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Gruff Rhys is pleased to announce his new album "Sadness Sets Me Free" which will be released by Rough Trade Records on 26.01.2024. This incredibly will be the 25th album he has released in his 35 year career individually, collaboratively and as a member of various bands. "Sadness Sets Me Free" is also the follow up to 2021"s "Seeking new Gods", his first solo top ten record. The album will be available in a range of formats including a unique Dinked edition on "honeycomb neo-neapolitan" vinyl, an LP sleeve with "container doors" and a bonus 7" with exclusive audio for the first 1500 copies. A gatefold soft pack CD also includes a pull out poster. Lead-off single "Celestial Candyfloss" is a telling four minute glimpse of the forthcoming album, revealing the heady wonders and classic pop sounds within. Soaring strings carry the sweet melodies along, anchored by just enough necessary melancholy to add emotional ballast. The eye-popping video was created by long-time collaborator Mark James and compliments the scope and style of the song on a galactic scale. "Celestial Candyfloss" is, Gruff says, "an attempted pocket symphony about the cosmic lengths that people will travel in the pursuit of love and acceptance. Mark James has brought the Sadness Sets Me Free album cover to life & managed to place me watching TV interference in a shipping container that"s lost in space. For what is apparently the 25th album I"ve had a hand in writing I"ve reverted to a rich seam of inspiration relating to shedding some light on sadness and the general terror of cosmic loneliness." And so it was that Gruff and his band - Osian Gwynedd (piano), Huw V Williams (double bass) and former Flaming Lips drummer turned Super Furry Animals archivist Kliph Scurlock (drums) piled into a van driven by the late, legendary tour manager "Dr" Kiko Loiacono and raced from Dunkirk, where they had just played the final show of a tour of Spain and France, to the outskirts of Paris in the early hours of a March morning in 2022. There, in La Frette Studios, a recording facility installed in a 19th-century house, Gruff and his road-hardened group tracked "Sadness Sets Me Free" in just three days. Backing vocals were added along the way by Kate Stables from This Is The Kit along with additional strings and orchestration and it was mixed between Marseille and Cardiff. What finally emerged from these intense bouts of cross-continental activity was Gruff"s most accomplished and beautiful record to date. In a career that has taken him from the slate-mining towns of north-west Wales, down to the expat communities of Patagonia, up to the Mandan tribe of the Great Plains of North America and across to the Tuareg rock groups of the Saharan Desert, Gruff Rhys, one of Britain"s most beloved and successful singer-songwriters, has always been willing to follow an opportunity, wherever it may lead him. "At this point I quite like working with serendipity," he says. "Not in a cosmic way, but I try and leave things open to chance encounters and chance geography. As I"m around 25 albums in I"m always looking for ways to make a different-sounding record".

