Search:josh t

First release comes from Bipolar State and it's called "Ecletic".

Pure hypnotic techno, limited to 300 copies (no re-press).

Supported by Richie Hawtin, Slam, Dax J, Joris Voorn, Joseph Capriati, Carl Craig, Paco Osuna,
Ilario Alicante, Josh Wink, John Digweed, Amotik, Takaaki Itoh, Nd_Baumecker, Oliver Rosemann

Full LP of new, original holiday music featuring members of Durand Jones & The Indications and The Dap-Kings. "A Joyful Sound" is a future soul classic with all the elements of a classic R&B record, but simply with a joyful holiday lean. With an all-star supporting cast of who's who from the contemporary soul scene this record is truly a family affair with Kelly at the wheel. Featuring members of Durand Jones & The Indications, The Dap-Kings, Ghost Funk Orchestra, Monophonics, Thee Sinseers, Orgone, Ikebe Shakedown, Jason Joshua & The Beholders, The True Loves, Neal Francis, Jungle Fire, Delvon Lamarr Organ Trio, Ben Pirani, The Jive Turkeys, The Ironsides, The Harlem Gospel Travelers, Rudy De Anda, Alanna Royale, and more! Inspired by records like Atlantic's "Soul Christmas", Phil Spector's "A Christmas Gift For You" and Rotary Connection's "Peace" this album will be a record that will appeal not only to lovers of holiday music, but lovers of SOUL music in general! This is Kelly Finnigan's third full-album production in just under two years, including his debut LP "The Tales People Tell" and Monophonics' most recent effort "It's Only Us". He is rapidly establishing himself as a key producer, songwriter, and performer in the current soul scene.

In the summer before Covid, Lauren Flax and Posthuman played a b2b show at I Love Acid in London. A plan was hatched: “You remix one of my tracks, I’ll remix one of yours, and we’ll stick it out on vinyl” And here we are, two club jackers and two remixes. Hand numbered edition of 303 vinyl – clear wax but with wisps of pink and blue haze.

Picking up DJ support from Nina Kraviz, Josh Wink, Laurent Garnier, Anja Schneider, Scuba, Dusky, Luke Solomon, Martyn Bootyspoon, Vladimir Ivkovic, Nikki Nair, John Barera, Kindimmer, Mystic Bill, Harri, Ford Foster, Santaigo Salazar, Lo Shea, Ciel, Joshua James, Cici, Jackson Ryland, Kristian (Amé), Terry Farley, Dam Swindle, Paul Frick, Luke Sanger, Raw Silk, Hassan Abou Alam & loads more

2024 Restock

Space Afrika follow last year's heartbreaking x perception-bending mixtape "hybtwibt?" with an anxious patchwork of drill bass, reflective musique concrete and after-hours surrealism >> singular deep headspace exploration to file alongside Mark Leckey, Perila, Burial or Klein.

Assembled to accompany a short film from Manchester-born visual artist, poet and filmmaker Tibyan Mahawah Sanoh, Joshua Inyang and Joshua Tarelle’s newest is a cinematic audit of identity and ancestry. In the film, Sanoh works hard to visually illustrate an honest and vulnerable picture of her soul. Inyang and Tarelle respond by doing the same with sound, collaging disparate elements together in a way that should be familiar to anyone who heard "hybtwibt?" or their jawdropping RA mix from earlier this year.

Warped field recordings, overdriven rhythmic pressure, syrupy pads and disorienting vocals are cut and pasted over each other, generating a living, breathing study of the duo's Northern working class Black British reality. Unlike the duo's acclaimed "Somewhere Decent To Live" full-length, elements mutate and transform: mushy noise bends into street sounds, haunted vocals into echoing drill melancholia and muffled howls into shattered digital remnants.

The main event is the full 10-minute soundtrack, that's layered with Sanoh's disorienting and deeply personal poetry and echoes Mark Leckey's recent "In This Lingering Twilight Sparkle". Then the EP is bumped up with three sketches from the same sessions, two of which never made it to the final mixdown. 'Version 3' is a particular highlight, pasting heartbreaking piano and blowtorched vocal loops over winding drill bass > sounds like Burial remixing Unknown T into pure syrup.

a 1. Untitled (To Describe You) OST feat. Tibyan Mahawah Sanoh 10:50

a 1 | Untitled (To Describe You) OST feat. Tibyan Mahawah Sanoh 10 50

Mondo and Madison Gate are proud to present the premiere vinyl release of Leo Birenberg and Zach Robinson's incredible score to the Netflix streaming phenomenon COBRA KAI. This 3-disc vinyl set features music from the first 3 seasons of the hit series, curated by the composers into themed collections.

This exclusive retail version comes pressed on red, white, and blue marble discs. Also featuring all new artwork from the incredible Matt Ryan Tobin and liner notes from composers Leo Birenberg, Zach Robinson, star Ralph Macchio, and showrunners Josh Heald, Jon Hurwitz, and Hayden Schlossberg.

Music from the first 3 seasons of the series curated into three collections of music:
Disc 1: COBRA KAI - a curated mix of music scoring the most badass dojo in the Vallely
Disc 2: MIYAGI-DO - curated selections from the music scoring Laruso Family, and its ties to the Miyagi legacy.
Disc 3: FINAL FIGHTS - the music from all three of the explosive season finale episodes.

All of the music has been hand selected, and in many cases expanded from their original form for the most definitive Cobra Kai listening experience available.

Many great singers passed through the hands of late great soul/
R&B producer Jerry Wexler, from Aretha Franklin to Dusty
Springfield, but Etta James was a singer he willingly waited 20
long years to work with. “Etta is a church in herself,” he said in
his autobiography, adding: “Her voice is a mighty influence, her
musical personality able to express an extraordinary range of
moods.” He further described her as “A woman used but not
spent, abused but never defeated, vulnerable but though sheer
strength of will, victorious.” Her legend lives on in her music.
Press play and share her many emotions…

Only Up is the second Breeze album by producer and artist Josh Korody
(Nailbiter, Beliefs).
Enlisting a whirlwind of performances from Tess Parks, Cadence Weapon and
an array of the Toronto music scene, including members of Orville Peck, Tallies,
Vallens, Zoon, Sauna, Fake Palms, Rapport, Praises, Civic TV, Moon King, Blonde
Elvis, For Jane, Ducks Ltd, TOPS and Broken Social Scene. Only Up sees Korody
digging through and channelling three decades of anthemic British bands.
From the angular guitars of late 70”s post-punk (Gang Of Four, Wire), to the
lush gloom of 80’s electro-pop (Tears for Fears, OMD), with the dance floor
psychedelia of the Manchester sound (Primal Scream, Happy Mondays), and
through the late ‘90s and early 2000s post-punk / new wave revivalists.
When originally tasked with making this album, Korody and his long time music collaborator Kyle Connolly (Orville Peck, The Seams) quickly threw down
ideas in a session, however with Connolly embarking on a world tour, and with
Korody’s demanding schedule at his Candle Recording Studio, the project sat
unattended.
Somehow, by the time of the album’s delivery deadline, Korody not only orchestrated a creative ensemble of friends and collaborators, he wrote, recorded and mixed the entirety of the album in two weeks without a single regret
or compromise.
“It was the best way I could have done it. A strict deadline to make decisions,
move on and focus on things that matter the most. Every decision was made in
that headspace. The ease of technology to endlessly tweak with, it sometimes
can end up destroying records until there is no soul in it, no happy accidents
and it’s completely sterile. You can have a well produced record without going
down that dark rabbit hole.” Only Up is out via Hand Drawn Dracula.

Incl Daniel Avery Remix

A pivotal figure amid London’s queer club continuum, Joshua James follows up an iconic trilogy of releases on Phantasy with a powerful swerve into pure techno with ‘Amber Rush’, complete with a remix by close friend and Phantasy labelmate, Daniel Avery.

