Future Jazzers, notorious experimentalists and outfield eccentrics stumble onto the dancefloor. In the 90s. In the UK.
From an electronic music perspective, the period 1992 to 1996 in the UK that this compilation celebrates, was one of dizzying sonic diversification.
It was also a particularly turbulent time in the UK, not only politically and economically, but also culturally too. Economic catastrophe in ‘92 was followed by widespread poverty, a cost of living crisis and countless political scandals. Meanwhile, John Major’s Tory government pandered to its political base via unpleasant, authoritarian legislation that seemingly sought to crush rave culture, alternative lifestyles, and traveller communities. The UK was not so much a ‘Happy Land’ – to quote the name of this compilation – as an angry and divided one. Sounds familiar, doesn’t it?
Throughout, the music created by producers based across these Isles remained uniquely British, speeding up a process begun in the late 1980s through the emergence of street soul, bleep & bass and breakbeat hardcore – musical styles whose roots in multicultural inner-city communities made them distinctly different from the Black American sounds that had inspired their creators. It was here, rather than in the indie pubs of Camden, that real musical revolutions were taking place.
This deep diving selection brings together some truly adventurous and original electronic music from this period, much of it very hard to find. Major label outings connect with white label oddities with ease. Perhaps it could even be argued that many of these unearthed gems fit more easily into DJ sets in 2023 than they ever did at the time. The off-kilter swing of Richard D James’ obscure and highly sought after Strider B outing, ‘Bradley’s Robot’ is joined by further rare cuts from Cabaret Voltaire and the Black Dog, and artists as diverse as Ultramarine, Herbert, Fretless AZM, and Radioactive Lamb, amongst others.
This collection has been lovingly selected, compiled and mastered for maximum sonic playback. This very special release boasts sublime pastoral themed artwork, as well as informative and passionate liner notes by celebrated music scribe Matt Anniss (‘Join The Future’).
Suche:lo fi
Joshwa heads to Hot Creations for his label debut, unveiling his two-track ‘Bass Go Boom’ 12”.
After surging into the spotlight in 2022 via a series of high-profile collaborations alongside Lee Foss, CID, and Martin Ikin, UK-based DJ/producer Joshwa is looking to keep things moving for 2023 as an artist at the top end of Beatport’s top-selling tech house charts. Up next, late March brings a milestone release as he steps out on Hot Creations for the first time, delivering a pair of heavily requested and lively productions across his ‘Bass Go Boom’ EP.
A boisterous and low-end heavy production loaded with vocal samples and spiralling synths, ‘Bass Go Boom’ is a tined for peak time use, while ‘Supersonic’ offers by rolling drums, and vibrant glitches and pops.
Marroon coloured vinyl.
1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.
Tape
1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.
- A1: You Keep Me Hangin’ On
- A2: You’re Gone (But Always In My Heart)
- A3: Love Is Here And Now You’re Gone
- A4: Mother You, Smother You
- A5: I Guess I’ll Always Love You
- A6: I’ll Turn To Stone
- B1: It,S The Same Old Song
- B2: Going Down For The Third
- B3: Love Is In Our Hearts
- B4: Remove This Doubt
- B5: There’s No Stopping Us No
- B6: Love Is Like A Heat Wave
T he tenth studio album by was released by Motown in 1967. It includes the #1 hit singles The Supremes "You Keep Me Hangin' On" and "Love Is Here and Now You're Gone". All of the songs were
written and produced by Motown's main songwriting team of Holland–Dozier– Holland.
Most of the album was recorded during the spring and summer of 1966. However, several songs date back to the summer of 1964. The album also includes covers of H-D-H penned songs for Motown
artists The Isley Brothers ("I Guess I'll Always Love You"), The Four Tops ("It's the Same Old Song", "I'll Turn to Stone"), and Martha and the Vandellas ("Heat Wave"). This was the group's final album fully
overseen by the songwriting team
"Denial” and "Anger" are the first and second movements in Michael Leonhart’s, The Normyn Suite #1: (Soundtrack to the Five Stages of Grieving), which is both a requiem and celebration, inspired by the life and death of Leonhart’s 15-year-old dog, a female mini dachshund named Normyn.
Suite #1 first appeared on the Michael Leonhart Orchestra 2022 album "The Normyn Suites" (Sunnyside Records) and was inspired by “The Kübler-Ross Grief Cycle,” a model introduced by Elisabeth Kubler-Ross in her 1969 book, On Death and Dying. “The Five Stages of Grief” is a critically acclaimed study on how humans handle loss.
For Leonhart's suite in five parts, he expands the MLO’s live performance palette of brass, woodwinds and strings to include choir and found percussion over gritty breakbeat drums from Nick Movshon. Leonhart shares, “I wanted ‘Denial’ and ‘Anger’ to have an emotional tension and raw quality, almost a whiplash effect..."
The Normyn Suites is an elegy; to listen is to spend time in that space of loss, reckoning, questioning, and mourning. At the same time, though, with each note, each phrase, we are propelled back into life,” reflects author Alexandra Horowitz in the stirring liner notes.
CLEAR BLUE VINYL
`Oh Me Oh My' is both elegant and ferocious. It is stirring in one moment and a balm the next. It details histories both global and personal. Lonnie Holley's harrowing youth and young manhood in the Jim Crow South are well-told at this point _ his sale into a different home as a child for just a bottle of whiskey; his abuse at the infamous Mount Meigs correctional facility for boys; the destruction of his art environment by the Birmingham airport expansion. But Holley's music is less a performance of pain endured and more a display of perseverance, of relentless hope. Intricately and lovingly produced by LA's Jacknife Lee (The Cure, REM, Modest Mouse), there is both kinetic, shortwave funk that call to mind Brian Eno's `My Life in the Bush of Ghosts' and the deep space satellite sounds of Eno's ambient works. But it's a tremendous achievement in sonics all its own. It's also an achievement in the refinement of Holley's impressionistic, stream-of-consciousness lyrics. On the title track which deals with mutual human understanding", Holley is able to make a profound point as ever in far fewer phrases: "The deeper we go, the more chances there are, for us to understand the oh-me's and understand the oh-my's." Illustrious collaborators like Michael Stipe, Sharon Van Etten, Moor Mother and Justin Vernon of Bon Iver serve as not only as choirs of angels and co-pilots to give Lonnie's message flight but as proof of Lonnie Holley as a galvanizing, iconoclastic force across the music community.
The stunning orchestral soundtrack is written by three-time academy award winning composer and conductor Howard Shore. Shore’s score credits span over 90 films, most notably for The Lord of the Rings and The Hobbit film trilogies. A long-term collaborator with writer and director David Cronenberg, Crimes of the Future marks Shore’s 16th feature film collaboration with him since 1979.
Set in a not-so-distant future, Crimes of the Future depicts humankind learning to adapt to its synthetic surroundings and, as humans alter their biological makeup - some naturally, some surgically - the body itself becomes art. With his partner Caprice (Léa Seydoux, No Time to Die, The French Dispatch), celebrity performance artist Saul Tenser (Viggo Mortensen, A History of Violence, Eastern Promises), publicly showcases the metamorphosis of his organs in avant-garde performances. Timlin (Kristen Stewart, Spencer, Twilight), an investigator from the National Organ Registry, obsessively tracks their movements, which is when a mysterious group is revealed… Their mission – to use Saul’s notoriety to shed light on the next phase of human evolution.
Gui La Testa[41,13 €]
For a few dollars more[41,13 €]
L'assoluto naturale[41,13 €]
Gamma[41,13 €]
Cosi' come sei[41,13 €]
Green Vinyl[33,57 €]
"Il mio nome è Nessuno" (My name is Nobody) is an a typical western,
difficult to classify as it's placed halfway between the founders of the
genre of the '60s and the comedies of the following decade
Sponsored and partly directed by Sergio Leone, it came out in 1973 and received great success, thanks to the presence of the actors Terence Hill and Henry Fonda, in perfect balance between a light- hearted comedy and the more serious 'spaghetti western' genre.
The music is written by the genius of Ennio Morricone, who writes and
orchestrates a varied soundtrack, which lends itself to the various scenes. There is everything: tense soundscapes, epic symphonic rides - directly referring to the "Dollar Trilogy", frivolous and light- hearted moments, all mixed with esoteric sounds.
Given the popularity of the film, its soundtrack has been released several times, but 35 years have passed since the previous vinyl release. A must buy for fans of the Maestro Morricone but also for all film lovers!
Limited edition on crystal clear vinyl
- A1: L'assoluto Naturale
- A2: Sempre Più Verità
- A3: E Facile
- A4: Calde Occhiate
- A5: Studio Di Colori
- A6: Il Profumo Della Tua Pelle
- A7: Laboriosamente
- A8: Sembravi Desiderare
- B1: Amare Assolutamente
- B2: È La Solita Storia
- B3: Imparare A Conoscere
- B4: L'estate È Vicina
- B5: Assalito Dalle Rondini
- B6: Il Profumo Della Tua Pelle (Ballata Per Organo)
Gui La Testa[41,13 €]
For a few dollars more[41,13 €]
Il Mio Nome à Nessuno[41,13 €]
Gamma[41,13 €]
Cosi' come sei[41,13 €]
Green Vinyl[33,57 €]
"L'assoluto naturale" is a 1969 film based on the eponymous novel by
Goffredo Parise and directed by Mauro Bolognini
Many of his films have been scored by Ennio Morricone. The two leading actors are Sylva Koscina and Laurence Harvey.
The film is a bourgeois sentimental drama which was very popular in that era - lead by the well known theme "Metti, una sera a cena"; it's a soundtrack that blends classical, jazz, pop and lounge music in various reworkings of the main theme, a typical Morriconne trademark..
Among the orchestrations directed by
Bruno Nicolai, the track "Assalito dalle rondini" stands out, an abstract composition for strings characterized by tension-laden dissonances and dramatic orchestrations.
Originally released in 1969 and reissued in a few subsequent editions, the soundtrack of "L'assoluto naturale" has not been on vinyl for 40 years. This new release with remastered audio and a new sleeve layout delivers this excellent soundtrack in a classy layout.
180gr. solid pink vinyl edition.
There is a perfect match between Dario Argento's film and Goblins' music
in "Profondo Rosso" (Deep Red), both made in 1974 - and then released
the following year - when both artists were living in a period of maximum
creativity: their fortuitous meeting produced two masterpieces, one
cinematographic and one musical, a source of inspiration in the decades
to follow
The music of "Profondo Rosso" was originally commissioned to jazzman Giorgio
Gaslini, a former Dario Argento's collaborator who wrote the songs on side B of
this LP, but was soon entrusted to four young musicians from Rome: Claudio
Simonetti (keyboards), Massimo Morante (guitars) , Fabio Pignatelli (bass guitar),
Walter Martino (drums). The legendary theme and sinister melodies of the title
track set a new standard at the time for film music, not just in the thriller / horror
genre, and thanks to their dazzling debut Goblin enjoy international fame and
respect until today. An essential masterpiece for any lover of soundtracks and
cinema, Italian music, progressive rock, jazz- rock and much more. A piece of
History, reissued in a faithful reproduction of the original 1975 version. 180gr.
clear purple vinyl edition.
- A1: Whispering Grass (Don't Tell The Trees) (Don't Tell The Trees)
- A2: To Each His Own
- A3: If I Didn't Care
- A4: Prisoner Of Love
- A5: I'm Beginning To See The Light
- A6: Address Unknown
- A7: You Were Only Fooling (While I Was Falling In Love) (While I Was Falling In Love)
- A8: We Three (My Echo, My Shadow & Me) (My Echo, My Shadow & Me)
- B1: Into Each Life Some Rain Must Fall (With Ella Fitzgerald)
- B2: The Gypsy
- B3: My Prayer
- B4: You're Breaking My Heart
- B5: I Don't Want To Set The World On Fire
- B6: Stop Pretending (So Hep You See) (So Hep You See)
- B7: Maybe
- B8: Don't Get Around Much Anymore
Along with The Mills Brothers, the Ink Spots blazed the way for
black music groups, creating a path for many to follow. They
proved tremendously influential, with Bill Kenny's lead tenor
inspiring such as Sonny Til (The Orioles), Curtis Mayfield (The
Impressions), Frankie Lymon (The Teenagers) and scores of
others, while Hoppy Jones's trademark talking bass role inspired
an equal number of followers.
- 1: Bewitched (Are You Leaving Soon)
- 2: Tonkachi
- 3: Heartbeat
- 4: Scandal Night
- 5: Shirakechimauze
- 6: Tropical Love
- 7: Business Man Pt. 1
- 8: Ah! Soka
- 9: Suiyoubi Madeni Shinitaino
- 10: Kowloon Daily
- 11: Tropical Exposition (Who Done It? Version)
- 12: Boy Meets Girl
- 13: Love Sick
- 14: Cosmic Love
- 15: Pub Casablanca
- 16: Untotooku
Pink Vinyl[67,19 €]
- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.
- 1: Bewitched (Are You Leaving Soon)
- 2: Tonkachi
- 3: Heartbeat
- 4: Scandal Night
- 5: Shirakechimauze
- 6: Tropical Love
- 7: Business Man Pt. 1
- 8: Ah! Soka
- 9: Suiyoubi Madeni Shinitaino
- 10: Kowloon Daily
- 11: Tropical Exposition (Who Done It? Version)
- 12: Boy Meets Girl
- 13: Love Sick
- 14: Cosmic Love
- 15: Pub Casablanca
- 16: Untotooku
Black Vinyl[63,82 €]
- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.
»Love As Projection« is the new album by Frankie Rose, her fifth studio LP and second for Night School following the reissue of her interpretation of The Cure’s »Seventeen Seconds«. Frankie Rose has forged an enviable musical legacy, from playing with bands like Crystal Stilts and The Vivian Girls but on »Love As Projection« she takes a bold step into electronic pop production. A sumptuous recorded statement, it dances in ecstasy and broods on the tumult of the western world’s decay in equal proportion. At the heart of the album is glowing, confident songwriting, resplendent in hooks and choruses but still touched with an optimism undimmed.
After spending nearly two decades establishing herself across New York and Los Angeles independent music circles, Rose re-emerges after six years with a fresh form, aesthetic, and ethos. Celebrated over the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal melodies and harmonies, »Love As Projection« is a reintroduction of her established style through the lens of contemporary electronic pop. Recorded with producer Brandt Gassman and mixed with long-term collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career.
More than a rebirth, a refinement, a resurgence, »Love As Projection« boasts a widescreen scope: a long- form project heavily considered for half of a decade, culminating in the most personal and accessible collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead track »Anything«, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible chorus that marries classic epic 80s American pop with the cult effervescence of Strawberry Switchblade »It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning fear even if the world is quite literally on fire.. In the end, at least we have each other,« says Rose. »Sixteen Ways« further boasts a propulsive, massive chorus, though tempered by a cynicism built in global post-truth, global malaise. »It’s about getting your hopes up, but simultaneously making lists in your head about how it will never work out in your favour.«
The big anthems don’t let up there. On »DOA« some massive, rolling drums lathered in big mid-80s gated reverb dovetail with a syncopated baseline for the ages as Rose’s vocal sails effortlessly above. The effect isn’t unlike ethereal vocalists Clannad circa Howard’s Way or Enya jamming with Simple Minds in their stadium-conquering heyday. Rose tempers the adrenalin with heart-tugging bittersweet tones and there are plenty of them. »Sleeping Night And Day« takes its time with an off-the-cuff chorus, swirling around in harmony and chorus-bass. »Saltwater Girl« picks up the balladeering baton with another nod to album track-mode Switchblade, deep space opening up in the mid-tempo drum track and soupy, digital atmospherics. Album closer »Song For A Horse«, reimagines modern Pop production a-la-PC Music but shorn of the meta-atmosphere. Pianos, swelling synths, minor keys cut through with major. These moments, also seen in Feel Light offer ballast to the soaring pop choruses. Moments like these are big oceans of emotion to fall into before being led out by Rose into a bright new day.
»Love As Projection« is released in the USA by Slumberland.
In den zwei Jahrzehnten ihrer Karriere hat die Norwegerin Ane Brun einen weiten Weg zurückgelegt, seit sie auf den Straßen Barcelonas die Lieder anderer Leute vorgetragen hat. Heute ist sie eine beliebte Singer-Songwriterin mit zehn Studioalben und zahlreichen Auszeichnungen. Mit ihrer einzigartigen, ausdrucksstarken Stimme und ihrem intuitiven Gespür für Melodien setzt sie die hohe Kunst der Coverversion fort. In Bruns Händen werden selbst Songs, die sich unantastbar anfühlen, näher gebracht und in einem neuen und intimen Licht gezeigt. Ob sie nun Beyoncés Siegeszug "Halo" mit einem Cello-Arrangement von Linnea Olsson neu interpretiert oder Radioheads "How To Disappear Completely" eine gespenstische Zerbrechlichkeit verleiht - sie taucht unerschrocken ein, sucht den emotionalen Kern eines jeden Songs und arbeitet sich von dort aus vor. Portrayals versammelt zum ersten Mal zwölf von Bruns beliebtesten Coverversionen sowie eine bisher unveröffentlichte Version des Rodgers & Hart-Standards "Blue Moon". Bruns Bearbeitungen, die insgesamt über 250 Millionen Mal auf Spotify gestreamt wurden und in Filmsoundtracks, Werbespots und bahnbrechenden Fernsehserien wie "Normal People" und "Peaky Blinders" zu hören sind, bewegen sich auf zarte, unvergessliche und oft verblüffende Weise. Portrayals ist die erste in einer Reihe geplanter Veröffentlichungen im Jahr 2023, um das 20-jährige Jubiläum ihres Debütalbums Spending Time With Morgan zu feiern. "Covers sind ein wichtiger Teil meiner Karriere", sagt Brun. "Es ist fast eine eigene Karriere. Es hat seine eigene Dynamik. Ich wollte das feiern, indem ich diesen Songs ihren eigenen Raum gebe."
- A1: Freight Train
- A2: Careless Love
- A3: Sail Away Ladies
- A4: Streamline Train
- A5: Take This Hammer
- B1: No Other Baby
- B2: Gypsy Davy
- B3: This Loving Light Of Mine
- B4: In The Evening When The Sun Goes Down
- B5: Yonder Comes A Sucker
- B6: Travelin' Blues
- C1: Gov Don't Allow
- C2: Come On In
- C3: Streamlined Cannonball
- C4: Greenback Dollar
- C5: Oh Lonesome Me
- C6: I Wish I Was An Apple On A Tree
- C7: I'm So Lonesome I Could Cry
- D1: I'm Movin' On
- D2: Cold Cold Heart
- D3: Worried Man Blues
- D4: Cotton Fields
- D5: Green Rocky Road
Blue Vinyl[36,93 €]
Es dürfte nicht überraschen, dass Van Morrison ein vom Skiffle inspiriertes Album aufgenommen hat, denn Van Morrisons Liebe zum Skiffle reicht bis in seine Kindheit zurück.
Er verbachte viel Zeit in dem berühmten Plattenladen Atlantic Records in Belfast, wo er Folk, Blues und Jazz aus dem frühen 20. Jahrhundert hörte.
Es dauerte nicht lange, bis Van Morrison in der Schule in einer Skiffle-Band spielte.
Mehrere Jahrzehnte später besinnt sich Van Morrison mit seinem neuen Album ”Moving On Skiffle”, das am 10. März 2023 erscheinen wird, wieder auf seine Liebe zu diesem Genre. Der Fokustrack ”Streamline Train” kündigt das kommende Album mit insgesamt 23 Titeln an.
Mit ”Moving On Skiffle” greift Van Morrison einen Musikstil auf, der Mitte der 1950er Jahre in Großbritannien explosionsartig aufkam, und
verleiht ihm ein Maß an Raffinesse und Soulfulness.
- A1: Freight Train
- A2: Careless Love
- A3: Sail Away Ladies
- A4: Streamline Train
- A5: Take This Hammer
- B1: No Other Baby
- B2: Gypsy Davy
- B3: This Loving Light Of Mine
- B4: In The Evening When The Sun Goes Down
- B5: Yonder Comes A Sucker
- B6: Travelin' Blues
- C1: Gov Don't Allow
- C2: Come On In
- C3: Streamlined Cannonball
- C4: Greenback Dollar
- C5: Oh Lonesome Me
- C6: I Wish I Was An Apple On A Tree
- C7: I'm So Lonesome I Could Cry
- D1: I'm Movin' On
- D2: Cold Cold Heart
- D3: Worried Man Blues
- D4: Cotton Fields
- D5: Green Rocky Road
Black Vinyl[36,93 €]
Es dürfte nicht überraschen, dass Van Morrison ein vom Skiffle inspiriertes Album aufgenommen hat, denn Van Morrisons Liebe zum Skiffle reicht bis in seine Kindheit zurück.
Er verbachte viel Zeit in dem berühmten Plattenladen Atlantic Records in Belfast, wo er Folk, Blues und Jazz aus dem frühen 20. Jahrhundert hörte.
Es dauerte nicht lange, bis Van Morrison in der Schule in einer Skiffle-Band spielte.
Mehrere Jahrzehnte später besinnt sich Van Morrison mit seinem neuen Album ”Moving On Skiffle”, das am 10. März 2023 erscheinen wird, wieder auf seine Liebe zu diesem Genre. Der Fokustrack ”Streamline Train” kündigt das kommende Album mit insgesamt 23 Titeln an.
Mit ”Moving On Skiffle” greift Van Morrison einen Musikstil auf, der Mitte der 1950er Jahre in Großbritannien explosionsartig aufkam, und
verleiht ihm ein Maß an Raffinesse und Soulfulness.