Gruff Rhys is pleased to announce his new album "Sadness Sets Me Free" which will be released by Rough Trade Records on 26.01.2024. This incredibly will be the 25th album he has released in his 35 year career individually, collaboratively and as a member of various bands. "Sadness Sets Me Free" is also the follow up to 2021"s "Seeking new Gods", his first solo top ten record. The album will be available in a range of formats including a unique Dinked edition on "honeycomb neo-neapolitan" vinyl, an LP sleeve with "container doors" and a bonus 7" with exclusive audio for the first 1500 copies. A gatefold soft pack CD also includes a pull out poster. Lead-off single "Celestial Candyfloss" is a telling four minute glimpse of the forthcoming album, revealing the heady wonders and classic pop sounds within. Soaring strings carry the sweet melodies along, anchored by just enough necessary melancholy to add emotional ballast. The eye-popping video was created by long-time collaborator Mark James and compliments the scope and style of the song on a galactic scale. "Celestial Candyfloss" is, Gruff says, "an attempted pocket symphony about the cosmic lengths that people will travel in the pursuit of love and acceptance. Mark James has brought the Sadness Sets Me Free album cover to life & managed to place me watching TV interference in a shipping container that"s lost in space. For what is apparently the 25th album I"ve had a hand in writing I"ve reverted to a rich seam of inspiration relating to shedding some light on sadness and the general terror of cosmic loneliness." And so it was that Gruff and his band - Osian Gwynedd (piano), Huw V Williams (double bass) and former Flaming Lips drummer turned Super Furry Animals archivist Kliph Scurlock (drums) piled into a van driven by the late, legendary tour manager "Dr" Kiko Loiacono and raced from Dunkirk, where they had just played the final show of a tour of Spain and France, to the outskirts of Paris in the early hours of a March morning in 2022. There, in La Frette Studios, a recording facility installed in a 19th-century house, Gruff and his road-hardened group tracked "Sadness Sets Me Free" in just three days. Backing vocals were added along the way by Kate Stables from This Is The Kit along with additional strings and orchestration and it was mixed between Marseille and Cardiff. What finally emerged from these intense bouts of cross-continental activity was Gruff"s most accomplished and beautiful record to date. In a career that has taken him from the slate-mining towns of north-west Wales, down to the expat communities of Patagonia, up to the Mandan tribe of the Great Plains of North America and across to the Tuareg rock groups of the Saharan Desert, Gruff Rhys, one of Britain"s most beloved and successful singer-songwriters, has always been willing to follow an opportunity, wherever it may lead him. "At this point I quite like working with serendipity," he says. "Not in a cosmic way, but I try and leave things open to chance encounters and chance geography. As I"m around 25 albums in I"m always looking for ways to make a different-sounding record".

'True Blue' ist eine Sammlung von Songs, die ursprünglich als technische Demos für das gefeierte 'Black Letter Days'-Album der Catholics gedacht waren. Die Aufnahmen wurden 2001 live auf 1-Spur-Kassette in den legendären Sound City Studios aufgenommen und fangen rohe und fesselnde Sounds von Frank Black und den Catholics bei Songs wie 'California Bound', 'The End Of Miles' und 'Cold Heart Of Stone''. Bisher nur als Bonus-CD im Boxset 'The Complete Recordings' erhältlich, ist 'True Blue' eine unverzichtbarer Release für Frank Black-Fans und bietet einen Einblick in eine Studio-Session mit den Catholics. Gepresst auf 140Gr. Vinyl, neu remastert von Phil Kinrade und geschnitten von Cicely Balston bei AIR Mastering. Präsentiert in einer strukturierten LP-Hülle mit neuem Artwork von Mark Reynolds sowie exklusiven Liner Notes von Produzent Ben Mumphrey. Ebenfalls enthalten ist eine Bonus-7inch-Single mit drei Outtakes, darunter eine bisher unveröffentlichte Version von 'The Black Rider'.

Presenting the second thematic volume on the “Aquapelagos" series - a collection of split LPs where selected artists offer their own take into water surrounded cultures and communities. After the initial release of the Anthology compilation Aquapelago in 2022 (Discrepant ,CREP91) and the split LP Atlantico by Lagoss & Banha da Cobra (Keroxen, KRXN027) we proudly introduce an unique collaboration in the series in the shape of no other than two improvising giants, Mike Cooper and Pierre Bastien.
This second volume blows the lid wide open with a sound journey inspired by the equally majestic and mysterious Indian Ocean, a wide space of open ocean bounded by Africa, to the west, Asia to the north and north-west and Australia, to the south west.
From Philip Hayward and Matt Hill’s liner notes:
‘’The album opens with Return To Chagos by emphasising human presence in the oceanic space, opening with gentle percussive taps and distant looped male vocalisation that gradually come into sharper focus, layered and thickened, accompanied by thicker percussion and mouth harp. The sense of departure is taken up in Trincomalee, which lifts over the oceanic textures, opening with slow, struck and scraped metallic sounds before thick low pitched wind instrument sounds enter, oscillating around shifting microtonal frequencies. The shore returns on Side 2, with the miniature epic of Nicobar elaborated over looped ‘atmos’ sounds of birds and insects over which tonal, slightly distorted electric guitar lines enter before looped high pitched feedback squeals join the texture. Summoning tropical storms and the disruption to the region caused by western intrusion, strong and startling brass accents appear, melding with the looping guitar feedback, creating eeriness and a sense of alarm. Tuangku is permeated by restrained dynamics and an expressive, breathy, low pitched, animalistic melodic voice that offers intermittent and ambiguous utterances, as if rendered in a language essential to and evocative of a place and time but impossible to precisely comprehend – coming from an ocean-aquapelagic beyond that can only be glimpsed and rendered by affect.’’
Philip Hayward and Matt Hill, March 2022