Crackling with energy, its pendulous drums reminiscent of The Chemical Brothers in their Battle Weapon mode, ‘Amber Rush’ matches the thunder-dome ready scope of a big-room anthem with waves of psychedelic texture. The result is guaranteed rapid-fire synapse tickling within even the best (or worst) adjusted of dedicated rave brains.

Avery’s metallic-tinted reimagining subtly shifts the aesthetic of ‘Amber Rush’, gliding out of the strobe and into the fog. Wisely following the course of undulating euphoria mapped out by James, Avery transforms acid tension into graceful heights and somehow deeper plunges, ultimately settling on a killer groove.

Manchester UK's Space Afrika make music of what they term "overlapping moments" - oblique mosaics of dialogue, rhythm, texture, and shadow, half-heard through a bus window on a rainy night. Honest Labour, the group's first full-length since 2020's landmark hybtwibt? (have you been through what i've been through?) mixtape, expands the project's palette with classical strings, shimmering guitar, and visionary vocal cameos, leaning further into their enigmatic fusion of ambient unrest and cosmic downtempo. It's a sound both fogged and fragmented, at the axis of song craft and sound design, born from and for the yearning solitudes of life under lockdown. The album title is tiered, alluding to a legendary patriarch from co-founder Joshua Inyang's Nigerian family tree (who was lovingly called "Honest Labour" for his loyalty and resilience) as well as the nature of self-designated work, such as Space Afrika's music - a "labor of love" in its truest sense. With fellow co-founder Joshua Reid recently relocated to Berlin, the pair began sharing files last fall, piecing together poetic vignettes of looping haze and found sound, inspired by the notion of "records that leave an impression, and help the listener deal with their life." As the isolation of Covid compounded with the worsening winter, the songs skewed increasingly introspective and emotive, reflecting a mood of dissipating futures and the infinite nocturnal unknown. The artists cite two core motivations for Honest Labour: to transcend the sum of their influences, and "to show what we're capable of." Both ambitions are entirely realized. The collection's 19 tracks flow with a synergy and sophistication as rare as they are radical, untethered to the dusty dub-techno templates of Space Afrika's early years. These are interstitial anthems, expressionistic and open-ended, delirious but deliberate, attuned to the drift and dreamstate of the present moment: "Ultimately this is an homage to U.K. energy, and an album about love and loss."

Manchester UK's Space Afrika make music of what they term "overlapping moments" - oblique mosaics of dialogue, rhythm, texture, and shadow, half-heard through a bus window on a rainy night. Honest Labour, the group's first full-length since 2020's landmark hybtwibt? (have you been through what i've been through?) mixtape, expands the project's palette with classical strings, shimmering guitar, and visionary vocal cameos, leaning further into their enigmatic fusion of ambient unrest and cosmic downtempo. It's a sound both fogged and fragmented, at the axis of song craft and sound design, born from and for the yearning solitudes of life under lockdown. The album title is tiered, alluding to a legendary patriarch from co-founder Joshua Inyang's Nigerian family tree (who was lovingly called "Honest Labour" for his loyalty and resilience) as well as the nature of self-designated work, such as Space Afrika's music - a "labor of love" in its truest sense. With fellow co-founder Joshua Reid recently relocated to Berlin, the pair began sharing files last fall, piecing together poetic vignettes of looping haze and found sound, inspired by the notion of "records that leave an impression, and help the listener deal with their life." As the isolation of Covid compounded with the worsening winter, the songs skewed increasingly introspective and emotive, reflecting a mood of dissipating futures and the infinite nocturnal unknown. The artists cite two core motivations for Honest Labour: to transcend the sum of their influences, and "to show what we're capable of." Both ambitions are entirely realized. The collection's 19 tracks flow with a synergy and sophistication as rare as they are radical, untethered to the dusty dub-techno templates of Space Afrika's early years. These are interstitial anthems, expressionistic and open-ended, delirious but deliberate, attuned to the drift and dreamstate of the present moment: "Ultimately this is an homage to U.K. energy, and an album about love and loss."

Type O Negative is an American goth-metal band formed in Brooklyn in 1989 by Peter Steele (lead vocals, bass), Kenny Hickey (guitar, backing vocals), Josh Silver (keyboards, backing vocals), and Sal Abruscato (drums, percussions), who was later replaced by Johnny Kelly. Slow, Deep and Hard is their debut studio album, released in 1991 on Roadrunner Records. The album, originally titled None More Negative and released in 1990 under the group’s former name Repulsion, launched the band’s career. The album has a rawness that was prominent in Peter Steele’s previous band, Carnivore, but it incorporates elements that became standard for Type O Negative, merging styles including doom metal, gothic rock, new wave and industrial music.
Slow, Deep and Hard is a semi-autobiographical album with heavy amounts of black humour, based on a failed relationship in which the vocalist/bass guitarist Peter Steele was involved. In keeping with the band’s notable humour, the album’s cover artwork is a blurred image of sexual penetration. According to guitarist Kenny Hickey, Steele based a riff of “Gravitational Constant: G = 6.67 x 10 – 8 cm – 3 gm – 1 sec – 2” (later known as “Gravity”) from the theme song of the 1964 American sitcom The Munsters. For the 30th anniversary of Slow, Deep and Hard, Roadrunner Records in conjunction with Run Out Groove, is reissuing the debut on vinyl in all it’s remastered glory.

Das britische Produzentenduo Jungle meldet sich zurück.
Das kommende Album von Jungle - ihr drittes - „Loving In Stereo" wird wahrscheinlich der Soundtrack zu einem Sommer werden, der anders ist als alle anderen. Das Duo hat das vergangene Jahr im Studio verbracht und ist mit einer unbändigen Dancefloor-Platte für die post „social distancing" Zeit herausgekommen: „With this record we’ve learned to trust our instincts and go with our gut,” sagt T. „We want it to be more raw, open, fun, enjoyable and entertaining, because that’s what music is,” fügt J. hinzu.

J und T sind das pulsierende Herz von Jungle, wo Musik, Ästhetik und Choreografie als eine unverwechselbare künstlerische Vision nebeneinander bestehen. Mit dem gleichen Ethos wie z.B. Gorillaz oder The Avalanches sind die beiden die Produzenten, Songwriter und Musiker, aber sie sind auch die Regisseure, Content-Schöpfer und Kuratoren. Sie stehen an der Spitze einer größeren Gemeinschaft von Kreativen. Sie sind Weltenbauer.
Mit dem neuen Album wird dies auf eine neue Ebene gehoben, wobei das größere Jungle-Kollektiv von Tänzern ein integraler Aspekt ist, wie die Musik visuell erlebt wird. Mit jedem Video, bei dem Josh Lloyd Watson und sein langjähriger Mitarbeiter Charlie Di Placido Regie geführt haben, schaffen sie es die Fans zu begeistern. Das Video zu „Keep Moving" ist in einem Take gedreht - teils Birdman, teils West Side Story und zeigt zwei Gangs von Tänzer*innen. Es beginnt mit dem Tänzer Che Jones (der im Video zu „Smile" vom letzten Jungle-Album mitspielte) in seinem Schlafzimmer und führt zu einer Szene im Freien, in der wir Mette Linturi (die im Video zu „Casio" vom letzten Album mitspielte) finden. Der Rest ist eine wunderschöne Entfesselung, die so atemraubend zu beobachten ist, dass sie den Zuschauer mit einem Gefühl der Ehrfurcht zurücklässt.

