Search:j may

Kepler is free” represent the brand new Athenian Urban Jazz scene in full. You may say that they actually started the whole scene with their debut album "Teegarden" by Veego Records, an instant sold out! Voted by local music portals as one of the best albums of 2020 and probably one of the best debuts ever when it comes to the Greek jazz game. “Kepler Is Free” jazz rock ensemble makes expansive music that straddles the line between '70s soul-jazz, alternative hip-hop, and experimental electronica.

The name of the band is inspired by a retired space telescope launched by NASA to discover Earth-size planets orbiting other stars. Named after astronomer Johannes Kepler. Founded in November of 2018 by Sokratis Tsentoglou (drums) who gathered George Migdanis (electric guitar), Nikiforos Nugent (keys), Spyros Zardas (trumpet) and Vasilis Alexopoulos (bass guitar), they all came together from different musical backgrounds in order to create original and groundbreaking material.

Commuting over their shared love of jazz and hip-hop, they composed their debut album, “Kepler”, with five tracks that highlighted their love for the music of GoGo Penguin, Badbadnotgood and Alfa Mist.

The fact that all the members were young and had not played in other Jazz bands before was something that shook the Greek Jazz community. ''Second Light'' was recorded in difficult conditions and was delayed quite a while until it was finished due to the pandemic.

The band played a handful of sold out shows in Athens over the last few months proving with their performance and the attendance that the band created a crossover from Jazz to pop audience. "Juno" track was a smash hit on legendary "En Lefko'' Radio station over the last two years. Worth to mention that just a month before the release of their second album Kepler is Free collaborated with LEX, one of the most famous rappers in Greece with the "Spike Lee" track.

After their first European tour in May 2023, Tokyo-based Jazz trio Nautilus has received an amazing response from concert visitors and the professional audience!

So we decided to press their last gig of the tour at the legendary King Georg in Cologne, Germany on limited mixed media. This is for all concert goers to soak up the vibes again and for all those who couldn't make it to the concert to see them playing live! And believe us, this is a real experience, please enjoy this cross-section of songs - from old to new - and: it is recorded as a multitrack recording session for your listening pleasure.

A new tour for 2024 as well as a new studio album are already in the planning and making, so stay tuned!

At the dawn of 2024, Earth Boys, the collaborative force of Michael Sherburn and Julian Duron, reemerges on Public Release with their latest EP, 'In the Sun.' Their signature raw and smoke-infused sound is as rugged as ever, reaffirming the unmistakable Earth Boys touch. The lead single gets a hypnotic tweaky groove courtesy of an Eden Burns remix—perfect for setting the stage for a peak-time build—while Tokyo's Mayurashka offers a deep and contemplative atmospheric chugger. This 5-track EP is perfect for a spectrum of cheeky activities on and off the dance floor.

The concept of naught (Ø) has challenged Salvatore Mercatante throughout his musical career, specifically, trying to understand how the idea of ‘nothing’ fits into the realm of sound, and at the same time, exist in a world of influence at every turn. In the absence of everything, are we able to create something truly free?
As a lifelong New York-based musician, Mercatante’s influences and productions run a wide spectrum. Just as happy producing 80s-inspired horror soundtracks as he is refining acute drum patterns over and over again, Salvatore is the first to ask himself, where next? When a musician’s output can be influenced today by so much, and there is no self-defined or perceived artistic goal in mind, how do you start from a place of nothingness, again and again?
This approach has born many minimal and experimental albums of note in the past, but with Ø, Salvatore ended up with an almost controlled maximalist approach. Beginning with open spaces and allowing sonic textures to live and evolve past where you may expect, Ø allows the space between notes to become equally as important as the notes themselves. Walls of noise, soaring soundtracks, dense techno, glittering IDM, and minimal glitch, sit side-by-side to present an all-encompassing palette of sonic possibility.
Often, even without any intent, what can be born from nothing will somehow transpire back into something more recognizable. It’s human nature after all. A subtle fingerprint, as a sequence, melody, pattern, or drum kick. Whether Salvatore intended for this record to represent his defining sound or not, only time will tell.
Mastered by Giuseppe Tillieci @Enisslab, Rome, Italy.
Artwork by Brandon Locher
Written and produced by Salvatore Mercatante

Following the reissue last year of Fairuz's classic 1979 album "Wahdon", Wewantsounds pursue their exploration of great Lebanese music with the reissue of Fairuz's highly sought-after LP "Maarifti Feek," released in 1987. Recorded in Beirut around 1983-84, the album features the Diva's superb voice combined with Ziad Rahbani's jazz and funk orchestration, making it one of the most in-demand albums on the Arabic funk scene. The release will coincide with "Arab Divas," a major exhibition set in the prestigious Institut du Monde Arabe (IMA) in Paris, celebrating the greatest singers from the Arab World and starting 13 May 2020. One of the greatest singers of the Middle East, Fairuz started her career in Lebanon in the 50s and quickly established herself as the most renowned Diva in the Arabic world, playing the most prestigious venues in the world. At the end of the 70s, Fairuz was at a turning point both professionally and personally. Her Husband Assi Rahbani, who, with his brother Elias, had penned her biggest successes, has suffered a stroke a few years earlier. This setback ultimately led to both the demise of their marriage and the end of their professionnal partnership. Enters Ziad Rahbani, Fairuz and Assi's son, a young musician, playwright and producer who had cut his teeth writing a handful of Fairuz's song - including her 1973 hit "Sa'alouni El Nas" - at just seventeen. Ziad Rahbani swiftly took over from his father and uncle as the singer's musical director and composer and this fruitful association, which started in 1979 with the album "Wahdon," broke many new grounds for Fairuz with funkier rhythms and edgier lyrics. It was recorded at the same time as Rahbani's own 12 inch "Abu Ali" which became a sought-after disco classic in its own right. The association between the two continued with a second album, "Maarifti Feek" ("Our Encounter"), recorded between 1983 and 84 in Beirut but only released in 1987. The album was another groundbreaking mix of influences ranging from the traditional arrangements of "Oudak Rannan" and "Ma Kdirt Nseet" to the brazilan flavour of "Version 1" via the synth funk of "Ouverture 83" and its follow up "Reprise 83". Also featured on the album is a beautiful remake of Joaquin Rodrigo's "Concerto de Aranjuez" in the form of a tribute to the lebanese capital, "Li Beirut." This blend of Oriental grooves with jazz and funk orchestrations by Ziad Rahbani is a unique document of Fairuz's career development in the 80s and explains why "Maarifti Feek" is such a sought after album on the DJ and collector circuits which Wewantsounds is delighted to reissue for the first time since the album first came out.