KingUnderground Records present the instrumentals version of Lewis Parker’s sought after hip-hop record ‘Frequency Of Perception’ - a record that continued to cement Parker as a stalwart of the 90s hip-hop sound, think Tribe, Slum Village, The Pharcyde et al.

The prolific UK born hip hop legend, proves to be as tapped into the feel of a pocket as he was when he came on the scene in the 90s. “All I Got”, the album's first track, has a groove to the bassline that you won’t forget. The spacey keys show themselves early in the record and are a constant that give the record a dreamy feel, adding a mystical and psychedelic energy. Whereas “All My Life” is a well executed balance between that energy found in the flute held up by a taught backbeat, allowing it to maintain a free spirit.

The attention to detail and the intent in the sequencing and production on “Frequency of Perception” is best noticed when listening front to back.
The whole album touches on dynamics in line with the iconic sound that Parker built his reputation on for decades. All while finding new ways to tell stories by further exploring instrumentation. Lewis remains consistent in his craft, continuing to cook up beats and productions with classic techniques and fresh ingredients. There is no sense of reaching, the productions exude an attitude that reaps a true passion for his craft.

Kein anderes Konzert wird auf der ganzen Welt mit so viel Spannung erwartet wie das alljährliche Neujahrskonzert aus Wien. In diesem Jahr wird das Mega-Klassik-Event in über 90 Länder übertragen und von mehreren Millionen Menschen verfolgt.Am Pult des Neujahrskonzerts 2024 steht Christian Thielemann, Chefdirigent der Sächsischen Staatskapelle Dresden und künftiger Nachfolger von Daniel Barenboim an der Berliner Staatsoper Unter den Linden. Thielemann ist den Wiener Philharmonikern seit dem Jahre 2000 musikalisch eng verbunden, und 2019 leitete er erstmals eines ihrer Neujahrskonzerte. Darüber hinaus dirigiert er das Orchester regelmäßig in Abonnementkonzerten im Wiener Musikverein, bei den Salzburger Festspielen sowie auf Tourneen in Japan, China, Europa und den USA. Nach der Referenz-Einspielung eines gemeinsamen Zyklus sämtlicher Beethoven-Symphonien begannen die Wiener Philharmoniker und Christian Thielemann noch während der Pandemie mit der Arbeit an einer Gesamtaufnahme der Symphonien von Anton Bruckner, die im Oktober 2023 bei Sony Classical erschien.Bruckner wird auch im Neujahrskonzert 2024 mit einer dortigen Erstaufführung seiner Quadrille op. 212 geehrt.