In ihrer bisherigen Karriere haben Jungle bereits auf mehreren Kontinenten gespielt und eine stetig wachsende internationale Fangemeinde gewonnen: Headline Shows von Sydney bis Moskau, vom ausverkauften Londoner Alexandra Palace mit 10.000 Plätzen bis zum 9.000 Kilometer von ihrem zu Hause entfernten ausverkauften Hollywood Palladium und Festivals wie Coachella, Bonnaroo und Lollapalooza. Ihr für den Mercury Prize nominiertes und mit Gold ausgezeichnetes Debütalbum und der Nachfolger "For Ever" von 2018 erreichten beide die UK Top 10. Diese beiden Alben haben seitdem 750.000 Verkäufe und fast eine Milliarde Streams erreicht.

Joshua is the follow-up album to Olympic. While the second album, typically, often shows what critics call “maturity”, here Simon has released instead an album of adolescence. The musician opened up his own memory box to contemplate his childhood souvenirs, and dust them off of all nostalgia. At that time, he would VHS-record movies from TV and tape record soundtracks directly from the TV speaker, so he could listen to them in his bedroom. This is when he “discovered the power of music, the way it makes you enter another world, far from reality. I wanted to pay tribute to the era I shaped myself in – the ’80s and ’90s”. Tangerine Dream, Kraftwerk and Soft Machine. Logically, these are the sonic signatures that seem to haunt the album. The timeless pioneers of synthetic music constitute the sound references, without any established chronological timeline, that blend with the atmosphere of typically “French Touch” movie soundtracks – long before the term was even coined. “I use a musical palette that acts as a flashback to my favourite teenage movies: the synth sounds of Close Encounters of the Third Kind; the synth pads in Jean-Jacques Cousteau’s fascinating documentaries about the sea world; the melodies in the manner of François De Roubaix; the themes that evoke the soundtracks of late-night TV sessions (those by Verneuil, those with Belmondo, Depardieu, etc.); and the sci-fi ambiences like in Blade Runner.” In short, an aesthetic was decided on by Simon very early on: French analog synths instead of North American symphonic orchestras.

The name Joshua has two meanings for French 79: one is linked to the idea of nostalgia, the other to adventure. On the one hand, the computer in the 1983 movie Wargames, and on the other, the boat of French sailor Bernard Moitessier.

The track titled Joshua synthesizes the spirit of the album – an odyssey, a neverending crossing of the world in search of oneself, a spontaneous escape into the future, under the benevolent eye of the past. This epic invites everyone of us to a specific place in our imagination, which is also the source of an indescribable pleasure for French 79: a gust of wind, a sailboat ride, a skateboarding trick, the smell of freshly fallen snow, or the dull roar of an impatient audience.

The same aesthetic preferences are found in the videos that illustrate Joshua’s first tracks: for Hold On, the skateboarder chose to recall the cult ’90s skate videos that he would watch on repeat as a teenager, while Hometown hints at Close Encounters of the Third Kind. Although he now calls Marseille home, Simon continuously draws with passion from the anachronic contemporaneity of his childhood in the Eastern French region.

“I need escape to be able to create. A two or three-day sailing trip gives me enough inspiration to lock myself in the studio for a week when I’m back on dry land.” His boat takes him far away from everything, far from the Old Port where she moors, the rest of the time Simon would escape by walking the streets of his city or climbing the Alpine mountains.

Not only does the new version French 79 reveal a few biographical pieces of Simon henner's history, but it also inaugurates the first vocal track for the musician. One feels a guilty pleasure when hearing him take the lead on the first track, The Remedy. The electronic fugue that opens the album sets the tone: Simon has found the cure for his inner turmoil and wants us to discover our own treatment too. Hold On is a sonic explosion that celebrates the feeling of freedom - what's more of a teenage dream than this feeling - and it eventually command one to feel the same way too. Echoing Olympic, the electronic argonaut invites his muse again, singer Sarah Rebecca. On By Your Side and Touch The Stars, the native of Ocean Springs, Mississippi, now based in Paris, hoisted the mainsail of dream pop. First, though a dialogue that surfaced their unfailing attachment to the bonds of friendship, then through the light hearted atmosphere that leaves us with no choice but to believe in our own dreams and do anything possible to fulfill them. The quest for peace in the midst of the daily din is heard in both Code Zero and the title track Joshua, two majestic journeys in search of hedonism, combined with introspection.

Ltd Black Vinyl Gatefold edition + 32 Page Booklet + Download Code

The LP contains original compositions by Ryuichi Sakamoto, Pascal Comelade, Laurie Spiegel, Lyra Pramuk, Chassol, Nicolas Godin and Pierre Rousseau, Pedro Vian and Pierre Bastien, Visible Cloaks, Kelman Duran, Raul Refree, Lucrecia Dalt, Lafawndah.

+ a booklet with writings by contemporary thinkers like Shumon Basar, François J. Bonnet, and pictures by, Araki, Juergen Teller, Elizaveta Porodina, Dani Pujalte, P Jack Davison, Zhong Lin, Alessandra Sanguinetti, Adrià Cañameras, Javier Tles among others. Lacquer cut by Josh Bonati & Mastered by Rashad Becker

'PRSNT' is a unique global artistic project combining the input of artists across the worlds of music, video and written word which acts as a statement on how we, as consumers, engage with music in the 21st century. Vital electronic musicians including Ryuichi Sakamoto, Lafawndah, Lyra Pramuk, Lucrecia Dalt and Visible Cloaks have each contributed tracks, which are approximately 32 seconds long.

The concept was devised by Created By Us and the Barcelona-based label Modern Obscure Music. They read a study which identified that the overwhelming volume of instantly accessible information online is shortening attention spans and altering how audiences engage with music digitally. Their curiosity about the state of online consumption developed further on discovering that around a third of all listeners using digital platforms skip to the next track, within the first 30 seconds of playing.

Each musician was given a fascinating challenge to create engaging compositions with real artistic merit, inside the confines of this shortened span. Akin to Brian Eno's famous Windows 95 start-up music, the time constraints are crucial, and the compositions are deceptively complex and more substantial than expectations of their nano nature would suggest.

'PRSNT' acts as a critique of flighty feed culture, but is simultaneously constructive, providing something which is either proposed solution, or "if you can't beat 'em join 'em" resignation. Every artist has interpreted the brief differently, resulting in an intriguing blueprint for the potential future of digital music. Could abbreviated micro compositions satisfy, inspire and nourish like their longer counterparts? They certainly take up much less of listeners' busy lives, which are often spent tackling ever-increasing workloads.

 On ‘Phantom Rhythm’, Gong Gong Gong’s raucous debut, the
minimalist Beijing duo created a drummer-less sound that was
more than the sum of its parts, inspired by back-porch blues,
Sahelian guitar music, New York no-wave, Cantonese lion
dance percussion and, seemingly most incongruously, techno.
 With ‘Phantom Rhythm Remixed’, Gong Gong Gong bring to life
a concept they’ve planned since the release of their acclaimed
first album, curating their favourite China-connected electronic
music producers to remix ‘Phantom Rhythm’ in its entirety.
 The globe-spanning collaboration features Yu Su (Vancouver /
Kaifeng), Zaliva-D, Simon Frank, Howie Lee (Beijing), Mong
Tong, Scattered Purgatory (Taipei), Knopha (Xiamen), Wu
Zhuoling (Chengdu), Angel Wei (Copenhagen) and P.E.
(Brooklyn).
 The album traces a common thread, organically expanding the
palette of Gong Gong Gong into ambient club tracks, thumping
dance music, cinematic soundscapes and doomy, bit-crushed
psych.
 Gong Gong Gong are the duo of Tom Ng and Joshua Frank.
Formed in 2015 in Beijing, China, they make music from the
sparest of means: one guitar and one bass, interweaving riffs to
create forward-charging, drumerless grooves. Their inspirations
extend from Bo Diddley to African and Southeast Asian folk
music, psychedelic drone and the structures of electronic music.
 “A couple of misfits and a brash bouquet of sound” - Pitchfork
 “Spare and savage” - The New Yorker
 “String-focused, hypnotic, spitfire tracks” - Stereogum
 “A rare kind of intimacy you don’t often find with driving,
ramshackle funk” - Loud And Quiet
 “Depending on your ear, the Beijing-based guitar-and-bass duo
could sound like The Feelies’ stuttering post-punk, Bo Diddley’s
rock and roll boogie or Tinariwen’s droning desert blues” - NPR

