Buscar:k mart

Superb record.
Techno not too speed really, very thinlaced... With a "no hub" pressing made in Roma Italy !

Limited and LOUD !

As with most things, this project started with a conversation in the pub between me and Martin.

As we discussed what J-Walk and BiD could do next we chatted about our mutual love of DIY, Post Punk, Reggae, Digital & Dub, how about using that feel as an initial jump off on the next thing and see how you get on? I suggested.
As is his way Martin considered the suggestion, then promptly disappeared, 6 weeks later something landed in my inbox, it was titled Broken Beauty and the music contained embraced all those symbiotic ideals and culture.
Nailed it!
Recorded entirely in Stockport using a mixed kit bag of cheap forgotten keyboards, guitar, bass and effects pedals, this LP takes the J-Walk aesthetic and applies the wider palette of these influences to create something unique, those past and present influences forged together to bring you something truly DIY - instructions below.
How To Make Such A Thing...

Deactivate social media. Ignore the internet, don't answer text messages, avoid other music, the telly and other people. This is a process where it's only you in the room with whatever's in your mind. You will be there for some time and the loneliness can hurt a little.

Forget any predetermined ideas. Forget everything you've ever done before. This is an opportunity to start from scratch, but with years of accumulated knowledge and craftsmanship. Trust yourself.
Be scared. Be excited about not knowing what will happen and what will result.

Don't use midi sequencing, virtual instruments or samples. Just plug a toy instrument into an amp, press a rhythm and play around to see what happens. If it sounds good and fresh then record it. Plug a bass in to jam around and you'll soon hear and feel what sits in the pocket of the beat. Record it as it is. Dirty is real and good. Cleanliness equals sterility. Loop the bassline. Plug a guitar in and do the same.

Don't think when doing any of this. Just experiment with interest and curiosity and the music will take care of itself. You will now have a groove which is also about half a song minimum. Play some keys from the toys on top of what you have. Put 'em through effects pedals. Again, don't overthink it and don't try to get it clean. Add sound effects in right and random places.

There you go. Something you've never made before. But more importantly, it's something you've never heard before.

You don't have to die to be reincarnated.

BROKEN BEAUTY...You can't be either without also having been the other.

When the quartet of Luke Martin, Gabriel Salomon, Klaus Janek and Andy Graydon gathered to record an afternoon of sessions in Andy's studio, it was both the result of years of cultivation and an afterthought. Klaus and Andy had been long-time, and now long-distance, collaborators since their shared years in Berlin. That city was also where Andy was introduced to Gabriel at one of his solo performances by their mutual friend, the painter Paul McDevitt. Years passed, and cities. After meeting and working together in Boston, Luke and Andy both found themselves transplanted to Minneapolis. And by happenstance Gabriel arrived a few years later. A new conversation was just starting to emerge when Klaus announced his arrival, stopping by on a North American tour. Suddenly the four got a chance to listen and play together performing on a bill at a local gallery, in one configuration or another, for the first time. Packing up after that show, Klaus leaned over to ask, "isn't there a moment we could meet again, to play?"

Nothing was expected, and so anything was possible. The circumstances lent their gathering an impromptu but grounded feeling, a unique mix of chance encounter and reunion. As befits an opening encounter, the focus was as often on listening to the unfolding sonic conversation as it was on making a recording. Everyone seemed to intuit the direction despite not knowing where they were headed. The four faced each other in a loose circle surrounded by speakers and microphones pointed haphazardly, as likely to catch the dog padding around curiously as the bowing of strings or rattling of a cymbal. The permissive spirit of the day was declared early, just before rolling, when Gabriel asked if we should close the studio windows or leave them open. "You know what my answer is," replied Luke. If it's in the nature of a recording to become fixed, to be bottled up, let us at least leave open the windows to hear what might be coming next.

Martin Glover, besser bekannt als Youth, Bassist von Killing Joke und weltbekannter Produzent, und Chris Bowsher von Radical Dance Faction (RDF) arbeiten seit Anfang der 90er Jahre zusammen. Sie haben sich kürzlich wieder zusammengetan und präsentieren Youths Musik und Produktion neben Chris‘ Poesie. Diese 5-Track-12" enthält 2 unveröffentlichte Dub-Mixe von Tracks aus ihrem aktuellen Album "Welcome To The Edge" sowie zwei bisher unveröffentlichte Tracks auf Vinyl. Limitiert auf 500 Stück und auf Transparent Red-Vinyl gepresst.