Coming straight from the United States, soul music became an essential genre in the mid-1960s. In France, Claude François, marked by the discovery of serial hits from the legendary Tamla-Motown label of Detroit, became one of its first promoters. Proposed in their French adaptations, the pulsating rhythms and irresistible melodies from the Four Tops, the Supremes and other champions of soul music spread across France. On stage, Claude François also adopted the spectacular performances of his models from across the Atlantic and surrounded himself with the Claudettes, dancers-choristers echoing the famous Ikettes of Ike & Tina Turner. An exceptional showman and performer! Ads –London Macadam Reviews –London Macadam, R2
- A1: Woolf Wordings Of Orlando
- A2: Orlando Et La Tempete Viral Symphony Redux
- A3: Orlando Shoegazer Strides Towards Fiasco
- B1: Rampage At The Capitol Orlando Viral Tempest
- B2: Slow Orlando Et La Tempete Viral Symphony Redux
- B3: Orlando Undone By Scornful Dog Star
- C1: Pour Finir Avec Le Jugement De Dieu Viral Symphony Plague (Groundless Storm) (Groundless Storm)
- C2: Pour Finir Avec Le Jugement De Dieu Viral Symphony Plague (Tempete De Merde) (Tempete De Merde)
- C3: Pour Finir Avec Le Jugement De Dieu Viral Symphony Plague (La Nausee) (La Nausee)
- C4: Pour Finir Avec Le Jugement De Dieu Viral Symphony Plague (World Whirlwind) (World Whirlwind)
- C5: Pour Finir Avec Le Jugement De Dieu Viral Symphony Plague (Cosmic Door) (Cosmic Door)
- C6: Pour Finir Avec Le Jugement De Dieu Viral Symphony Plague (Weep No More) (Weep No More)
- D1: Pour Finir Avec Le Jugement De Dieu Viral Symphony Plague (Heroic Cojones) (Heroic Cojones)
- D2: Pour Finir Avec Le Jugement De Dieu Viral Symphony Plague (Ars Longa Vita Brevis) (Ars Longa Vita Brevis)
Pentiments continues its work spotlighting post-conceptual artist and writer Joseph Nechvatal. They have already dropped a retrospective Selected Sound Works album that spans 1981-2002 and now comes a companion across two slabs of wax that focus on more recent audio works. This is in cahoots with Andrew Deutsch and it makes use of anonymous reading of Virginia Woolf's 'Orlando' as an anchor point around which the "virus-modelled artificial life audio material" from Nechvatal's 2006 piece viral symphOny: the enthrOning is reanimated. The second then uses a rather controversial record performance of Antonin Artaud's radio play To Have Done with the Judgement of God which the artist takes apart and reweaves into something radically new.
JET is very popular among Italian music collectors because from their
ashes came the commercial pop group Matia Bazar, and also among prog collectors because of their rarity.
Jet (or J.E.T. as their name was usually written) were formed in Genova at the beginning of the 70's from a previous band of the same name that also included later members of another pop band, Ricchi e Poveri. Their first album, "Fede speranza carità", released in 1972, derives from a radical turn in their musical style, to popular progressive rock. Its hard rock with falsetto vocals but in a
ProgRock style with heavy use of organ and a solid rhythm section, as in the long "Sinfonia per un re".
In 1974 the band added a female voice (Antonella Ruggiero)
and a new drummer (Giancarlo Golzi from Museo Rosenbach) and changed their name to Matia Bazar and started a long and successful career that still lasts today.
Rereleased in Purple Ltd Edition 180g vinyl.
- A1: Diamonds Are A Girl's Best Friend
- A2: The River Of No Return
- A3: A Fine
- A4: Romance
- A5: One Silver Dollar
- A6: Specialization
- A7: Incurably Romantic
- A8: Kiss
- A9: I'm Gonna File My Claim
- B1: Every Baby Needs A Da Da Daddy
- B2: Happy Birthday Mr
- B3: President/ Thanks For The Memory
- B4: My Heart Belongs To Daddy
- B5: Let's Make Love
- B6: After You Get What You Want You Won't Want It
- B7: Running Wild
- B8: Some Like It Hot
- B9: Do It Again
- B10: I'm Through With Love
- B11: You'd Be Surprised
- B12: Wanna Be Loved By You
Although better known as an actor and a sex symbol, the unforgettable Marilyn Monroe was also a highly personal vocalist. Even though she occasionally took lessons in the intervals while filming her movies, her singing remained mostly intuitive, and her voice evoked sensuality and glamour.
This 19-track collection compiles her most memorable recordings, including hits such as 'I Wanna Be Loved by You', 'My Heart Belongs to Daddy', 'Diamonds Are a Girl's Best Friend', and the perennial 'Happy Birthday', which she sang for President John F. Kennedy shortly before her premature death.
[d] A4 Romance [1954] /
- A1: Midas Touch - Big Deal!
- A2: Toni Campo - Over And Out
- A3: Martin Kershaw - Riff Raff
- A4: Reginald Wale - Rhythm-Rhythm-Rhythm
- A5: Trevor Bastow - Integration
- A6: Toni Campo - Point Blank
- A7: Piet Van Meren - Soul Punch
- A8: Toni Campo - Tooty Flooty
- B1: Midas Touch - Make No Bones
- B2: Toni Campo - Centrefold
- B3: Sidney Dale - Knock On Wood
- B4: Reginald Wale - Gone-Gone-Gone
- B5: Toni Campo - Do The Stumble
- B6: Trevor Bastow - Hydrogene
- B7: Ishfahan Farid - Focus On The Middle East
- B8: Vick Flick - Santaren
Killer funk compilation full of highlights from the music archives of Josef Weinberger Ltd. in London, pulled from the most famous library albums on labels like JW (Josef Weinberger/ Theme Music), IA (Impress) or PM (Programme Music). First selection of 16 lost tracks by Toni Campo, Midas Touch, Trevor Bastow, Sidney Dale or Vick Flick, oscillating between jazz-funk, soul music, proto techno and eastern-tinged disco, with open drum breaks, fat bass lines and plenty of horns/ wah wah/ organs/ vibes/ flutes/ electronic effects. Recorded from the master tapes, restored and mastered 2016 for 6-Page-Digipack-CD and limited vinyl LP, comparable to the best works of KPM, De Wolfe or Bosworth.
At last, these two glorious rare groove classics are legally back on 7'. For the first time they are longer than the original 7' with all the essence of the full length 12' versions. Unlike bootlegs, these come from the original tape sources Roy Ayers first produced with all his finesse for his Uno Melodic label in 1980. Sylvia Striplin sang in Eighties Ladies and Aquarian Dream, but she's best remembered for these two songs from her one album Give Me Your Love'.
2023 Repress
Prologue:
Wearied by our endless travelling under a burning sun, we stopped by the margins of a tiny stream, embraced by a timid vegetation. The scorching heat made our throat parched and weak: yearning to quench our thirst, we immersed ourselves into the waters without any hesitation, drowning our dryness and our exhausted limbs.
I pointed my face, revived by water, towards the sky and I lingered on, admiring it: a flock of birds gently floated, drawing in the sky some abstract shapes. I sat beneath a palm tree, motionlessly admiring the show, the shades of the night approaching.
'The true joy of a moonlit night is something we no longer understand. Only the men of old, when there were no lights, could understand the true joy of a moonlit night.'
--<<<<<~
The Hypnus clergy is pleased to release their fourth full length album and the first by the rising talents Primal Code. 'La Via della Seta' is scheduled to be released under the August full moon and will be pressed on two 180 gram 12" vinyl records, both sheathed inside a full color printed hansaboard sleeve.
"A very beautiful journey through ambient and subtile rhythms!" - Cio D'Or
"Future is now! My favorite artists of 2018." - Ness
"Wonderful album. Full support." - Svreca
Daje Funk Records is back with Vol. 4 of the legendary ‘Slam Dunk’ series of EPs, this time featuring Souldynamic - Musta - Les Inferno - Groovemasta !!!
On the A-side, the supremely talented Souldynamic kicks things off with ‘Tales From Q.J.’ - a delicious chunk of late summer grooves bathing in sun-drenched keys and strings. The rolling bassline acts as the hook, and what follows is a gloriously constructed melodic masterpiece sprinkled with heavenly vocals. Fall in love with this, you will.
A2 sees Italian maestro Musta crack open the deep reggae vibes with ’Soup’. You’ll find it hard to resist this bubbling broth of twisted, rhythmic precision bass, ‘one drop’ beats and tight, short skanking guitar riffs. With ‘Soup’, Musta demonstrates his complete understanding of this genre. Darkened room or bar sun terrace - you decide.
On the B-side, label co-owner Les Inferno spices things up several notches with the aptly titled ‘Hot Burn’. And boy, does this track sizzle. A hustling rhythm that takes over your dance nodes from the get go, Les Inferno lovingly sprinkles Latino and Afro vibes all over this searingly hot dish. It’s furious, intense and relentless - and the brass breakdown acts as the tabasco sauce. Drink water. Plenty of water.
Closing Vol. 4 out on B2 is Groovemasta with ‘That Funk’. A track that treats its funky beats and chunky bass like royalty, this 118bpm monster wastes no time in demanding ‘Gimme that funk’. And you’re gonna hand it over. The swirling, gyrating sexiness of ‘That Funk’ can’t be understated - impossible not to lose yourself in this guaranteed dance floor time bomb.
Slam Dunk Vol. 4 seriously raises the bar for this already excellent series, and has to be in any self-respecting vinyl junky’s record box. Grab it while you can!
"Ela", Dom La Nena's first album, was released in 2013. Co-produced with the complicity of Piers Faccini, the album received the highest praise from the international press (New York Times, NPR, Les Inrocks, Wall Street Journal, etc). On the occasion of the 10th anniversary of its release, here is a reissue of the record, now available on vinyl.
Dom La Nena is a Brazilian singer, cellist, songwriter and producer based in Paris. Having accompanied artists such as Jane Birkin, Jeanne Moreau, Etienne Daho and collaborated with the likes of Marcelo Camelo, Julieta Venegas and Piers Faccini, Dom's solo work has drawn comparisons as disparate as “a young Brian Wilson” (Wall Street Journal), “a bossa Joanna Newsom” (Time Out New York) and “Cat Power’s lost sister” (Pop Dose).
Dom sings in Portuguese, Spanish, French and English. Her lyrics touch upon feelings of longing, melancholy, and nostalgia of a childhood spent living in Brazil, Argentina and France. Performing in a solo capacity alone on stage with her cello, ukulele, electric guitar, keyboard and percussions, Dom employs sophisticated looping techniques, layering vocals and instrumental tracks, building audio soundscapes that create a full band atmosphere in each venue.
Dom’s debut solo album, “Ela”, was released during 2013 and immediately praised by the international music press including the New York Times, Wall Street Journal, Le Figaro, Les Inrockuptibles, Voir, O Globo and many other media outlets. Dom's second album “Soyo”, an internationally flavored collection of indie-folk songs with wandering melodies and lightly layered vocals, was released in 2015 and co-produced with Brazilian musician Marcelo Camelo (Los Hermanos).
Dom's third full length album, titled "Tempo", was self produced and mixed by Noah Georgeson (Devendra Banhart, The Strokes, Rodrigo Amarante) and is scheduled for a spring 2019 worldwide release.
Red Vinyl
With the newest techno release from Marco Bailey & Sigvard, be ready to party all night long! This EP is going to be popular because it has four upbeat songs that will make you move.
First, "Faded Game" introduces a funky, chord-heavy sound that will have you bobbing your head to the beat. The captivating melodies and frantic rhythms of the following song, "Live For Yesterday," maintain the momentum.
With its relaxed, yet still danceable sound, "Smooth Mind" slows things down a notch, and "Out Of The Past," the EP's final track, wraps things up with a techno track with influences that will take you back to the dance floors of yore.
Overall, if you're a fan of techno and want some groovy, upbeat music to add to your collection, you should definitely get this EP.
Having lived and worked in numerous musical directions for many years, Semay Wu’s begrudgingly
faithful cello still remains at her side: from Merseyside, to Manchester, to The Netherlands, and now to
Central Scotland. Always trying to push age-old boundaries of how the instrument is viewed and heard,
her focus has led her to explore further collaborative and everyday improvisations, blending electronics
with mixed media and a variety of gestural art disciplines.
Raspberry Hotel is Semay’s first foray into recorded solo work. Finding it hard to stick to any one brief,
she filled out a room of a local studio space, with toys, everyday objects, instruments, and her cello.
Sitting on the floor, she recorded whatever came to mind. A week-long session of improvisations were
then taken home, spliced up and pieces were composed and mixed. Raspberry Hotel is made up of
fleeting, off-the-cuff performances, that can be listened to as separate tracks or as one long piece.
This project tells an ambivalent story. Lightness on the one hand - a letting go around friendship and love, a rejuvenation in the line of his first EP - and more intense on the other around fatherhood at the end of adolescence which is told, sung like a precocious adult life. Married at 21, then a parent at 24, his twenties are normally synonymous with lightness, carefree living mixed with student life, but he has reversed the space-time curve of his adult life. He started out as a young father. Now he has just separated and is in some ways returning to that adolescence. He explains: "My daughter bridges the gap between all this, musically she inspires me too. She listens to LCD Soundsystem, but also Damso. She's an anchor for me that keeps me from growing old.
This album is a marker of all that. Each song is a step. An album he considers to be a gentle therapy. He started it while he was still in a relationship and finished it when the relationship ended. "It's like I could feel things happening while writing this album". This album and the whole process of creating it is therefore a sometimes dark and often bright path, which Clément likes to call "life".
Released on RCA Records - new album from singer/songwriter/actress/US superstar. This collection is Miley’s eighth studio album and the follow up to 2020’s 'Plastic Hearts'. 2023 finds Miley the strongest and most confident she’s ever been, with the music and imagery of 'Endless Summer Vacation' serving as a reflection of that. Recorded in Los Angeles and produced with Kid Harpoon/Greg Kurstin/Mike WiLL Made-It/Tyler Johnson, Miley describes the album as her love letter to LA. The full tracklisting has not yet been revealed, but does of course include the massive #1 single 'Flowers'. Extensive promo/marketing activity across all media outlets. Upcoming UK promo trip plus nationwide TV ad campaign. Formats are standard black vinyl LP and standard CD.
Dutch Uncles, Manchester"s much-revered electro art rock quartet, return with their long-awaited sixth album, True Entertainment, on Memphis Industries. Taking inspiration from Yellow Magic Orchestra, Prince, Steely Dan, Ennio Morricone, The Blue Nile, Kate Bush and Roxy Music, "True Entertainment behaves like it knows it"s been away for some time, and doesn"t apologise for that," jokes vocalist / lyricist Duncan Wallis. "Ultimately, it"s written with the mindset that on our sixth album, we"re only in competition with ourselves when it comes to finding satisfaction in our craft." True to this mantra, True Entertainment bears some of the most delightfully fun Dutch Uncles music to date; paired with some of their most existential and introspective lyrics. What is success? Am I enough? How can I better? (and can I afford to be better?) The title was a DJ name bestowed upon Wallis by guitarist Peter Broadhead. Wallis, an in-demand DJ and compare in his native city, wrote the acid house and Sign O" The Times-era Prince-influenced title track when reflecting on the awkwardness he sometimes feels when he"s recognised as the singer in a band while working one of his many public-facing jobs.
Jeugdbrand is the voice (Dennis Tyfus) and the beat (Jeroen Stevens) of Antwerp. They perform a sparkling drama, a theatrical tragedy, marinated in our classic Antwerp anarchic sense of humor. Recorded at Joris Caluwaerts’ Finster Studios - a landmark in Belgian music.
Inside the multiverse that is Dennis Tyfus’ oeuvre there exists this body of detailed pencil drawings of various sizes. In these drawings the artist puts himself in many tragic situations. Like vomiting on his way home after a long night at the bar. Boiling right wing idiots. Telling sweet little lies on your Tinder profile. Or, you know, taking out the garbage on a Sunday evening. The horror. These seemingly hermetic pencil drawings show a deceivingly simple world. But you’re often stuck with a bitter aftertaste when you understand a bit more what is actually happening behind the colorful masque.
When it comes to his music - and in contrast to aforementioned drawings - Dennis pencils a more piecemeal picture. His recordings and performances often feel like spliced excerpts. Strange sentences and funny remarks waiver by and interconnect. Musical symbols are casually thrown on the table. Instead of a clear picture, we now have the feeling of looking at a bunch of different doodles. Like… sometimes I have the feeling compared to how focussed Dennis works on his drawings, how unfocussed and sketchy he treats his music. We are simply thrown from emotion to emotion. From laughter to tears. It’s a bumpy ride.
I’d like to imagine that Dennis constantly notates all the shards of conversation he picks up during his regular walks in the centre of Antwerp - a wormhole congested with characters, the one more tragic than the other. In a kind of R. Murray Schafer way, Dennis takes in every sentence very un-arbitrary… and that’s the soundscape. Dramatic, normal, boasted, silly, urgent…
Enter Jeroen Stevens. Antwerp’s number one percussionist. If I would have to list all the bands he performs in this text, well, we would be truly wasting data and printers. Jeroen is the grand gift of the wellschooled session musician. But thank the heavens of white improv, he is also sweet and creative. Jeugdbrand is his second entry in the Edições CN catalogue, after taking care of some of the percussive fragments on the “KAGIROI" LP with Sugai Ken (2021). Recently Jeroen has been performing very lengthy - thus correct - performances of Satie’s Vexations for midi instrumentation; Christmas music; and his famed De Stoeltjes project, where he covers Stooges songs on a camping chair. Apparently much to the confusion of Iggy himself. This might all feel like a big joke to you, but when you dare to listen, you will have to admit that Steven’s adventurous music is very rewarding. Special stuff.
The music of Jeugdbrand reminds me a bit of the music of the late Ghédalia Tazartès - especially when it comes to reinterpreting and combining musical idioms - but trying to put a direct reference on this album does it a bit short. Most important, this is music how it could be: incomprehensible, hilarious, serious, ludicrous, well crafted, sloppy, non-genre. With a strong sense of personality. You know, a fragmented beam for your own overstimulated temple. To shake things up a little … “They told us, they told her. I told everybody.”The albums comes with a drawing by German artist Albert Oehlen and with a text by Angela Sawyer of Weirdo Records, Boston.
First time reissue of a legendary and undeservedly obscure salsa collector’s album from 1969. Led by rebel accordionist Alfredo Gutiérrez and featuring singer Lucho Pérez of Sonora Dinamita fame, “Así es… Con salsa!” is just that: raw, heavy duty NYC salsa performed through a Colombian “Costeño” tropical filter, with trombone, accordion and deep bass. Contains three hot bonus tracks in the same style and insert with liner notes. “¡Así es… Con salsa!”, by Colombia’s Alfredo Gutiérrez y Los Caporales del Magdalena, is a legendary collector’s album, yet still undeservedly obscure (and perhaps sonically surprising) for the uninitiated. It’s an experimental mash-up of seemingly disparate genres from different origins that on paper would seem to be at cross purposes. Yet at the same time the release is a masterpiece of raw pan-Latin fusion from the dawn of Colombian salsa that holds its own as a bonafide heavy duty pioneering record of the genre, despite its outsider status. Probably the most shocking musical element is Alfredo Gutiérrez’s fiery accordion, an unexpected instrument in the idiom of salsa, as it’s usually associated with the tropical music of Gutiérrez’s Caribbean home region of Sucre. Gutiérrez has always been a provocateur, never shying away from the controversial or outlandish, which has earned him the richly deserved sobriquet, “El Rebelde Del Acordeón” (The Rebel of The Accordion). Gutiérrez started Los Caporales in 1968 as a rival to Discos Fuentes supergroup Los Corraleros de Majagual, and the band had made three popular albums prior to “¡Así es… Con salsa!”, yet most of the repertoire on those records consisted of typical Colombian tropical and coastal rhythms and genres, none were purposely devoted to the newly minted genre of salsa. From the start, Gutiérrez lays down a salsa manifesto when the album kicks off with ‘Guadelupe no va’, a four-minute workout with pile-driving force that demonstrates the uncompromising power of this 14 piece orchestra. The listener is instantly hooked by the rawness of the sound, the bouncy energy, heavy brass and piano arrangements and the looseness of the improvisational sections. Gutiérrez was given the green light by Codiscos A&R head Humberto Moreno to dedicate an album to New York style salsa, giving more prominence to the voice and compositions of Lucho Pérez, an already proven expert in Cuban genres who previously had been only one among many vocalists in the band. Several tunes on the record are remakes of older compositions by Lucho Pérez from his early tenure with Discos Fuentes group La Sonora Dinamita, the new versions are much more raw and menacing, as if put through a Bronx filter. The band was made up of Codiscos’ regular stable of ace studio musicians from Medellín for the recording date. The album was both a success and also not abnormal in its mixing of salsa and costeño Colombian sounds, as there were several other similar hybrid records by other artists at the time. Both the desperation of the lyrics (about not being able to afford anything) and Lucho Pérez’ forceful delivery leave an indelible impression of street wise authenticity, which is backed up by the fact that both band members grew up poor
Gianni Brezzo, the jazz affiliated band / studio project led by Cologne-based producer maestro Marvin Horsch, has a diverse musical profile that is reflected both in his genre-hopping as well as his creative output. Along with producing for Cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, including 2021’s “The Awakening” which featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s 2022 LP “Tutto Passa,” released on Jakarta Records, was a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani and Armando Trovajoli to more recent work by Sven Wunder. This was quickly followed up with EP “Amoria,” an extension of the themes grown from “Tutto Passa.” Gianni’s tracks have consistently placed on Editorial Lists including Spotify’s “State Of Jazz” (509k Likes) and “Café / Croissant” (200k Likes), and “lofi beats” (4.8M Likes) and most recently was synced in an episode of Gossip Girl for HBO US. Gianni’s latest excursion, “Soundscapes Vol. 1 – Music for Harlequins” is a special kind of release, one that ventures into worlds familiar, yet undeniably foreign and exciting. Gianni journeys through baroque pastures and medieval acoustics to bring forth an aural palette of colorful, timeless arrangements that fit comfortably in the sonic pocket. Featuring lush and nuanced instrumentation, all seamlessly melded together within Gianni’s groove-driven framework, the tracks on “Harlequins” present thematic moods that act as sonic windows into an enduring past. Jakarta is ecstatic to share such a project, with limited 300 vinyl initially pressed, arriving March 10th, 2023.
China's leading post rock band Wang Wen are releasing their 12th album on March 10th, the follow-up to much acclaimed 2021's "100.000 Whys" "Wang Wen's new album Painful Clown & Ninja Tiger is named after the traditional Chinese method of chronology year name (DEDF & DEDD).The two years just passed by. The sexagenarian cycle of the Chinese calendar is like the FE- against-FD polyrhythm in music. Two separate paths that travel six times through the Heavenly Stems and five times through the Earthly Branches and then reunite. However, this is just a superficial interpretation. The reality is the dark side has been approaching and countless miserable accidents occurred in front of us. All the savage and dictatorship come back, repeating itself over and over again in a dead loop in the history, which becomes less distant and fuzzy nowadays. They are not just "years","people" or "places" that we read in books. They jump out suddenly in front of us, turning into vivid and bare details that we are confronted with every day. To put it simply: this album was composed and recorded in those two years, and it records the life experience of the band in those two years, hence the name. For fans of RADIOHEAD, MONO, 1099, RADARE, CONDOR GRUPPE, GODSPEED YOU! BLACK EMPEROR, CASPIAN, IF THESE TREES COULD TALK Limited (130 copies ww) Single Colour (Transparent Orange) Edition!