Good things take time. What’s 17 years? Not even a quarter of Keith Richards! 17 years lay between Heiko Voss’ debut album “Call Me Killer” and the incredible follow-up “3:30 Minutes To Live”, which saw the light of day in 2022 on Michael Mayer’s “other label” IMARA. There are serious voices saying that the 80s were only really complete with the release of this album. Now it took the blink of an eye of a year for the remixes to be finished. And they turned out so well that Michael Mayer from KOMPAKT licensed the “3 Remixes for Heiko Voss” without further ado.

Running back guru GERD JANSON was an early adopter of the album. Highly motivated, he twirls “Follow Your Line” rhythmically somehow in the direction of Kate Bush’s “Running Up That Hill”. How did he do that? Never mind. It grooves like crazy and keeps even larger floors moving.

ADA, the Hamburg grand dame of techno pop, has taken on the in tongue speaking funk banger “Talking Man” and dipped it in fairy dust. The result is probably the most sensational, soulful club track ever. Honestly.

The package is rounded off with a powerful Dub Version of “Follow Your Line” by the IMARA and KOMPAKT boss himself. Because he can do it.

Open your heart, let the remixes in.

Gut Ding will Weile haben. Was sind schon 17 Jahre? Nicht mal ein Viertel Keith Richards! 17 Jahre lagen zwischen Heiko Voss’ Debutalbum “Call Me Killer” und dem unglaublichen Nachfolger “3:30 Minutes To Live”, der 2022 auf Michael Mayers “anderem Label” IMARA das Licht derWelt erblickte. Es gibt ernstzunehmende Stimmen, die besagen, dass die 80er Jahre eigentlich erst mit der Veröffentlichung dieses Albums vollendet waren. Nun hat es einen kurzen Wimpernschlag von einem Jahr gedauert, bis die Remixe fertig waren. Und die sind so gut geworden, dass Michael Mayer von KOMPAKT die “3 Remixe für Heiko Voss” kurzerhand lizenziert hat.

Ein “early adopter” des Albums war Running Back Obermotz GERD JANSON. Top motiviert zwirbelt er “Follow Your Line” rhythmisch irgendwie in Richtung Kate Bush’s “Running Up That Hill”. Wie hat er das nur gemacht? Egal. Es groovt wie Bolle und hält auch größere Floors in Bewegung.

ADA, die Hamburger Grand Dame des Techno Pop hat sich des in Zungen sprechenden Funk Kloppers “Talking Man” angenommen und ihn ordentlich in Feenstaub getunkt. Dabei entstand der wohl sensationellste, soulfulste Club Track ever. Ehrlich.

Abgerundet wird das Paket mit einer kräftigen Dub Version von “Follow Your Line” vom IMARA bzw. KOMPAKT Boss selbst. Weil er’s kann.

Herzklappen auf, Remixe rein.

Sasu Ripatti's complete "Dancefloor Classics" series. Music for imaginary dancefloors, released on Ripatti's own label Rajaton.

”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.
He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?
He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.
”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”
New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.
She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”
”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Dancefloor Classics”, what’s the idea and what can we expect?

I’ve been slowly writing these sort of dance music pieces and finally curated them together for a conceptual release. I like to create music for a dancefloor that exists only in my imagination and doesn’t try to suck up to the standardized reality.

2) Your vinyl format is 10” which is quite special (as opposed to LP / 12”). Why did you choose it?

It’s my favourite format, absolutely. The size is perfect, and you can make it sound really good @ 45 rpm. And you still can make great artwork.

3) You seem interested in sampling/repurposing, what does it mean to you as an artist to approach something already existing from a new angle? How does the source material inform you about the approach to take?

I guess i could flip it around and just say I’ve outgrown synths or electronic sounds to a great extend, and having gotten rid off all my synths already good while ago I’ve used samples as my main source material a lot. It’s obvious on this series that i’ve sampled existing music, but I also sample instruments and things in the studio and resample my own library that I have built over the years, it’s quite large. To me the end result matters, not so much how I get there. Once I have something on my keyboard and play around, it’s all an instrument, though with sampling other music it becomes a really interesting and complex one as you’re possibly playing rhythm, but also harmonic content and maybe hooks or whatever, all at once.
I never sample premeditadedly, like listening to records and looking for that mindblowing 3 sec part. I just throw the cards in the air and see what lands where, just full intuition and hopefully zero mind involved, playing tons of stuff, trying things, just recording hours of stuff. Then comes the interesting part to listen to hours of mostly crazy stuff and finding that mindblowing 3 sec part.

4) What is your relationship with the dancefloor (conceptually and/or in experiences / as a performer)?

Very complicated. I have never really felt comfortable on a dancefloor but have always wanted to. There’s something in club music, in theory, that really speaks to me. It has never really materialized for me – speaking mainly from a performer’s point of view who goes to check on a dancefloor for a moment after a concert. I never have DJ’d or felt much interest towards it. But again, I love the idea and concept of DJing. As well as producing music for imaginary DJs. Lately, as in the past 10+ years, I haven’t even performed in any sort of club spaces. So my relationship to the dancefloor is quite removed and reduced, but there’s quite a bit of passion and interest left.

All tracks composed and produced by Sasu Ripatti.
Artwork & photography by Marc Hohmann.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

Available on black vinyl 10”. Recorded in Berlin & remotely in 2023, the opening track “Abandon Ship (Martian Meltdown Mix)” runs at over 11 minutes and plays at 33 rpm, “Maybe Make It Right.” the B side is nearly 4 minutes & plays at 45 rpm.


With Anton Newcombe (Vocals/ Guitars) Hakon Adalsteinsson (guitar), & Uri Rennert (drums) playing on this offering. Emil Nikolaisen (Serena-Maneesh / BJM) & Ryan Carlson Van Kriedt (Asteroid #4 / BJM) on engineering duties. The release comes in a heavyweight
PVC bag with the artwork being a J card so you can see the vinyl.