"Nicoles Songwriting und ihr Gesang entwickeln sich von Album zu Album stärker. Sie weiß, wie man rockt, sie kann eine gefühlvolle Ballade vortragen, die Herzen bricht, und sie kann eine Jazz-Line singen, die sie in die Nähe von Nina Simone rückt." -Living BluesDie Grammy-nominierte, 7-fache Blues Music Award-Gewinnerin Danielle Nicole zählt zu den besten Sängerinnen und Bassistinnen der heutigen Roots-Musik. Zu Beginn der Aufnahmen zu "The Love You Bleed" wusste Danielle Nicole, dass dieses neue Album anders sein würde als die bisherigen. Das von Tony Braunagel (Taj Mahal, Eric Burdon, Robert Cray) produzierte und von John Porter (B.B. King, Buddy Guy, Bryan Ferry) abgemischte Album ist voll von Liebe, Verlust, Wille, Entschlossenheit und all den anderen Dingen, die mit der Liebe zusammenhängen. Die Leadsingle "Make Love" handelt davon, den Schmerz bewusst zu überwinden und sich in den schwierigen Momenten des Lebens für Liebe, Familie und Gemeinschaft zu entscheiden. "How Did We Get to Goodbye" mit seinem rohen und ehrlichen Text dokumentiert eine gescheiterte Liebe, in der es weder einen Helden noch den Bösen gibt, und stellt die Frage, wie man in solch eine Situation gelangt, ohne es zu bemerken. Der Track "Love On My Brain" ist eine starke Mischung aus altem R&B und treibendem Blues und mit "Right By Your Side" gibt es eine klassische Soul/R&B-Ballade, in der es darum geht, nie wieder den Fehler zu machen, "the one and only" gehen zu sehen.

Hiyo is a coming out party in a lot of ways for a band that has been a staple of the American Folk Music scene for over two decades. Co-Produced and engineered by Nashville's Rachael Moore and including performances by Jamie Dick (Drums), John Mailander (fiddle) and Maya de Vitry (vocals), the album Hiyo pushes the sound of CCL past anywhere it has been before. For a band that spent 15 years performing around a single microphone, CCL has found new inspiration in all of the sounds the world has to offer. "Synthesizers, drum machines, banjo...the world is really open right now to what constitutes folk music and we are grabbing on to that inspiration with both hands and not letting go," says leader Dave Wilson. Produced by Rachael Moore & Dave Wilson. Recorded & Mixed by Rachael Moore (George & Tammy) at Echo Mountain in Asheville, NC. Mastered by Nathan Dantzler at The Hit Lab in Nashville, TN.

Following Far Out’s reissue of Agustin Pereyra Lucena Quartet’s La Rana, the label continues its memorialisation of the late, great Argentinian guitarist’s music, with the first ever direct from tape, audiophile reissue of Pereyra Lucena’s self-titled debut album from 1970.

One of the outstanding South American guitarists, Agustin Pereyra Lucena commanded a unique position in Latin music history. He hailed from Buenos Aires, but was obsessed with the music of Brazil. A disciple of Antônio Carlos Jobim, Baden Powell and Vinicius De Moraes, the nature of Agustin’s Argentinian roots combined with the nurture of Brazil and its music to give Agustin a sound entirely his own.

After being scouted in a nightclub, by musician and guitar craftsman Jorge Demonte, Agustin was invited for an audition at Argenitinian label Tonodisc. Before he knew it, aged 22, he was in the studio recording his first album.

Agustin enlisted fellow Argentinian Brazilophiles Mario "Mojarra" Fernandez who played bass and drummer Enrique "Zurdo" Roizner. He had first heard the duo backing Vinicius de Moraes, Toquinho and Maria Creuza on their legendary La Fusa live album, also recorded in Buenos Aires. For vocals, Agustin brought in his old friend, a French teacher called Helena Uriburu, who at the time had (unbelievably) never sung in a studio before.

The atypical bossas and spiritual swinging sambas, composed by many of Agustin’s aforementioned heroes, were elevated to new heights by Agustin’s dazzling arrangements and phenomenal guitar playing. The almost cosmic reaches Agustin achieved with his sound are balanced against the stylish sophistication and breezy nature of the music.

Moments of calm serenity include Agustin’s own composition “Nina No Divagues”, Durval Ferreira and Pedro Camargo’s “Chuva” and the Brazilian bossa classic “Tristeza Nos Dois”, which feels like it draws equally upon exotica and early library records. Accompanied by Roizner’s shuffling samba jazz drums, opener “O Astronauta” is Agustin’s cover of the Brazilian guitar standard composed by Baden Powell. Another Baden Powell classic, “Consolacao” is an extended full-band set, which features Agustin’s crisp guitar dancing around a hypnotic rhythm section. Upright bass is swapped out for a big, round-sounding electric one, which sits loud in the mix for almost seven minutes of deep, groovy, distinctively early-seventies magic.