In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz’s great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).
On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:
On piano we have the Atlanta based trio’s bandleader JOHN HICKS (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Juilliard School. After playing with a number of different artists during the early ’60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early ’70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.
On drums we have the legendary IDRIS MUHAMMAD (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.
On bass we have CURTIS LUNDY (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!
On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.
These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass strokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.
With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.
Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."
With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.
Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.
Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.
The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."
It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.
Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.
In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.
The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.
Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.
Das aktuelle Album von BUSH nun auf limitiertem
schwarzem Vinyl erhältlich.
Für "The Art of Survival" taten sich Bush 2022 wieder
mit dem Produzenten Erik Ron (Panic At The Disco,
Godsmack) zusammen, der bereits für "Flowers On A
Grave" und den Titeltrack von "The Kingdom"
verantwortlich zeichnete. Auch mit dem Filmkomponisten,
Musiker und Produzenten Tyler Bates ("300", "Guardians
of the Galaxy") arbeitete die Gruppe wieder auf zwei
Songs zusammen.
Essential reissue of the 3rd and final BL'AST! studio album from 1989.
Sonically enhanced with an aggressive remaster from Brad Boatright.
Visceral, brash re-design via a gatefold jacket! TAKE THE RIDE FOR LIFE! Black Vinyl - NON RETURNABLE.
Jewel case CD with fold out poster cover insert and a clear tray card.
In June of 1988 the mighty BL'AST! went into the studio with Black Flag’s live sound engineer GOAT : Dave Rat (RATSOUND). The result was the album: Take The Manic Ride. It was released by SST in 1989.
After the dust had settled the band was somewhat dissatisfied with the production of the album and regret ended up eternally haunting the band. The massive intensity of the songs completely outmatched what the recording ultimately captured. The master tapes were destroyed and were never to be recovered. Through some incredibly magical surgery a new heavy as fuck version of the album has been produced.
Mehen finally returns to spawn aka Amniote Editions with the follow up 4 track EP to the acclaimed "I've Heard A Lot About Harmony EP" from 2019. The amniotic alias of French producer Hadone explores the gritty and melancholic facets of his sound and "Imperfections In The Sun" covers the diversity of Hadone's skill set from club ready heavyweights to delicate breaks in his usual all killer, no filler style.
After several years of intense performance activity, the Italian sound artist and
vocalist SARA PERSICO releases her debut EP "Boundary", to be followed by a full album.
Born and raised in Naples, Berlin-based sound artist / vocalist SARA PERSICO cut her teeth
experimenting on the fringes of Naples' fiery underground experimental/noise scene, developing a
technique that would integrate her voice with analogue electronics, field recordings, and samples.
PERSICO holds a BA from the Conservatory of Napoli and a Master's Degree from the
Conservatory of Bologna and gained several residencies and scholarships like Temp Studio,
Lisbon (2018), Amplify Berlin (2021), Sonoscopia, Porto (2022), Sardegna Teatro - V2 Unstable,
Argentiera (2022). She presented her work in festival and events like Ballroom Blitz Beirut, CTM
Festival, Ortigia Sound System Festival/Bosco Colto, Codex Club, Documenta Fifteen, Dancity
Festival, Radical DB, Life Libertas Festival, among others.
As improviser and performer, she has collaborated with a wide spectrum of artists, joining EVELYN
SAYLOR's vocal ensemble for CATERINA BARBIERI's acclaimed "light-years" show at Rewire
Festival and London's Southbank Centre, and worked on projects alongside THE EX's ANDY
MOOR, TONY ELIEH (KARKHANA), LUDWIG WANDINGER, DIRAR KALASH, ELVIN BRANDHI,
RECORDAT, and many others.
She's also a fearless DJ who's able to straddle vastly different worlds, offering just as much
attention to abstract electronic sounds as she does bass-heavy club music, noise, and vocal
experiments. She is currently a resident on Bethlehem's Radio Alhara.
All this energy and experience radiates from her solo debut "Boundary": PERSICO's expressive
vocals play a central role, but her command of precisely sculpted electronic textures and dynamic
rhythmic structures is just as crucial to the overall experience.
Deconstructed beats, experimental voice, harmonic music, distorted rhythms craft a dense
introspective work that explores intimately the boundaries of the self. Identity rupture as a survival
technique, a voice-research climax with an unconventional approach - multi-faceted ideas melt in a
heavy-aesthetical 6 track solo EP that brings together different styles like noise and clubby sounds.
Close to five years on from their last transmission, Ulrika Spacek resurface from self-imposed exile with their third album, Compact Trauma, a collection of songs that function as a chance treatise of sorts for our current collective condition. With a title like that arriving at this point in time, it's tempting to interpret the record solely in the context of the global events of the past few years, but the roots of these ten songs arc back much further in time, charged with their own personalised internal damage. Trauma, in its myriad forms, is often hard to qualify, even harder to rationalise. When something begins to go wrong, how do you gain perspective? What is a temporary roadblock, and what is unmitigated disaster? In its first phase of life, Compact Trauma was a document of a band striving to perfect an idea while the universe around them seemed to want to shut down. And then, at an impasse of sorts and with a record halfway complete, it suddenly did. If Ulrika Spacek were a band in need of the breaks applying, it was the force of a global pandemic that made it happen. As the world stood still, Compact Trauma was filed away, unfinished and unheard by the wider world, possibly to remain that way forever. And yet, there was to be a second act. If mutability is our tragedy, it's also our hope, clearer days slowly began to emerge as the bad slipped away. The wound, as the saying goes, is the place where the light enters you. The prolonged break enforced by myriad lockdowns may have separated the group but it also afforded the five time to reflect on what had already been committed to tape.. As the lights came back on and the shutters up, they found themselves drawn back towards Compact Trauma. What they rediscovered was a record that seemed to preempt the shared grief of a global pandemic. Even if the specifics were different, the themes were uncannily similar. Addressing existential freak out, displacement, substance reliance and encroaching self-doubt, these highly personalised songs suddenly took on a wider significance, speaking in part to a bigger narrative. They could have left it alone, but in coming back to what they knew, Ulrika Spacek found their best work yet. RIYL: Mercury Rev, Sonic Youth, My Bloody Valentine, Radiohead, Deerhunter, Atlas Sound, Stereolab.
With Synthetic Hearts, Tubatsi Mpho Moloi, Msaki and Clément Petit issue an invitation to the listener and lover to journey to another place. Here, hearts, experiences, and sounds meet, shift and evolve across an inventive nine track album. Experimental, playful and complex, the project merges voices, instruments and sounds, across geographies and genres, creating sparse, yet lush atmospherics that spin on the universal themes of love. As skilled musical shapeshifters, Synthetic Hearts melds Msaki and Moloi"s folk sensibilities with electronic elements, as Petit teases out distinct textures from his cello across the record. On Synthetic Hearts, love, longing, confusion, sorrow, despondency and queries are opened up and negotiated in songs that vibrate with their naked, honest and tender vulnerability.
BBE Music’s highly-acclaimed J Jazz Masterclass Series continues with an album that unites three J Jazz legends with a young musician beginning their professional career. Recorded and released in 1986, ‘Approach’ is both sophisticated and experimental in equal measure, balancing serene ambient moments with thunderous and dynamic explosions of energy. ‘Approach’ was originally issued on the Art Union label and sees bass uber-maestro Isao Suzuki, percussion and drumming icon Masahiko Togashi, and keyboard wizard Hideo Ichikawa join together with neophyte guitarist Akira Shiomoto to deliver a first-class showcase of contemporary jazz across five tracks, demonstrating their individual talents working as one unified ensemble. Suzuki’s deeply resonant and pliant basslines move sinuously across the album, supporting Togashi’s ebullient flashes of percussion and Ichikawa’s lush textures and colourations; topping it all off is the young Shiomoto’s guitar adding melodic texture and shine. Opening with ‘Make Trip’, Ichikawa’s gentle introduction makes way for a change of gear as Suzuki’s bass drives the band along before Togashi’s drum and percussion centrepiece solo leads to the outro. The plaintive and bluesy ‘Otari’ follows next, with Ichikawa’s piano flowing around and between the rhythmic undertow from Suzuki and Togashi. Things turn slightly more experimental on ‘Mysterious’ as Suzuki, the piece’s composer, turns to arco bass effects and Ichikawa employs synthesiser and electronic textures to add colour to the palette.
- A1: Dionne Warwick - Don't Make Me Over
- A2: Tommy Hunt - I Just Don't Know What To Do With Myself
- A3: The Shirelles - Baby It's You
- A4: Gene Pitney - Only Love Can Break A Heart
- A5: Jimmy Radcliffe - Long After Tonight Is All Over
- A6: Dionne Warwick - I Smiled Yesterday
- A7: Chuck Jackson - Any Day Now (My Wild, Beautiful Bird) (My Wild, Beautiful Bird)
- A8: Timi Yuro - The Love Of A Boy
- A9: The Drifters - Mexican Divorce
- A10: The Shirelles - It's Love That Really Counts
- A11: Frankie Avalon - Gotta Get A Girl
- A12: Etta James - Waitin' For Charlie (To Come Home) (To Come Home)
- A13: Perry Como - Magic Moments
- A14: Joanie Sommers - Johnny Get Angry
- B1: The Five Blobs - The Blob
- B2: Gloria Lynne - Tower Of Strength
- B3: Charlie Gracie - I Looked For You
- B4: Dionne Warwick - Wishing & Hoping
- B5: Cliff Richard - (It's) Wonderful To Be Young (It's)
- B6: Helen Shapiro - Keep Away From Other Girls
- B7: Mel Torme - These Desperate Hours
- B8: Burt Bacharach - Rosanne (With String Orchestra)
- B9: The Four Coins - The Miracle Of St Marie
- B10: Gene Mcdaniels - Tower Of Strength
- B11: Vi Velasco - That's Not The Answer
- B12: Marty Robbins - The Story Of My Life
- B13: Dionne Warwick - This Empty Place
- B14: Jerry Butler - Make It Easy On Yourself
180g virgin vinyl - audiophile pressing, celebrating 95 years of Burt Bacharach.
Considered one of the greatest composers in popular music, this superb LP contains 20 of his most essential and enduring songs, performed here by such celebrated stars as Dionne Warwick, Jerry Butler, The Shirelles, Chuck Jackson, The Drifters, Jack Jones, Timi Yuro, Del Shannon, Etta James, Gene Pitney, and others.
'The songs of Burt Bacharach occupy the same brain space as nursery rhymes and Beatles tracks: you don't remember not knowing them.' - The Guardian
'These songs played a big part in shaping my tastes in music.' - Elvis Costello
- A1: Biohazard "Punishment
- A2: Madball "Set It Off
- A3: Stormtroopers Of Death "March Of The S.o.d
- A4: Life Of Agony "River Runs Red
- A5: Obituary "The End Complete
- B1: Mercyful Fate "Curse Pf The Pharaohs
- B2: King Diamond ''Abigail”
- B3: Annihilator "Alison Hell
- B4: Deicide "Dead By Dawn
- C1: Trivium "Pull Harder On The Strings Of Your Martyr
- C2: Killswitch Engage "My Last Serenade
- C3: Chimaira “Pure Hatred
- C4: Fear Factory "Replica
- D1: Type O Negative "Black No. 1
- D2: Roadrunner United “Tired ‘N Lonely
- D3: Stone Sour "Brother
- D4: Roadrunner United "The Rich Man
- E1: Roadrunner United "The Dagger
- E2: Roadrunner United "The End
- E3: Soulfly "Eye For An Eye
- E4: Sepultura "Refuse/Resist
- F1: Slipknot "Surfacing
- F2: Machine Head "Davidian
- F3: Slipknot "(Sic)
- F4: Sepultura "Roots Bloody Roots
We have opened the vault to bring to you for the first time on a 2CD set Roadrunner United ‘The Concert (Live at the Nokia Theatre, New York, NY, 12/15/2005)’, featuring members of Slipknot, Anthrax, Trivium, Machine Head, Fear Factory, Sepultura & more. Roadrunner United was a project organized by the heavy metal record label Roadrunner Records to celebrate its 25th anniversary. On December 15th, 2005, in New York City, the label produced the Metal Concert to end all Metal Concerts: 39 musicians, representing 25 different Roadrunner bands, performed 25 songs from 19 different bands’ repertoire. This unique and unprecedented aggregation of musicians was no jam session. Each song was studiously rehearsed and arranged, coming together with exuberant perfection, to produce a concert that can only be called “Legend.”
Conceived as a follow-up to the Roadrunner United All-Star recording sessions, the label recruited the core team of musicians (Dino Cazares, Adam Duce, Paul Gray, Joey Jordison, Andreas Kisser and Roy Mayorga) as the backbone of the performance. Sure enough, as they fine-tuned the songs and rehearsed them tirelessly, dozens of other musicians came on board.
This 3LP set represents the gathering of a community of musicians that spans the heavy metal history of the first 25 years of Roadrunner Records: from King Diamond to Slipknot and beyond. Those who were lucky enough to be there experienced a night they will never forget. For the first time as a live concert album, this 3LP set on red, white and black coloured vinyl is a chance to relive that special night again and again.
It's hard not to see the hype around BRUIT= as the next big thing in post-rock. While their 2018 EP Monolith provided a promising indication of their son- ic ambition, it was their debut LP The Machine is Burning and Now Everyone Knows It Could Happen Again which really set off the trig- ger. Receiving rave reviews around the globe and selling out the first vinyl pressing of 3.000 copies within less than a year, BRUIT= have no need to prove themselves beyond what they have already achieved so far. Consisting of three musical meditations, Apologie du Temps Perdu Eng. apology for time wasted sees BRUIT= cut down on their massive sound in favour of a more subtle contem- plation. In contrast with their recent streaming single «Parasite (The Boycott Manifesto)» with its direct message for Spotify CEO Daniel Ek and his listeners, the band have seemingly forgone their activist agenda paring back the grand thematic gestures and poignant spoken-word excerpts. Instead, BRUIT= let the music do the talking, reaching an activism which is more visceral, but all the more personal. "This ambient EP is conceived as a comma between our first album and the next one," explains bass player & violinist Cle'ment Libes about the purpose of this record. "It is an invitation to lose time, a parenthesis in the frantic race of our society." Existing somewhere between the grand genius of soundtrack composers like Hans Zim- mer and Ramin Djawadi, and the experimental prowess of fringe pop artists like Radio- head and Darkside, Apologie du Temps Perdu reveals the hidden power of film scores. We all know that moment in which we cease to be conscious of the musical accompani- ment and we become truly absorbed in the story. The music becomes part of scenery, and in this moment we lose track of time. Talking of his own work Ramin Djawadi (Game of Thrones, Westworld) notes: "If you were to turn the picture off, there is a story there and a connection to the characters and the plots." In the same way, through the sweeping strings of «La Sagesse de Nos Ai"eux», the ethereal tape loops of «Re^veur Lucide» and the undu- lating synths of «Les Temps Perdus», worlds are created to get lost in, and we experience the full power of music with our eyes and ears open. RIYL Hans Zimmer, Nils Frahm, Godspeed You! Black Emperor, Balmorhea, Max Richter, Olafur Arnalds, A Silver Mount Zion, Boards Of Canada
The friendship between Al Cisneros (Sleep/Om) and Kevin Martin (The Bug/King Midas Sound) begun when King Midas Sound supported OM at the Scala in London in 2012. Subsequently the duo quickly realised via passionately animated conversations, that they shared a serous addiction to reggae 7", and in particular, a mutually insatiable appetite for roots and the deepest dub versions being consistently transmitted from Jamaica...This resulted in Cisneros, then inviting Martin to specifically drop hardcore dub sessions as support to Sleep in Berlin, and on tour with OM. It was during the European Om tour in 2019, that Cisneros offered to record an ep for The Bug's fledgling PRESSURE label. And now 'Rosin' is the fulfilment of that promise. Al's side of the single, showcases the low end specialist extending the bassbin pounding methodologies of those incredible b-line masters who first inspired him to relentlessly explore the infinitely resonant worlds of bass and space. So 'Rosin Immersion' and it's subsequent dub 'Dabby You', echo 'Flabba Holt's classic work with the Roots Radics or Robbie Shakespeare 's tremendous output for Channel One with The Revolutionaries...These devastating mixes extend the hallowed roots tradition that Cisneros worships, and gleefully opts for an even lower, slower, grind .... It's another fantastic example of Al's parallel dub world, that he has been tirelessly promoting with his incredible Sinai label releases for the past few years, as he simultaneously continues to reshape Metal with Sleep and zoned 'out' rock with Om too. On the flipside, Martin took up Al's invitation to remix his original song, but Kevin here opts for radical mutation instead of homage. What may have begun as a single remix, ends as two militantly distinct future dubs aimed straight at the body and dome...Echoing Kevin's recent collaborations with Will Bevan aka Burial, for their collaborative Flame series, as previously released on PRESSURE, this pair of thundering tracks reflect The Bug at his most immersive and psychedelic. 'Fathoms' and '50 hz' revel in their otherness, and the sonic sorcery of his Brussels based sound lab. The twin rhythms are undoubtedly inspired by the spirit of The Bug's production heroes Scientist, King Tubby or Adrian Sherwood, but are set adrift in a futuristic sci-fi format for ambient heads and sound system disciples alike to get fully lost in.
Endlich als LP-Vinyl wiederveröffentlicht! Im Original 1978 auf dem Label Joint International als US-Pressung veröffentlicht, wurden die Bänder nach London zum legendären Mastering Experten Kevin Metcalfe geschickt, der eine komplett neue Überspielung für Greensleeves anfertigte. Das Album wurde in Randy's, Channel One und den Chalk Farm Studios aufgenommen und bei King Tubby's mit dem finalen Mix ausgestattet, am Mischpult dabei Clive Chin, Lancelot 'Maxie' McKenzie, Sid Bucknor und Prince Jammy.
High Roller Records, reissue 2023, black vinyl, ltd 500, 425gsm heavy cardboard cover, lyric sheet, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, lacquer cutting by SST
- A1: Tha Man Comes Around
- A2: Hurt
- A3: Give My Love To Rose
- A4: Bridge Over Troubled Water
- B1: I Hung My Head
- B2: First Time Ever I Saw Your Face
- B3: Personal Jesus
- B4: In My Life
- C1: Sam Hall
- C2: Danny Boy
- C3: Desperado
- C4: I'm So Lonesome I Could Try
- C5: Streets Of Laredo
- D1: Wichita Lineman
- D2: Big Iron
- D3: Tear Stained Letter
- D4: We'll Meet Again
- A1: Cream - I Feel Free
- A2: Buffalo Springfield - For What It's Worth
- A3: The Chiffons - He's So Fine
- A4: Davie Jones With The King Bees - Liza Jane
- A5: Canned Heat - Going Up The Country
- A6: Sandie Shaw - Long Live Love
- A7: The Delfronics - Didn't I (Blow Your Mind This Time) (Blow Your Mind This Time)
- A8: Rare Earth - Get Ready
- A9: Glenn Campbell - Gentle On My Mind
- B1: The Byrds - Eight Miles High
- B2: Procol Harum - A Salty Dog
- B3: Jackie Deshannon - The Weight
- B4: Jimmy Cliff - Wonderful World, Beautiful People
- B5: Strawberry Alarm Clock - Incense & Peppermints
- B6: Tina Mason - You Can Have Him
- B7: Chuck Berry - You Never Can Tell
- B8: Whistling Jack Smith - I Was Kaiser Bills Batman
- C1: The Spencer Davis Group - Keep On Running
- C2: Joe Cocker - Delta Lady
- C3: Satana - Evil Ways
- C4: Dana Gillespie - You Just Gotta Know My Mind
- C5: Harry Nilson - Everybodys Talkin
- C6: Marvin Gaye - I Heard It Through The Grapevine
- C7: Lesley Gore - Its My Party
- C8: Sam Cooke - (What A) Wonderful World (What A)
- C9: Quicksilver Messenger Service - Who Do You Love Pt.1
- D1: The Hombres - Let It Out (Let It All Hang Out) (Let It All Hang Out)
- D2: The Move - I Can Hear The Grass Grow
- D3: Janis Joplin With Big Brother & The Holding Company - Piece Of My Heart
- D4: The Walker Brothers - Make It Easy On Yourself
- D5: Aretha Franklin - Chain Of Fools
- D6: 13Th Floor Elevators - You're Gonna Miss Me
- D7: Cat Stevens - The First Cut Is The Deepest
- D8: Tommy Roe - Dizzy
- D9: Melanie - Beautiful People
Vol.1[39,87 €]
The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.
Eyelids' new album, A Colossal Waste of Light, does an excellent job of
framing the quintet as one of today's most compelling purveyors of
lopsided guitar pop workouts and earworm-laden vocal melodies
It also proves that great guitar pop can still evoke favorites from a glorious past -
the penetrating moodiness of XTC's Black Sea, or R.E.M.'s Fables of the
Reconstruction, comes to mind - while refusing to waste time on idle nostalgia.
On their 4th full-length album (but 17th vinyl offering if you include previous EPs)
the Portland, OR band also rediscover the beauty of firsts. A Colossal Waste of
Light marks the first time the band wrote songs remotely (it ended up being fun &
weird to send out a very simple version of a song and see who came back first
with another part for it,John Moen looks back), their first reunion at the
Destination: Universe studio post-isolation, and their first batch of melodious new
tunes since The Accidental Falls, the band's 2020 project with poet, lyricist and
Tim Buckley collaborator Larry Beckett (an extra- ordinary pairing that allowed
Eyelids' two frontmen/ tunesmiths, Chris Slusarenko and John Moen, to find a
new, multilayered appreciation for the art of songcraft)
After the incredible debut of "Profondo Rosso" (Deep Red), the
soundtrack of the eponymous 1975 film directed by Dario Argento,
shortly afterwards Goblin would reach even further heights with a new
soundtrack
While "Profondo Rosso" had been partly composed by Giorgio Gaslini, "Suspiria" is
100% a Goblin album, the result of truly inspired creative work by all band
members. The band were able to experiment with a variety of musical
instruments such as bouzouki and celesta, tribal percussion, all kinds of sound
effects using voice and musical instruments. Perfectly combined with the trade
mark mid-70s progressive and jazz-rock Goblin. Together with "Profondo Rosso"
and "Roller" (a non- soundtrack instrumental album released in 1976), "Suspiria"
was Goblin's third hit album in just three years. An LP that still sounds incredibly
innovative and scary. Another masterpiece for all soundtrack music lovers to
own. 180gr. clear purple vinyl edition.
