fifth studio album, Macabre Eternal in 2011, to great acclaim.

"SUPERCALIDEEPSTATE encapsulates the transformative power of music born from deep introspection and a heightened state of consciousness. Composed over the course of may and june 2022 in the heart of an Iraq base camp. These four tracks emerged as a result of intense meditation sessions, fueled by inspiration and a profound connection to inner peace.

The creative process was marked by an unshakable sense of flow, as if the music itself were a channel for the artist's heightened awareness.

The resulting tracks are a mesmerizing blend of ambient, experimental, and electronic sounds. Each composition is an invitation to explore altered states of consciousness, with the music serving as a portal to uncharted territories of the mind. The album offers a glimpse into Andrea's inner world, where sound, inspiration, and introspection create a deeply moving and spiritually enriching musical journey."

Vinyl Pressing by AFG Media Company.
Produced and mixed by Andrea Carolini.
Mastered by MaSpaventi Studio.
Graphic Project by Studio Natale.

In Celtic mythology, Clota was the patron Goddess of the River Clyde. "Almost all the rivers of Scotland were abodes of goddesses, but about many of them there are no surviving stories. The goddess of the Clyde was ‘the purifying one’.. " Donald MacKenzie 'Wonder Tales from Scottish Myth and Legend' (1917) Following the warmly received 'An Garradh', and 'Tarbolton Bachelors Club', Steven Anderson (Letters From Mouse) returns to Subexotic with another emotionally inquisitive, fascinating psycho-geographical work. Although very little is known about the goddess Clota, Anderson intuitively understands the River Clyde provides a rich landscape to explore her legacy. Dominating its environment, and steeped in ancient and modern historical significance, 'Clota' simultaneously reflects on what is, and what has been. Through deft application of modular synthesis, Anderson's trademark ability to weave extraordinary musical dialogues with time and place, conjures new life into this long-forgotten deity.

Very limited vinyl pressing, 500 copies, housed in a full colour sleeve & printed inner sleeve & download. CD in a 4 panel digipack with a 4 page lyric booklet. New Heavy Sounds are always on the lookout for new bands that are looking to push the boundaries of what is considered as inhabiting the ‘heavy’ or ‘metal’ spectrum’. Stuff that pricks up the ears, a bold new voice within a maelstrom of genres and sub-genres. We believe we have found such a band. New York-based GUHTS (pronounced ‘guts’) declare themselves to be an ‘avant-garde post-metal project, delivering larger than life sounds through, deeply emotional music’. We are thrilled to be able to deliver that statement in the form of their debut album ‘Regeneration’. By their own admission, GUHTS' musical style is influenced not only by iconic metal bands like Gojira, Cult of Luna, YOB and Deftones, but more unconventional acts like Bjork, Subrosa, Isis, Julie Christmas, and even PJ Harvey. It’s undoubtedly heavy, with a strong feminist streak, it’s cathartic and weighty, a formidable debut for such a new band. Founded in 2020 as a passion project by Scott Prater (Witchkiss), and Amber Burns (Witchkiss) and then Dan Shaneyfelt (Black Mountain Hunger), GUHTS became its members’ main focus following the release of their first EP 'Blood Feather' which itself received rave reviews from the likes of Decibel Magazine, Invisible Oranges, The Obelisk, Cvlt Nation, and more. Brian Clemens Sleaping Dreaming) & Daniel Martinez (Nefariant) joined GUHTS in 2022 and the band swiftly started booking tours and making plans to record 'Regeneration'. Since then GUHTS have been steadily making a name for themselves with their powerful live performances., sharing stages with the likes of Yob, Cave in, Marissa Nadler, plus appearances at the Maryland Doom Fest, Crucial Fest and Ohio Doomed and Stoned Fest. ‘Regeneration’ is set to cement their status as one of the coolest and most interesting bands on the scene. Of the album, vocalist Amber says. "Regeneration" symbolizes the power of self-renewal, often overlooked. Embracing it means shedding old layers and welcoming new beginnings. Without this, life stagnates and is “sustaining”. Through regeneration, change becomes empowering, allowing new facets to emerge. It's a courageous, transformative process, inspiring others to overcome fear and embrace change. The album embodies the human spirit's resilience and capacity for growth. Musically ‘Regeneration’ is a powerful and intense series of songs, topped off by some seriously powerhouse and expressive vocal performances. It’s slow-moving chords, moving like sheets through sludge. High guitar lines above, ranging from piercing and shimmering to nasty. Drums pound but not without groove. There are strings, pianos and synths widening the palette. Atmospheric sludge, Metalgaze, maybe, but there’s also that link to the New York Noise lineage from The Velvets and Sonic Youth, becoming a type of post-hardcore in the process, while gaining a connection to metal partly due to the sheer heaviness. A raft of creative experimentation that pushes beyond the realm of post-metal. And then of course, the very first thing that hits you is Amber Gardner's unbelievable, hypnotising vocals - as scary as a banshee while also intimate and persuasive. Amber means it for sure and almost dominates the proceedings. Her lyrics are eclectic, thoughtful. Immersed in women's narratives frombooks like "Women Who Run With the Wolves" or works like "On Our Best Behavior" by Elise Loehnen. Amber advocates stepping beyond comfort zones, believing it's transformative for individuals and vital for Earth's future. Hokey occult rock it is not. In short ‘Regeneration’ is a bold and startling debut, that will reward and enthral listeners the deeper they delve into its many layers.