For nearly two straight years following the release of their critically acclaimed debut, Chasing Lights, Ida Mae lived on the road, crisscrossing the US from coast to coast as they performed hundreds of dates with everyone from Willie Nelson and Alison Krauss to Marcus King and Greta Van Fleet. And while those shows were certainly formative for the electrifying British duo, it was what happened in between — the countless hours spent driving through small towns and big cities, past sprawling suburbs and forgotten ghost towns, across rolling plains and snow-capped mountains — that truly laid the groundwork for the band’s transportive new album, Click Click Domino. Written primarily in the backseat of a moving car, the record embodies all the momentum and possibility of the great American unknown, offering up a series of cinematic vignettes full of hope and disappointment, promise and regret, connection and loneliness. The songs on Click Click Domino are raw and direct, fueled by an innovative mix of vintage instruments and modern electronics, and the performances are loose and exhilarating to match, drawing on early rock and roll, classic country, British folk, and 50’s soul to forge a sound that’s equal parts Alan Lomax field recording and 21st century garage band. Turpin and Jean produced the album themselves, recording primarily on their own in their adopted hometown of Nashville during the COVID-19 pandemic, and while the collection is certainly bolstered by appearances from high profile guests like Marcus King, Greta Van Fleet’s Jake Kiszka, and Ethan Johns, the heart and soul of the record remains Ida Mae’s intoxicating chemistry, which has never felt more vibrant, ambitious, or self-assured. Now married, Turpin and Jean first met a little over a decade ago while attending university in Bath. The pair bonded immediately over their love for the sounds of bygone eras, and they quickly earned rave reviews everywhere from the BBC to the NME with their raucous first group, Kill It Kid. Starting over fresh as a duo named for Sonny Terry and Brownie McGhee’s “Ida Mae,” the first song they ever harmonized on, Turpin and Jean relocated to Nashville in 2019 and released Chasing Lights to similarly widespread critical acclaim. Rolling Stone hailed the album’s “stomping swirl of blues and guitar-heavy Americana,” while The Independent lauded its “retro lustre” and “impressive experimentation,” and NPR’s Heavy Rotation called it “tightly drawn, harmonic and hypnotic.” The music helped the earn the duo a slew of support dates with the likes of Greta Van Fleet, The Marcus King Band, Blackberry Smoke, Josh Ritter, Rodrigo y Gabriela, and The Lone Bellow, as well as performances at Bonnaroo, the Telluride Blues & Brews Festival, the Philadelphia Folk Festival, Germany’s Reeperbahn Festival, and Switzerland’s Zermatt Unplugged.

Cryovac Recordings recognizes and recruits artists with individualism and creativity to add to its list of collaborators. Cryovac has evolved into a project that is brought to life by craftsmen, musicians and visual artists that give their time and effort for a common cause. Cryovac aims to weave a thread between the varying sonic approaches that describe a direction techno must go. A. García tends the cryovac from conception to press; combining with Mike Kretsch to create a unique minimal sound. Mr. Joshooa has the tools and know how to describe his personality as his work. He swims the Detroit techno-sphere wearing many hats, and is always pushing techno forward by any means necessary. Cryovac is a vehicle for the rebel spirit; we hope you listen to it.
The Cat Lover E.P. starts with Mr. Joshooa taking his time weaving a slow funky grind. “Horse Hockey’ is the name of this 4/4 two step that gallops and bangs its way through cinematic synth rises, heroic harmony, and crunchy to smooth samples. Mr. Joshooa's mischievousness is on full display with his second jam “fuck around”. Tumbling samples form a bop that is maneuvered playfully through a hectic arrangement. Side 2 is a. garcia and Mike Kretsch’s domain. Their first effort minimally clicks and rings into a soulful melody; popping rhythm holds your body to terra firma so your mind can “spacetravel”. B2 ,”meerkat”, opens with a raw kick on top of marmic synth evolving into a dramatic techno drive turning and shaking along a desolate road

Sam Prekop's eponymously titled LP is a study in pop nuances. Simultaneously transporting the listener from mild climes and swinging palms to darkened skies and wind blown steppes, the record will be easily recognized by fans of The Sea and Cake. Known to many as the singer and main songwriter for said group, Mr. Prekop is assisted on this release by Chad Taylor (Chicago Underground Duo), Josh Abrams (ex-Roots, Town and Country), Jim O'Rourke (Gastr del Sol) and Archer Prewitt (The Sea and Cake). Those expecting to find more of the computer beats and trickery found on The Fawn and Two Gentlemen are in for a surprise. Whilst prevalent on "Faces and People" - (a lucious groove overlayed by cornet and guitar), the computer takes a back seat to real strings, drums, piano, electric piano and organ as well as electric and acoustic bass. The subtle grooves, a trademark of The Sea and Cake records, are still present here as Sam and his band blend West African rhythms with a bit of soul, jazz and pop. The resulting record is something wholly original, elegant and earthy. A cauldren, if you will, of sweet smelling and enlightening stew. So line up, grab a spoon, and dig in. All the ingredients and intoxicating aromas necessary for an auditory feast are contained within.

The Miami Maestro is back with a superb slice of moody, mid-tempo Latin Soul. Anyone who has had the pleasure of seeing one of Jason's passionate live performances can attest that he exudes raw energy and emotion on a level seldom seen on today's soul scene - attributes that Jason delftly applies to the pen.
Drawing from personal experience, “Se Acabó” is a bilingual lament about the challenges of navigating mental illness within the context of a romantic relationship. Jason pleads "Her heart was a butterfly flying through the winds of the hurricane of her mind" as he comes to grips with the fact that in spite of his undying love she may never return.
Accompanied by a grooving, unrelenting beat, he distills the pain down to an elixir of high-proof soul sure to requite the lovelorn among us. Yet another Penrose playbox essential by one of the hardest working players in the game.

Since the release of the first volume in 2019, we knew we couldn't stop there. In 2021 we are even more excited to present the 'Drum'n Voice Remixed 2' album by the legend Billy Cobham in collaboration with Italian producers and composers Nicolosi / Novecento. As a taster to the album we are very happy to be releasing an EP containing remixes of ‘Interactive’ from the legend Louie Vega.

Acclaimed as jazz-rock fusion's greatest drummer, Billy Cobham has dedicated his whole life to musical exploration and creative expression. Born in Panama, he has been surrounded by music. His father was a pianist, his mother was a singer and Billy started playing drums at four years old. Throughout his career he has collaborated with artists like Miles Davis, Horace Silver, Airto Moreira, George Benson and appeared on over 300 recordings, including icons like Peter Gabriel, Quincy Jones, Jack Bruce, Bob Weir, and James Brown, and to date, has produced and released more than forty albums as a leader. The first album ‘Spectrum’ is a masterpiece and still considered a reference album today.

Billy and Nicolosi composed so many songs of the highest quality and class that we immediately wanted to get to work preparing a second volume of remixes. We are really happy to present the Louie Vega remixes of ‘Interactive’ in the run up to ‘Drum’N Voice Remixed 2’ collection that's set for a release later in the year.

‘Little’ Louie Vega does not need any introduction. One half of the Masters At Work (that are back now after a long time with their new single), he is one of the most important House Music duo of the last 30 years, even receiving a nomination in the last Grammy Awards. With the collaboration of Josh Milan (aka Honeycomb and former one half of Blaze) at the keyboards, these incredible remixes of 'Interactive' make track shine thanks to a powerful blend of funky cosmic disco and a perfect killer groove that makes us dance on Brian Auger's magnificent Hammond improvisation.