- A1: Go Hard
- A2: West Coast
- A3: Fyi
- A4: Cow's Milk
- A5: No Beef
- A6: Lice Team Baby (Feat. Aesop Rock)
- A7: Sheesh (Feat. Aesop Rock)
- B1: Lovin It
- B2: Go Hard Inst
- B3: West Coast Inst
- B4: Fyi Inst
- B5: Cow's Milk Inst
- B6: No Beef Inst
- B7: Lice Team Baby (Feat. Aesop Rock) Inst
- B8: Sheesh (Feat. Aesop Rock) Inst
- B9: Lovin It Inst
"I wrote half of these songs when my energy was either headed in the wrong direction or already there. I wrote the other half while my energy was moving in a direction I'm more excited about, that I find to be more enriching. They're all still my songs though. My mother, and lots of my relatives, used to call me "Angelito."
Little Angel. The taijitu is the symbol for yin and yang. Opposites that make a whole. Given the dualistic/ duelistic nature of the songs on the record, put it all together and what do you get, Anjelitu.
Christine and the Queens return with new album PARANOÏA, ANGELS, TRUE LOVE, released on 9 June via Because Music on 3xLP, 3xCD, single LP and single CD.
The record’s first single, ‘To be honest’ is an ethereal, synth-driven first glimpse into the French phenomenon’s most personal and ambitious album to date. PARANOÏA, ANGELS, TRUE LOVE is written, performed and produced by Christine and the Queens, with co-production by Mike Dean (Lana Del Rey, Beyonce) and guest appearances from 070 Shake and Madonna.
Anna funk damage is the grimiest side of Andrea Natale, a young producer from Livorno, Italy. EBM, post-punk, and electro fit perfectly in his mechanical rhythmics, highly pitched and bit wicked vocals transport you immediately in an immersive and mental soundscape. His projects have already been released on labels such as Mind Records, Tripalium Corp, Raw Culture and recently he has been featured on a compilation on Elena Colombi's Osare Editions. A truly eclectic artist and a fresh talented blessing to the scene. Distributed worldwide by Clone.
Mexico city based, Guatemalan cellist Mabe Fratti releases second album (translated Can We Understand Each Other Now) on new experimental label Unheard of Hope (Peter Zummo, Military Genius). Reconciling Mabe's steps throughout her musical past, the LP features pop and experimentation that reflects her time working amongst the improvisation scene in Mexico City. Mabe Fratti's sensibility is the triumph of experimentation over technical do-minion of an instrument. The experimentation of sound with feelings, with ex-istence itself, with an open heart, letting herself to be transformed by what she lives and hears. This is what has led Mabe Fratti from Guatemala to Mexico City. From the crea-tion of pop songs to free improvisation, from the academy to noise, from col-laborations in ensembles and duos to the profound personal journey that is reflected in her solo works. This album was created during May 2020 in an old juice factory in a place in Veracruz called La Orduna. We were quarantining with many musician friends who had moved into the place some months before everyone went into lock down. The general lyri-cal idea of the album was inspired by a conversation about how we are some kind of funnel and how we need to simplificate in order to communicate. Even when we want to communicate things to ourselves. The idea of understanding becomes complicated but based in this fact of omission and clumsiness.
Lovesick – everyone knows it, everyone hates it. Everyone feels alone. Everyone questions the previous relationship and what has been said during it. Everyone tries to numb the pain of this all-encompassing suffering with alcohol and drugs. Everyone calls at four in the morning and leaves embarrassing love confessions on the answering machine that will be never heard. Everyone feels alone and tries to find solace in casual acquaintances in bars, only to be turned away for being pushy. Everyone lays up for weeks stalking the likely reason this relationship ended, oh! It didn’t have to end, it was all so nice and this new one can’t be good and he/she won’t be good if the plans I’ve been making here for nights come true…oh how nice would this be! Oh it can’t be, maybe I just can’t be loved… maybe I just should…
Everybody knows it.
But from now on you never have to go through all that heartbreak alone again because we Herzschmerz Versicherungen have the solution! We are a band from Stuttgart, somehow only classified as dilletantic strange in the genre. We are at your side and take care of you when your heart hurts!
Book one of our numerous insurance packages today, or just listen to our songs – that helps too!
“Denn wenn du dir nicht sicher bist und deine Liebe bald zerbricht: Komm, schöner Mensch und kauf doch eine Versicherung bei mir, Bei Herzschmerz bin ich dann immer da, bei dir!”
Iassen Markov & Jannik Haller
At the frontier of beeing Hardcore... Tempo is high, rave sounds around, and a very electric ambiance stands around.
But still the kick remain very Techno, not too loud and hard.
Kind of a Freetek 2.0 , old school hardtek or something out of the comon fields : WICKED !!!
- A1: Never Speak, Never Teach
- A2: Sauvette
- A3: The Landscape Has Changed
- A4: The Place No One Knew
- A5: Journal D’un Siècle
- A6: L’illusioniste
- A7: Doon
- B1: Les Amants De Pont Neuf/Field Song
- B2: Sorcière Déesse Du Boulevard De Magenta
- B3: On Le Pleure Mort
- B4: Uncommon Places
- B5: Calcite
- B6: La Rivière Rouge
- B7: For Eugene
Performed and produced entirely without the use of MIDI and other modern production techniques, MAINE’s IV is a fiercely analogue affair, a throwback to the electronic pioneers of the past. Real synthesizers, real drums, real strings – each instrument played live. Each layer of sound deconstructed and carefully rebuilt to create new sounds, giving way to a wholly unique sonic signature that permeates each track and is undeniably MAINE. Never have 14 individual compositions been more made for each other. With IV, Michel Dupay has crafted a deeply connected and emotive experience full of melancholy and tension; it’s heavy, gothic, and dark, but on occasion manages to let a bit of light seep in, providing the listener with a brief (and much needed) emotional reprieve. It’s this juxtaposition that makes the album so engaging and such a rewarding listen. Prepare yourself – you are going to get lost in this album, and when you finally find your way out, you won’t be the same. This is an effort that demands all of your attention. Best enjoyed from the comfort of your very own sensory deprivation tank. But if you’re having trouble locating it at the moment, a darkened room and a weighted blanket will likely do just fine.
Midnight Mannequin Records is proud to present MAINE’s IV on limited edition transparent Coke bottle green 2xLP 180 gram vinyl. Includes OBI strip and liner notes by Aaron Vehling.
- A1: Tommy Mccook & The Supersonics - Kansas City
- A2: Bongo Man Byfield - Bongo Man
- A3: The Techniques - What'cha Gonna Do
- A4: Eric Monty Morris - If I Didn´t Love You
- A5: Trevor & The Maytones - Everyday Is Like A Holiday
- A6: The Uniques - Just A Mirage
- A7: Patsy Todd - Retreat Song
- B1: Roland Alphonso & The Beverley's All-Stars - Charade
- B2: Lee Perry - Something You've Got
- B3: The Upsetters & Count Prince Miller - Mule Train
- B4: Alton Ellis - Trying To Reach My Goal
- B5: Harry J. All Stars - Je T'aime
- B6: Ken Boothe - Is It Because I'm Black
- B7: The Messengers - Crowded City
In the 1950s, Jamaican dancehall regulars were crazy about the haunting sounds of American Rhythm & Blues. But in the mid-1950s, Rock 'n' Roll began to replace RnB in America, and Jamaican dancehall owners like Duke Reid and Clement Dodd turned to local musicians to record their own versions of American RnB.
The trend of covering foreign hits exploded during the Ska heyday of the early 60s and continued through the Rocksteady and Reggay eras. Jamaican musicians have covered virtually every genre of music, from jazz and rock to film scores, television soundtracks, pop, classical music and more. Over the years, they have also recorded many "versions" of already existing covers. Cover of cover of cover…
Admittedly, some of these covers were futile but many were sublime as this new and eclectic collection of Ska, Rocksteady and Reggay nuggets, compiled by the very competent and very charming D.J. Héléa, brilliantly demonstrates. Attention we are here "undercover", there are no well-known covers. Some of the tracks selected are rare, others unknown or forgotten - but all are excellent and blended in an impeccable mix, in line with previous the Harlem Shuffle compilations... All Killer, No Filler!
REGGAY UNDERCOVER is an exciting musical kaleidoscope of Jamaican and Reggae music from the early 60s through to the mid 70s.
We hope you will enjoy listening to this album as much as we had composing it for you.
All aboard for REGGAY UNDERCOVER!
Gondwana Records announces 'Goodbyes' the debut album from Estonian pianist and composer, Hanakiv, a deeply beautiful, meditative piano album featuring special guest Alabaster dePlume
"This is an album about healing. It is about saying your goodbyes to everything that doesn't serve you anymore. Each of these songs has a little goodbye in it. So, these are very beautiful and necessary goodbyes".
Hanakiv is a young composer and musician from Estonia (now based in London) who creates meditative piano-based ambient music with elements from classical and electronic music. 'Goodbyes' is her debut recording and draws on influences as diverse as Tim Hecker, Björk "Vespertine", Kara-Lis Coverdale, Arvo Pärt, Erkki-Sven Tüür and Aphex Twin as well as her own cultural heritage. Music has an important part in Estonian culture, especially choir music and its traditions, but Hanakiv also draws on her love of nature – the beautiful Estonian seaside and forests - and on her time in Iceland. However, it was moving to London that gave her the freedom to make her own music: "London gave me the freedom and courage to really be who I am (as a person and musically)" and her heritage and her new home both offer inspiration to Goodbyes, as Hanakiv moves between these two opposite places, a bustling metropolis and a small country full of nature, drawing inspiration from both as she sculpts her own voice.
Hanakiv had an unconventional music education – she started studying music at a school for handbells when she was nine and was part of a handbell ensemble for eight years. Starting on piano at the same time she went on to study composition at high school, and later at the Estonian Academy of Music. Eventually switching to electroacoustic composition, she studied in Reykjavik, and did internships in Malmö, and again Reykjavik before moving to London. She grew up in a musical family and her grandmother was a piano teacher and choir conductor.
"I would always ask her to take me to her choir rehearsals. I remember sitting under the grand piano, listening to the choir and just being mesmerised by the sounds. She also teaches in a local music school in the south of Estonia with about ten pianos, and I'd spend a lot of time there as well. I believe this was the starting point for me to get to where I am now. The last two pieces on the album (Home II and Home I) are composed in this same music school, so it feels like a full circle.
An early influence was Regina Spektor "the first artist who made me really want to play piano" alongside dream pop and Sigur Rós' as well as Estonian contemporary composers such as Erkki-Sven Tüür and Arvo Pärt. Later her studies took her to Reykjavík: "There is this amazing record shop called 12 Tónar in Reykjavik where you can drink espressos and listen to all their vinyls. I spent quite a lot of time there. There is something about Icelandic music that really excited me (the mixture of contemporary electronic sounds with melancholy, emotionality). This is when I started getting more into electronic music, and experimenting outside of classical music". Following a year long break from studying and inspired by making an electroacoustic soundtrack for a friend's abstract video, she was inspired to complete a masters in electroacoustic composition, diving fully into the worlds of sound recording and mixing and focusing on surround sound and how to position and move sounds in space, eventually doing an internship with composer Kent Olofson in Malmö, who works with multi-speaker systems for theatre productions. "I learnt a lot from him and he introduced me to some of my favourite plugins I've used a lot on this album as well."
Hanakiv moved to London just as the pandemic hit and found herself trapped, in a big new city, without any network or family and so just concentrated on making music. "I stayed in my room with my basic equipment - keyboard, Korg minilogue, SM 58 and Rode nt1-a microphones, laptop and speakers. I was reading about mixing, and trying out different things and listening to a lot of music to get the sense of the mixes and production and finishing a commission piece for 5.1 multi speaker system at that time so I set up four speakers for quadrophonic surround sound in my room!". She also found her way back to piano - my instrument – and started practicing again, playing the pieces she used to play, but also just improvising, and this was the beginning of what would become her debut album, 'Goodbyes'.
"I started appreciating everything about music again (even melody!), and everything just came together naturally, and I arrived to a point where I finally found my voice, and I had something that I wanted to say and share. I composed "Meditation I" first and started with "Goodbye", and all the other pieces are derived from that. Without "Meditation I" there wouldn't be this album. If you listen closely, "Meditation I" starts where "Goodbye" ends; "Meditation II" is born from "Meditation I".
But it was meeting Fi Roberts, a sound engineer based at the legendary Strongrom Studios in Shoreditch, London in December 2020 that really brought the album into focus. The pair bonded over an interest in prepared piano and a similar approach to production ideas (a balance of not overdoing it, and letting the songs speak for themselves, but being open to explore) and Fi became a friend but also a confidant and eventually co-producer
"Fi has a big impact on this record but I don't know how to really explain that properly. Of course, this album is sonically stunning thanks to her amazing mixes and recording skills, but she also believed in this music so much and it created something very special - that's difficult to measure with words. She just works with heart, and I really appreciate that"
This then is 'Goodbyes', the first offering from a major new voice, who offers us a meditative work full of space and tranquillity but also life and friendship and meaning. And we are very proud to welcome her to the Gondwana family.
- A1: We Are Waiting
- A2: Studio Time
- A3: Will Blast
- A4: Hit A Muthafucka
- A5: Are U Ready 4 Us
- A6: Prophet Posse
- A7: Motivated
- B1: I Ain't Cha Friend
- B2: Watcha Do
- B3: Spill My Blood
- B4: Who Got Dem 9'S
- B5: Gunclaps
- B6: Three-6 In The Morning
- C1: Tear Da Club Up '97
- C2: Late Nite Trip
- C3: Bodyparts 2
- C4: Flashes
- C5: Neighborhood Hoe
- C6: N 2 Deep
- D1: Anyone Out There
- D2: Land Of The Lost
- D3: Weed Is Got Me High
- D4: Tear Da Club Up (Dj Herb's Crunk & Tear It Up Mix - Radio Edit)
- D5: Late Night Tip (Dj Herb's Ride Out Late Nite Remix - Radio Edit)
Repressed again. On the West Coast, gangsta rap held sway in hip-hop as the 21st century began. The alternative and conscious rap music of the early-to-mid-90s had all but faded into the underground. The scene was set for a comeback, perhaps as a backlash to the perceived violence and misogyny of gangsta rap's content. Leading the resurgence of alternative hip-hop were groups like Jurassic 5, and recent signees to Capitol Records; a West coast trio that had been building steam underground since the early 90s called Dilated Peoples. Anticipation was high for the release of the debut album from Evidence, Rakaa, and DJ Babu. (Of the influential turntablist collective Beat Junkies.) When The Platform arrived in May of 2000 it was met with critical and underground acclaim, as well as affording Dilated Peoples their first Billboard chartings. It featured a back-to-basics sound with a heavy debt to the old-school hip-hop ethos, the kind of sound that harkened back to the early days of legends like De La Soul & A Tribe Called Quest. Hits like "No Retreat" and "The Platform" were bolstered by Evidence & Rakaa's subtle, abstract wit, and swift, adroit wordplay, while DJ Babu provided production chops and dextrous scratches. On The Platform the trio were joined by the likes of B-Real, Tha Alkoholiks, Everlast, Planet Asia, and many more providing guest vocals, while boasting guest production from The Alchemist & Kut Masta Kurt, among others. Since its 2000 release this influential record, which heralded the return of alternative hip-hop, has never seen a vinyl reissue. With that, Get On Down-always on top of giving the greatest hip-hop albums their due-is proud to present this re-release of The Platform. The rhymes are still fresh, the production is still pristine, and the album is now back on vinyl for the first time in 17 years.
Mark Grusane's latest offering, A House of My Own is a testament to his long-standing discipleship to the craft of producing hard-hitting house tracks with authenticity and depth. The title-bearing opener on A1 strongly demonstrates this notion with a slew of raw bass stabs and emotive pads leading through a battery of driven percussion in a manner that calls to mind those early 90's Mr. Fingers records. While A2's Essence of Life (Afterhours Mix) takes us further into the darkness with a spiraling timber of percussions lain over distorted vocal arrangements, the "Daytime Mix" of A3 builds on the momentum of its predecessor with a robust uplifting synth lead and sounds of atmospheric ambiance added to the mixture, effectively taking the composition to an entirely new level. B1 kicks off punching and swinging with the track Knock knock, Who's there?, a ferocious gut-puncher of a track that sees classic Chicago "beat-track" style 909 arrangements lay over an intense saturated 303 bassline that relentlessly worms its way throughout the mix with a booming urgency. B2 sees a turn for the naughty on the track Love And Lust with a xxx-rated vocal line slithering its way through the track, sandwiched in between high-pitched keys and a slinky drumline. Finally, Jack Your Ass Off closes out the album and ties it all together on B3 showcasing the full-fledged insanity of the classic trademark Chicago "jack" style that sees the title of the track frantically screamed over and over though a sampler amid hard hitting drums and 303s engineered to make you dance like a freak. A serious 'must have' for any selector or music enthusiast.
Planet Mu welcomes back Meemo Comma for her third album 'Loverboy'. 'Loverboy' is a shift in gear from Meemo Comma’s previous works, speeding up the tempos and rhythms, it's set in the nineties with trance, breakbeat hardcore and jungle as some of the influences. After playing a club gig in Spain as lockdown rules were loosening, Rix-Martin was reminded of the power music and people coming together creates. ‘Loverboy’ is peppered with influences from friends past and new as well as artists that have transformed the sound of Meemo Comma over the years, including Autechre, Guy Called Gerald, Orbital and Shitmat as well as others. On this journey we follow ‘Loverboy’ through the club as the night builds and different characters are met, from dropping the first pill to a euphoric ‘Cloudscape’ whilst waiting in the queue, to meeting some shady sorts in ‘Loneheath’. The album changes pace throughout with different rooms of the club being explored which add to the brevity of Rix-Martin’s production style on tracks such as 'Kyle' and 'AK47'. What started as a personal joke about Rix-Martin’s background formed a narrative for some darker, cheeky breaks that echo back on title track ‘Loverboy’, a track that Rix-Martin describes as “working class gender euphoria”.Maybe the mask has come off, and the shackles of pseudo-intellectualism have been put to rest for an honest, fun and ‘propa cheeky’ rave album instead.
Brazilian psych soul wunderkind, producer and singer Tagua Tagua has joined the Wonderwheel Recordings family with a tender selection of cuts on his second album Tanto.
Recorded in the rural outskirts of Sao Paulo there is a sense of yearning that permeates throughout the set list of ten unapologetic love songs that fly between lush psychedelic pop to warm, beat-laden neo-soul with Brazilian flavor. The album maneuvers subtly between the different dynamics, and purposefully so, as it was 'a vibe' that Tagua Tagua AKA Felipe Puperi wanted to instill from start to finish - channeling soul heroes past and present like Bill Withers, Shuggie Otis & Sault.
The album title and first single Tanto translates to Portuguese as 'so much', and Felipe sees the track and entirety of the album as "a feeling of falling in love for the sake of falling in love". The track is a slice of horizontal soul music and possesses a sweet, almost drug induced fervor, simple on arrangements. Felipe sings in a melismatic tenor, at times tipping into falsetto, with subtle effects enriching his delivery.
Based in the city of São Paulo, Felipe previously fronted the group Wannabe Jalva and has an extensive musical resumé, having played at Lollapalooza Brazil, supported shows for Pearl Jam and Jack White, and created a name for himself as one of the most promising breakout acts in Brazil. Yet there was a break-out moment of self discovery, a re-connection with his language that led to a personal and musical revolution culminating in his debut solo album in 2020, Inteiro Metade.
Whereas his previous longplayer had changing musical personalities from tropical psychedelic to funk and soul, Tanto only flirts outside of the mellow psychedelic soul prism and whilst there are ebbs and flows, it delights in its sparse and sweet minimalism. "Pra Trás" opens proceedings, and aptly, as Tagua Tagua moves from one album to the next, it's about leaving things behind. There are strings and orchestrations, a killer guitar hook and Tagua Tagua's seductive delivery. "Colors" is full throttle future-soul, squelchy synths pulsed by a lazy, yet insistent shuffler of a beat. Further dreamlike timbres are found in "Barcelona", a journey of a song and Brisa, perhaps the body-mover of the collection, with silky synths and a chorus you're sure to repeat.
All songs were written and recorded by Felipe himself, mixed by fellow Wannabe Jalva band member Tiago Abrahão, and mastered by Brian Lucey (The Black Keys, Chet Faker). Recently, Tagua Tagua toured Europe and played several shows at SXSW and along the West coast in the US.
A tribute to the late Kenny Hawkes, London's dark lord of house music. Lovingly selected and curated by Luke Solomon, Jonny Rock and Leon Oakey.
Running from 1995 to 2002, 'Space' was a Wednesday night founded by Kenny Hawkes and Luke Solomon. It inhabited the underground world of Bar Rumba right in the heart of London's West End and took place each and every week. Kenny and Luke had both been regular fixtures on infamous London Pirate Radio station 'Girls FM', and were seeking a suitable place to play the kind of music they supported on their respective radio shows. They were presented with a weekly opportunity at Bar Rumba and snapped it up.
'Space' was THE place for 7 solid years, hosting local and international guests from the house music community week in week out, to 200+ hardcore and dedicated followers. Regular guest bookings read like a 'who's who' of the music scene with sets from Derrick Carter, Andrew Weatherall, DJ Harvey, Tom Middleton, A Man Called Adam, Ralph Lawson and Huggy, Harri and Domenic, Francois Kevorkian, Salt City Orchestra, Carl Cox, Chez Damier and Ron Trent.... the list goes on and on and on! Music from seminal record labels such as Classic, Prescription, Cajual, Paper, Relief was played on rotation amongst a killer mix of Disco classics, alternative 80s music, left-field B-sides and techno. The night undeniably became a cauldron of amazing music and midweek hedonistic chaos.
As Soho changed beyond recognition and clubbing moved Eastwards, Kenny and Luke decided to call it a day. Sadly, Kenny Hawkes died in 2011, leaving a huge hole in the dance music community. Kenny was a legendary figure with an unmistakable sound and DJ style, he had a warped sense of humour and a huge personality and he continues to be dearly missed by all to this day.