Repress!

Immerse yourself into the universe of orcs, hobbits and elves through the soundtracks of The Hobbit & The Lord of the Rings with this limited edition 2LP.

Emmavie is one of the London R&B's scene most exciting talents - equally shining as both a leading vocalist and a one-of-a-kind producer. Known for her collaborations with Alfa Mist, Soulection, The Alchemist, IAMNOBODI, ROMderful and an outpouring of public support from respected names the like DJ Jazzy Jeff, Phonte, and Knxwledge - Emmavie has quickly become the talk of the town in many music circles at the moment, with her refreshingly unique original production (think late 90's Timbaland meets neo-soul era J Dilla), sharp writing skills, and a voice that instantly pulls you in.

Andy Sharrocks started writing songs in 1976. He found a vehicle for these songs with punk band Accident On The East Lancs. This started out as a covers band, but Andy soon became frustrated when the other members wanted to stay that way. The band disintegrated but Andy retained the name, forming a new cutting edge four piece playing his songs. He financed their first single in 1979 on his own label Roach Records. This was a double A side as one of the sides was a ditty called We Want It Legalised. The other side was a Bo Diddley kind of groove called Tell Me What Ya Mean, which Record Collector magazine recently said sounded like a song The Strokes should cover. This line up fell apart when immediate success failed to arrive, but Andy formed another band out of the ashes of local band Wilful Damage, and the guitarist out of the original covers band. They recorded and released on Roach Records another double A sided single in 1981 as well as an album released on cassette tape on Cargo Records. The singles now exchange hands on the collectors market for over seventy pounds, the album has been rereleased on vinyl twice, once on a German label, and once on UK’s OZIT/MORPHEUS Records which came with a bonus live album The singles have been released on many punk compilations and We Want It Legalised is about to be released on a new Manchester punk compilation on Cherry Red Records. They played many free festivals including Deeply Vale three times, and did many great supports including The Fall, Tractor, Here And Now and Crass. Andy left the band in 1982 for personal reasons, and had a one single deal with I Believe In Love on the Vibes and Vibes record label in 1985. Refusing to compromise and do covers, Andy found it impossible to make a living doing his own material which was now primarily Americana, after discovering alt.country through Steve Earle and Lyle Lovett in 1985. He went on the road as a tour manager, which is where he met Hilly Briggs, who went on to produce Andy’s first solo album in 2004 called Walking In Familiar Footsteps, which featured ex Rolling Stones Guitarist Mick Taylor, Bluesband and Manfreds frontman Paul Jones and Bobby Vee’s sons Jeff and Tommy on drums and bass respectively. Andy was now living in London and was gigging regularly on his own or with a revolving circle of musicians going under the collective title of Andy Sharrocks & The Smokin’ Jackets. He played over five hundred gigs all over London and the UK. He also did many supports for Mick Taylor, Buddy Whittington, Steve Gibbons, The Strawbs, Curved Air, and supported John Mayall on a UK nationwide tour, and played the Jazz Café in Camden twice with John. He also played The Hells Angels Bulldog Bash three times, The Skegness Rock n Blues Festival, The Herelbeke Blues festival in Belgium and The Colne Blues Festival. In 2009 he released another album called Dirt with The Smokin’ Jackets, which came out to great critical acclaim. Andy is now releasing a triple album of truly magnificent UK Americana, called Country Rock n Roll n Durty Blues. Press Quotes : "Country Rock ‘n’ Roll ‘n’ Durty Blues is a sprawling album of original rock and blues which takes you from Muddy Waters to modern Americana" – Nigel Carr, Louder Than War // "Good honest earthy rock ‘n’ roll done the old fashioned way with passion and aplomb" – Mark Radcliffe, BBC // "Country Rock ‘n’ Roll effortlessly lives up to its title … and more" – Pete Feenstra, Get Ready To Rock // "As a listener it really is bloody good fun - Briticana, Americana with a very English voice

Was als Idee für eine gemeinsame EP von Fixed Abode-Labelchef Rainy Miller und Space Afrika begann, entwickelte sich zu einem längerfristigen Projekt mit Beiträgen von Mica Levi, Coby Sey, Richie Culver, Voice Actor und Iceboy Violet - unter anderem.

'A Grisaille Wedding' ist eine immersive Erfahrung, die den Raum füllt, in dem diese Künstler während ihrer kreativen Reise gelebt haben. Es erweitert nicht nur die Grenzen der Musik, sondern schlägt auch eine Brücke zwischen den regionalen Dialekten innerhalb der zeitgenössischen elektronischen Musik.

Für Fans von: Actress, Dean Blunt, Lee Gamble, Loraine James

Formed in 1987 by Les "Fruitbat" Carter and Jim "Jim Bob" Morrison, Carter The Unstoppable Sex Machine burst onto the scene with their signature style of punk-pop infused with samples, drum machines, and social commentary.

'1992 The Love Album' was Carter USM's debut release on Chrysalis Records and reached the No1 spot album on the UK Album Chart in May 1992, propelling the band to pop stardom.

First reissue of these cult 1974 recordings of a Mayan brass band playing funeral dirges and popular songs in its distinctive extended harmonic and rhythmic style. The members of the San Lucas Band lived in the mountain village of San Lucas Tolimán, Guatemala, playing local events of both religious and social nature. The pride of their town since 1922, the band represented a fast-disappearing musical tradition when these recordings were originally released in 1975. Their unique sound derived from an unusual combination of instruments, a repertoire including pieces dating from more than fifty years before the recordings were made to more recent ones, and above all from the highland Maya style of their playing, which is characterized by a preference for freer rhythmic structures and a wider variety of pitches than Western scales allow. One of Jon Hassell and Charlie Haden's favorite records, it was nominated for a Grammy Award upon first release and has remained much beloved by a small community of enthusiasts for decades. A profound and rewarding musical experience for all adventurous listeners, notably fans of Albert Ayler, microtonal and raw cosmic music.