Nonesuch Records releases an album of songs written and performed by Caroline Shaw and Sō Percussion, Let the Soil Play Its Simple Part. The musicians, who have known each other since their student days, were presented with three days of gratis studio time and decided to experiment with ideas they had begun putting to tape during the sessions for their January 2021 Nonesuch release Narrow Sea. With Shaw on vocals and Sō – Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting – filling out this new band, they developed songs in the studio, with lyrics inspired by their own wide-ranging interests: James Joyce, the Sacred Harp hymn book, a poem by Anne Carson, the Bible’s Book of Ruth, the American roots tune ‘I’ll Fly Away’, and the pop perfection of ABBA, among others. The album is co-produced by Shaw, Sō Percussion, and the Grammy Award–winning engineer Jonathan Low (The National, Taylor Swift).

Shaw, who won a Pulitzer Prize for her vocal composition Partita for 8 Voices, written for and performed with Roomful of Teeth, makes her solo vocal debut with Let the Soil Play Its Simple Part. The album’s first track, ‘To the Sky’, from the Sacred Harp, takes its lyrics from Anne Steele. “I love the songs about death, and going home, and looking toward a time that is better or brighter, which, if there’s one thing to think about in the world, maybe that’s the thing,” Shaw says. “This one I love in particular. There’s a line, ‘Frail solace of an hour / So soon our transient comforts fly / And pleasure blooms to die.’ It’s meditation on the ephemeral, and I love it.”

“I hadn’t written very many songs, but I have certainly loved many in my life. I’ve been thinking of making a solo album for seven or eight years, but it takes having the right friends and community in the room,” Shaw says. “The prompt for all of us was: What would we make in the room together with no one person in charge, like a band writes in the studio?”

Cha-Beach recalls of the early test run during the Narrow Sea session: “It had that capturing-lightning-in-a bottle feeling.” When the opportunity to have three days in their friends’ studio, Guilford Sound, came up, the five musicians decamped for Vermont with engineer/co-producer Jonathan Low. “Jon is an amazing editor,” Cha-Beach says. “He is so helpful in thinking about: ‘We have these ideas: how do we shrink those and make them come across on an album?’”

One such idea was for Shaw to do a duet with each member of Sō. She sings with Josh Quillen on steel drums on the title track, which she wrote in under an hour in a “free-writing zone, very inspired by James Joyce, taking on that brain space,” she says. Lyrically, the song is “related to some math bits that I love, but also memory, and love songs of somebody who’s gone or passed away, or that you’re no longer with: what is the sound of that kind of devastation or confusion or love?” They recorded the song only twice, and the first take is on the album. “It’s very spare. The playing is very Josh; it’s so sensitive,” Shaw says.

Adam Sliwinski’s marimba duet with Shaw is an interpretation of the ABBA song ‘Lay All Your Love On Me’. She explains, “It’s really a Bach chorale. Also, the idea of someone singing ‘Don’t go wasting your emotion / Lay all your love on me / Don’t go sharing your devotion / Lay all your love on me,’ over and over again very slowly, there’s a certain tragedy in it. And then Adam did some absolutely exquisite layering that built this stunning world from the marimba.”

Jason Treuting on the drum kit joined Shaw for ‘Long Ago We Counted’. She suggested, “Why don’t we start with the voice and the kit having a weird conversation, sort of like two babies talking to each other? And then we built this loop, and we go from this place that’s totally uncomfortable and nonsensical to something that’s rich and rolling and satisfying.” For ‘Some Bright Morning’, the duet with Cha-Beach – who here plays electronics, piano, and Hammond organ – Shaw drew upon a twelfth century liturgical hymn she had sung regularly in church during her college years: ‘Salve Regina’.

“Some songs on Let the Soil… were very specifically composed by Caroline,” Cha-Beach says. “But others were this assemblage of ideas: finding words, an idea for how a melody could work, a harmony, and then tossing it in a blender and trusting each other.” Shaw adds, “What I love about Sō is the curiosity about how objects make sounds and how they speak to each other. There was an underlying thread of thinking about what goes into soil, how we take care of it, how we allow it to be itself, how we contain it, and what can come out of it if you cultivate the right environment, which for me is always this wonderful metaphor for creativity and collaboration: let people be themselves and see what happens,” she concludes.

Caroline Shaw is a New York–based musician – vocalist, violinist, composer, and producer – who performs in solo and collaborative projects. She was the youngest recipient of the Pulitzer Prize for Music in 2013 for Partita for 8 Voices, written for the Grammy–winning Roomful of Teeth, of which she is a member. Shaw’s film scores include Erica Fae’s To Keep the Light and Josephine Decker’s Madeline’s Madeline as well as the upcoming short 8th Year of the Emergency by Maureen Towey. Hailed for ‘astonishing both the pop and classical music worlds’ (Guardian), she has produced for Kanye West (The Life of Pablo; Ye) and Nas (NASIR), and has contributed to records by The National and by Arcade Fire’s Richard Reed Parry. Shaw currently teaches at NYU and is a Creative Associate at The Juilliard School. Her 2019 Nonesuch/New Amsterdam album Orange won a Grammy Award.

Through its interpretations of modern classics, innovative multi-genre original productions, and ‘exhilarating blend of precision and anarchy, rigor and bedlam’ (New Yorker), Sō Percussion has redefined the scope and role of the modern percussion ensemble. Sō’s repertoire ranges from twentieth century works by John Cage, Steve Reich, and Iannis Xenakis, to commissioning and advocating works by contemporary composers such as David Lang, Julia Wolfe, and Steven Mackey, to collaborations with artists who work outside the classical concert hall, including Shara Nova, choreographer Susan Marshall, The National, Bryce Dessner, and many others. Sō has recorded more than twenty albums, including a performance of Reich’s Mallet Quartet on the Nonesuch record WTC 9/11; appeared at Carnegie Hall, Lincoln Center, Walt Disney Hall, the Barbican, the Eaux Claires Festival, MassMoCA, and TED 2016; and performed with Jad Abumrad, JACK Quartet, the Mostly Mozart Festival Orchestra, and the LA Phil and Gustavo Dudamel, among others.

Cinema – which features tracks in English and Spanish – draws inspiration from the classic films and directors that María and Josh grew up watching, including Pedro Almodóvar and Wes Anderson. The title also pays homage to how the band first began creating music in the first place.

The Marías have fast proven among the most visionary and entrancing new bands in recent memory. Born in Puerto Rico and raised in Atlanta, María Zardoya moved to Los Angeles in 2016 where she met drummer Josh Conway after a performance at the famed Kibitz Room Bar at Canter’s Deli. The two began writing together, crafting a remarkable collection of mesmerizing original songs fusing kaleidoscopic soul, gentle jazz, and imagistic, bilingual lyricism.

Last year saw The Marías unleash a series of new songs affirming their continued creative evolution. “Hold It Together” and “Jupiter” were released in the top half of 2020, accompanied by official music videos. The former received praise from The FADER, which wrote, “The pop-leaning and low-key love song features guitar and key lines that interlock hand in hand. Right in the pocket is the cotton candy-textured voice of vocalist María that coolly asks you to slow down with her. ”Meanwhile, “Jupiter” was hailed as “a soothing dream from retro outer-space,” by Melted.

In October of last year, the group released two new songs written and recorded during lockdown – “Care For You” and “bop it up!” – both joined by official videos co-directed by María with longtime visual collaborator Bethany Vargas. “Care For You” received acclaim from V Magazine, which praised it as “a slow, jazzy jam, both sensual and soothing,” while Órale enthused, “‘bop it up!’ is unlike any project The Marías have put out before... Although their signature tenderness is still recognizable, listeners will discover a newfound sense of invigoration. ”International art and fashion magazine Teeth added: “Both tracks are quarantine jams to dance and cry to, the kind of music we need during this endlessly trying time... The Marías have this incredible ability to transport you.”