As a tribute to Kenny, his musical partner in crime Luke Solomon alongside 'Space' regular and DJ / Editor supreme Jonny Rock, and former Classic Records label boss Leon Oakey have joined forces to celebrate his life through music. 3 years of tweaking, pooling music and clearing tracks have culminated in 2 very special double albums and a digital compilation. A collection of 'Space' classics, underground jams and the tracks that shook the Shaftesbury Avenue dance floor, shaping one of London's most revered midweek sessions.
All profits from the compilation will be donated to the British Liver Trust.
“You know sometimes when I’m riding in my car, just thinking about the goodness of The Lord, I wanna sing to him to let him know, how wonderful he is. Song says…. I REALLY LOVE YOU”
Uplifting, joyful, rapturous - There are not enough superlatives to describe this modern gospel soul anthem from 2006. Presented here as an extended version which gives you more of Bishop Norman’s lead vocal and extra choir.
There’s no time to take a pew as on the flip is the equally spirited GOD’S GOT A BLESSING (WITH MY NAME ON IT!)
On a 7” single for the very first time!
Huge thanks to Bishop Norman Hutchins for the collaboration.
- A1: Model | Minority (Live From Unlimited Nation Summer 2020)
- A2: Wake Up Thoughts
- B1: Lust In The Times Of Love
- C1: The Cliff Of Cancun (Live From Unlimited Nation Summer 2020)
- C2: Lando’s Revenge (Try Me)
- D1: End Of Times
- D2: Tandem Beat 2
- E1: Black Poetry
- E2: Sweet Children (Live From Unlimited Nation Summer 2020)
- E3: Southside Sue
- F1: Shake Ya Body *Cover*
- F2: The Savage Lurks
- G1: Lend Me An Ear
- G2: 1000 Truths
- H1: Little Kenny Broooke
- H2: The Things We Do For Affection
4x LP and Zine (ft. photos, historical text and track narrations by the artist) set. Nation bring it.
An essential delve in to the retrospective works of SSPS. Limited edition. No repress. HUGE TIP ON THIS!
" You can't fake the funk, as they say and SSPS is pure funk embodied in all he does, the man oozes the funk 24-7!
One of my earliest encounters with SSPS was at one of the infamous Rubulad parties out in Brooklyn....
the man was decked out extravagantly...a cross between Blowfly and some futuristic being zapped
down to earth directly from the P-Funk mothership. Who was this masked man?
The disco vampire, was beating fast disco tracks relentlessly while slamming in his 707 over the records in real time...
not an easy feat, the beauty of the imperfections making it that much more exciting hearing the gallop and wild energy
he was bringing to the crowd, we were eating it up. This is SSPS, fearless in his approach and execution,
a modernist looking to the future but rooted in the past, an artist committed to his art...
all presented with unhinged emotion. It's all or nothing...everything on the table....do or die...the true epitome of style!!!!
Declaring someone a "cult figure" or a "legend" is a huge weight to carry and is often a term that is carelessly thrown around,
but those of us who have dwelled in this "underground" over the last 30 years can say with confidence that SSPS is just that
to many of us, no questions asked, it's not up for debate.
Now, many years later we see the culmination of his electronic works from 2002-2021 committed to record in this 4xlp,
16 track boxed set (plus 45 page booklet) titled SSPS, "The Life and Times of GiGi Black" thus solidifying
Mr. Nicholson's place in the secret world of dance not dance music.
The only way to describe this offering is "full spectrum electronic musical madness" not to be categorized,
never to be pigeonholed, full of surprises and straight from the gut with a direct hit to the heart.
We could go on about the production processes, about his Furr City studio space or his cross country excursions
for work with a truck packed with paintings (but also his music equipment) plugging in and recording during his
pit stops in Motel 6's across the US. But again it doesn't do justice to simply have a small peek inside the man's mind...
the music is beyond the mind. The process is the process and nothing has or can stand in the way of what the SSPS
has done in his long musical life. Punk Rock, Hardcore, House, No-Wave, Industrial, Jakbeat/Slow-Beat and Noise.
it's all there for the taking, it's all intertwined. If you want it, you will find it within SSPS's works.
Nicholson's path is the embodiment of true culture within "dance music" cultivated from years of learning, experimenting,
and pushing the limits with total commitment and immersion. "The Life and Times of GiGi Black" is true life experience,
it is a reflection of someone delving deep into his craft and presenting it with care in opposition to the fast, disposable,
self gratifying click bait culture we see dominating the pages today. The proof is here, drop the needle, enter the world of SSPS.
n G2 1000 Truths Balearic Inaugural Mix
Harry’s House is the third solo studio album from Harry Styles and first music release since 2019’s record breaking sophomore album Fine Line. The new 13-track full-length album was recorded in multiple locations across the UK, Los Angeles and Tokyo from 2020 to 2021. It was written by Harry alongside frequent collaborators Kid Harpoon, Tyler Johnson, and Mitch Rowland.
Orange Vinyl
Following the success of her 2020 EP ‘Kintsugi’ Charli Brix returns to Flexout with her debut album, The Art Of Change. Three years in the making and collaborations with the likes of DRS, Lenzman, Visages, Gardna, QZB, En:vy & EMZ this has been a project carefully crafted to showcase the full extent of Charli’s voice and song writing capabilities.
Full Dose kick your door in with this prime selection of cuts from a new name on the label: Tuck Chains. Who is Tuck Chains? Who knows! But with a crew known for their futuristic and dub-inflected sound, "Tapes" manages to take the label to new heights.
Serving as a masterclass in the sacred art of sample chopping, Tuck Chains offers up a platter of instrumentals that wouldn't sound out-of-place coming from LA in the late 2000s. True to its name, FD013 feels like a mixtape in its delivery, but has a depth and refinement that's difficult to find. Instrumental hip hop of this quality may well have disappeared from the underground but Tuck Chains has successfully iterated on a style guaranteed to bring blunted energy.
"Lock Down", the opening track, quickly sets the scene with metallic and saturated drums. Interspersed with surgical sample chops, the track oscillates between lively and chill after an almost musique concrète sounding intro. This contrast between straight and faded becomes a theme of the album, with moments of intensification punctuating the mellow.
Tracks like "Chrome and Glass" balance fizzy snares, rumbling low end and stabby piano hits to take you on a slow motion coastal journey, while "Ewan Hughes-Army" has an erratic and head-nodding feel that demands your attention. Warbly, downtempo tape vibes feature throughout the release, a combination ripe for repeated, couch-bound listens. With this in mind, "Spanish" feels like the perfect closer - the type of track that oozes sun and THC. Let this be the soundtrack to your hazy holiday.
Arriving directly from the plant and mastered by the label's own Lvcchesi, this could well be the beat tape you knew you were missing! "
Jonas Kopp pumps the drums hard on opener 'Shibu'. It is pure peak-time material, fit with siren-like synths, heavy kicks and hi-hats to get the shoulders moving. Kopp's tracks are always masterfully tailored for the dancefloor, and this is no exception; the six-and-a-half-minute ride is richly detailed with ups, downs and subtle changes. Dadub take the record deeper with 'Force Continuum Abuse'. For the first three minutes of stretched soundscape, the percussion warms up with sparse and off-kilter hits. The track's second half sees fierce breakbeats cut through the walls of reverb, and with that can Daniele Antezza and Giovanni Conti really show-off their unique talent at sound design. They blend a gift for rhythm and titanic production to engaging effect. Eomac begins the B-side with 'I Am Starting To Believe'. The track's echoing synths hang free in a spacious mid-range, intermittently making way for long chords and elusive vocal snippets. Eomac draws on the light/dark contrast and unsettling motifs that made his Monad release special, and delivers a techno epic so rich it requires repeated listens. Last but not least, Chevel; his sound is distinctive amongst the SA roster, mostly due to his acute focus on the percussive elements and intriguing take on minimalism. On 'Alicia', he works a groove out of tripping drums and metallic perc, all with a UK-influenced flair that lends itself to a wide range of DJs. Chevel's track ends what may be the most varied collection of 'Chapter V' material yet, leaving a lasting reminder of the depth and quality of artists SA have accrued.
Dynamite Cuts releases for the first on 45 this wonderful rare groove soul gem. “Lovely lady” massive club track and long awaited 45 releases. On the flip “Joy and Pain” special edit on the flip. Perfect Dj's mix edit, includes break edit mix. A must have 7” for all good music collectors.
Both tracks were first released on the third & fourth volumes on Perfect Toy's Down In The Valley series. As lovers of the 7inch single format we thought it is a must to have these two songs available on a good old 45. Here you have it, complete with a sweet picture sleeve and limited to 300 copies.
Serial collaborator and Producer/DJ Regularfantasy rallies long-standing friends Cecile Believe (PC Music) and Priori (NAFF) for a 6-track release on Canada-based imprint Specials.
“As both a collaborator and a solo artist, Regularfantasy has quite the CV, with 12-inches for the likes of Mood Hut and Total Stasis and ongoing collaborations with D. Tiffany as Plush Management Inc and Plush Throw, among other projects. This doesn't even touch on the stream of straight-to-cassette mixtapes she's put out over the years. Still, New Glow feels like a milestone for Regularfantasy, hands down her most accomplished solo release.”
“Cheery house music laced with bona fide vocal hooks for a Vancouver label that focusses on real crossover potential.”
Drumcode’s beloved A-Sides compilation makes a welcome return after a two-year absence, with a mammoth 25-track feast covering every shade of the techno spectrum split across seven, 12 inch parts. The project was devised in 2012 as a way of showcasing the wealth of strong material Adam Beyer receives each year, which due to Drumcode’s busy release schedule, might not otherwise find a home on the label. Since then, it’s grown to become an essential fixture on the techno release schedule and a marker for where the genre stands in any given year.
Leading the A side on part 5, an immersive journey through the depths of techno, courtesy of Juliet Fox via ‘Evolution of Thinking’. Up next, Thomas Hoffknecht lets loose a captivating warper, ‘Break Free’. On the B side Timmo goes full throttle with ‘Community Tool’ as Andres Campo matches the pace with the unshakable beast ‘Cyclops’.
Thaniil Alexandros can’t imagine a life without producing. Under the name of RBCHMBRS, Thaniil has been tinkering with sample based productions for 17 years. In one form or another, RBCHMBRS has mashed inspirations of hip hop instrumentals with the funky, snappy bounce of UKG.
Being half Greek and half Dominican means that Thaniil’s first memories of music were of classic Greek music and his mother’s love of dance and disco. Growing up on the Bronx meant that he was exposed to a mix of genres his entire life. From boomboxes on the street or from the windows of his neighbors home, gave Alexandros exposure to sounds he hadn't heard.
Toe the Line EP was intended to return to stripped down elements of older releases, but something “a little less outer space, a return to earth.” Armed with an SP-404, RBCHMBRS wants to be playful without being reminiscent, always trying to move forward. He believes that nostalgic pain can propel an artist to make their best work.
While noting history teachers as salient inspirations that opened his eyes to cultures unknown to him, as well as a father who is a history buff of his own, Thaniil has inherited some of their reverence for the classics and the importance of learning from the past. Alexandros’ fundamentals are influenced by Madlib, Timbaland (“the early stuff,” he interjects), Q Tip, Havoc, Alchemist, UKG, as well as the culture that surrounded the NBA in the 90s, during his most formative years.
Keeping it in the family, RBCHMBRS works closely with critically acclaimed emcee/producer THERAVADA, who co-produced Sick by Earl Sweatshirt with him, and who is his cousin. Currently, RBCHMBRS is working on a self-proclaimed “sprawling dance album” with Tesh Curry. His audience has a lot to look forward to.
With his Estrella EP, his intention was expressed through the imagined feeling of a time warp, a portal, and maybe coming out the other end of it. He wanted Toe The Line EP to feel more grounded, a down to earth project that he leaned towards as he searched for his life to settle. This EP reminds him that many things in his life have changed for the better, and a lot of that has to do with the structure hes begun to install.
King of Town (KoT), originally from Johannesburg but now in the UK, is back after a nearly a decade hiatus from his mutant disco-inflected remixes.
Prior to his long break, King of Town remixed the likes of Franz Ferdinand, Slow Club, Alice Russell, the Detachments and the Phenomenal Handclap Band.
His remix of Desmond and the Tutus' 'Kiss You on the Cheek', released on Tigersushi in 2009, has become a regular feature of Spotify playlists and has racked up a few million listens across various streaming platforms.
For this release KoT serves up four exclusive re-edits.
Lord Have Mercy is a retouch of Willie West's slow-burn R&B lament of his own elegiac defiance, where KoT underpins West's groove with a 303 acid bassline and synth flourishes.
Swimming in Your Eyes is a beefing up of Pasteur Lappe's 1979 Rhodes-heavy space disco groove.
Troubles of this World takes OV Wrights ridiculously soulful take on a gospel classic and transforms it into a retro-futurist track aimed firmly at the dancefloor.
And with Khomo Tsaka Deile Kae KoT nods towards his roots and inserts drive and snap into fellow South African Marumo's 1982 kwela-touched stomper.
As always the artwork has been completed by the very talented Pedro Carvalho de Almeida.
Vinyl Only.
Fingier Records were established in 2020 as a
group label of Acid Jazz Records to showcase the
Latin American productions of Argentine producer,
Kevin Fingier.
The label has produced a series of sell-out and
collectable 7” singles, with some going for
hundreds of pounds on collector sites.
This compilation brings these singles together onto
one album, with graphics and photography to
match the sound and style of Fingier Records.
Features the vocals of Diane Ward, Jo-Ann
Hamilton and Gerri Granger, Brazilian singer Jose
Dias and Senegalese vocalist / percussionist
Abdoulaye Badiane, backed by the all-star Kevin
Fingier Collective.
Radio - BBC Radio 6 Music Craig Charles Funk & Soul
Show.
- A1: Under The Moon
- A2: Lonely Dance
- A3: Gymnopedies
- A4: Love Dream
- A5: Moonlight Sonata
- A6: Sentimental
- B1: Summer
- B2: Penthouse Suite
- B3: Florescence
- B4: The Swan
- B5: Winter Morning
- B6: Canon
In den letzten Jahren verbreitete sich ein neues Musikgenre vor allem durch Streaming-Playlisten: »Lo-Fi Beats« sind ruhige instrumentale Hip-Hop-Stücke, die dank ihrer verrauschten, leiernden Ästhetik klingen, als kämen sie direkt von einer mehrfach überspielten Kassette.
L.Dre aus Los Angeles ist einer der Meister dieses Stils, doch auf seinem Album LoFi Symphony für Deutsche Grammophon hat er sich einer vollkommen neuen Herausforderung gestellt: Lo-Fi Beats mit hochqualitativen Aufnahmen klassischer Orchestermusiker:innen zu verbinden.
Der Produktionsprozess von LoFi Symphony gestaltete sich deutlich aufwendiger als bei einem üblichen Projekt in diesem Genre. In einem ersten Arbeitsschritt sampelte L.Dre die bekannten Stücke für eine
Rohversion eines Beats, dann wurde die »neue« Komposition transkribiert und einem Orchester aus ausgewählten Musiker:innen zur Neueinspielung vorgelegt.
Gerade die Spannung, die sich aus der Kombination von Lo-Fi-Ästhetik und Hi-Fi-Aufnahmen ergibt, macht LoFi Symphony so lebendig, interessant und innovativ. Streicheraufnahmen treffen auf Vintage-Sounds eines originalen Steinway-Flügels aus den
1920er-Jahren, auf das genretypische Vinylknistern und die charakteristisch gedämpften Drumsounds.
»Dies ist definitiv anders als alles, was ich je zuvor gemacht habe«, bringt er die Besonderheit dieses Albums auf den Punkt. »Ich glaube nicht, dass so etwas überhaupt schon mal gemacht wurde.«
On Al Hadr, Sabrina Bellaouel taps into myriad influences: from spirituality, astrology to club culture, romance, the body and self-love. Creating a balance between places, identities and sounds is a huge part of the charm of Al Hadr. As a true Libra, she’s finding a balance between honoring her roots and carving out her future.
Following two solo EPs, also on InFiné — 2020’s We Don’t Need To Be Enemies and 2021’s Libra — the French-Algerian producer and vocalist’s unique style of electronic R&B blossoms with Al Hadr, a 13-track album featuring collaborations with dance producer Basile3, experimental club DJ and writer Crystallmess, jazz musician Monomite and pop singer Bonnie Banane, among others.
Born, raised and based in Bagneux, outside the southern périphérique of Paris, Bellaouel lives between worlds. At home, her Algerian heritage and Muslim faith have fused tight familial bonds and a keen sense of history and culture; as “Berbers”, she speaks French and Arabic. In her headphones, she finds comfort in the sparse experimentalism of Radiohead and romantic tales of Jill Scott. On the hot club dance floors of Paris, driving house beats connect her to her body.
In swirling these private and public passions together on Al Hadr — which translates from Arabic as “the present time” — Bellaouel is the most vulnerable she’s ever been on record. Classic neo-soul and silken R&B blend with club electronics. Tender harmonies are sung and rhymes are spoken in English, French and Arabic, exploring love, faith and identity. Samples of drum machines are the backbone for wisps of woodwind, strings, keys and environmental ‘found sounds’, including Bellaouel’s own live recordings.
Creating a balance between places, identities and sounds is a huge part of the charm of Al Hadr. As a true Libra, she’s finding a balance between honoring her roots and carving out her future.
Red Vinyl
Die Filmmusik von Nick Cave & Warren Ellis zum Netflix-Film 'Blonde' (Regie: Andrew Dominik), der das Leben der Hollywood Ikone Marilyn Monroe porträtiert.
Von ihrer unbeständigen Kindheit als Norma Jeane über ihren Aufstieg zum Star und ihre romantischen Verstrickungen lässt 'Blonde' die Grenzen zwischen Fakten und Fiktion verschwimmen, um die wachsende Kluft zwischen ihrem öffentlichen und ihrem privaten Ich zu erkunden. Im Film mit dabei sind unter anderem Bobby Cannavale, Adrien Brody, Julianne Nicholson, Xavier Samuel und Evan Williams mit. Der Soundtrack von Nick Cave & Warren Ellis wird auf CD und in drei Coloured LP-Formaten in limitierter Auflage erhältlich sein.
THE SUBWAYS remain one of the most exciting live bands on the current touring circuit, thrilling crowds with their explosive rock sound and wild stage performances.
Back in 2005, with an average age of just 18, Billy, Charlotte and Josh crashed onto the international music scene with their debut album ‘YOUNG FOR ETERNITY’, and their rock-club floor-filling single ‘ROCK & ROLL QUEEN’. The NME proclaimed them “The sexiest thing to sweep rock n roll off its feet in years!”. An appearance on American smash teen drama THE OC and in Guy Ritchie’s London Gangster flick ‘RocknRolla’ has helped make the track a Spotify Rock Playlist mainstay.
The band have released four albums to date. Their sophomore, ‘ALL OR NOTHING’ (2008), was recorded in LA with heavyweight producer Butch Vig and, is “Buoyed with emotional heft and supernova guitar riffs, wired around a maturing song craft” (MOJO). The tracks were written at a time when Billy was battling to save his voice following surgery to remove nodules from his vocal cords. ‘MONEY AND CELEBRITY’ followed in 2011, filled with “brilliantly anarchic punk-pop vignettes; each being a big musical finger that sticks it to financial greed, the mediocre mainstream and the fame fetishists” (ROCKSOUND) and included the Radio 1 A-listed single ‘WE DON’T NEED MONEY TO HAVE A GOOD TIME’. Their self-titled 4th album saw the emergence of singer and songwriter Billy Lunn as a producer, as he took control of engineering and mixing duties and is "On Par with the best things they have ever written... and finds the band energized, focused and battle-ready" Q Magazine.
The global pandemic, though cutting short their 40+ date international ‘Young For Eternity Anniversary Tour’, has kept Billy busy in his newly-established Hertfordshire studio, with Charlotte and Josh in their respective homes focused on remotely recording Album 5. Makeshift under-stair vocal booths were constructed, and the album is now ready for a summer, 2022 release alongside a full European Tour
In April 2021 the band signed to ‘Alcopop’ and released the politically-charged, Black-Lives-Matter-inspired single “Fight”, which they describe as “a letter in two parts: a gesture of solidarity with the Black community and communities of colour as they face their daily oppression at the hands of systemic racism, and a wake-up-call to the white community that such oppressions do in fact exist, and that we must acknowledge these oppressions and fight alongside marginalised communities as allies.”
Repress!
“This album has been built, robbed, destroyed, rebuilt, held up, postponed, cancelled, shelved, bootlegged, analyzed, exploited, slept on, supported, patiently awaited, and appreciated, long before you got your hands on this slim neat little package.
This collection of thoughts, songs and relationships has literally been on the verge of completion since 1997. It was intended to finally be released in 1999. Most of the songs were written between 1995 and 1998. However, from the first to last verse, it reaches as far back as 1988 and stretches forward up to 2001. Throughout this tedious, relatively arduous process, the people involved in this project have successfully delivered the intended message that was conceived, forged, and galvanized through its delivery. The understanding is the best part. Enjoy!”
Originally intended for release in 1999, The Best Part was shelved multiple times due to label politics, until it was finally released in 2001, as J-Live points out in his prologue above. Now it’s getting the much deserved re-issue treatment.
With an All-Star production team featuring Pete Rock, Prince Paul, DJ Premier, DJ Spinna, 88 Keys & Grap Luva, along with J’s crafted and precise lyricism, this is one not to miss!
HARDT ANTOINE is a London based DJ producer of French and West Indian descent, who continuously combines his hugely colourful and eclectic taste in music. He has also made a name for himself with his Reculture label and club nights.
His KOMPAKT debut clearly shows why he’s one to watch in the years to come. “Nobody’s Watching” is a dark grooving beast with bending synth lines and a haunting vocal; counterbalanced with uplifting Eastern analog pads. It’s from this rare breed of tracks that shine in a frantic peak time set and sexy late night moments alike.
“All We See” follows a similar path. Its mandatory bassline and dark melody evolve into something uplifting, as if to say – ‘We always see light at the end of our tunnel’.
Radial takes a more cinematic approach and largely neglects the dancefloor in a classic KOMPAKT 3-track EP fashion, following a lovely tradition that began with Dettinger’s KOM 2 and later on spawned the Pop Ambient movement.