ARCHIVAL LIVE RECORDINGS OF THE LOUISIANA HAYRIDE BY ELVIS PRESLEY - ON LIMITED EDITION GREEN VINYL! Louisiana Hayride was a radio show broadcast from the Shreveport Municipal Memorial Auditorium in Shreveport, Louisiana. During its heyday from 1948 to 1960 'Hayride' helped to launch the careers of some of the greatest names in American country and western music. Then on October 16th of 1954, Elvis Presley made his debut. Presley's performance of his debut release, 'That's All Right', brought a weak response from the country-loving audience, but Presley was signed to a one-year contract for more appearances. Elvis worked the Hayride audience week by week until he finally won them over, but there was to be a catch... the demand for more of Presley's new kind of rockabilly music resulted in a sharp decline in the popularity of the Hayride, a strictly country music venue. Times were changing... These recordings capture the formative years of The King of Rock 'N' Roll and feature many of his soon-to-be classic numbers.

Tigers Jaw is the second full-length by American emo band Tigers Jaw. It was released 2008. Five young friends from Scranton, PA known as Tigers Jaw play their brand of upbeat yet melancholy indie-rock. The subtle yet massively clever lyrics combine with music that moves with such youthful exuberance even the most jaded listener will look back to their more careless days. The debut from Tigers Jaw may wear is influences on its sleeve, but instead of a repetitive list of sound-alike bands, themes such as death, friendship, and growing up are tackled from an endearing and hopeful perspective that is almost impossible not to relate to.

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.”

■ Die Nits sind eine niederländische Art-Pop-Rockgruppe, die 1974 in Amsterdam
gegründet wurde. Ihr musikalischer Stil hat sich im Laufe der Jahre ebenso geändert wie
ihre Besetzung, aber die Kernmitglieder sind der Leadsänger und Texter Henk Hofstede,
Robert-Jan Stips an den Keyboards (der mit Supersister, Gruppo Sportivo, The Golden
Earring zusammengearbeitet hat) und Rob Kloet am Schlagzeug.
Im Jahr 2024 feiert die Band ihr 50-jähriges Jubiläum mit einer Europatournee und
brandneuer Musik. Sechs frisch geschriebene Tracks sind auf der Mini-Album "Tree
House Fire" enthalten, wobei das zentrale Thema der Songs das Feuer ist, das das
Amsterdamer Studio der Band im Jahr 2022 vollständig zerstört hat. Diese
10-Zoll-Schallplatte ist als limitierte Edition von 500 einzeln nummerierten Copies auf
Flamino Coloured Vinyl erhältlich und enthält ein 4-seitiges Booklet.

Finally a re-release of this brutal album, a classic for punks and metal heads all over the globe. Including reproduction of the original fold out color/black and white insert and three bonus tracks not included on the original release. Reissue of the legendary Brazilian crushers fourth album, released in 1989, with the original vocals in Portuguese. 21 tracks of pure neck crushing mayhem that would open the doors of the international scene for the band and made the record an instant classic: a masterpiece of crossover thrash still to be topped today. Includes 3 bonus tracks and reproduction of the original fold out insert.

Out of print for quite a few years now, this album is a stunning power-pop gem recorded at a time when this kind of girl group pairing with punk rock was unusual.b This is one of the most iconic albums released on Greg Shaw's Bomp! Records. It now includes bonus tracks on top! Definitely stood the test of time. Check out the titles, these young ladies were wearing their collective hearts on those sleeves of theirs. This kind of girl group pairing with punk rock was unusual at the time and it provided a much-needed antidote to the male dominated skinny tie brigade. Nikki looked like Pam Dawber (Mindy from Mork and Mindy) and sounded like Clare Grogan (of Altered Images) what was not to be instantly smitten by. Born and bred in Detroit, Miss Corvette reportedly ran away from home at age 16 because her mother refused to allow her to attend an MC5 show. Greg Shaw wrote the following in the liner notes to the 20th Anniversary label compilation, Destination Bomp! "Nikki was a tireless worker. Like some coalminer's daughter, she'd travel around the country with her band. Playing 200 shows a year. She knew everybody and was a lot of fun to hang out with so, I figured that if all her friends bought the record... so I signed her. The girl had style and attitude galore plus, she had master guitarist/songwriter and former Romantic Peter James. One of Detroit's most savvy cats." The lady herself kindly supplied the following summary. "We went to LA and signed with Bomp in maybe 1979 but Greg wasn't sure what to do with us. We did the Honey Bop single with Ronny Weiser at Rollin Rock and a couple songs with the Kessel Brothers. We started something with Kim Fowley that did not work out. They kept trying different producers until we finally decided to go back to Detroit and do the album on our own. We didn't have a lot of experience but we knew what we wanted and Detroit was part of that so we recorded the album and had a blast doing it. Peter wanted us to be poppier and I wanted to be more punk. We sort of met in the middle with what I've always called Bubblegum Punk. I can't believe it's been 43 years since this came out and there are still kids discovering it and people who grew up with it that still listen to it. I constantly hear from people all different ages, all over the world about how much they love it album and that really means so, so much to me!" Hear the phenomenon for yourself.

Yuki Saito's 10th album "LOVE"('91) is now available for the first time on vinyl with obi.

It's a hidden masterpiece of 90s city pop and light mellow.

Emotionally fragile songs of poems she wrote herself.

Arrangements by Mioko Yamaguchi, Mayumi, Tetsuya Kakihara, and Kenjiro Sakitani. They are well known by city pop fans.

Limited Transparent Blue vinyl. “Pop” is a tag that’s been assigned to Minus the Bear throughout their career. It’s been used to set a distinction between the unique brand of complex indie rock they introduced on their first EP, and the more angular and aggravated sounds of their previous bands Botch, Kill Sadie, and Sharks Keep Moving. It’s also a tag that was thrown around frequently in the wake of their streamlined fourth album, OMNI. And it’s a descriptor that immediately comes to mind within the first few seconds of their classic second formal EP, They Make Beer Commercials Like This. Beer Commercials is the evolutionary step between Minus The Bear’s first two landmark albums, Highly Refined Pirates and Menos El Oso. Opening track “Fine + 2 Points” remains one of the band’s strongest opening tracks in their discography, charging out of the gates with a syncopated stomp that comes across as a more agitated take on Kylie Minogue’s “Can’t Get You Outta My Head.” If Minus The Bear were looking to make pop music without any of its major-scale bubblegum trappings, they nailed it here. The band follows it with “Let’s Play Clowns” and “Dog Park”—nods to Highly Refined Pirates’ formula of frenetic clean guitar work, bombastic choruses, and Jake Snider’s lyrics of detached romantic nostalgia. These tracks may represent Minus the Bear’s original trademark version of pop but on songs like “I’m Totally Not Down With Rob’s Alien,” the band eschews its restless energy for atmosphere and dynamics, creating a sound that’s inspired more than a handful of contemporary melodic post-rock bands. By the time the band belts out “Pony Up!” the listener has watched the three-year sonic transition between Minus the Bear’s first two full-lengths transpire within under half an hour, with their earlier math rock predilections yielding to the tightly wound club-banging pedalboard trickery that defined their sophomore album. Even if Beer Commercials doesn’t fit within your definition of pop music, the unorthodox energetic charm of this relatively low-profile release serves as an exciting reminder of why Minus the Bear became one of the most important and influential indie rock bands of the new century

For the first EP, the Belgian imprint Sequence, is releasing 3 tracks from one of the Belgium finest electronic music band, Mayaku.