Amandra, half head honcho behind Ahrpe Records, goes for subtly evolving and droning atmospheres. With releases spanning electronic genres and record labels: Nous klaer Audio, AD 93, Tikita or Semantica, just to name a few; the French producer ba with coherence his own vision of acid and tribal rhythms that can be presented with either bright and soft feelings or through a
Brera Som Som EP

As always with Amandra, there is a blend of poetic and soft hidden touch given to the music through carefully crafted personal Som is a 4 tracker EP, recorded back when he lived in Warsaw Poland, showcasing the artists ability to navigate through nich double 12 package cherry topped with four intelligent and eclectic remixes from artists with their own unique identity: Shieldin Brainwaltzera.

Amandra on disc 1
Brera Som Som
I want my music to breathe dirty so its alive to my ears, trying to stay away from surgical, clean, electronic music. The Prophet recorded by hand, with assumed offbeat imperfections, as always. I wanted to get a naive Asian mood out of it, just to try and c track. I tend to think a lot about my tracks and their meaning more in terms of feelings, art and techniques than in terms of dee
dance floors or whatever. Brera Som Som is a try at using the chiaroscuro technique depicted in classical paintings for instance interesting focus on some very specific elements.

Cyborg Pelikana
Recorded out of a jam on a Soma Pulsar 23 and some heavy distorted synths, it ended up sounding like no other recordings bit different as I wanted to have a more composed like approach here.

Fanfaron
Here is a try at going jungle... with a Moog DFAM and a 303 processed through a Sherman Filterbank.

Prorokini
This one belongs to a phase where I was exploring the sampling side of electronic music. Until that moment I was building 100 based on raw drum machines and some processing, then started feeling how it would feel to sample some raw external beats and process them my way. I didnt pursue that sampling lead much afterward because it felt like a boring approach to me that
stood out anyway, like this one, which Im very proud of. The synths are clearly programmed on the Prophet 08, it cant go any Instruments than that, if you like them, go grab that synth

Remixers on disc 2
Cyborg Pelikana Shielding Remix
I liked the dry and direct qualities of the original track and wanted to maintain that feeling while collaging it using my own proc Recorded in my old home studio in Stockholm.

Brera Som Som Brainwaltzera Remix
no comment.
Fanfaron Whylie Remix
The remix was made using resampling techniques, the rhythmic noises were transformed into driving percussive layers pushi character. A more emotional overlay was added to the track based on the sentimental and personal approach I built through.

Brera Som Som Martinou Remix
Interpreting Amandras work has been on my bucket list for a while. Theres something in it that is innately humanizing and raw capture in my remix. The melody line from the remix is just a snapshot of a small part of the full original track, but it stuck with my improvisation to what you see before you today. With this remix I wanted to make something that would swell slowly and ring o
All original tracks written and produced by Amandra.
Remixes written and produced by Brainwaltzera, Whylie, Martinou and Shielding.
Mastered by Amandra.
Artwork by Neurotypique.

Elvis, Franck Sinatra, Dean Martin... They are all there, the greatest crooners ever singing the most popular Christmas songs. 16 timeless songs on a nice picture disc vinyl for the best Christmas atmosphere you could dream of

Jazz vocalist Helen Humes’ second album on Contemporary Records, “Songs I Like to Sing!” was released in 1961 and is conducted by Marty Paich. Backed by musicians including Art Pepper (sax), Leroy Vinnegar (bass), Shelly Manne (drums), Barney Kessel (guitar) and Andre Previn (piano). This new edition released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a tip-on jacket.

Die neue EP der Melodic Synth Metal-Pioniere - mit zwei brandneuen Tracks und weiteren spannenden Überraschungen!
Nach ihrem Erfolgsalbum Dark Waters (2023, #9 der offiziellen deutschen Albumcharts) veröffentlichen die Melodic Synth Metal-Pioniere DELAIN
diesen Herbst ihre neue EP, Dance with the Devil.
Die Platte erscheint über Napalm Records und enthält neben zwei brandneuen Songs weitere spannende Überraschungen, die kein Fan verpassen
sollte! Dance with the Devil vereint Vergangenheit, Gegenwart und Zukunft und präsentiert die Kraft des neu formierten Lineups in einem vollen,
modernen Sound, der die Vorfreude auf all das schürt, was von der Band um Gründer und Mastermind Martijn Westerholt zu erwarten sein wird.

Fresh from starring as the town drunk, no typecasting here!, in Rio Bravo’ (the movie) Dean was at the height of his popularity when he entered the Capitol studios in the summer of 1959 to record his first Christmas-themed songs accompanied by an orchestra arranged and conducted by Gus Levene. The results of the recordings were a charming, thoroughly entertaining Christmas record, highlighted by fine versions of "White Christmas", "Let It Snow! Let it Snow! Let It Snow!", "Winter Wonderland", "Baby, It's Cold Outside", "The Christmas Blues", “Rudolph, The Red-Nosed Reindeer” and bonus broadcast recordings of "Silent Night", “Silver Bells” and “It’s Beginning To Look Like Christmas.”