Hardt Antoine proves himself a jack of all trades… Keep an eye on him!
HARDT ANTOINE ist ein in London ansässiger DJ-Produzent französischer und westindischer Abstammung, der seinen äußerst farbenfrohen und vielseitigen Musikgeschmack kontinuierlich durcheinender wirbelt. Auch mit seinem Label Reculture und Clubnächten hat er sich über London hinaus einen Namen gemacht.
Sein KOMPAKT-Debüt zeigt deutlich, warum man ihn in den kommenden Jahren im Auge behalten sollte. „Nobody’s Watching“ ist ein düsteres, groovendes Biest mit verzerrten Synthielinien und einer eindringlichen Stimme; mit erhebenden östlichen Analog Pads ausbalanciert. Es ist diese seltene Art von Tracks, die in einem hektischen Peak-Time-Set und sexy Late-Night-Momenten gleichermaßen glänzen.
„All We See“ geht einen ähnlichen Weg. Die zwingende Bassline und die dunkle Melodie entwickeln sich zu etwas Erhebendem, als ob sie sagen wollten: „Wir sehen immer Licht am Ende unseres Tunnels“.
Radial verfolgt einen filmischeren Ansatz und vernachlässigt die Tanzfläche weitgehend – in klassischer KOMPAKT-3-Track-EP-Manier, einer schönen Tradition folgend, die mit Dettingers KOM 2 begann und später die Pop-Ambient-Bewegung hervorbrachte.
Hardt Antoine erweist sich als Alleskönner … Behaltet ihn im Auge!
Following well-received collaborative outings for us as 1/2 of the SF dynamo duo Moniker whose classic “Billy D” anthem and respective Patrice Scott remix graced the early catalog, followed by the galactic
flex Straylight EP with Cali brethren Dave Aju on velvet vocoder vox b/w a stellar Kai Alcé remix on the Another offshoot imprint, and of course his indelible contributions to the arrangements/derangement of the wondrous KAMM LP Cookie Policies, Kenneth Scott is essentially an extended family household name for our camp and so we’re beyond proud to present his initial solo release for the Circus Company label proper. Schooled as always in the deepest of electronic music roots and classiest of track traditions, the three pieces that form the Light Blooming EP puzzle display all the prized synth wizardry and production ingenuity we’ve come to expect from the Berlin-based veteran.
“Firesound” kicks us off in fine form, with a glistening array of pads and tight arpeggios that give way to a soulful funk strut that any fan of Detroit-style electro flavors will enjoy to the fullest. We then move to
the stylized 4/4 pulse of the aptly-titled “Lost Sonar”, an extended live set for Lost Sonar Collective skillfully condensed and finessed into a smooth-as-silk true deep house cut, where warm synth tones set the sound bed while shards of sharper percussion and angular textures flash and fizz throughout, creating an ultra-fresh contrasting feel while a rock-solid groove grinds us along faithfully. Scott then finally closes out the set with the powerful and titular “Light Blooming” which begins with a similar rising pad intro before unleashing fierce and raw overdriven drum programming, teasing us out to the two minute mark when the mighty sub bass line and multi-layered arps drop in to devastating effect, bubbling and building to a bold harmonic apex, before eventually bringing us down softly and somehow with ease
after such a glorious rise.
Filled with early-Warp feels and futurist sci-fi hopes in equal measure, the Light Blooming EP is three tracks of pure funk precision and expressive musical class from the man Kenneth Scott
- A1: The Mod 4 - A Puppet
- A2: The Yardleys - Just Remember
- A3: Decompressed Impossibility - You Can't Ride Away
- A4: The Living End - Brigitta
- B1: The Newports - Feelin' Low
- B2: The Landlords - I'm Through With You
- B3: The Prisners Dream - Autumn Days
- B4: The Fortels - She
- B5: The Bohemians - Say It
- C1: Tresa Leigh - Until Then
- C2: Wm. Penn & The Quakers - Ghost Of The Monks
- C3: The Tempters - I Will Go
- C4: Jerry Mcgee - Twilight Zone
- D1: Carroll - The Boy Called Billy Joe
- D2: The Common People - Here, There & Everywhere
- D3: Dennis Harte - Summer's Over
- D4: Toe Head - Goodnight Jackie
2023 REpress
A North American road trip of coming of age garage soul mapped by Ivan Liechti, Ghost Riders is Efficient Space’s latest narrative compilation, hovering in a liminal emotional ravine between moonlight melancholy, teenage heartache and unchecked, unrealised ambition. Across seventeen open hearted ballads recorded 1965-1974, the 2LP collects and connects dots between British Invasion fanatics, child prodigies, the loners and the luckless, in a kind of trans-continental survey of those swept up in rock’n’roll mania and buoyed by local newspaper ads promising fame and gold records.
From the tangerine dreams of 8th grade all-girl combo The Mod 4 to the tri-state jukebox aspiring echoes of The Tempters, The Yardley’s poetic Farfisa vamp and lilting folk pop, and The Landlords’ weepy break up b-side blues, these are mostly one shots by dreamers whose experience was brief before being checked back to the reality of suburban normality and realistic career options. Hailing from the regional backwaters of Illnois, Arkansas, Nevada, Massachussets, Ohio, Idaho, Texas and beyond, the licensed artists were scouted by way of local fire departments, spiritualist fellowships and animal welfare centres, often barely a stones throw from where their contributions were originally laid.
A barely teenage Dennis Harte's ‘Summer’s Over’ perhaps best taps the collection’s essence. A gut-wrenching lament of the passing of the season as if it was the last on earth. Flanked by players from The Left Banke, Harte, a now-piano tuner to the stars, is from the minor segment that found longevity in showbiz. Likewise with Michigan icon Lyn Nowicki who cast her ghostly voice over Beatles cover song chameleons The Common People and Jerry McGee, The Ventures member and conduit of Dr. John’s ‘Twilight Zone’.
Ghost Riders simmers with the scent of youthful summers, the pang of schoolyard romance, and the excitement (and disenchantment) of teenage naïveté, delivered via a deceptively simple and frequently wonky garage band set up. The vision of record collector and graphic designer Ivan Liechti, these eternal psych-folk howlers are further crystallised by Colin Young’s fastidious audio restoration, the original artwork of Elise Ganebin-de Bons and an aptly penned forward from Sonic Boom.
Crishi aka Dothedu, twistes the path of Pareidolia Recordings, proposing an Ep with UK acid house sounds reminding from the great Baby Ford, to master A Guy Called Gerald and 90s London vibes.
Going Nowhere Ep represents the missing link between present and past, a nu vision...can you feel this new generation on fire? Two of the tracks contain the voice of the London based vocalist Manuela Batas, a perfectly successful feature.
Originally released in 1979 on Mistlur Records in Sweden, Nyanser is widely considered Thomas Almvqvist’s masterpiece.
It's almost unspeakably beautiful.
With his adventurous, virtuoso guitar technique to the fore, the album explores a unique path through world music, folk, jazz and acoustic experimentation, whilst retaining a very personal vision.
It’s aged very, very well indeed and is now rare and immensely sought-after, coveted for many years by collectors of all musical genres. This Be With re-issue, remastered from the original analogue tapes, shows off just why this deserves to be back in press.
The majority of the album is a solo exercise with Thomas playing Rhodes, flute, synthesizer and percussion as well as his idiosyncratic guitar on all tracks. Alongside Thomas in the studio were an array of young, experimental Swedish musicians in the nascent stages of their careers including the much lauded Swedish composer Ann-Sofi Söderqvist, vocalist Turid Lundqvist and perhaps the key contributor to the album, Hans Peter Andersson, whose alto, tenor and baritone saxophone contributions shift the album from into the realms of jazz, most notably on “Horisont” and “E.M.”
The whole ensemble comes together on the centrepiece of the album, the joyous aquatic harmony of “Coral Reef”, one we've been playing out for the past 5 years to dropped jaws. The album presents a very visual aesthetic, each track evoking images of landscapes and far-flung corners of the earth. Almvqvist himself considered the visual aspect of his sound very important, describing his approach as “picture music.”
Nyanser is considered one of the earliest examples of a fusion of world music, jazz and folk traditions, certainly from a Scandinavian artist. Despite its impact on release being minimal outside of those aficionados tuned into such sounds, over the years the album has become something of a "lost" cult classic and a fine example of the experimentalism going on in Scandinavian music at the time. The English translation of nyanser - ‘shades’ - is a particularly apt description of the sounds contained within.
Thomas very sadly passed away in 2008 at the age of 55. We hope this reissue will go some way to bringing his unique output to a wider audience and secure the legacy he deserves as one of Sweden’s great guitarists and musical visionaries. It sounds sensational, if we do say so ourselves. Working with audio from the original analogue tapes, the vinyl mastering chops of Simon Francis are on full show here in what he considers to be some of his best ever work for Be With. Pete Norman’s cutting skills have made sure nothing is lost whilst the beautiful artwork has been restored here at Be With HQ as the finishing touch to helping this revered work find a rightful place in every record collection.
Tears are in the eyes of Xabiib Sharaabi, nicknamed the Somali King of Pop when he entered the stage of Berlin’s HKW. It is a mix of nostalghia, pain and joy. Like many Somalis he had been deprived overnight of both glamour and friends, the war in his homeland had sent him into exile. The glamorous discos and beachfront stages Mogadishu had once been famous for, had disappeared as the city was bombed to the ground. The King of Somali pop found himself stranded in Sweden, others like the members of Dur-Dur Band Int. ended up in London which until today has the largest Somali diaspora in Europe.
In the last decade many early recordings of Somalia’s funk, soul and disco era have been reissued. This record is not a reissue. The Berlin Session – is the first studio album of its kind since the golden days of Mogadishu came to a halt three decades ago. It is the living proof that Somali music is hot, funky and (!) well alive.
The record captures a historic reunion which took place in 2019 in Germany’s capital Berlin. London-based Dur-Dur Band Int. an eight-piece powerhouse of Somali live- music unites with three legendary Somali singers: Xabiib Sharaabi, Faduumina Hilowle and Cabdinur Allaale for a concert at Berlin’s HKW. Fueled with a restored sense of pride, the freshly reunited musicians decided to get together in a Neukölln studio for two amazing days of recording.
Female vocalist Faduumina Hilowle opens the album with an invitation to kickass: “Let’s shake off the dust, boys!” (Inta ka hurguf). Grooving with such a strong accent on the off-beat, any non-Somali listener may think of Reggae. But when you ask the musicians, they tell you: “They took it from us! It’s Dhaanto! It’s our rhythm”. Originating from the Ogaden region (now in neighbouring Ethiopia’s borders), Dhaanto dates back to the era of “clap & chant”. Some say it is an imitation of the camel’s bounce. Xabiib Sharaabi was once nick-named Somalia’s King of Pop for the body language and magnetising voice with which he incorporated the latest global musical trends - even recording two disco albums entirely in English. On the album Xabiib chooses to sing his Somali adaptation of “Lady” originally by Afrobeat pioneer Fela Kuti. Not unlike the Motown Sound of Detroit and Kingston’s Studio One: a small scene of musicians were fueling that new Somali Disco scene in Mogadishu. Cabdinur Allaale, the third vocalist on the album comes from neighbouring Djibouti. In the heydays the leader of then famous Sharaf Band was a frequent visitor, flying back and forth between Mogadishu, Hargeisa, Kismayo & Djibouti entertaining his fans on the Horn of Africa.
Dur-Dur Band Int. ‚The Berlin Session‘ brings the spirit, joy and hope of this era back: In the last decades Somalis stars have lived among us, spread all over the world, it is time to see them step into the limelight again.
Nicolas Sheikholeslami:
In 2015 Berlin-based Nicolas Sheikholeslami became fascinated by Somali music and ended up compiling a mixtape to share his passion. He did not know that his tape Au Revoir, Mogadishu Vol. 1 - Songs From Before The War would spark a massive international interest for Somali music. Soon later Nicolas co-compiled Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africa for Ostinato records which got a Grammy-nomination in 2017. Berlin’s venue HKW took notice and asked him to set up a show with a selection of Somali artists from the golden era. This lead to this remarkable reunion. A studio was booked and within 2 days this album was recorded. The Berlin Session captures this emotional moment. In 2021/22 Nicolas Sheikholeslami finally sat down and mixed the recorded material. This record is the living proof that Somali music is hot, funky and well alive.
- A1: Dojo Cuts - Easy To Come Home (Feat. Roxie Ray)
- B2: The Tibbs - Soul Of My Life
- C1: The Diasonics - Andromeda
- D1: Whatitdo Archive Group - Blood Chief
- E2: Calibro 35 - Stainless Steel
- F1: Calibro 35 - Ungwana Bay Launch Complex
- G1: The New Mastersounds - Your Love Is Mine (Nostalgia 77 Remix)
- H1: Gizelle Smith - June (Tm Juke Remix)
- I1: Hannah Williams & The Tastemakers - I'm A Good Woman
- J1: Hannah Williams & The Affirmations - 50 Foot Woman
- K1: Marta Ren & The Groovelvets - I'm Not Your Regular Woman
- L1: Martha High - Answer To Mother Popcorn
- M1: Kokolo - Soul Power (Lack Of Afro Remix)
- N1: Tanika Charles - Soul Run
- O1: Diplomats Of Solid Sound - Soul Connection (Feat. The Diplomettes)
- P1: Trio Valore - Rehab
- Q1: Baby Charles - I Bet You Look Good On The Dancefloor
- R1: The Liberators - The Directive
- S1: The Bluebeaters - Catch That Teardrop
- T1: The Bluebeaters - Toxic (One Drop Version)
Record Kicks celebrates its 20th Anniversary with a limited edition "Rare Box Set" consisting of ten 45 vinyl with the very best of the label's catalogue.
2023 is a special year for Record Kicks: the Milan-based independent label turns 20 years old. In order to celebrate this great achievement, Record Kicks is proud to announce the release of a limited edition "Rare Box Set", coming out on March 3rd and containing 20 tracks on 10 "rare" 45 vinyl that retrace the story of these past 20 years of Record Kicks. The boxset is limited to 500 copies worldwide and it will also be released on digital format on that same day, March 3rd. The artwork by Japanese artist Ruminz is an homage to Afro-American culture. Of the 20 tracks on the "Rare Boxset", 11 tracks are previously unreleased on 45 vinyl, while 9 are reissues of mega in-demand gems.
Among the tracks released for the first time on 45, you'll find label's Funk & Soul heavyweights such as "Easy To Come Home" by Sydney funk maestros Dojo Cuts, "Your Love is Mine" by British funk band The New Mastersounds feat Corinne Bailey Rae and remixed by Nostalgia 77, "50 Foot Woman" by Hannah Williams & The Affirmations, "Soul Connection" by The Diplomats of Solid Sound and "Soul of My Life" by The Tibbs. For the first time on 45 vinyl, there are also two singles from the masters of Cinematic funk Calibro 35: "Stainless Steel" from their legendary album "Traitors" and "Ungwana Bay Launch Complex" from "S.P.A.C.E.", The Diasonics with "Andromeda", taken from their debut album "Origin Of Forms", and Whatitdo Archive Group's "Blood Chief" from the band's album "The Black Stone Affair".
On the reissue's front, among the rare tracks that by popular demand finally see the light again on 45 vinyl we find: the afrofunk cover of The Artic Monkeys' "I Bet You Look Good On The Dancefloor" by Baby Charles, JB's classic "Soul Power" by Kokolo remixed by Lack Of Afro, The Bluebeaters with "Catch That Teardrop" and "Toxic (One Drop Version)" singles, northern soul floorshaker "I'm a Good Woman" by Hannah Williams & The Tastemakers and deep funk stormer "I'm Not Your Regular Woman" by Marta Ren & The Groovelvets.
The "Rare Box Set" is just the first of many upcoming initiatives that will be revealed during the year to celebrate the Milan's label 20th anniversary. Side by side with similar imprints like Daptone, Big Crown, Colemine or Timmion Records, under its motto "The explosive sound from Today's scene", Milan-based record label and music publishing Record Kicks has been pitching the contemporary funk & soul scene since 2003. With over 250 releases under the belt, the label has released bands from all over the globe and earned support of VIP fans such as rap superstars Jay-Z, Tyler The Creator and Dr. Dre, who took inspiration from the label's catalogue by sampling it.
g g1: The New Mastersounds - Your Love Is Mine (Nostalgia 77 Remix) feat. Corinne Bailey Rae
Spanky Wilson's 'Let It Be' is the lead single from her album of the same name back in 1970. The original version of the tune was of course written by John Lennon and Paul McCartney and was first recorded by The Beatles in the same year. Her version is a big band celebration with Spanky's gritty soul vocal soaring up top. The album features other lung-busting performances from Spanky such as on the raw and guttural soul of 'Bridge Over Troubled Waters' and the slower, more sentimental 'Love, Or Let Me Be Lonely'. Spanky has one of the most powerful and distinctive voices in soul and never was that clearer than on this classic.
Dial 303! The new and hopefully also durable sampler series on Running Back is here.
Dedicated to the twang of Roland’s silver baseline box with a varied string of artists: DVS1, Marko East & Jordi Chu (whose collaboration sparked the idea of a whole series), Like A Tim via Prins Thomas, Katerina and I:Cube.
The Parisian put it in a nutshell, too: „Although rinsed to death to the point of becoming a parody of itself, acid will last forever.“ Therefore, his Folie Noire is combining the original recipes with hypnotic European influences, while Marko and Jordi present a rough and direct 303-909 live jam, Prins Thomas puts his wickedest smile on Like A Tim’s Wonderline from 2005 and Katerina sets a lucid dream to sanguine music.
Finally, there is a rare and much desired musical outing by the unique DVS1. A direct ode to Chicago’s acid and beatdown styles and its Midwest companions, it is a heads-down-lights-down late night track made for driving up and down Lower Wacker Drive. Trippy trip artwork by the inimitable Gasius.
Trivia: If the piano is the bread of house music, the acid line is its butter!
Following on from their well received albums ‘Primitve Fuck (2018) and ‘The Wholly Other’ (2020), London based psych rockers Black Helium release their third album ‘Um’ via Riot Season Records on March 3rd, and take things even further…
Here we find psychedelic defiance at its most incendiary and joyous!
Returning to record at Bear Bites Horse studios with Wayne Adams, Beck Harvey, Diogo Gomes and Stuart Gray deep dive into lysergic rock primitivism sparking sprawling stream-of-thought explorations to bring about an album that is as fried as it is alive.
Black Helium are a psychedelic power trio, based in London. Never afraid to stray from the beaten path, they traverse aural hallucinatory soundscapes; from detuned Neanderthal rock to deep oceans of introspective blissed out psychedelia.
BLACK HELIUM are
Stuart Gray (vocals, guitar) Beck Harvey (bass, vocals) Diogo Gomes (drums)
"Bernhard von Siluh Records hat mich gebeten, einen Hype-Text über die neue BAD WEED-Platte zu formulieren, und ich fühlte mich zunächst geschmeichelt, hatte dann aber doch Zweifel... Wie kann ich euch dieses Powerpop-Juwel in wenigen Worten erklären und näher bringen? Es ist nicht nur das übliche Jangle-Pop-Ding oder noch schlimmer, nicht etwas, das man heutzutage "Garage-Punk" nennt, nein, Sir! Es ist echter Powerpop im Stil der 70er Jahre, aber wie mein Chef immer zu sagen pflegt: Man kann den Leuten nicht erzählen, wie großartig eine Powerpop-Platte ist - man muss sie sich anhören, am besten mit einem Getränk der Wahl in der Hand, und bald wird sie ihre Besonderheit enthüllen (oder auch nicht). Was liebe ich an BAD WEED, außer der Tatsache, dass sie die hübschesten Jungs der Welt sind, die - nachdem sie 20 Jahre lang in verschiedenen Bands gespielt haben - endlich gelernt haben, ihre Instrumente zu spielen? Es sind die Songs! Es geht nur um die Songs! Die erste Single aus dem Jahr 2015 war etwas anderes, man kann es sogar Garagenpop nennen, ihr Debütalbum vor ein paar Jahren und etwa 100 Shows später war nur der Anfang, hier ist ihr zweites Album mit dem schlichten Titel "II", das Talent, Songwriting-Fähigkeiten und Pop-Handwerkskunst zeigt! Einige dieser 12 Originalsongs erinnern mich an Alben/Bands, die längst vergessen sind, wie z.B. "If you ever pt. 1" könnte eine frühe THE FRESHIES-Single sein, "Breaking Lines" könnte von einer RUDI-Setlist sein oder "Who's gonna love me" klingt wie einer dieser THE COLD-Ohrwürmer. Die meisten Songs haben diesen 80er-Jahre-UK-Indie-Punk-Vibe, der direkt in mein Gehirn und mein Herz geht! Sie haben sogar die Frechheit, TOWNES VAN ZANDT zu covern - und schaffen es, dass es nicht so deprimierend klingt wie das Original, nur ein bisschen traurig vielleicht. Zu behaupten, dies sei ein Wohlfühlalbum, ist nicht ganz richtig, so einfach ist es nicht. Es ist eine Platte, die Lust macht, die Band in einem kleinen Club live zu sehen, eine Platte, die einen einfach lächeln lässt und an gute Zeiten erinnert. BAD WEED ist eine Band für die Hosentasche, eine Band, die man liebt und von der man Freunden erzählen möchte, aber nicht zu vielen, denn die Band sollte klein und in der Hosentasche bleiben und nicht in den Playlists von jedem Tom, Dick und Harry vorkommen_" (Elmar / Bachelor Records) "Debüt-Scheiblette von Wiens Blitzpopgroup. Mitreißender Powerpop-Punk mit ganz viel early UK- vs semi-modern Texas-Sound in den Venen. Buzzcocks , Exploding Hearts, The Jam, Bad Sports, Marked Men, .... Schweine-tight gespielte, tolle Melodien, die einen sofort abholen, bissi Saxophon hier und Orgel da!! Die Platte strotzt vor Energie und Spielfreude, findet einen steilen Breakeven zwischen Witz, Charme und Klassenbewusstsein. Stark!" (FLIGHT13)
- A1: Forest Replicant
- A2: Deer Jumpscare
- A3: Theme's In Ruth's Mind
- A4: First Montage
- A5: Isn't That Enough
- A6: The Cave & Second Montage
- A7: Proposal At The Cliff Face
- B1: Harry's Return
- B2: Goodbye Ruth (Do I Love You?) (Do I Love You?)