Mastered from the original and unreleased DAT tapes from the early 2000’s, this well configured EP brings you on a sweet journey and gives you a glimpse of what timeless music tastes.

Story Of Collapsed Dimention unfold in 4 tracks multi-genres musical accompaniment and 12 frame comics, as artwork. The EP symbolizes a journey of personal transformation, the courage to confront the unknown and fight against circumstances and suffering. In order to become something new, we need to give up what we are now.

The tracks span across various styles, including funky house with a live-band feel, featuring infectious rhythms and vibrant instrumentation. There is a breakbeat track infused with a groovy bassline seized from NBA Live 95 on Sega Genesis, accompanied by turntablism hard drops and scratchy sounds that add an edgy and gritty vibe.

B-side explores psychedelic frequency modulations of polyharmonic intertwined with jungle-oriented breaks, creating a mesmerizing fusion of intricate melodies and rhythmic complexity. Finally, the EP concludes with an electro banger that has been accidentally reinvented with its captivating energy and a profound message.

Overall, the EP showcases a diverse and dynamic musical journey through these genres, offering a rich and immersive listening experience or valuable universal DJ-tool.

The artwork features hand-drawn comics by the talented artist Larisa Shalyapina, script and production by CDA.

The unique texture, blurriness, and overall quality of the illustration are meticulously preserved through a process of manual assembly and duplication, resulting in a visually captivating and tactile experience.

Used gear: Roland MC-808, Roland MC-505, Moog Subphatty, Waldorf Wave XT, MAM33, Volca FM, Volca Bass, Tascam Midistudio 644, Jomox t-resonator II, Boss Digital Delay, Teletron SAQ-206B Amp, KME Sound GBA 80 Bassbox, Culture vulture distortion, Distress compressors. DAW Ableton.

conceptualization:

Tracks are written during frequent relocations, capturing experienced moments and raw emotions. As the physical changes in our living environment are comparable to the collisions and evolving paths within the domain of knowledge reflected in the trials of spiritual awakening.

In Berlin, a city of expats, it has a special relevance to people who came here to find themselves. It also resonates with those who have been brought here by circumstances.

Record id released with all Ukrainian brothers and sisters in heart.

While we find comfort in our safe spaces, it is inevitable that some stress will eventually provoke us to take action. We may long for that period of comfort and feel a sense of anger or sadness for what once was. Once the truth is revealed, much like the unveiling of light, there is no turning back — a path to enlightenment shall be accepted.

Within the EP, each track serves as a chapter for this path.

A1

First track encapsulates escapism by chasing a feel-good sense in the run from responsibilities into fantasy-land. In the moment of careless life in careless time, where the future is sacrificed in the name of immediate pleasure.

A2

Robotboy incorporates a superficial state of mind with a reactive personality rooted in a narcissistic ego, dishonestly denying the righteous path. Subconscious struggle from hedonistic lifestyle with no relief.

B1

A deeply intimate and personal, embodied introspective sentiment kept hidden from the world, revealing when we’re alone and usually stifled with distraction and entertainment. Nostalgic feeling of loss follows us during the abandonment of a beloved place. Overwhelming weight of regret in presents.

B2

Taking action of the first step makes us unstoppable and disclosure of knowledge leads to destruction of the illusory world. Finding out the truth, same as seeing the light, excludes the retreat into darkness. As comprehension is the way to enlightenment.

New Zealand juggernaut Fat Freddy’s Drop return with a new studio album, ‘Special Edition Part 1’, due for digital release on 15th November, with 2LP Vinyl and CD following up on 10th January. The 45rpm vinyl edition is produced with
a different track order across four sides and promises to deliver super fat loud audio.

Part 1 of a double album, ‘Special Edition Part 1’, comprises of six tracks of which ‘Raleigh Twenty’, ‘Trickle Down’ and
‘Six-Eight Instrumental’ were written and recorded undercover at the band’s Wellington studio, BAYS, while the other
tracks; ‘Special Edition, ‘Kamo Kamo’, and ‘OneFourteen’, have all been developed and evolved from the band’s celebrated live jam sessions, whilst on the road in front of audiences worldwide.
Supremely crafted at Freddy’s own BAYS studio in hometown Wellington, the deep musical and rich vocal layers reflect
Freddy’s inspiration from the black music lexicon and is a response to the crowd energy at their world dominating live
shows.

‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next
journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2. The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in
2005.
The album cover artwork is by Wellington artist Otis Chamberlain, a continuing evolution from his creation for the its first single ‘Trickle Down’, a work that's morphed from digital cover art to the band’s massive summer tour backdrop and the recently released late-night buttery steppers ‘Kamo Kamo’. Fat Freddy’s Drop have been performing and recording together for more than 15 years, establishing themselves as one of New Zealand's most internationally successful acts. Considered one of the best live experiences in the world, they will embark on their biggest European and UK tour since they sold out a double hitter at London’s 02 Academy Brixton in 2018. Including an already sold out show in Dublin, the band will headline Cardiff’s Motorpoint Arena on 29th April 2020, Liverpool’s Invisible Wind Factory on 30th April, returning back to London’s Alexandra Palace on 1st May – the palace was the scene of two triumphant sold out headline concerts in 2014 and 2017 - before heading north to Glasgow’s Barrowland on 3rd May.