Agustin passed away in 2019, and it is only in recent years that he is starting to gain his plaudits as one of South America’s greats. On the liner notes of the album Vinicius De Moraes writes: “I think I never saw, with the exception of Baden Powell and Toquinho, anyone more linked to his instrument than Agustín Pereyra Lucena. It would give the impression that if the guitar were taken away from him, he would fade into music as one dies from the amputation of an arm.”

Agustin Pereyra Lucena will be released on audiophile vinyl LP, CD and digitally on the 26th January 2024 via Far Out Recordings.

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

* 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."

Im Jahr 2003 kam der Durchbruch für M. Ward mit der Veröffentlichung von "Transfiguration of Vincent". Pitchfork lobte es als ein Album, das "Zeitlosigkeit ausstrahlt und sich über Genregrenzen hinwegsetzt", und Slant setzte es auf ihre Liste der besten Alben der 2000er Jahre. Auf "Transfiguration of Vincent" ist Wards elegantes Fingerpicking, sein beschwörender Gesang und seine herzzerreißende Lyrik in voller Blüte. Selbst ein so universeller Song wie David Bowies "Let's Dance" klingt nicht nur neu, sondern unwiderruflich als wäre es sein eigener. Als eine der meistgeschätzten Platten im Merge-Katalog ist "Transfiguration of Vincent" sowohl ein großartiger Ort, um die Liebesbeziehung zu M. Ward zu beginnen, als auch ein tiefes, atemberaubend realisiertes Werk, zu dem die Hörer seit 20 Jahren immer wieder zurückkehren.

Guernica Mancini (Gesang), Mona Lindgren (Bass/Gitarre) und Emlee Johansson (Schlagzeug), ehemals THUNDERMOTHER, schlagen mit aller Macht
zurück: THE GEMS. Die Band aus Schweden ist bereit, die Welt des Rock in ihren Grundfesten zu erschüttern!

Luigi Madonna's record label, Contempo welcomes a raw and hypnotic techno EP from Backbone.

Backbone is a Portuguese producer who has been turning heads with his driving style of techno with trippy
sounds and fast-paced rhythms.
He has previously featured on labels such as Ed Davenport's Counterchange and Nastia's NECHTO Records.

Contempo is a record label that Luigi Madonna has set up to express the underground side of his tastes,
and along with his own music the imprint's catalogue also includes tracks and remixes by the likes of Alarico, Manuel Di Martino and Lobster.

"Ceasefire" opens the release with its slamming percussion and modulating synth line, before "Twiddly Phases" takes control with hallucinogenic atmospherics that create ominous intensity.

"Just a Sunny Day" is third on the release, and it's got a warped bassline layered with muffled vocals and a pounding kick drum.

"Ciphered Realities" is a stripped-back track with eerie tension and fluttering melodies, then "Wanksta Yard" closes the release with breakbeat rhythms and a menacing bassline.

Liverpool’s acclaimed sensual existentialist Brad stank today announces the release of his resolutely romantic new album In The Midst of You on January 26th via his new label Sunday Best Recordings. He launches the album alongside the quintessentially Brad ‘Natty Wine’ and its accompanying video. The new single ‘Natty Wine’ neatly encapsulates the many charms that emerge throughout the album. With Brad backed by soulful female vocal harmonies, the song’s jazzy psychedelia possesses a touch of twanging Americana, its warm and vibrant live instrumentation making for a song as relaxed as a Sunday afternoon in the sun. It’s also notable for featuring Brad’s favourite percussive instrument deep in the mix: a wooden frog. He adds, “This is a tongue-in-cheek song I wrote after being gifted a bottle of natural wine by a friend. I’m a working class boy who would much rather drink shitty lager at a party, like Stella or Holsten Pils. I’ve got no right to be writing a song about natty wine but I was feeling bougie. It’s a love song in disguise, I liked the imagery of lyrics like, ‘Your sweet loving just keeps dripping from the vine.’” In The Midst of You finds Brad in late night lothario mode, his previous seductive style now taking a more resolutely romantic and perhaps surprisingly spiritual direction. The phrase “in the midst of you” comes from the Bible, Zephaniah 3:17, “the full quote is something along the lines of “God is in the midst of you” - basically meaning that you have to look inward for peace or enlightenment, etc. the album is about that in parts and also, as always, I tried to put a romantic twist on it so that the “in the midst of you” is about being in love with somebody. It’s kind of a juxtaposition but I’ve always enjoyed taking spiritual messages and giving them a double meaning, explains Brad. “Hopefully it’s a positive message of prostrating yourself to somebody, or to spirituality or something - but giving yourself fully to something , being in the midst…”