- B3: Beach
- B4: Shark
- B5: Endcave
- B6: Ruth Smash
- B7: Dread Credits
Oliver Coates’ dense and unsettling score to
‘Significant Other’ is now available on vinyl.
The score comes pressed on blue vinyl, housed in
a spined sleeve with download card and doublesided printed insert.
‘Significant Other’ follows the sinister events
plague a young couple when they take a
backpacking trip through the forests of the Pacific
Northwest.
Oliver Coates is a cellist, composer and music
producer known for his work with Radiohead, Mica
Levi and more.
2023 repress / Golden Vinyl
In 2010, electronic composer Arandel quietly released his first album In D on the then young InFiné label. At the time, the artist was strictly anonymous, put in the forefront its strict methodology of composition, and unleashed to the world what was destined to eventually break ground as a classic debut. The original pressing of that record sold out more than 10 years ago, and at long last is finding new life on gold limited-edition vinyl (including an enamel pin of the doodle that adorns the album cover). The record covers immense ground despite the strict “sonic dogma” put in place (every song in the key of D, and no samples allowed beyond what Arandel played himself). With these limitations aside, the record traverses a wide sonic map that covers classic, pristine Leftfield house, ambient experimentalism, and even mind-expanding psychedelia. As stated by The Line of Best Fit in 2010, "In D is an exciting, occasionally intoxicating and spirited album that owes as much to the spirit of its influences as it does to the desired mystery of its creator."
A year out from the release of Rise Against’s chart-topping, critically acclaimed ninth album Nowhere Generation, the Chicago band returns with Nowhere Generation II: a propulsive, five-song follow-up that serves to continue a critical dialogue between themselves, their fans, and the world at large. The new EP, written and recorded alongside the material for Nowhere Generation, looks beyond its full-length counterpart’s scrutiny of the chronic social, economic, and political instability and inequality that pervades the modern age. II is as biting as it is hopeful, and is a further testament to the resonance of a band that continues to defy the status quo of modern rock
As the lead singer and songwriter of duo Savage Garden, Australian born Darren Hayes quickly dominated the pop landscape achieving an impressive 10 UK Top 40 hits from I Want You, To The Moon and Back, to I Knew I Loved You to U.S Billboard number ones including the timeless Truly Madly Deeply. With Savage Garden and as a solo recording artist in his own right, Darren has sold over 30 million albums globally.
The evolution of Darren Hayes continues to flourish with the release of the iconic artist’s new single, All You Pretty Things (in August) and the announcement of his first new album in over 10 years, Homosexual.
The phenomenal Homosexual was entirely written, performed and produced by Darren over the past two years from his base of Los Angeles. Released as a 2LP standard edition turquoise coloured vinyl
When the pandemic hit, Hannah van Loon adopted a dog named Gizmo, who became a much-needed companion while the Bay Area musician wrote her second album as Tanukichan. Aptly Named after her new four-legged friend, GIZMO is an exercise in release, whether from situational hindrances—a forced lockdown, for one—or from self-imposed hedonistic coping mechanisms.“ A theme I always had floating around was escape,” van Loon explains of her follow-up to 2018’s Sundays. “Escaping from myself, my problems, sadness and cycles.”
To channel the more uplifting spirit she wanted for GIZMO, van Loon turned to the radio pop-rock of her childhood: “I was struck by the in-your-face positivity of the lyrics,” she adds,referencing artists like 311, The Cranberries, and Tom Petty. “I wanted to bring that positivity while writing about the sad and helpless emotions I’d been grappling with.” But GIZMO’s lightheartedness doesn’t make it shallow: “I think that I could let it go, as beautiful as snow,” she murmurs on “Don’t Give Up,” a nu metal-meets-Cocteau Twins groove about the sudden awareness that all the relationships you depend on could vanish instantaneously. Van Loon’s main collaborator on GIZMO was Toro y Moi’s Chaz Bear, and the jangly pop earworm “Take Care” showcases the heavily distorted, in-your-face guitar work reminiscent of Bear’s own psych joints What For? And Mahal. On the hypnotic, wall-of-sound-rocker “Thin Air” featuring Enumclaw, van Loon channels the triumphant grit of The Smashing Pumpkins as she ponders the impermanence of even the most impactful relationships: “I’ll always have the memories/Of how you used to make me see/Until they fell in the ocean/They’re not swimming/They’re not floating.”
Existentialism aside, GIZMO also sees van Loon break out of her sonic comfort zone. “One ofthe main changes of how I’m approaching music now is that I want to have more fun in the process,” she says, and she walks the line between melodrama and whimsy gracefully: “I can learn something because I’ve been here before,” she sings on the soaring, bittersweet “Been Here Before.” Deftones-inspired thrash drums and screeching electric guitars are gracefully contrasted with van Loon’s hypnotic, almost deadpan vocal style and a crystal clear acoustic guitar she describes as “cute.” Gizmo the dog suddenly passed away right as van Loon finished the album, but he’s immortalised with his photo on the cover—a fitting emblem of this new era of Tanukichan.
The diminutive Peter Barclay was guy in early '90s Oakland, the eccentric with the most style, the most talent, the local magician. This self-taught musical wizard recorded at home and produced two barely-released albums, 1990's dreamlike Acceptance and 1992's synth pop What Kind Of World, winning over the few who heard them. But fame outside his small circle was not to be, and Barclay was lost in the late-'90s crest of the AIDS epidemic. Rediscovered for a new generation, this is queer music at its finest... Welcome to the world of Peter Barclay.
Kate NV's WOW offers listeners a prismatic shift in perspective and scale, a parallel dimension in which the mundane becomes funny, unfamiliar, and altogether sensational. Turning the contents of her 2020 album Room for the Moon upside down and spilling them across a floor checkered with intrigue and surprise, Kate places sound, object, and ritual under the microscope to magnify the delight hidden in plain sight of everyday life. WOW is Kate Shilonosova's fourth full-length release as Kate NV in six years, and third for RVNG Intl. Her prolific musical output aligns with a highly attuned aesthetic and a deep commitment to visual world building. WOW is one of many of these worlds in which music is fully saturated with color, deeply tactile and textural. Shiny, sproingy, plastic. Where Room for the Moon embraced structure (abstractly speaking) and veered pop, WOW happily abandons conventional song shapes, parsing the experience of musical time into ecstatic fragments. It's difficult to imagine a more fitting album title: pure exclamation, an organic pitch of delight leaving the mouth, with no clear etymological links. On Room for the Moon, Shilonosova's voice was layered and lyrical, with sweeping and urgent melodies. WOW finds her as a peripheral purveyor of high jinks, peeking out from the corners, commenting on her surroundings in non-verbal, and arguably non-human, utterances. Instead of employing lyricism, Shilonosova steps outside of language, and rewards us with a gum ball machine of textures: soda fizz and wind-up teeth and scraps of bubble wrap become comically huge, as if heard from an insect's perspective. Words are tasty plosives, onomatopoeias, percussive chirps and one-liners, and singing serves as another form of what Shilonosova refers to as "funny tiny sounds." WOW skews and skitters, trips over its own feet and laughs about it, plays out of tune on purpose, tilts and leans like a top-heavy flower. Shilonosova is a longtime user of Found Sound Nation's Broken Orchestra sample pack, a sound catalog of over one thousand dilapidated instruments sourced from Philadelphia public schools. These perfectly imperfect instruments are tightly spliced into WOW's patchwork of synthesizer and reworked snippets of Shilonosova's friends playing clarinet, flute, and marimba. It's central to the record's internal logic: a disregard for what is, and isn't, broken, what is, and isn't, a sentence or a song. A commingling of subject and object, with a firmly new wave sensibility. Shilonosova has long had an unusual relationship with inanimate objects (citing her bicycle as her best friend), as if the joys they evoke for her are personality traits of the objects themselves. On WOW, she evinces a kind of inverted anthropomorphism: she shrinks her voice and becomes an object among multitudes, toylike in size and perspective, cohabitating with sedentary, indifferent roommates. This pursuit of childlike perspectives is a thread that runs through much of her catalog, and places her work on a plane with that of her personal hero Nobukazu Takemura, who for decades has treated his music as a portal to childlike curiosity, both in subject matter and tone. With an invitation to pursue this curiosity, WOW further confirms Kate NV's deeply inventive, fluid and technically dizzying artistry. By refusing constraints and rules, Shilonosova embodies a profound freedom, allowing objects, sounds, and processes to unfold organically; or, as she puts it, a commitment to "accepting randomness." She succeeds terrifically at a breed of auditory defamiliarization that is all her own, and the rewards for listeners are many: through her lens, the small becomes monstrous, the abstract becomes sensorial, and the old becomes new. Kate NV's WOW will be released on February 10, 2023 on vinyl and digital formats. On behalf of Kate NV and RVNG, a portion of the proceeds from this release will benefit War Child, an organization that supports children and their families impacted by conflict, and working to build sustainable peace for generations to come.
Yellow Vinyl
Kate NV's WOW offers listeners a prismatic shift in perspective and scale, a parallel dimension in which the mundane becomes funny, unfamiliar, and altogether sensational. Turning the contents of her 2020 album Room for the Moon upside down and spilling them across a floor checkered with intrigue and surprise, Kate places sound, object, and ritual under the microscope to magnify the delight hidden in plain sight of everyday life. WOW is Kate Shilonosova's fourth full-length release as Kate NV in six years, and third for RVNG Intl. Her prolific musical output aligns with a highly attuned aesthetic and a deep commitment to visual world building. WOW is one of many of these worlds in which music is fully saturated with color, deeply tactile and textural. Shiny, sproingy, plastic. Where Room for the Moon embraced structure (abstractly speaking) and veered pop, WOW happily abandons conventional song shapes, parsing the experience of musical time into ecstatic fragments. It's difficult to imagine a more fitting album title: pure exclamation, an organic pitch of delight leaving the mouth, with no clear etymological links. On Room for the Moon, Shilonosova's voice was layered and lyrical, with sweeping and urgent melodies. WOW finds her as a peripheral purveyor of high jinks, peeking out from the corners, commenting on her surroundings in non-verbal, and arguably non-human, utterances. Instead of employing lyricism, Shilonosova steps outside of language, and rewards us with a gum ball machine of textures: soda fizz and wind-up teeth and scraps of bubble wrap become comically huge, as if heard from an insect's perspective. Words are tasty plosives, onomatopoeias, percussive chirps and one-liners, and singing serves as another form of what Shilonosova refers to as "funny tiny sounds." WOW skews and skitters, trips over its own feet and laughs about it, plays out of tune on purpose, tilts and leans like a top-heavy flower. Shilonosova is a longtime user of Found Sound Nation's Broken Orchestra sample pack, a sound catalog of over one thousand dilapidated instruments sourced from Philadelphia public schools. These perfectly imperfect instruments are tightly spliced into WOW's patchwork of synthesizer and reworked snippets of Shilonosova's friends playing clarinet, flute, and marimba. It's central to the record's internal logic: a disregard for what is, and isn't, broken, what is, and isn't, a sentence or a song. A commingling of subject and object, with a firmly new wave sensibility. Shilonosova has long had an unusual relationship with inanimate objects (citing her bicycle as her best friend), as if the joys they evoke for her are personality traits of the objects themselves. On WOW, she evinces a kind of inverted anthropomorphism: she shrinks her voice and becomes an object among multitudes, toylike in size and perspective, cohabitating with sedentary, indifferent roommates. This pursuit of childlike perspectives is a thread that runs through much of her catalog, and places her work on a plane with that of her personal hero Nobukazu Takemura, who for decades has treated his music as a portal to childlike curiosity, both in subject matter and tone. With an invitation to pursue this curiosity, WOW further confirms Kate NV's deeply inventive, fluid and technically dizzying artistry. By refusing constraints and rules, Shilonosova embodies a profound freedom, allowing objects, sounds, and processes to unfold organically; or, as she puts it, a commitment to "accepting randomness." She succeeds terrifically at a breed of auditory defamiliarization that is all her own, and the rewards for listeners are many: through her lens, the small becomes monstrous, the abstract becomes sensorial, and the old becomes new. Kate NV's WOW will be released on February 10, 2023 on vinyl and digital formats. On behalf of Kate NV and RVNG, a portion of the proceeds from this release will benefit War Child, an organization that supports children and their families impacted by conflict, and working to build sustainable peace for generations to come.
With her hypnotizing voice and vivid lyricism, Jackie Mendoza makes fantastical, intimate electro-pop propelled by ukulele-based dance grooves. Having grown up between her birthplace of Chula Vista, California and Tijuana, Mexico, the 29-year-old singer-songwriter and multi-instrumentalist bridges these two worlds with dynamic soundscapes that pull from Latin pop, electronic music, and indie pop. She creates a musical universe that exists beyond strict borders of genre and geography, giving her the space to traverse the vast expanse of her interiority. Mendoza first started performing in 2014 as the vocalist for Brooklyn dream pop bands Gingerlys and Lunarette. She then broke out as a solo artist with her 2016 pop hits "Islands" and "La Luz," which showcased her imagery-packed, yet deeply introspective lyrics. On LuvHz, her 2019 adventurous debut EP that was initially inspired by a painful breakup, she turned her personal experiences into songs that observe greater truths about the world around her. As a result, the project became a broader reflection on varying forms of love, in relationships with your partner, your culture, and the natural environment. Mendoza expands this approach on her debut album, Galaxia de Emociones (Galaxy of Emotions), which sees her exploring a great range of feelings, from depression, celebration, outrage, numbness, hopelessness, and thrilling love. She uses each emotion as a portal to convey the intricacies of her experience as a queer, first-generation Mexican American woman, who actively defies and criticizes machismo and the Christian culture she was surrounded by. Brought up in the suburban border town of Chula Vista, she recalls being told by her parents to not mix English with Spanish, but speaking "spanglish" quickly became inevitable. It wasn't until high school, that learning to play ukulele and singing in school musicals allowed her to authentically express herself. "This album is about finding the courage to not only face my emotions, but also sharing them by singing them out loud." Mendoza says. The project was co-written and co-produced by Mendoza and Rusty Santos (Animal Collective, Panda Bear), with a contribution from Grammy winning producer and accordionist Ulises Lozano. As Galaxia de Emociones cruises from shimmering indie pop to accordion-laced electronic norteño, Mendoza proves there is both power and tenderness in embracing the fullness of your being and not doubting your instincts that might have been discouraged by society. She says it all in the opening song, "Natural," which blooms with spacey synths and twinkling ukulele plucks. "There is no use in controlling what comes natural to you," she sings in Spanish in a spellbinding loop. With her new album, she hopes that listeners can connect with her words and look within to explore their own galaxy of emotions.
Clear Vinyl
Kate Fagan took the Chicago punk scene by storm in the early 80's with her self-released single "I Don't Wanna Be Too Cool", which became the best-selling single ever by a local artist at the legendary Wax Trax! Records. Today, Captured Tracks is thrilled to present an expanded, re-mastered edition of I Don't Wanna Be Too Cool as a full-length vinyl album. Fagan wrote "I Don't Wanna Be Too Cool" after moving to Chicago from New York in the late 70's. The track is a critique of the emergent "hipster" attitude of the disco crowd and the posturing she was witnessing among her peers in New York. With its surf-inspired drum machine, irresistible melody, and defiant lyrics, "Too Cool" was immediately embraced by club DJs, radio stations, and independent record stores. Its b-side, "Waiting For The Crisis," also gained notice for its raw musical style and politically charged Reagan-era lyrics, which still resonate today. In the years that followed, Fagan continued to break new ground In 1980, she co-founded the enormously popular ska band Heavy Manners (whose dance parties are still legendary), and with them opened shows for The Clash, Grace Jones, Peter Tosh, The English Beat, and many more. The "Too Cool" single became a sought-after rarity among record collectors for decades after its initial release, until Manufactured Recordings gave it a proper reissue in 2016. Captured Tracks' expanded 2023 follow-up features four unreleased songs, which encapsulate the gutsy, new wave energy that pulses through the original single. The final track, the reggae-tinged "Say It", features production from the reggae legend Peter Tosh and Bob Marley's guitarist Donald Kinsey, who flew in from Jamaica to record with Heavy Manners after witnessing their impassioned live show. While the 2016 reissue re-established Fagan's cult-classic status for a new audience, this new expanded release solidifies her place in a tradition of trailblazing, powerhouse frontwomen.
clear yellow viny
Long-running acid master Luke Vibert returns on De:tuned with a new 11 track album devoted to the iconic silver box. 'Machine Funk' characterizes Luke's unique perspective on the acid house movement. The LP portrays an idiosyncratic blend of acidic squelch and raw energy with a signature fresh and playful vibe expressed in rhythmic compositions of a particular finesse and elegance. Essential 303 business!
Ian Anderson at The Designers Republic created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!
Electronic music legend and head of Editions Mego, Peter Rehberg, teams up with zeitkratzer mastermind Reinhold Friedl. 3 side-long pieces melting electronic / contemporary avantgarde. Uncompromising.
When Peter "Pita" Rehberg and Reinhold Friedl first met each other, they did not like each other "at all," as Friedl emphasises with a hearty laugh. The two would however eventually bond over the years thanks to a mutual respect for each other's music. In the summer of 2021, they entered the studio together for the first time. Their joint album for Berlin's Karlrecords is a faithful document—no editing, no overdubs—of their improvisations during two recording sessions shortly before Rehberg's sudden and untimely passing on July 22nd of that year. The three pieces see Rehberg working with electronics and Friedl with his inside piano, proving that they had indeed managed to find a common ground—up to a point where it at times becomes hard to tell who plays what on this record.
Friedl ran into Rehberg in Zbigniew Karkowski's tiny Tokyo apartment in 1999 while organising the first edition of the Off-ICMC that was set to take place in the following year. "I came uninvited and slept a night at Zbigeniew's before Peter arrived and I had to move out," remembers Friedl, who ended up inviting the Mego founder to perform at the Off-ICMC even though he found it hard to relate to his music. "We had very different backgrounds: he came from industrial and I had roots in classical music and improv, a high-brow prick!" After having met several times at different concerts without ever really speaking to each other in the following years, a concert in Vienna in the late 2010s marked a turning point in their relationship (or lack thereof). Playing their sets back to back and loving every second of what the other was doing, the two finally clicked on musical level. "We met for dinner on each of the three following nights!," remembers Friedl.
The two would go on to become good friends, meeting regularly to discuss music and everything else while both were living in Vienna just a few minutes away from each other. Rehberg put out Friedl's collaboration with Eryck Abecassis, "Animal Électrique" on his Editions Mego label in 2020 and eventually they entered the studio twice for sessions that were completely improvised with no prior preparation. "Caciara," "Chiasso," and "Clamore"—named retrospectively after three Italian words for "noise"—capture the spontaneity of two artists who had always been outliers in their respective fields finding a common ground in sprawling dynamics and sonic intensity as well as enabling each other to expand their individual sound palettes. "Peter gave me cover," explains Friedl. "I had the feeling that I was able to do things I otherwise wouldn't play."
"Hello, my friends. It's a big honor for me to release this EP on YUKU because I sincerely love lots of releases of this label and follow them practically since the day they started. I've created 5 tracks specially for this release.
They turned out to be very diverse, quite different, but at the same time cohesive.
5 tracks - like 5 variations and 5 stairs of my life. The cover by my friend, Kyiv-based artist Bohdan Burenko, perfectly outlines the mood of this EP. It shows 5 faces, 5 characters, and 5 stories.
I should mention that some demos for these tracks I wrote back in 2018, when I lived in California. And the basis for 'The Wall' I wrote in the suburbs of Los Angeles in a small town Walnut. This explains the song title. Back then, I listened to a lot of old-school Metalheadz tracks, and I guess this music had a big impact on the atmosphere of this track. Same story with 'Runnin' Out' - I made the demo in US, then finished it when I was preparing the release for YUKU. 'Offset Range1' is my personal favorite. I wrote it in Kyiv, when I had Covid and was tweaking knobs on my sampler and automation on my synth. 99' is my nostalgia for good ol' breakbeat and 'Vezhlivy Otkaz' has the most unusual drop I have ever written. Of course, it's an honor for me to have a remix by Tim Reaper on board, because I'm his fan.
I'm writing this text now in Kyiv. Because of Russian invasion, I'm not sure what my future will be like, but I don't see any reason to postpone this release. All the profit from this EP I'd like to send for the charity & restoration of the infrastructure of Ukraine.
Big thanks to YUKU team for understanding, professionalism and support."
Igor (Hidden Element)
Sharing the spotlight along with the label owner Umwelt on this brand new split EP, Zeta Reticula the Slovenian born artist delivers two tracks of high intensity with distinct energy! Melodic "The Fate Of The Ship Unknown" opens A side with a pure robotic mayhem based upon synthetic strings, rushing leads and frantic arpeggiator flights over seductive vocals. Hostile and heading at the same. Progressive "Documented Contact", coming next, signs an intricate yet groovy electro sci-fi masterpiece made of rolling bassline, moody atmosphere and pounding beats. This is Zeta Reticula at its finest!
The Lord of Darkness treats the flipside with a more aggressive sound. As its title suggests, "Hyperspace" propels the listener at light speed through the depths of the universe thanks to a dystopian machinefunk atmosphere where hammering drums fuse with cold layers in Umwelt's typical trademark. Classical electro shaker "Earth To Unknown" concludes this uncompromising 12" with a luminous structure enhanced with a deeper and soulful approach.
Sharp, underground and always dancefloor oriented, this limited release comes packed in a colorful urban picture disc designed by the great CN6 aka Nexus 6!
After a devastating opening salvo of 19 modernist rave mutations on a double tape pack for Sneaker Social Club, Minder lands on Hypercolour with another 19 cybernetic fever dreams still reeling from the open season NRG of hardcore.
If you need to understand where Minder wants to take you, strap in for the labyrinth narrative of ‘Knotted’, a smudged, 15-minute breakbeat suite barrelling through lurid dystopian street scenes with only a blown-out bass sprite as a guide. Throughout Sanctuary, bass is the constant when all else is chaos. It comes in thick, warped Reese tones on ‘Simulated Hunt’, gets twisted out through angry filters on ‘Popcorn Lover’, comes on wobbly in true 2-step style underneath grimey garage anti-anthem ‘Ard’.