Its heavy stuff, Blackened Melodic Noise Rock type stuff. It's got a kind of
maximised lofi- ness along the lines of Drunk In Hell. Maybe you will dig it. FFO
GNOD, This Heat, Unsane

There are two versions of the vinyl - classic black and triple-color limited Indie Shop edition.

Both have special insert inside with the bands bio and photos.

Generacja JAZZ is a project showing a fragment of the new wave of Polish jazz, treading its own path, creating, touring and jamming across Europe. Borders don't exist - especially musical - the new generation is engaging with nightclubs, festivals and playlists. The time has now come to show its broader perspective. We created a project which involves a handful of groups that have already racked up debut albums and festival wins, as they set out on their musical odyssey. The groups also have other things in common, like their passion, originality and, for the needs of the project, age - all the artists during the recording of this album were under 30 years old. This is the new generation - the Jazz Generation.

For the Jazz Generation record we invited five bands who had already released debut albums: Immortal Onion, Klawo, Rejoin, Twoosty Mayonez and USO 9001. We also reserved two spots on the compilation for the winners of our open call competition, whereby on the basis of the jury's choice (jury: Monika Borzym, Paulina Przybysz, Envee, Wojtek Mazolewski i Marcin Groh Grośkiewicz) we met the winning bands: Kosmos and quietet.

The sleeve artist is Kornelia Nowak, who won our open call for young designers and graphic artists. Here once again we could rely on the opinion of a prestigious jury comprised of: Beata Śliwińska Barrakuz, Bovska, Maciej Animisiewasz Grochot, Grzegorz Forin Piwnicki i Marcin Groh Grośkiewicz.

Generacja JAZZ LP is also a start of the new imprint - U JAZZ ME, which will be focused on jazz from Poland.

And here are the bands from the album:

1. Immortal Onion - A band from the Tri-City playing a broad spectrum of instrumental music.

Band members: Wojtek Warmijak (percussion), Tomir Śpiołek (piano, synths), Ziemowit Klimek (Upright Bass, synths).

The band Immortal Onion has already established itself as one of the most interesting projects of the new wave of Polish jazz, and is consistently being labelled as such abroad. After two well received albums ("Ocelot of Salvation" (2017) and"XD Experience Design" (2020) U Know Me Records) they released their third album "Screens" in 2022, which was recorded with the well known Tri-City composer and saxophonist - Michał Jan Ciesielski.

The inspiration behind the band's formation were such artists as: Esbjörn Svensson, Hiromi Uehara, Tigran Hamasyan and Tosin Abasi.

The group's guiding principle from the very beginning was the fusion of often disparate musical styles, which bore "post instrumental aggressive gay pop". Despite the stylistic discrepancies, between which they swim, the group has forged its own identifiable language, characterised by complicated rhythmical structures, energetic riffs and trance beats with lyrical melodies.

The trio has performed its original material at many venues and festivals around Europe and Asia.

2. Klawo - seven adventurous adventurers from Gdańsk, who were brought together by their love for music, halvah and throwing Frisbee. Their self-named début album, released in 2022 on the local label Coastline Northern Cuts, is an amalgam of the inspirations of each of the team members and played backwards contains tips on how to reach the Kashubian pyramids. After a win at the international competition Jazz in the Park, held in Cluj-Napoca in Romania, the band began work on their second album. Meanwhile, they were also travelling the length and breadth of Poland on a mission to infect people with the idea of Baltic Funk.

3. Kosmos is a Łódż based jazz quintet. It was formed in 2020 by Pianist Stanisław Szmigero, Saxophonist Iwo Tylman and Trumpeter Jan Ostalski. However, it wasn't until 2022 that Kosmos found its true form when Kamil Gużniczak (Upright bass) and Kacper Kuta (Percussion) joined the line-up.

Their compositions are influenced by Polish yass bands, electronic music and hip-hop. Kosmos music is a mix of lyricism, space, intensity and elements of experiment.

The band members are all eccentric characters possessing different means of musical expression - looking at them, one could even argue they are a group of oddballs. Despite this, for reasons unbeknownst to themselves, the members of Kosmos complement each other on stage and form a unified artistic vision of the world around them.

Kosmos officially released their début single "Ja" in June 2023. They regularly play concerts across Poland and recently were selected as distinguished artists at JAZZiNSPIRACJE (JAZZiNSPIRATION) - a competition held during the 13th Lublin Jazz Festival.

4. Quietet (formed at the beginning of 2023) is the result of meetings between five talented musicians with a deep passion for musical creation. Its sound is a unique blend of Jazz and classical music with a hint of hard rock. The band is inspired by the Scandinavian approach to making music, which brings a characteristic atmosphere and melodies to their work. Their music captivates listeners with its originality, refined improvisations and flawless technique. Both classical and modern musical trends feed their inspiration when creating passionate and emotional compositions.

Their works are full of sound experimentation, which equally surprise and expose new musical horizons. Through their compositions, "Quietet" aims to share their emotions evoked during performances, creating a musical journey that affects and inspires.

5. Connecting jazz with electronic music in fresh interpretations, six young musicians make up the group Rejoin. The group re-formed in 2020 after a four-year break, playing their debut concert at Lotos Jazz Festival Bielska Zadymka Jazzowa. The musicians in Rejoin have performed alongside such artists as: Urszula Dudziak, Krystyna Prońko, Marcin Masecki, Szczyl, Kuba Więcek and Paulina Przybysz.

Most of the members of Rejoin are students from the Katowice Music Academy, where they also develop their own projects. Rejoin was a recipient of the Fabryki Norblin Music Masterclass Foundation scholarship.

6. Twoosty Mayonez is something your grandad would listen to with his younger sister. The non-standard approach to jazz alongside a pursuit of strange sounds, culminated in the conceptual album entitled "Carmin". The material was created by Bartosz Wolerta (percussion) and Dominik Kaniewski (bass guitar/synths). "Triceradiplodocus" tells the story of a mechanical dinosaur that lives on the yet undiscovered planet Carmin.

Repress!

NX Records is a collaboration between Matthew Herbert's Accidental Records and the Department of Music at Goldsmiths, University of London.

In May 2013, the label launched with an introductory mixtape and live performances as part of the Puregold Festival launch at the Southbank Centre. NX Records has continued to release new, critically acclaimed music, host numerous events and run an annual pop up record shop.