Ltd White Vinyl Gatefold edition + 32 Page Booklet + Download Code

The LP contains original compositions by Ryuichi Sakamoto, Pascal Comelade, Laurie Spiegel, Lyra Pramuk, Chassol, Nicolas Godin and Pierre Rousseau, Pedro Vian and Pierre Bastien, Visible Cloaks, Kelman Duran, Raul Refree, Lucrecia Dalt, Lafawndah.

+ a booklet with writings by contemporary thinkers like Shumon Basar, François J. Bonnet, and pictures by, Araki, Juergen Teller, Elizaveta Porodina, Dani Pujalte, P Jack Davison, Zhong Lin, Alessandra Sanguinetti, Adrià Cañameras, Javier Tles among others. Lacquer cut by Josh Bonati & Mastered by Rashad Becker

'PRSNT' is a unique global artistic project combining the input of artists across the worlds of music, video and written word which acts as a statement on how we, as consumers, engage with music in the 21st century. Vital electronic musicians including Ryuichi Sakamoto, Lafawndah, Lyra Pramuk, Lucrecia Dalt and Visible Cloaks have each contributed tracks, which are approximately 32 seconds long.

The concept was devised by Created By Us and the Barcelona-based label Modern Obscure Music. They read a study which identified that the overwhelming volume of instantly accessible information online is shortening attention spans and altering how audiences engage with music digitally. Their curiosity about the state of online consumption developed further on discovering that around a third of all listeners using digital platforms skip to the next track, within the first 30 seconds of playing.

Each musician was given a fascinating challenge to create engaging compositions with real artistic merit, inside the confines of this shortened span. Akin to Brian Eno's famous Windows 95 start-up music, the time constraints are crucial, and the compositions are deceptively complex and more substantial than expectations of their nano nature would suggest.

'PRSNT' acts as a critique of flighty feed culture, but is simultaneously constructive, providing something which is either proposed solution, or "if you can't beat 'em join 'em" resignation. Every artist has interpreted the brief differently, resulting in an intriguing blueprint for the potential future of digital music. Could abbreviated micro compositions satisfy, inspire and nourish like their longer counterparts? They certainly take up much less of listeners' busy lives, which are often spent tackling ever-increasing workloads.

Acclaimed singer/songwriter and multi-instrumentalist Amy Helm is set to release What the Flood Leaves Behind (Renew Records/BMG) on June 18th. Produced by Josh Kaufman (Taylor Swift’s Folklore, Bob Weir, Bonny Light Horseman) who is also featured on piano, guitar, and mandolin, the record brings Helm’s powerful, emotive vocals to the forefront. After recording 2018’s This Too Shall Light in Los Angeles, Helm returned home to Woodstock and Levon Helm Studios to record What The Flood Leaves Behind. The historical significance of returning to that special place built by her father clearly resonated with Helm. “Going back to the place where I learned so much about how to express music, how to hold myself in music, how to listen to music,” she begins, “It was humbling in a funny way. I could see clearly where I came from and where I am now in my life. I was singing from a different place now and for a different reason.”

Question everything. Consider your sources. Be wary of ulterior motives, insidious media narratives and even your own unconscious bias. Trust sparingly and try to make smart, informed choices. As the world slides further into ruin, it’s more important than ever to be vigilant and fight back. Luckily, Hacktivist are back to help cut through the noise and bullshit, tooled-up and ready to attack with renewed vigour and reinforced ranks. With Jot Maxi and J. Hurley now sharing the vocal and lyrical load, drummer Rich Hawking and bassist Josh Gurner bringing the beats and rhythms, and guitarist and production don James Hewitt fleshing out the group’s genre-fluid muscle, new album Hyperdialect arrives less like a mission statement and more as a flaming musical Molotov, declaring all-out war. “Hyperdialect isn’t an album for people to just casually listen to,” J insists, “we’ve taken things to the next level, which I didn’t even think was possible. We spit the truth. *We are the truth.*” In 2016, when Hacktivist initially set sights on their enemies with debut album Outside The Box, the world wasn’t fully equipped to heed their warnings and pay attention to its timely rallying cries. They return into a very different one, however – a world that’s sadly now all-too-finely-attuned to the horrors they first forecasted four years ago. “It’s becoming clear that we are on the brink of some type of revolution,” says Jot, with no small dose of conviction or optimism. “Hacktivist are here to bring truth and positivity – the silver lining of a society clouded in poisonous fear. Hacktivist also represents a voice that isn’t afraid of saying what needs to be said. We’re already living in the future. We have the choice to either be shaped by it or to stand up and shape it ourselves. Which path will you take?” It was with those battle lines clearly drawn and ambitions duly set that Hacktivist entered into the creation of Hyperdialect. Starting almost two years ago and developing on the acerbic sonic filth introduced by 2019 singles Reprogram and Dogs Of War, the five-piece felt fired up by their new working dynamic and the collective process involved, with each member actively encouraged to contribute ideas until the best outcome was reached. Unusually, for such a group of bloody-minded insurrectionists, this democratic approach worked wonders – a testament to how much they were all on the same page on these 12 tracks.

Mind Maintenance is the new duo consisting of Joshua Abrams (Natural Information Society) and Chad Taylor (Chicago Underground Duo, Chad Taylor Trio). This is where the music begins, but Mind Maintenance can't be described simply as a summation of its parts and players. When you put on the sound, you'll know what we're saying - you'll notice how immediate and meditative it is; how simple, how "in the room," and how the natural buzz of each instrument sits remarkably well against the other. The percussive qualities of the guimbri and the mbira, so raw and unadorned individually, form with their shared resonance a soothing, sonorous whole. It's not about world music, it's not about jazz. It's about mind maintenance. The songs of Mind Maintenance exist in a zone somewhere between composition and improv. Based in melodies that unspool over time, they benefit from Chad and Joshua's intimately enmeshed sensibility and the intensity with which they listen to each other. Chad and Joshua have been playing together forever - or, if you need to think of it more tangibly, since around 1994. Based on our research, the pairing of guimbri and mbira is more than unusual - it appears to be without precedent! This is incredible if it's true, but more important to the music of Mind Maintenance is the shared ground of inspiration that both instruments occupy. Mind Maintenance pursue their inspirations on these instruments down similarly transformative paths. If some part of the 21st century isn't focused on destruction, but instead, locating a place where our traditions can work together in new ways to entertain and even ensure well-being, then that's just one more incentive for all of us to consider Mind Maintenance.

Drab Majesty's first ever release was the 2012 self-released cassette tape "Unarian Dances". Originally limited to 100 copies, tracks from this tape would eventually make their way onto the Completely Careless CD collection as bonus cuts. Now, along with the "Unknown to the I" 12" also released on March 26, these songs are finally made available on vinyl in 45 RPM 12" format, bringing all early Drab Majesty material from the Careless era (2012-2015) to vinyl. Mastered by Josh Bonati with beautiful new packaging by Nathaniel Young.



Drab Majesty is the project of Deb DeMure, the androgynous alter-ego of L.A.- based musician Andrew Clinco and partner Mona D. With its combination of reverb-drenched guitars, synth bass lines, commanding vocals, and rhythmic drum machine beats, this project is a stark departure from Clinco’s previous stints as drummer in Marriages and Black Mare. Dubbed “Tragic Wave” and “Mid-Fi” by DeMure, Drab Majesty eloquently blends classic 80s New Wave and hints of early 4AD with a futuristic originality.