ESP Institute artist Bartellow, one third of the project Tambien and otherwise known in the Contemporary Classical sphere as Beni Brachtel, returns to the label with his second full-length release, Noosphere. While currently heading the SVS label and residency series out of Munich, Beni’s resume expands well beyond electronic music to include immersive sound installations such as The Adven- ture Of The Empty House (solo live performance across seven floors of Walter Henn’s Deckelbau building), a slew of compositions for the Bavarian State Opera (for which he doubled as conductor), and a prolific career of over twenty-five theater scores for institutions such as the Münchner Kammerspiele, Schauspiel Basel, Maxim Gorki Theater Berlin, Berliner Ensemble, Schauspiel Köln, Schaus- piel Graz and with directors Ersan Mondtag, Alexander Eisenach, Jessica Glause and Tobias Staab among others.

Noosphere is a compendium excerpting from theatrical scores WUT (Elfriede Jelinek, at Schauspielhaus Köln, directed by Ersan Mondtag, 2020), Ödipus and Antigone (Maxim Gorki Theatre Berlin, directed by Ersan Mondtag, 2017), Der Zauberberg (Thomas Mann, Schauspiel Graz, directed by Alexander Eisenach, 2017), Hass Tryptichon (Sybille Berg, Wiener Festwochen / Maxim Gorki Theatre, directed by Ersan Mondtag, 2019), Wonderland Ave. (Sibylle Berg, Schauspielhaus Köln, directed by Ersan Mondtag, 2018), Die Verdammten (after Visconti ́s film, Schauspielhaus Köln, directed by Ersan Mondtag, 2019) and Roi Ubu (Alfred Jarry, Theater Neumarkt, Zurich, directed by Alexander Eisenach, 2018).

The work traverses homages, infusing everything from Baroque to Impressionism, and while these types of references are certainly built into the canon of Theatre as a discipline, here we gather histor- ic layers in an even wider net. Under the self-referential thumb of Contemporary Classical music, this sort of "hindsight" approach has been largely avoided, however, in today’s all-access arena, the constant stream of historic causal-chained events has opened a delta where anything is possible. This defines Bartellow’s stance among his colleagues as well as his cultural position as a composer.

Beni considers beauty a fleeting objective in the arts, that expression is often expected to follow notions of Destructivism or the unfulfilled. Art will pore over wounds, collective angst, mourn- ing a loss of natural habitat or a fear of technological invasion, yet there is a bitter irreverence for the friction or salvation in beauty itself. Acknowledging this subjectivity — what one audience considers superficial pleasure may be deeply profound to another — he leans into musical instinct as if composing via divine conduit.