The label's mission statement is to create a new model for the music industry, connecting exciting talent from the renowned creative hub of Goldsmiths - and the wider community of South East London - with the ever-experimental Accidental Records.

Our aim is to build connections between emerging artists, education, the industry and audiences. NX is a professional label that works alongside, not in opposition with, DIY artists.

The first in our series of experimental split 12"s focuses on instrumental electronic music.

Goldsmiths student and modular wizard Sam Hostettler evokes a daydream meeting between Vangelis and Burial, with his impossibly lush synthscapes shot through with dubbed out percussion. Meanwhile, La Leif's blend of crunchy, electroacoustic techno and outernational field recordings should hit the spot for fans of Karen Gwyer or Shelley Prior.

NX12X is out on Feb 1, with a launch party at The Glove That Fits on Feb 14. Come grab a copy of the vinyl, and have a dance...

Bullet Train is the 2022 American action-comedy film by the Deadpool 2-director David Leitch and is based on the 2010 novel Maria Beetle, written by Kōtarō Isaka. In Bullet Train, Brad Pitt stars as Ladybug, an unlucky assassin determined to do his job peacefully after one too many gigs gone off the rails. Fate, however, may have other plans, as Ladybug's latest mission puts him on a collision course with lethal adversaries from around the globe - all with connected, yet conflicting, objectives - on the world's fastest train...and he's got to figure out how to get off.

The film features a number of original tracks. Most notably, the film contains Japanese language covers of "Stayin' Alive" by Bee Gees and "Holding Out for a Hero" by Bonnie Tyler. Composer Dominic Lewis noted that the film's soundtrack represents "all vibe and no technique".

For the first time, the soundtrack for Bullet Train is available on vinyl and comes in different editions, all based on the characters in the movie. All editions include a 4-page booklet, but each edition contains an exclusive Bullet Train boarding pass with corresponding picture of the character. This is the limited edition on Lemon coloured vinyl.

a A1. アヴちゃん (AVU-CHAN QUEEN BEE) - STAYIN' ALIVE

[a] A1. アヴちゃん (AVU-CHAN [QUEEN BEE]) - STAYIN' ALIVE

* Lou Reed's final solo album finally available again * First time on vinyl * Produced in partnership with Laurie Anderson and the Lou Reed Archive * Booklet features unseen photography by Lou, Q&A with Laurie Anderson & Jonathan Cott, essay by Eddie Stern, and archival interviews with Lou and Hal Willner * Remastered by GRAMMYr-nominated engineer John Baldwin * Package designed by multi-GRAMMYr-winning artist Masaki Koike // "I first composed this music for myself as an adjunct to meditation, Tai Chi, and bodywork, and as music to play in the background of life, to replace the everyday cacophony with new and ordered sounds of an unpredictable nature. New sounds freed from preconception. ...over time, friends who heard the music asked if I could make them copies. I then wrote two more pieces with the same intent: to relax the body, mind, and spirit and facilitate meditation." - Lou Reed Light in the Attic Records in cooperation with Laurie Anderson and the Lou Reed Archive, proudly announces a definitive re-release of Hudson River Wind Meditations, the pioneering artist's final solo album. Originally released in 2007, the deeply personal project combines Reed's love of creating drone music with his passion for Tai Chi, yoga and meditation. The album's ambient soundscapes have been described as a counterpoint to his intense Metal Machine Music album-but they are similar outliers in Reed's 40+ year exploration of drone music and feedback harmonics. The album has been remastered by the GRAMMYr-nominated engineer John Baldwin with vinyl pressed at Record Technology Inc. (RTI). The Double LP set is presented in a gatefold jacket designed by GRAMMYr-winning artist, Masaki Koike and features new liner notes by renowned Yoga instructor and author, Eddie Stern, who guided Reed's practice for years. Also included in the physical editions is a fascinating conversation conducted earlier this year between author/journalist Jonathan Cott (Rolling Stone, The New Yorker) and Reed's wife, artist Laurie Anderson, who discusses the album, as well as her husband's devotion to Tai Chi - one of the album's primary inspirations. Hudson River Wind Meditations marks the latest release in LITA's Lou Reed Archival Series. Launched in 2022 in tandem with the late artist's 80th birthday, the ongoing series has celebrated one of America's most influential songwriters through such acclaimed collections as Words & Music, May 1965 featuring many of Reed's earliest (and previously-unreleased) recordings, including the earliest-known versions of "I'm Waiting for the Man" and "Pale Blue Eyes."

This album was originally only released for the Japanese market and is now
available worldwide for the first time.
In the early 1990s, Makoto Kimata repeatedly asked Eugen to record the lullaby
"Berceuse" by the French composer Benjamin Godard (1849-1895) for his
grandson. This is how the 'Lullabies' project started. Since it was not possible to
record in Japan, Eugen Cicero rented the radio studio of the former SWF in Mainz,
Germany.
Here, he recorded twelve lullabies within three days together with Ringo Hirth on
drums and Decebal Badila on bass. It was to become the last studio recording of
his career. However, the 'Lullabies' were only produced for the Japanese market.
Eugen Cicero enjoyed cult status in Japan. The Japanese love jazz and classical
music equally, and do not tend to differentiate, as is the case in Europe, especially
in Germany.
When one speaks of lullabies, jazz enthusiasts immediately think of "Lullaby Of
Birdland" by George Shearing. The classically educated music lover, however, will
have the songs of Brahms, Mozart and Schubert in mind. Well, you may find both
genres combined on this album.
While many people do find their nightly rest with sleeping pills, head phones or
iPhone in hand these days, this music gives you an attractive alternative.

EP compilation of essential UK house cuts recorded between 1987 - 1990. TIP!


Before British house and techno found its’ distinctive groove at the turn of the 1990s, one act led the way: Bang The Party, a trio who emerged from London’s vibrant underground party scene in the mid 1980s and proved, beyond any doubt, that UK producers could make music every bit as magical as the pioneering productions put forward by their counterparts in Chicago, Detroit and New York.

By the time long-running DJs and party promoters Kid Batchelor and Leslie Lawrence joined forces with trained engineer Keith Franklin at legendary North-West London reggae studio Addis Ababa in 1987, they’d spent years as DIY dance music activists in Britain’s capital city. They channelled these experiences and their love of imported house and techno sounds into a new project, Bang The Party, in the process becoming the first British act to appear on Transmat, a reflection of the quality and authenticity of their music.