"This Christmas album – a limited edition on transparent red vinyl - contains some of the biggest evergreens of the season. These are the holiday songs you know by heart, the ones that immediately put you in the Christmas mood. Featuring Bing Crosby, Elvis Presley, Brenda Lee, Johnny Cash, Louis Armstrong, Dean Martin, Ella Fitzgerald and many others."

MÚSICA PARA BOLICHE takes us to Argentina. Along the journey, we will discover that Maradona is not the only thing we have in common with our cousins across the ocean.

Let’s dive into the 1980s Buenos Aires scene, a time straddling dictatorship and disco music, in search of dusty gems forgot-ten even in their homeland.

The EP contains four tracks spanning Italo, electro, and proto-house, carefully selected by Jack Bulgaro, restored, and edited by DJs from Italy and Argentina.

Keshavara tragen prächtige Schnurrbärte, verwegene Kopfbedeckungen und sprechen ein abenteuerliches Patois aus Englisch, Hindi, Deutsch und Gibberish. Auf ihrem neuen Album "III" kreieren die Kölner um den deutsch-indischen Musiker Keshav Purushotham Klänge, wie andere Leute Drinks mixen, nachdem sie schon drei genossen haben: Verwaschener Kraut-Pop und diasporische Dub-not-Dub-Exkursionen werden nach Augenmaß miteinander kombiniert und wild geschüttelt. Zuckersüß mäandernde Melodien, entlehnt einem fantastischen Niemandsland in der Grenzregion zwischen exotischen Library-Kompositionen und psychedelischen Soundtracks, verschmelzen mit den Grooves einer Rhythmusgruppe, die sich auch in den Tonstudios des funky Beirut der Mittsiebziger Zuhause gefühlt hätte. Das Ergebnis sind mit surrealistischem Zuckerrand gekrönte Cocktails mit der Wirkung einer halluzinogenen Götterspeise. Musik, die schillert und flirrt, wie eine Fata Morgana in der Wüste. Keshavara klingen in einem Moment, als hätte Ennio Morricone einen Bollywood-Film vertont, und im nächsten wie ein von Curt Boettcher produzierter Eden-Ahbez-Song, oder - nicht ganz so spinös aber nichts desto weniger fantastisch - als hätten Khruangbin und Sven Wunder endlich ein gemeinsames Album aufgenommen. In den glanzvollsten Momenten fügt sich das alles wie von magischer Hand zusammen und kulminiert dann in Songs wie "Spiegelmann" und "Tableau Vivant" - fantasmorgiastischen Partys voller transkultureller Clashes, die uns Hörer dazu einladen, sie in farbenprächtige Gruppenchoreografien zu überführen.
War das Debüt von Keshavara noch ein Solo- und der Nachfolger "Kabinett der Fantasie" im Kern ein Duo-Album, so sind Keshav Purushotham, Niklas Schneider, Benedikt Filleböck und Christopher Martin mit ihrem selbstproduzierten, schlicht "III" betitelten dritten Album endgültig zu einer vierköpfigen Band zusammengewachsen … und zwar um eine alte Farfisa-Orgel herum, die eines Tages als Geschenk im Proberaum gelandet ist: Ein, auf sämtlichen Songs mal mehr, mal weniger präsentes UFO aus einer Zeit der Slow-Jams, Live-Takes und des exzessiven Space-Echo-Einsatzes. Sein analoges Blubbern und sein wabernder Funk rollt dem warmen, organischen Bandsound den roten Teppich aus, und verpasst ihm einen zärtlichen Schubs Richtung 70er. Erfrischenderweise kommt er dort niemals so richtig an, sondern bleibt immer im Fluss. Denn das eigentliche Ziel der halldurchtränkten Korridore dieses Albums ist stets der Weg, genau genommen der kunstvoll gezimmerte Holzweg, der phantastische Irrpfad. "III" ist eine Reise, auf der Zeiten und Orte keine Fixpunkte sind, sondern austauschbare Koordinaten eines augenzwinkernden Vexierspiels. Da ist es nur folgerichtig über "Indische Götter im Sauerland" zu singen. Dass ungeachtet der Nostalgie, die alle neun Songs durchweht wie ein warmer Mittelmeerwind, niemals Sentimentalität aufkommt, ist nicht zuletzt diesem Humor geschuldet.
Die ätherischen Drones, sanft nuschelnden Akkorde und geisterhaft seufzenden Soundschwaden, die Keyboarder Benedikt Filleböck seiner altersschwachen Farfisa bevorzugt in den ruhigeren Momenten und den Instrumentalnummern des Albums entlockt, bilden einen stimmungsvollen Kontrast zu den beiden anderen Säulen des Keshavara-Sounds: Christopher Martins leichtfüßig hüpfenden Bass-Dreiecken und Keshavs sonnendurchfluteten Gitarren-Ornamenten. Im Zusammenspiel mit Niklas Schneiders crispen Drumbeats entsteht ein Fundament, mit dem die kaleidoskopischen Texturen und Melodien vollständig verschmelzen.
Das Ergebnis ist das bisher homogenste Album des Quartetts. Mit "III" erweisen sich Keshavara als gewiefte Soundalchemisten und Weltenwanderer, als eine softe Macht, deren Stärke sich aus ihrer enormen Musikalität, ihrer Fabulierlust und ihrem surrealistischen Witz speist.