Noosphere conjures a array of suspense, ecstasy, melancholy, and dread, but in isolating the work from its theatrical component, Brachtel directs our focus toward formal qualities, clearing unim- peded space to conceive fresh narratives and examine dynamism and interconnectivity. In sympathy with often difficult theatre pieces, the passages can be dark and transgressive, but more importantly they remain relative to Brachtel’s circumstances at their time of creation. The title Noosphere speaks to the evolution of human thought and knowledge, opening a door to subjective points-of-view. For example, Nexus II On The Beach refers to both Roberto Musci’s Water Messages On Desert Sand as well as the film Bladerunner, invoking the image of an android enjoying the sunset, but whether or not this abstraction may be considered beautiful depends the listener’s cumulative life experience and perspective.

This is hybrid chamber music, augmented by electro-acoustic layers, juxtaposing various periods and successively processing their residual themes into a trans-generational rendering of “now.”

The Bronx in the 1970s, marked by the presence of notorious gangs, presented a complex and challenging urban landscape. Amidst the crumbling infrastructure and economic decline, neighbourhoods bore the scars of disinvestment, reflected in abandoned buildings and neglected public spaces. The prevalence of street gangs, such as the Ghetto Brothers, contributed to an atmosphere of heightened tension and occasional violence. Graffiti adorned subway cars and buildings, expressing both social unrest and the vibrant creativity of the community. Despite the challenges, there was a resilient spirit among residents, evidenced by grassroots efforts to address social issues. The Bronx during this era was a dynamic yet tumultuous mix of cultural expression, social struggle, and the determined spirit of a community facing adversity. The Ghetto Brothers, originating from the Melendez family who moved from Puerto Rico to the South Bronx in the 1950s, faced challenges involving violence and crime. Despite this, Benjy, a key figure, directed the group towards community improvement. The Ghetto Brothers embraced music, crafting a potent, NYC-flavored musical fusion that caught the attention of record mogul Ismael Maisonave (Salsa Records). Their collaboration resulted in the recording of eight tracks in a single electrifying day at Manhattan's Fine Tone Studios, skillfully produced by Latin studio maestro Bobby Marin (Harvey Averne, La Lupe, Brooklyn Sounds…). This musical odyssey showcases the band's ability to seamlessly blend genres, creating a NYC-flavored stew that captivates listeners with its authenticity. The hypnotic rhythms, infectious guitar riffs, and impassioned vocals reflect the Ghetto Brothers' commitment to expressing their unique experiences and uplifting their community through the universal language of music. "Power-Fuerza" is not just an album; it's a sonic testament to the Ghetto Brothers' fusion of resilience, cultural richness, and musical innovation. Each track is a vibrant tapestry, weaving together the

raw energy of the South Bronx streets and the soulful melodies born from the trio's Puerto Rican heritage. Embrace the timeless resonance of the Ghetto Brothers’ “Power-Fuerza”, one of the best Latin funk albums ever recorded…

"Cross My Heart" is a tribute to the harmonica player and singer James Cotton, one of Boney Fields" heroes and companions on the road, is certainly the most representative track of this thrilling groove mood that authentic blues musicians know how to infuse. Boney Fields possesses that almost funk tone matured enough to tickle our ears and make us tap our feet. By revitalizing, for example, "The Thrill Is Gone" in the spirit of its original author (Roy Hawkins), Boney Fields perpetuates the tradition of spirited orchestras of yesteryears without compromising the modernity of its irresistible tempo. Much more personal than all his previous albums, "Just Give Me Some Mo" is also the expression of introspection, that of a man who remembers without drowning in dark nostalgia. He thinks of the courage of his mother bravely facing obstacles in an unequal America. "Back in the Day" is not a sad song. It makes one stronger and nurtures faith in the future. This melody is certainly the most touching of the six compositions written by Boney Fields. From "Control of you" to "Something" holding me" or "I know yes I Know" he invites us into his intimate biography, the story of a large family shaken by inevitable upheavals that must be faced, the destiny of a combative musician who resists adversity. Boney Fields chose to let his soul speak. This effort of truth had to be supported by the artistic direction of a master. By enlisting Sebastian Danchin for the production of this album, Boney Fields turns to a historian of African-American culture whose keen ear has already won over Little Milton, Mighty Mo Rodgers, Toni Green, and Jean-Jacques Milteau, among others... Their exchanges uncovered a perfect understanding of "Chicago Blues" the brassy vigor of which they experienced firsthand 40 years ago. Surrounding oneself with the right people is quite a challenge. Fortunately, Boney Fields knows how to spot true talents. He was convinced that the Senegalese guitarist Hervé Samb would also be a good musical director. Hadn"t he been the first to highlight the expressive power of this luminous composer and arranger? The enduring vitality of the blues, when narrated with precision and insight, always manages to find its legitimacy. The months of reflection, of questioning, will not have been in vain. They have given substance and depth to this thrilling record which, we wager, will be a milestone. Boney Fields has waited long enough. Does he want more? We will give him more! "Just Give Me Some Mo" will now be a shared leitmotif, that of an insatiable conductor and that of enlightened admirers.