PROJECT REGENERATION VOLUME 2 Project Regeneration Vol 2 is a collection of 13 brand-new Static-X songs which contain the final vocal performances & musical compositions of founding vocalist Wayne Static, along with the original Wisconsin Death Trip lineup featuring Tony Campos (bass), Koichi Fukuda (guitars) and Ken Jay (drums). The new album was produced by the band’s current vocalist/guitarist Xer0 and mixed/mastered by long-time collaborator Ulrich Wild and is the 2nd installment of the 2-part release.

Bob Balch from FU MANCHU here. The idea for the SLOWER project started around four years ago. I was teaching a student how to play "South Of Heaven" by SLAYER but she was a beginner so we slowed it down. I thought that sounded cool so I tuned down to B standard and tried it. I added some drums and thought "someone in the doom community should do this and name it SLOWER." A few years later I befriended Steven "Thee Slayer Hippy" Hanford, best known for his work as the drummer in the influential Oregon punk band Poison Idea. He was backstage at a FU MANCHU show. Oddly enough I was wearing a POISON IDEA shirt and he told me that my shirt sucks. I asked who he was and why he was in our backstage. He told me and I felt stupid. We started drinking whiskey and talking about music. We stayed in touch over the next year or so and during Covid I told him about my SLOWER idea. He asked me to send him tracks. I waited too long because the day I sent the tracks he passed away. Totally tragic. I'm glad I got to know him even for a few years. He was a monster musician with a giant heart. He will be greatly missed. I shelved the project for a while after that. One day Esben from MONOLORD posted about musical collaborations. I love MONOLORD so I thought what the hell. I sent him some tracks and he killed it on drums. So I sent more. Then more. Shortly after that we started reaching out other musicians to get them involved. That's how we ended up with this lineup. Everyone that contributed completely knocked it out of the park and I can't thank them enough. This project has been a long time coming and I'm beyond stoked on how it turned out. Without all of the players involved, Steven Hanford and my baritone Reverend guitar it wouldn't have happened. Thanks to everyone involved and I hope you dig it! I'm a giant SLAYER fan so it's been a treat to dig into these classic songs. Hopefully we can do another record in the near future. Look out for shows because they will happen! Esben Willems - When Bob first approached me with the idea and I heard his scratch guitars, my first thought was "This is genius". Those iconic tracks we all know by heart suddenly unveiled an unexpected dimension. I'm really proud of how this turned out. Peder Bergstrand - "This might be blasphemous considering the circumstances, but when Bob reached out and asked if I'd want to play bass on sludged-out Slayer covers, I had to admit some of these tracks were brand new to me. That made the experience even more special though, hearing and playing on the Slower version first, and then comparing to the original. Bob has really transformed these songs into something totally their own, and on a personal level I feel the rest of the band's insane performances pushed me to my most inspired playing to date. So incredibly stoked for people to hear this album."