Atalented multi-instrumentalist, DeMure composes all of the elements of DrabMajesty. However, rather than taking personal credit for the music, DeMure insists that the inspiration for the songs is received from an other-worldly source and that Deb is merely a vessel through which outside ideas flow inward. But Drab Majesty is more than just a musical project — it’s a methodical experiment in the identity of creativity. The character Deb DeMure is an enigma that eludes all expectations of gender and ego. When DeMure’s imposing 6’ 4” figure assumes the stage, Deb’s playful, harlequin-esque appearance, tempered by an ominous body language, and clashing with the dreamy, ethereal melodies comes across as a web of contrasts. The result is a perfect balance between seemingly conflicting messages, between the high and the low, the drab and the divine.

Drab Majesty's first release for Dais Records was the "Unknown to the I" cassette in 2015, which featured the title track that would later appear on his debut album "Careless" that summer. The additional early cuts "Saturn Inc." and "Ultra Violet" have previously only been available on digital or as CD bonus tracks. Now, along with the "Unarian Dances" 12" also released on March 26, these songs are finally made available on vinyl in 45 RPM 12" format, bringing all early Drab Majesty material from the Careless era (2012-2015) to vinyl. Mastered by Josh Bonati with beautiful new packaging by Nathaniel Young.



Drab Majesty is the project of Deb DeMure, the androgynous alter-ego of L.A.-based musician Andrew Clinco and partner Mona D. With its combination of reverb-drenched guitars, synth bass lines, commanding vocals, and rhythmic drum machine beats, this project is a stark departure from Clinco’s previous stints as drummer in Marriages and Black Mare. Dubbed “Tragic Wave” and “Mid-Fi” by DeMure, Drab Majesty eloquently blends classic 80s New Wave and hints of early 4AD with a futuristic originality.



Atalented multi-instrumentalist, DeMure composes all of the elements of DrabMajesty. However, rather than taking personal credit for the music, DeMure insists that the inspiration for the songs is received from an other-worldly source and that Deb is merely a vessel through which outside ideas flow inward. But Drab Majesty is more than just a musical project — it’s a methodical experiment in the identity of creativity. The character Deb DeMure is an enigma that eludes all expectations of gender and ego. When DeMure’s imposing 6’ 4” figure assumes the stage, Deb’s playful, harlequin-esque appearance, tempered by an ominous body language, and clashing with the dreamy, ethereal melodies comes across as a web of contrasts. The result is a perfect balance between seemingly conflicting messages, between the high and the low, the drab and the divine.

LEVARA's union merged in Los Angeles. Singer Jules Galli emigrated from France, while drummer Josh Devine chose L.A. as home versus his native United Kingdom following success behind the kit with One Direction. There they found common vision with Trev Lukather (guitar), son of Toto’s Steve Lukather.
Every tune on the band’s debut emanates from inspiration culled from their lives, and their mission is to rally the globe to connect and groove with the band. These songs display a larger than life sound. A realised vision. Anthemic tunes written and recorded visualising a mass audience becoming one with the body of work. Integrating their personal voices to the live experience. Or simply as a personal soundscape cruising the asphalt with the car stereo cranking.

Double LP, Printed Sleeve. With a photo from an Antirep sculpture.

A collection of Doom Hardcore tunes like never melting newcommers and old school... Also bringing some Rave Hard techno surprises and some bloody Breakz to skill with...

A big DAMNED GOOD surprise !!!

Zwischen alternativem, modernem Metal und spürbarem Zeitgeist haben sich die US-amerikanischen Durchstarter TETRARCH in den letzten Jahren mehr als nur einen Namen in der Szene gemacht und sind längst über den Status eines Insider Tipps hinausgewachsen. Bereits das 2017 erschienene Debüt Freak wurde von der internationalen Presse und der Musikindustrie, als auch von Künstlern der Szene hoch gelobt und sicherte der Band eine einzigartige Position innerhalb des Genres.
Das 2021 erscheinende 10-Tracks starke Album Unstable manifestiert den Kometen-Status der Band und beweist deren musikalische Wandelbarkeit auf höchstem Niveau.
Der kommende Longplayer verliert keine Zeit, um die unkonventionelle, enorme Schlagkraft der Band unter
Beweis zu stellen und statuiert bereits mit dem Intro-Track „I’m not right“ ein explosives Exempel für neuartige Spielarten des modernen Metal. Die Zahlen sprechen für sich - die erste Single erreichte inzwischen über eine Millionen Streams auf YouTube - Tendenz steigend. Getragen von der beeindruckenden stimmlichen Varianz von Front-Shouter Josh Fore und den rasenden Riffs der Ausnahme-Gitarristin Diamond Rowe, bricht der Track zwischen puren Emotionen und einer beeindruckenden, neu-gedachten Hommage
an Genre-Größe der frühen 2000er.
Insgesamt liefern TETRARCH mit ihrer 2021er Veröffentlichung Unstable auf 10 Tracks und 37 Minuten
Spielzeit ein Paradebeispiel für starke Attitüde, pures Talent und triumphalen Modern Metal!

After two UK #1 albums, 2 million album sales and an array of international acclaim, you might’ve thought you knew what to expect from Royal Blood. Those preconceptions were shattered when they released ‘Trouble’s Coming’ last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.

The reaction was phenomenal, with highlights including 20 million streams, a premiere as Annie Mac’s Hottest Record and a run on Radio 1’s A-list and earned alternative radio support and media attention across the globe. In short, Royal Blood are primed to be bigger than ever before. That feat is set to be realised when they release their eagerly anticipated third album ‘Typhoons’ on April 30th via Warner Records.

When Mike Kerr and Ben Thatcher sat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced by Daft Punk, Justice, and Philippe Zdar of Cassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.

“We sort of stumbled on this sound, and it was immediately fun to play,” recalls Kerr. “That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”

Those traits pulsate throughout the new single and title track. Kerr’s spiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned by Thatcher’s thundering beats, his taut rhythms infused with groove-laden hi-hats.

After setting the tone with ‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of ‘Who Needs Friends’ hitting an early visceral peak. Royal Blood further reference their fresh array of influences by deploying vocodered vocals on ‘Million & One’ before dynamically switching between the biggest contrasts of their sound with ‘Limbo’. Already a fan favourite having been a regular during the duo’s 2019 shows, ‘Boilermaker’ lives up to its reputation and is more than matched by ‘Mad Visions’, which evokes a hyper-aggressive Prince. It ends with a final surprise in the shape of the stark piano ballad ‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.

That song’s unguarded sentiments gives the album a redemptive finale. Whether directly or allusively, the album focuses on exploring the flipside of success that they’ve experienced. It comes from the realisation that success is much more complicated than it seems and that having the time to regain perspective is a precious commodity which becomes ever more elusive. The situation called for reflection and change, which Kerr addressed in Las Vegas. He downed an espresso martini and declared it to be his last drink, and soon discovered that his new-found sobriety would have a positive impact upon his creativity and life as a whole.

That new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’ themselves. ‘Boilermaker’ was produced by Queens of the Stone Age frontman Josh Homme, the two bands having first connected when Royal Blood supported them on a huge North American tour. Meanwhile, the multiple Grammy Award winner Paul Epworth produced ‘Who Needs Friends’ and contributed additional production to ‘Trouble’s Coming’.

After two UK #1 albums, 2 million album sales and an array of international acclaim, you might’ve thought you knew what to expect from Royal Blood. Those preconceptions were shattered when they released ‘Trouble’s Coming’ last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.
The reaction was phenomenal, with highlights including 20 million streams, a premiere as Annie Mac’s Hottest Record and a run on Radio 1’s A-list and earned alternative radio support and media attention across the globe. In short, Royal Blood are primed to be bigger than ever before. That feat is set to be realised when they release their eagerly anticipated third album ‘Typhoons’ on April 30th via Warner Records.
When Mike Kerr and Ben Thatcher sat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced by Daft Punk, Justice, and Philippe Zdar of Cassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.
“We sort of stumbled on this sound, and it was immediately fun to play,” recalls Kerr. “That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”

Those traits pulsate throughout the new single and title track. Kerr’s spiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned by Thatcher’s thundering beats, his taut rhythms infused with groove-laden hi-hats.