In the ever-evolving landscape of hip-hop, Divine ScienZe emerges with their third album, Divine ScienZe 3, a testament to their unwavering dedication to pushing boundaries and crafting music that is as refreshing as it is organic. As a dynamic duo, Divine ScienZe has consistently strived to redefine their sound, and this album stands as a brilliant showcase of their musical evolution. With this release, Divine ScienZe boldly ventures beyond the traditional boom bap approach, seamlessly merging the contemporary essence of hip-hop with their signature classic sound. The result is an auditory journey that transcends time, capturing the essence of both past and present in a harmonious union. Each track on the album is a testament to the duo's growth and innovation, offering listeners a transformative experience with every press of the play button. At its core, this album is a fusion of diverse elements, meticulously crafted to deliver a multifaceted sonic experience. Divine ScienZe masterfully weaves storytelling, hard-hitting bangers, and lush, soulful vibes into every track. The storytelling invites listeners to delve deep into the narratives, while the bangers ignite an irresistible energy, compelling even the most reserved to move to the rhythm. The lush vibes provide a tranquil oasis within the album, offering moments of reflection and introspection. Divine ScienZe 3 is more than just a collection of songs; it's a testament to the duo's artistic evolution and their unyielding commitment to creating timeless music. With every note, rhyme, and rhythm, Divine ScienZe proves that growth is not just inevitable but essential in the world of hip-hop. This release is destined to become an instant classic, a testament to Divine ScienZe's enduring legacy in the genre, and a must-listen for anyone seeking a musical journey that is both refreshing and profoundly authentic

Early Life Forms is a new quartet fronted by Belgian guitarist and sound wizard Vitja Pauwels, and on the 26th January, they are set to release their self-titled debut album via W.E.R.F. Records; a stunning, one-off live show recorded with American guitarist Marc Ribot (Robert Plant, Tom Waits, Wilson Pickett, Marianne Faithfull, The Black Keys, John Zorn).

Having already earned his spurs as a sideman with artists including Naïma Joris, Bombataz and Lara Rosseel, rising Belgian star Pauwels released his debut album 'Day at Half Speed' in 2019, which explored the possibilities of acoustic guitar and live electronics. This experiment became a new artistic path for Pauwels and showcased his musical versatility, with second album 'Drift By, Sink In', released to critical acclaim in 2022.

The same year, Pauwels was invited as special guest by the BRAND! Festival, Mechelen, to showcase new material and he came up with the idea of putting together his 'dream' live band which included his hero Marc Ribot, one of world's most accomplished and acclaimed guitar players. Reaching out to him via videos and early demos for this new recording project, Ribot liked what he heard and agreed to perform with Pauwels and his new project Early Life Forms in what would be the band's first ever live show.