The latest Rush Hour Reissue Series release offers a snapshot of some of the numerous gems nestled in the Bang The Party catalogue, delivering a much-deserved celebration of one of Britain’s most significant early acid house collectives. It features four fully remastered cuts recorded and released between 1987 and 1990 – on-point and far-sighted club workouts that sound as fresh and timeless now as they did when Britain was sweltering under its infamous ‘second summer of love’.

Fittingly, the EP begins with ‘I Feel Good All Over’, the group’s ground-breaking debut single. Dedicated to their home city and one of the earliest UK interpretations of house music, the track exists in the grey area between Chicago house and New York ‘garage house’ – all jaunty organ stabs, jacking Windy City beats, restless bass and soulful vocalizations. ‘Jacques Theme’, which follows, originally nestled on the B-side of that single release. An early, acid-flecked expression of hip-house with a British twist, breakdance-friendly bongo patterns and a dose of Larry Heard-inspired deep house dreaminess, the track remains an under-appreciated classic whose rap verses reflect the popularity of hip-hop in London at the time.

1988’s ‘Release Your Body’, Bang The Party’s most celebrated early release, was reissued in the United States by Transmat, reflecting the strong working relationship between Derrick May and Kool Kat Records’ Neil Rushton. A hypnotising affair propelled forwards by sweat-soaked drum machine beats, jacking fills and an addictive bassline, the track offers another near perfect distillation of the band’s Black American musical influences while delivering something genuinely new and fresh.

Rounding off the EP is a choice cut from Bang The Party’s sought after 1990 album Back To Prison. Doused in the star-lit synth sounds of the Motor City with jaunty organ stabs inspired by the kind of New Jersey jams championed at East Orange institution Club Zanzibar, ‘Let It Rip’ is a superb slice of deep house soul featuring a lead vocal every bit as emotive as anything laid down by Robert Owens. Like the rest of Bang The Party’s output, it has stood the time better than anything laid down by their London contemporaries.

"Ultra-textured arrangements that radiate quiet power, locking listeners into a distorted landscape before evaporating without any fanfare."
Resident Advisor

"Both reflective and rapturous...focuses on altering the DNA of traditional Japanese instruments and building something new from it, without losing the essence."
Bandcamp Daily Acclaimed Japanese musician 99LETTERS joins Phantom Limb for new album Zigoku / 地獄, seamlessly processing traditional Japanese instrumentation into pitch-black techno and quasi-industrial sound design.

“This album is made with the theme of human death,” 99LETTERS (Osaka producer Takahiro Kinoshita) writes of Zigoku / 地獄 Eng: hell, his first album for Phantom Limb. “Even if I eventually end up in hell when I die, it might be a more peaceful place than I had imagined. The whole album may represent the world of death that I desire.”

Though the music of Zigoku / 地獄 is ostensibly programmed with dark, disorientating, disturbing sound design, 99LETTERS continues his now-characteristic practice of sampling, processing and disguising traditional Japanese instrumentation to develop a sound world both organic and unsettling. The very real presence of beauty, culture, and folklore remains throughout the record, in attendance as a kind of heaven to offset the willful hell of Kinoshita’s craft.

Appropriately - and in his typically cryptic language - Kinoshita speaks of human interference with reality and morality as key themes of the album: “Everyone has a good and bad person within them, which can be deceived by misinformation and superstition. The bad side can be ferocious and can easily hurt people. Sometimes I think that the present age is a complicated and difficult era to live in, and that this era may be hell.”

Fuzz has abandonment issues. Abandoning expectation. Abandoning reservation, consummation, resignation and trite dictation. Instinct is all there is when it comes to the divination of harsh salvation. Segall, Moothart and Ubovich are exploring all the blank-ations of what will be, or has always been, Fuzz II. Tried and true methods mixed with tongue-twisting, teeth-shattering, seizure-inducing stabs at the norm. Who knows… maybe that’s wrong. Maybe it’s all done. Played out. Maybe it’s not for want of new but for lack of old. But probably not. Bathe in the heat wave that is Fuzz, and regret nothing in the time freeze. Necessity is the mother of creation; and devolution stakes its claim in the past as it continues to bind itself to the future. San Francisco, Los Angeles, heaven, hell, lunar fields, subterranean hallucinations, traffic jams, sleepless days, hazy nights, recollection or blind reflection. It is all there and so should be you. 2015 and 2016 will bring a new surge of slime, fuzz and otherwise bittersweet concoctions of earthly lettering. It will be heavy, chaotically controlled, softly serpentine and blindingly barbaric. To translate the auditory from ethereal to saliva- soaked semantics is to shatter a promise as it’s made. In the meantime, Ty, Charles and Chad walk on. It is what it is. Just like everything else. And if you don’t know, now you know. This message brought to you by In The Red Educational Services… as it was before and is it will be again.

Wrestling Music is Kean Kavanagh's most intriguing work to date, illustrating his vulnerabilities and contextualising his journey from hopelessness to vindication. Speaking on the EP, Kean explains that, “In May 2022 I suffered a vocal injury which meant that for the majority of the last year, I haven’t been able to sing or record. While I’ve been working on a lot of different music and writing a lot of songs, it has been heartbreaking and depressing at times to not be able to realise their full potential and to sing them how I hear them. On the 1st of May 2023, I wrote and recorded “The Magic” at home in Portlaoise and it helped me to embrace whatever the last year was and point me in a direction to go towards. It felt important to me and I didn’t want to just sit on it, so I gathered some instrumentals I had and worked quickly to create this EP, the Wrestling Music EP, as a timestamp of this period of my life and the loops of arrogance, introversion and acceptance that I’ve been spinning.”

Co-founder, producer and A&R of Irish Label Soft Boy Records, Kean Kavanagh is a story-teller with a strong imagination who set out his stall as both a singer-songwriter and world creator in 2020, with the release of his acclaimed project Dog Person. In what turned out to be a big year for him, 2020 also saw Kean make an appearance on the Everything Is Recorded project FRIDAY FOREVER, (curated by Richard Russell of XL Recordings) alongside Aitch, Flohio, Maria Somerville, Ghostface Killah and others, aligning himself with a tastemaker and a hotly tipped selection of musical peers.