First compilation album by Argentine synthesizer maniac Nacho Marty Meyer... Tip!

Since the 80's, Meyer has been interested in synthesizers and electronic music, and started making demos. The compilation includes the Italo disco track 'Magical Journey', previously released under the name Xarion, which is now a hard-to-find record.

Makoto (satoshi& makoto): "The sincerity conveyed in his work is very good and I love the primitive feel of the music."

Finally back on vinyl, this 2011 release was the first proper full-length showcase for the Grammy Award-winning superproducer. The signature soulful style of 9th’s beats was a sensation in hip hop and R&B--for underground fans and in the mainstream--and he played a leading role in bringing North Carolina to the forefront of American music culture in the 21st century.

Machen Sie Ihrem Schallplattenspieler mal eine Freude und lassen Sie ihn einen Hit nach dem anderen
spielen! Und zwar nicht irgendwelche Hits, sondern die dreizehn größten, lässigsten, swingendsten, sentimentalsten von Dean Martin!
Auf dieser LP im stylischen Cover-Artwork versammeln sich mit “That’s Amore,” “Ain’t That A Kick
In The Head,” “Volare,” “Sway” und anderen Ohrwürmern nur Mega-Klassiker aus dem an Klassikern
nicht gerade armen Werk von „Dino“. Frisch remastert für LP klingen sie so brillant als wären sie erst
gestern aufgenommen worden.

"”A Retrospective” covers 21 tracks of the finest moments of Pink Martini. This Best of embodies everything that makes the 12-piece little orchestra from Oregon so adored from the pop of “Hey Eugene” to a version of ""Mas Que Nada"" featuring the revered Japanese singer Saori Yuki, and the haunting ""Que Sera Sera"" to a unique version of “Moon River” with Gus Van Sant on vocals.
This special collection is a Ltd Book edition featuring deluxe booklet and 40 polaroid Reproductions taken by bandleader, Thomas Lauderdale."

based songwriter Henrik Appel returns with third album Shadows. Ranging from freewheeling garage rock to intimate moments, and adding touches of jazz, Shadows is inspired by the likes of Bob Dylan’s Blond on Blonde and The Fall’s Hex Enduction Hour and another step of his continued evolution as a songwriter and artist.

For as long as he’s been a solo artist, Henrik Appel has been in a constant state of evolution. His first album, 2018’s Burning Bodies, was a meticulous construction project, one that came togeth-er over a five-year period and that saw him chronicle, with searing honesty, the slow death of a relationship, with its nine songs written according to a stringent set of self-imposed rules, intend-ed to keep the songwriting minimalist and bare-bones in nature.

His 2021 follow-up, Humanity, represented a remarkable progression of its own. It was born out of a break-up of a different kind, this time with his former bandmates in Stockholm outfit Lion’s Den; piecing together aspects of the vision he’d had in mind for the band’s never-realised second al-bum, he built from them his own sophomore LP, one that took the classic feel of Burning Bodies and imbued it with adventurous new influences, as he began to carve out a genuinely singular sound.

Now, three years on from Humanity, Appel has made another ambitious left turn. Neither of his first two albums were made in complete isolation; on both, he enlisted the production services of Stockholm underground legend Martin ‘Konie’ Ehrencrona, and also collaborated on his lyrics with his partner, Emma Lind. Now, on this thrilling reinvention of a third record, Appel has turned away from perfectionism, placing chief importance instead on making a raw, human record.

Banging tribe at hardcore frontier... Acidcore shouting banger !!

LIMITED / NO REPRESS