Joined by Frederik Leroux (baritone guitar), Laurens Dierickx (Hammond organ) and Casper Van De Velde (drums), during the lead up to the festival, Pauwels wrote a number of songs he felt would work for the live show, with the only agreement being that there would be no rehearsals ahead of the performance, only a brief soundcheck beforehand with Ribot. The music was stripped down to its essentials - compelling melodies, themes, and clear forms but with the possibility to change direction at any given moment. "The music was played and heard for the first time, and it felt like a birth of something that needed to be alive. We felt connected in the right state of mind - relaxed and focused - and it all happened in a rush of shared energy. No ego's or fear, only connection and the music", states Pauwels.

Drawing on latin, jazz, cuban, and rock with a touch of exoticism and cinematic explorations, 'Early Life Forms' cites Ry Cooder, Henry Mancini, Los Lobos, Ennio Morricone and of course Ribot, as heavy influences. There is something existential, primary, something epic and at the same time youthfully uncomplicated, which is strongly associated with the music. From the mischievous and imaginative 'My Little Renaissance' to the adventurous and hypnotic 'Latin Dancer', 'Early Life Forms' is overflowing with sharp twists and turns, with Ribot's heavily rhythmic, distorted guitar amplifying the cinematic feel to the sound. The on-stage relationship between each member of the band and Ribot is childishly uncomplicated, something primary but always epic. The music is left to the moment and the magic of their first encounter with their hero Ribot. "Marc's commitment in the music was better than I could have hoped for. What he played was with 200% intention, putting the rest of us in a state of hyperfocus. Given the fact that it was a one-time thing and a recording, we took risks without 'overplaying' or overthinking it. Right before the gig, we felt an urge to play, Marc said, "Let's rock!!" and we hit the stage", says Pauwels.

Contradictory accounts of Miles Davis’ creation of the soundtrack to Louis Malle’s film noir Ascenseur pour l'Échafaud have all become part of its legend. Rarely has a soundtrack been so decisive. Nearly seventy years on, beyond the myth, this taut, feverish recording, imbued with extreme dramatic tension, remains one of the Miles’ finest records. The basic outline remains: Jean-Paul Rappeneau suggested to Malle asking Miles Davis to create the film's soundtrack who agreed to record the music after attending a private screening. Davis was performing at the Club Saint-Germain in Paris in November 1957 and on December 4, he brought his four sidemen to the recording studio without having had them prepare anything. Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room, and, once the plot was explained, the band improvised without any precomposed theme, while edited loops of the musically relevant film sequences were projected in the background. Bassist Pierre Michelot recalled in 1988 that “Miles just asked us to play two chords, D minor and C7, 4 bars of each, ad lib.” Typically, Miles planned very little but know exactly what he wanted. François Leterrier, the film’s Second Assistant Director picks up the story: “The session started at around ten o’clock and went on until dawn. The screen in the auditorium was showing the scenes for which Miles had devised some harmonies, and they were edited into a loop. And that’s what makes this music unique: it was entirely improvised in conditions that went back to the days of silent films, while watching frames shot in black and white by cinematographer Henri Decaë: tracking shots of Jeanne Moreau wandering down the Champs-Elysées at night, passing in front of lit window displays or going into bars, while looking for her lover/murderer alias Maurice Ronet … All of us there in the dark auditorium were aware that something extraordinary was taking place, something that had definitely never happened before. … In the small hours we all met up again at the Pied de Cochon in Les Halles, and Louis was looking at Miles with the disbelieving eyes of a child … as if he couldn’t believe the gift he’d just received. Even in his wildest dreams he had probably never imagined what his film would be like once it had been as if illuminated by the trumpet of Miles, incisive or wrapped softly in cotton.” The music was released on 10” by Fontana and received the Grand Prix from France’s Académie Charles Cros. It was released in the USA on Columbia as the A-side of the 12” LP Jazz Track, which received a 1960 Grammy nomination for Best Jazz Performance, Solo or Small Group. This beautiful re-issue of the original recording is pressed on 180g vinyl at GZ, and packaged in a deluxe gatefold tip-on jacket with Boris Vian’s original liner notes and Jean-Pierre Leloir’s iconic studio photo of Miles and Jeanne Moreau, and an essay on the circumstances that led to this out-of-the ordinary music by Franck Bergerot.