Neon Green Vinyl, limited to 500 copies. Bob Balch from FU MANCHU here. The idea for the SLOWER project started around four years ago. I was teaching a student how to play "South Of Heaven" by SLAYER but she was a beginner so we slowed it down. I thought that sounded cool so I tuned down to B standard and tried it. I added some drums and thought "someone in the doom community should do this and name it SLOWER." A few years later I befriended Steven "Thee Slayer Hippy" Hanford, best known for his work as the drummer in the influential Oregon punk band Poison Idea. He was backstage at a FU MANCHU show. Oddly enough I was wearing a POISON IDEA shirt and he told me that my shirt sucks. I asked who he was and why he was in our backstage. He told me and I felt stupid. We started drinking whiskey and talking about music. We stayed in touch over the next year or so and during Covid I told him about my SLOWER idea. He asked me to send him tracks. I waited too long because the day I sent the tracks he passed away. Totally tragic. I'm glad I got to know him even for a few years. He was a monster musician with a giant heart. He will be greatly missed. I shelved the project for a while after that. One day Esben from MONOLORD posted about musical collaborations. I love MONOLORD so I thought what the hell. I sent him some tracks and he killed it on drums. So I sent more. Then more. Shortly after that we started reaching out other musicians to get them involved. That's how we ended up with this lineup. Everyone that contributed completely knocked it out of the park and I can't thank them enough. This project has been a long time coming and I'm beyond stoked on how it turned out. Without all of the players involved, Steven Hanford and my baritone Reverend guitar it wouldn't have happened. Thanks to everyone involved and I hope you dig it! I'm a giant SLAYER fan so it's been a treat to dig into these classic songs. Hopefully we can do another record in the near future. Look out for shows because they will happen! Esben Willems - When Bob first approached me with the idea and I heard his scratch guitars, my first thought was "This is genius". Those iconic tracks we all know by heart suddenly unveiled an unexpected dimension. I'm really proud of how this turned out. Peder Bergstrand - "This might be blasphemous considering the circumstances, but when Bob reached out and asked if I'd want to play bass on sludged-out Slayer covers, I had to admit some of these tracks were brand new to me. That made the experience even more special though, hearing and playing on the Slower version first, and then comparing to the original. Bob has really transformed these songs into something totally their own, and on a personal level I feel the rest of the band's insane performances pushed me to my most inspired playing to date. So incredibly stoked for people to hear this album."

PRESSING OF 500 COPIES WORLDWIDE. INCLUDES POSTER.
The sound of today. A very strong statement. Yet, fifty years later, it remains undisputed. Today’s sound is Piero Umiliani's manifesto, his will to demonstrate to the world that he always has his finger on the pulsating vein of the world, ready to embrace the heartbeat of the future.
In the summer of 1973, Piero Umiliani, in his futuristic recording studio in Rome, much like Miles Davis for his 'Bitches Brew,' gathered an extraordinary collective of musicians, both old and new guard to measure themselves against some of his compositions.
Besides strongly emphasizing the backbeat, what stands out the most is the timbre provided by his 'electronic instruments,' as he liked to call them. Minimoog, Arp 2600, Fender Rhodes, EMS VCS3, Clavinet, Lowrey organ, Space Echo, self-built envelope filters—machines impossible to see all together in an Italian recording studio at the time and made available to the musicians.
The line-up is stellar; under the name 'Sound Workshoppers,' the 'Wrecking Crew all'Amatriciana' is hidden an impossible mix where Marc 4, Gres and Perigeo are blended, along with a brass section of veterans and pioneers of Italian jazz, all members of the RAI Symphonic Rhythm Orchestra.
Comparing the recordings from the original scores, one can also understand the space left by Piero Umiliani for his musicians. They are free to move, to contribute solutions, to enrich the maestro's music.
The perfectly preserved original masters, once transferred at the maximum possible sampling frequency, allowed for the recovery of many lost frequencies, restoring brilliance and the remarkable low end expertly captured in recording by engineer Claudio Budassi.
Today’s sound was extremely difficult to control and fully render with the mastering technology of that time.
Paradoxically, Today's sound could not sound as I have managed to make it sound today: urgent, majestic, more alive than ever.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.1[2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.
The label and studio were closed when Dodd relocated to New York City in the 1980s.