After setting the tone with ‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of ‘Who Needs Friends’ hitting an early visceral peak. Royal Blood further reference their fresh array of influences by deploying vocodered vocals on ‘Million & One’ before dynamically switching between the biggest contrasts of their sound with ‘Limbo’. Already a fan favourite having been a regular during the duo’s 2019 shows, ‘Boilermaker’ lives up to its reputation and is more than matched by ‘Mad Visions’, which evokes a hyper-aggressive Prince. It ends with a final surprise in the shape of the stark piano ballad ‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.

That song’s unguarded sentiments gives the album a redemptive finale. Whether directly or allusively, the album focuses on exploring the flipside of success that they’ve experienced. It comes from the realisation that success is much more complicated than it seems and that having the time to regain perspective is a precious commodity which becomes ever more elusive. The situation called for reflection and change, which Kerr addressed in Las Vegas. He downed an espresso martini and declared it to be his last drink, and soon discovered that his new-found sobriety would have a positive impact upon his creativity and life as a whole.

That new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’ themselves. ‘Boilermaker’ was produced by Queens of the Stone Age frontman Josh Homme, the two bands having first connected when Royal Blood supported them on a huge North American tour. Meanwhile, the multiple Grammy Award winner Paul Epworth produced ‘Who Needs Friends’ and contributed additional production to ‘Trouble’s Coming’.

Rich in musical associations yet utterly singular in its voice, joyous with an inner tranquility, the music of Natural Information Society is unlike any other being made today. Their sixth album in eleven years for eremite records, descension (Out of Our Constrictions) is the first to be recorded live, featuring a set from London’s Cafe OTO with veteran English free-improv great Evan Parker, & the first to feature just one extended composition. The 75-minute performance, inspired by the galvanizing presence of Parker, is a sustained bacchanalia of collective ecstasy. You could call it their party album.

This was the second time Parker played with NIS. Joshua Abrams: “Both times we played compositions with Evan in mind. I don’t tell Evan anything. He’s a free agent.”

The music is focused & malleable, energized & even-keeled, drawing on concepts of ensemble playing common to musics from many locations & eras without any one specific aesthetic realization completely defining it.

“The rhythms that Mikel plays are not an exact reference to Chicago house, but that’s in there,” Abrams says. “I like to take a cyclic view of music history, can we take that four-on-the-floor, & consider how it connects to swing-era music? Can we articulate a through line? I dee-jayed for years in Chicago & lessons I learned from playing records for dancing inform how I think about the group’s music. The listener can make connections to aspects of soul music, electronic music, minimalism, traditional folk musics, & other musics of the diaspora as well. It’s about these aspects coming together. I don’t need to mimic something, I need to embody it to get to the spirit, to get to the living thing.”

For jazz fans, the sound of Parker’s soprano & Jason Stein’s bass clarinet might evoke Coltrane & Dolphy, even though they didn’t necessarily set out to do that & they play with complete individuality. Abrams sees a bridge to the historical precedent, too. “Since we first met in the 1990s, one of the things that Evan and I connected on was Coltrane’s music,” he says. “I hoped that we would tap into that sound world intuitively. In this case, I think that level of evocation adds another layer of depth, versus a layer of reference.”

Indeed, this is a performance in which the connections among the ensemble & the creative tension between improvisation and composition build into a complex mesh of associations & interactions. While the band confines itself to the territory mapped out by Abrams’ composition, they are remarkably attentive & responsive, making adjustments to Parker’s improvisations. When Parker’s intricate patterns of notes interweave with the band, the parts reinforce one another & the music rockets upward. Sometimes, Parker’s lines are cradled by the group’s gentle pulse & an unearthly lyrical balance is struck.

Drummer Mikel Patrick Avery is locked-in, playing with hellacious long-form discipline, feel & responsiveness. Jason Stein’s animated, vocalized bass clarinet weaves in & out with Lisa Alvarado’s harmonium to state the piece’s thematic material; the pulsing tremolo on the harmonium brings a Spacemen 3 vibe to the party. Abrams ties together melody & rhythm on guimbri, a presence that leads without seeming to. Like his bandmates, he shifts modes of playing frequently, improvising & then returning to the composed structure.

“As specific as the composition is, the goal is to internalize it & mix it up,” Abrams says. “The idea is to get so comfortable that we can make spontaneous changes, find new routes of activity, stasis & byways every gig. It’s like a web we’re spinning. If someone makes a move, we all aim to be aware of it, make room for it. Experiencing & listening is what it’s about, & Evan supercharges that.”

& “supercharged” is the word for this album. With Parker further opening up their music, descension (Out of Our Constrictions) is the sound of Natural Information Society growing both more disciplined and freer, one of the great bands of its time on a deep run.

Aguirre edition: Mastered by Helge Sten, Audio Virus, Oslo. Lacquers by Dubplates & Mastering. Liner Notes by Theaster Gates. LPs pressed on premium audiophile-quality vinyl at Pallas Records. US 2xLP edition available thru Eremite records.

Conceived at the heel of Italy's boot-shaped peninsula in Apulia, Patrick Belaga's Blutt makes music for the unruly imagination. The title is an old German word for 'naked', 'bare', but it can also mean 'blood' when spelt blut. Take away another letter and it makes 'butt'. None of these definitions and adaptations were what prompted the classically-trained composer and cellist to name his second album with a word simulating the sound of a punctured artery. That came later. Blutt's nine woozy compositions are inspired by a contemplative road trip with a friend, and the mysterious muffled music heard from an unidentified source. It was a combination of jazz and classical music that haunted Belaga's wanderings through the Byzantine town Gallipoli, and soon infected his dreams of long-gone civilizations. This record is its outcome, where organic instrumentals and electronic production merge into a sound that's both contemporary and ancient. Samples of mewing incantations and tape hiss sway atop the waltzing thud of piano chords on "Sigh". Composite layers of Belaga's cello play in downcast harmony on "Rust". There's a wistful sense for the romantic, in the eerie rhythm of a piece like "Momentum". The quarter tones of an Eastern European and Middle Eastern folk scale probe a profound melancholy via Kai Knight's violin. Its notes are haunted by a field recording of running water on "Unsoft", echoes of panpipes and a Jew's harp on opener "Lilt". As a consummate composer and performer known for his work with artists Wu Tsang, boychild, Josh Johnson and Asma Maroof, Belaga's Blutt is itself marked by flawless collaborations. Vocalist and instrumentalist Jazmin Romero sings and composes the surreal melodies of "Grey Eye". Multidisciplinary dance artist and producer Riley Watts contributes to the muted, motorik movement of "The Tunnel is a Tower". Together, the record plays as a stunning soundtrack to the strangeness of sleeping, and the heartbreaking transience of time. Like an intense dream half-remembered, the emotions persist after waking but for the sharp machinations just outside of the mind's reach. The album is mastered by Rashad Becker, featuring artwork by Giovanni Furlino & design by N MRE 08.

It is our distinct pleasure to present Penrose, a new imprint poised to usher in a whole new era of soulful sounds.

Founded by Daptone Records' own Bosco Mann after building a new recording studio in his hometown of Riverside, California, Penrose will showcase the most exciting acts emerging on the blossoming SoCal souldies scene today.

For its inaugural release, the label offers up five singles by five exciting new artists: Thee Sacred Souls from San Diego; Jason Joshua from Miami; East L.A. mainstays Thee Sinseers, and The Altons; and Altadena veterans, Los Yesterdays.