There’s a lot to take in across the spread of Sanctuary. It’s the sound of every rave genre slowly digested over 30-plus years, until the lactic acid metabolises every snare rush, every searing lead line, every chipmunk vocal lick, and everything gets mashed up and spat back out into a gnarly signal chain at the flash point of inspiration. The time taken is key – this is the sound of a life in front of the speaker stack manifesting in something too wild and weird to be derivative. You’ll hear snatches of familiarity thrown into unfamiliar contexts, but for all the detectable lineage, Minder’s sound is unsettling in its originality.
Dislodged ragga jungle techno, muffled hardcore nightmares, hard n’ haggard acid trance, junked up jump up – you could write an essay on the sounds you can spot and the way they’ve been twisted. Aside from the omnipresent low-end, it’s the unflinching honesty of Korron’s repeat appearances on the mic throughout which bring Minder’s disturbing patchwork into focus. For all the futurism attached to these sounds, it’s also caked in a very human filth which can only come from this earth. The roots run deep, and the fruit is rotten, and isn’t that how it should be?
“Mt. Hadamard National Park” is the Hallow Ground debut by composer, programmer, and instrument designer Matthias Puech. Informed by mathematical and artistic approaches that aim to both contemplate on and control complexity, the eponymous five-part composition explores natural and mystical forces through what he calls “audio-naturalist noise”. The composition is complemented by two further pieces that follow similar concepts: “Suspension” emulates the chemical phenomenon of the same name, while “Imperceptible Life” hinges on the musical possibilities of stridulation. Over the course of the entire album, Puech’s singular take on electro-acoustic and electronic music creates unique sonic spaces as much as it pays its dues to the unpredictability of the world that we inhabit. Jacques Hadamard was a pioneer among physicists and mathematicians who, in the early 20th century, were puzzled by processes that are deterministic but hard to predict. The sounds, arranged in sweeping and tense dynamics, serve as multiple agents within a complex system. The synthetic flora and fauna created through the use of the composer-performer’s instruments feels uncannily familiar or even disturbingly hostile at times... This process is mirrored in aquatic yet tangible sounds as well as dynamics that slowly converge towards density before the composition ends on a quiet note. The 14-minute-long “Imperceptible Life” is based on a 2019 live performance first conceived as a full-scale test drive of some new electronic equipment Puech was designing at that time. It explores the musical potential of stridulation, the act of creating sounds by rubbing together certain body parts—in the insect world, a common means of communication. Again, Puech’s approach is neither purely naturalistic nor only mimetic. Rather, “Imperceptible Life” offers yet another artistic reflection on the theme of chaos and order, and how human perception and emotion relate to it.As a whole, “Mt. Hadamard National Park” thus not merely mirrors natural phenomena but transforms them in ways that are emotionally evocative: the complexity and apparent arbitrariness of Puech’s compositions reveal an underlying beauty that is equal parts haunting and comforting.
- 1: Margaret Murie 02 46
- 2: Crux 04 07
- 3: Nameless 0 6
- 4: Eidetic 01 36
- 5: Thursday Night 03 09
- 6: Halve 03 12
- 7: Osco Drug 01 19
- 8: Lillian Isola 02 3
- 9: Safn 01 10
- 10: Maple Seed 02 21
- 11: Viridiana 03 29
- 12: Tet 01 51
- 13: God Innocent Controller 01 36
- 14: The Void 03 17
- 15: Alces 01 06
- 16: Pastel Dust 03 30
- 17: Where To 04 02
Dark Green Vinyl[24,33 €]
American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled »Eidetic,« a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. The resulting work engages with the universe's unflinching mortality and, as he says, »the ways it has modified and improved my relationships, especially with family.« Embodied by the creek, leaves, and ferns of the cover photography — taken in Michigan’s Burchfield Park, where he and his dad used to hike and »muse on existence« — the music glistens and unfurls with the flow of life he’s come to know. »Eidetic« is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride.
Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. Recorded primarily with guitar, tapes, and voice — and spanning labels with albums for Kranky, Morr Music, Beacon Sound, and Past Inside the Present — his catalog flows seamlessly between ambient improvisation and pop composition. Much like the analog photos that often accompany his releases, songs can feel dreamily softened and distant, and others beautifully vivid and detailed. 2021 full-length »Bloodless« found Meluch deep in droning decay, expressive yet wordless. With »Eidetic,« he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix — a warm and calming tenor, a harmonic coo more than a whisper — ever-observant and actively processing.
To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. The modest utility is what he knows best, and here he pushes the output to its most pristine potential.
»Eidetic« opens in a swirl of familiar haze; »Margaret Murie« eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with »Crux,« a tender piece written about finding new motivations in a new city. »We covet this rare green hue / Here at the farthest point from home,« he sings above a reassuring pattern of strums and percussion. Meluch's prose shines on the swiftly-moving »Nameless,« inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors; »folks would slowly go insane while looking into their own reflections every day,« he adds. The idea informs a series of surreal abstractions before everything drops out in the final minute, and we are left free-floating in eerie nothingness.
Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest »Thursday Night« catches his mind overly active and too stoned, riffing on black holes and songwriting itself. »Halve« references the splitting of the atom, what he considers »the beginning of man's downfall,« and the unrealized initiative proposed by the US government that would have created 'nuclear refuges' in its national parks. Meluch's loved ones weave throughout; »Tet« holds his father's experience in Vietnam and its lasting effects. »Lillian Isola« touches on his maternal grandmother's spinal curvature, and »Pastel Dust« navigates the wake of his cat, who died on New Year's Eve 2020.
At first blush, Meluch's atmospheric and melodic sensibilities resonate purely in their own right. Upon closer meditation, his ability to render stories — many of which surround human tragedy, misfortune, and understanding — through the prism of his poetry makes »Eidetic« even more rewarding.
- 1: Margaret Murie 02 46
- 2: Crux 04 07
- 3: Nameless 0 6
- 4: Eidetic 01 36
- 5: Thursday Night 03 09
- 6: Halve 03 12
- 7: Osco Drug 01 19
- 8: Lillian Isola 02 3
- 9: Safn 01 10
- 10: Maple Seed 02 21
- 11: Viridiana 03 29
- 12: Tet 01 51
- 13: God Innocent Controller 01 36
- 14: The Void 03 17
- 15: Alces 01 06
- 16: Pastel Dust 03 30
- 17: Where To 04 02
Black Vinyl[24,33 €]
Dark Green Vinyl
American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled »Eidetic,« a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. The resulting work engages with the universe's unflinching mortality and, as he says, »the ways it has modified and improved my relationships, especially with family.« Embodied by the creek, leaves, and ferns of the cover photography — taken in Michigan’s Burchfield Park, where he and his dad used to hike and »muse on existence« — the music glistens and unfurls with the flow of life he’s come to know. »Eidetic« is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride.
Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. Recorded primarily with guitar, tapes, and voice — and spanning labels with albums for Kranky, Morr Music, Beacon Sound, and Past Inside the Present — his catalog flows seamlessly between ambient improvisation and pop composition. Much like the analog photos that often accompany his releases, songs can feel dreamily softened and distant, and others beautifully vivid and detailed. 2021 full-length »Bloodless« found Meluch deep in droning decay, expressive yet wordless. With »Eidetic,« he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix — a warm and calming tenor, a harmonic coo more than a whisper — ever-observant and actively processing.
To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. The modest utility is what he knows best, and here he pushes the output to its most pristine potential.
»Eidetic« opens in a swirl of familiar haze; »Margaret Murie« eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with »Crux,« a tender piece written about finding new motivations in a new city. »We covet this rare green hue / Here at the farthest point from home,« he sings above a reassuring pattern of strums and percussion. Meluch's prose shines on the swiftly-moving »Nameless,« inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors; »folks would slowly go insane while looking into their own reflections every day,« he adds. The idea informs a series of surreal abstractions before everything drops out in the final minute, and we are left free-floating in eerie nothingness.
Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest »Thursday Night« catches his mind overly active and too stoned, riffing on black holes and songwriting itself. »Halve« references the splitting of the atom, what he considers »the beginning of man's downfall,« and the unrealized initiative proposed by the US government that would have created 'nuclear refuges' in its national parks. Meluch's loved ones weave throughout; »Tet« holds his father's experience in Vietnam and its lasting effects. »Lillian Isola« touches on his maternal grandmother's spinal curvature, and »Pastel Dust« navigates the wake of his cat, who died on New Year's Eve 2020.
At first blush, Meluch's atmospheric and melodic sensibilities resonate purely in their own right. Upon closer meditation, his ability to render stories — many of which surround human tragedy, misfortune, and understanding — through the prism of his poetry makes »Eidetic« even more rewarding.
Faitiche presents the album Exq I by Berlin underground techno legends Muellie Messiah & Punk not Punk, mainly known under their 100Records moniker. Weighing in at 36 minutes, the track was recorded in 2010, effortlessly intermingling dub, drone and collage, a blend achieved thanks to the duo’s jazz-inspired approach to improvisation.
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100records is one of the last undiscovered treasures of the Berlin underground of the 1990s and 2000s. Like Elektro Music Department, 100records is unthinkable without techno and the club scene, but with a few exceptions the duo’s tracks are not aimed at the dancefloor. With a claim to universality and a broader frame of reference, 100records developed a more extensive understanding of sound that rests on three pillars: the understated analogue drums of the Roland TR-808, a blurred, dubby sound, and improvisation.
On first hearing, Exq I has little in common with the groovy, detailed, variation-rich sound usually associated with 100records. Recorded at the end of a highly productive decade, it is an echo speaking of exhaustion in which dub, drone and collage converge to form something whose jazz sensibility makes it readily identifiable as the work of 100records.
100records was founded in 1994 by Muellie Messiah (Dirk Budde) and Ekki 808 (Ekkehard Rau), who were joined in 1999 by Punk not Punk (Martin Osti). Around 2002, Ekki departed, leaving Budde and Osti to continue as a duo. Since then, their relationship has shaped 100records: Budde is the driven lone genius doggedly pursuing sounds, Osti the pragmatist who turns ideas into music.
As well as making music, Budde is also a musicologist. In 1997 he published his PhD thesis entitled Take Three Chords... Punk Rock and the Development to American Hardcore. As well as being his specialization, punk is also part of his identity: in the 1980s he sang and played keyboards in various punk bands in Kassel, the best known being Haunted Henschel.
After the fall of the Wall, attracted by the freedom of the newly reunited Berlin, Budde packed his bags and drove to the formerly divided city, having already become acquainted with techno at Kassel’s influential Stammheim club.
UGLY is slowthai pulling himself apart and exposing his anxieties of the last couple of years, an acronym for U Gotta Love Yourself. Musically, this new album may show a side of him that people haven’t heard before but he sees it as the fullest picture yet - and attentive listeners will have noticed this musical tendency before. UGLY is about reconnecting with first principles. Plunging into rock music with as much singing as rapping, it is both a striking departure for slowthai and a return to the roots of Tyron Frampton. Recorded in producer Dan Carey’s home studio alongside frequent collaborator Kwes Darko, UGLY is a fluid combination of musicians including Ethan P. Flynn, Jockstrap’s Taylor Skye, Beabadoobee guitarist Jacob Bugden, drummer Liam Toon, and on the dark and woozy title track, his friends Fontaines D.C.
- 1: I Will Die With My Head In Flames
- 2: Stained Glass Windows In The Sky
- 3: I Didn't Mean To Hurt You
- 4: Space Blues
- 5: Autumn
- 6: Be Still
- 7: There's No Such Thing As Victory
- 8: Magellan
- 9: The Final Resting Of The Ark
- 10: Sandman's On The Rise Again
- 11: Don't Die On My Doorstep
- 12: Tuesday's Secret
- 13: Book Of Swords
- 14: Female Star
- 15: Fire Circle
- 16: The Darkest Ending
- 17: Bitter End
- 18: Rain Of Crystal Spires
- 19: Voyage To Illumination
- 20: Ballad Of The Band
Black Vinyl[26,85 €]
Following a run with Cherry Red Records that featured a potential major label jump, guitarist Maurice Deebank quitting and rejoining multiple times, several pop stardom carrots just out of reach, mixing battles with Robin Guthrie, and a shocking entry into the record charts, Lawrence (just “Lawrence”, like “Cher” or “Madonna” thank you very much) knew he would be making a change with his band Felt. He would be seeing out his plan of ten albums and ten singles in ten years alongside a new partner in Creation Records. This compilation beautifully captures those years.
Creation was beginning a rapid ascent at the time, with Alan McGee serving as its hyperactive mouthpiece and focal point. McGee was all in on the band. “Lawrence achieved pop perfection, a breathless rush of sensitivity and intelligence. It was too understated to be commercial, too art to go pop, too pop to go art—in other words it was a perfect combination of all the music I loved at the time.” McGee was thrilled to have what he considered a real star on the label, and Lawrence was equally thrilled to have such an enthusiastic cheerleader. He funneled that enthusiasm into some of the most focused songwriting of his career, as well as some of his wildest experiments, all of which are on display here.
Lawrence Hayward knew that he wanted to be a pop star as a teen, and he devised a plan to release ten albums and ten singles over ten years to make that dream come true. A particular and determined individual, he would only be known as Lawrence from that day forward. His hopes for stardom would be pinned on his newly formed band, the succinctly named Felt. Soon signed to Cherry Red Records, Lawrence’s achingly cool vocals and the group’s way with walking melodies were evident on their debut for the label, “Something Sends Me To Sleep.” This compilation collects material from Felt’s Cherry Red period of 1981 to 1985, kicking off with that confident start, assembling numerous high points, and closing with their biggest hit, “Primitive Painters.”
This phase of the band is defined by the songwriting partnership and unique interplay of Lawrence and guitarist Maurice Deebank, with Deebank’s stylish and confident playing the envy of many of their counterparts. He delivers a constant string of shimmering hooks that wrap themselves around and over top of Lawrence’s more traditional beat combo song structures, as if trying to fit four songs worth of ideas into a pre-set radio friendly cutoff time. It works wonderfully as Lawrence always counters with a solid bedrock.
In one of many brushes with the brass ring, in 1984 Felt recorded versions of “Dismantled King Is Off The Throne” and “Sunlight Bathed The Golden Glow,” for the newly formed and Warners-backed label Blanco y Negro, in hopes that the band would follow their A+R man Mike Alway to the executive suite. Despite putting forward two of their finest songs, it was not to be. While major label dreams had to remain on the shelf, fans were delighted to be able to hear these beautifully stripped down and more direct versions when this compilation was released a few years later.
By 1985 the Felt roller coaster was something Maurice Deebank was constantly getting on and off of. As Gary Ainge always kept the beat, and Lawrence never lost focus, they were joined by local teen prodigy Martin Duffy on keyboards, filling out the arrangements, and following Deebank’s racing six-string cascades in “The Day The Rain Came Down” you can even hear a tiny hint of the next phase of the band in Duffy’s organ before Maurice swoops to the finish. The newly expanded Felt would then put everything they had into making one of the defining releases of the 80s: “Primitive Painters.”
Lawrence Hayward knew that he wanted to be a pop star as a teen, and he devised a plan to release ten albums and ten singles over ten years to make that dream come true. A particular and determined individual, he would only be known as Lawrence from that day forward. His hopes for stardom would be pinned on his newly formed band, the succinctly named Felt. Soon signed to Cherry Red Records, Lawrence’s achingly cool vocals and the group’s way with walking melodies were evident on their debut for the label, “Something Sends Me To Sleep.” This compilation collects material from Felt’s Cherry Red period of 1981 to 1985, kicking off with that confident start, assembling numerous high points, and closing with their biggest hit, “Primitive Painters.”
This phase of the band is defined by the songwriting partnership and unique interplay of Lawrence and guitarist Maurice Deebank, with Deebank’s stylish and confident playing the envy of many of their counterparts. He delivers a constant string of shimmering hooks that wrap themselves around and over top of Lawrence’s more traditional beat combo song structures, as if trying to fit four songs worth of ideas into a pre-set radio friendly cutoff time. It works wonderfully as Lawrence always counters with a solid bedrock.
In one of many brushes with the brass ring, in 1984 Felt recorded versions of “Dismantled King Is Off The Throne” and “Sunlight Bathed The Golden Glow,” for the newly formed and Warners-backed label Blanco y Negro, in hopes that the band would follow their A+R man Mike Alway to the executive suite. Despite putting forward two of their finest songs, it was not to be. While major label dreams had to remain on the shelf, fans were delighted to be able to hear these beautifully stripped down and more direct versions when this compilation was released a few years later.
By 1985 the Felt roller coaster was something Maurice Deebank was constantly getting on and off of. As Gary Ainge always kept the beat, and Lawrence never lost focus, they were joined by local teen prodigy Martin Duffy on keyboards, filling out the arrangements, and following Deebank’s racing six-string cascades in “The Day The Rain Came Down” you can even hear a tiny hint of the next phase of the band in Duffy’s organ before Maurice swoops to the finish. The newly expanded Felt would then put everything they had into making one of the defining releases of the 80s: “Primitive Painters.”
Innemuseum is the debut album by Danish composer, singer and multi-instrumentalist Cisser Mæhl. The 10 fragile compositions for vocals, sparse electronics and a myriad of instrumentation illuminate a hushed charm unlike few other Sonic Pieces releases to date.
The album sparked off while Cisser was working in a mountain lodge in mid Norway during summer 2019. On her spare time she would find herself recording mountains, rivers, stones, plants and animals in the beautiful scenery. After moving to Oslo shortly after, she rented a studio to further work on her own music, songs and sound processing. Through some friends she met Norwegian artist Jenny Hval who became an inspiration as she started taking solo classes with her. Jenny then pushed to contact producer Lasse Marhaug to work together. This became the last piece of the puzzle for Innemuseum to come to fruition as Lasse ended up putting the final touches on the album. When Cisser returned to Copenhagen after 7 months in Oslo, the album was finished. The title “Innemuseum” refers to both the dark months in Oslo and the retraction towards the inner self. An inner museum - music from within, both as a person and as in physical places.
This is undeniably a very personal record that sounds like the musical embodiment of Cisser herself. She sings in Danish in a close-miked way like she's sitting right next to you, all while gentle rhythms and soft strings together create a sort of bright, minimal chamber music with hints of pop sensibility. It almost feels like a Scandinavian reflection of Colleen's work in her more quiet, vocal periods. A music box of weightless compositions for the conscious mind.
Green Marbled Vinyl
Following up to his maiden transmission for the label, "Cosmic Silence", issued a year ago, Italian producer Alessandro Cozzolino AKA Cioz resurfaces on Stil vor Talent with his longed-for debut album "Supermassive Whole" - a ten-track cosmic odyssey in sound percolating staple elements of Cioz's palette of choice, from otherworldly techno to Latin-inflected house, via the obvious injection of kosmische and electronica soundscaping.
The lead single "Wachaka" - recorded in collaboration with Cape Town producer Ryan Murgatroyd, exemplifies Cozzolino's electrifying approach to a T. An inch-perfectly balanced mix of Afro-infused polyrhythmic bravura and seesawing synth moves, the track swells with a blazing fire at heart that keeps on sprawling infectiously with each and every bar. Trading the linear buildup for most sensuous levels of syncopation, "Me Monkey" serves up a warmer kind of funk, perfect for getting snug and cozy before an avalanche of seesawing chords up the ante towards space-opera-esque amplitude. All in elusive sinuosity and processed machine talk, "Harakat" dwells the confines of wonky house templates and polyamorous EBM, while "I Always Wanted To..." goes the slo-burning, counterclockwise route, primed for languid moments in the alcove.
"B1" is perhaps the most spitting avatar of the Italian whiz's hybrid rolling-and-pounding rhythmic style, nicely embodying both its quirky, hip-swaying and fanfare-like percussive aspects. The ecstatically bouncy "Do It The Way You Feel" showcases Cioz's more rousing, floor-friendly facet with a killer combo of hi-octane electro dynamics, pop-rock motif'd hooks and slashing breaks taking the controls. The mood also happens to be melancholic at times, such as on the beautifully understated "Is This Real", which bridges the gap betwixt piano-house déjà-vu - here tweaked to distinctively soul-wrenching effect, and a prog buildup glossed under a thick sauce of FX, similar to that of "Sudpol Birgit"'s inflating saturation in the post-prod treatment. Somewhat brushed with balearic shades in mind, "Pace e Amore" follows a more classic curve, slowly veering off onto ambient-laced territories, while "Lost in Space" evokes a certain idea of gravity-defying plenitude through that ever intuitive and subtly arranged collage of tender wistfulness and endless attraction towards the groove, which defines Cozzolino's phraseology so fittingly.
Over the last half decade, the music collective Constant Smiles has produced a prolific output of acclaimed music, culminating in their forthcoming record Kenneth Anger, masterfully brought to life by engineer Jonathan Schenke (Parquet Courts, Liars, Dougie Pool). The group is known most recently for their much-praised debut album for Sacred Bones records, Paragons, an emotionally resonant offering of indie folk masterpieces that all confront the internal ways we process our struggles with intimacies, addiction and humanity produced by Ben Greenberg. Constant Smiles' primary singer/songwriter Ben Jones uses the creative process as a tool for working through deeply transformative periods in his life. The band's indie folk music lays bare this internal process, but on Kenneth Anger, the music shifts to synth pop and looks externally, examining creativity, community, ritual, and their place in the healing process. Ritual takes a primary role in the eponymous Kenneth Anger. Not only is auteur Kenneth Anger himself known for his sensorial depictions of ritual, Jones often used the films as a silent visual back drop during his song writing sessions, a ritual that grounded the creation of the album. And while the director's use of saturated color inspired the warm `80s synth style production, the director's trailblazing spirit of authenticity also pushed Jones through his most vulnerable expression to date. While the narrative undertones of the songs deal with fear and isolation and anxiety, the songs themselves were created through the healing process of ritual, and enriched with collaboration, community and trust. The resulting music produces a balm that can genuinely recalibrate the nervous system. The listener journeys through the depths of every track while being lifted and guided by the music's transformative, hypnotic power and this illustrates one of the foundational accomplishments of the album. Just as a Kenneth Anger film explores the underbelly of the unconscious through often soothing visuals, Kenneth Anger the album conjures the underworld into a series of synth pop classics.
The Young Senators are an exemplary progenitor of DC's hyper-local, hyper-celebrated Go-Go scene. Peers of Chuck Brown's Black Heat and Soul Searchers, the septet was led by energetic singer and conga player Jimi Dougans, and featured saxophonist Leroy Flemming, guitarist Calvin Charisty, keyboardist Frank Hooker, drummer James Johnson, bassist Wornell Jones, and trumpeter Phillip Guilbeau. The band issued two singles on the the tiny Innovation label, before joining up with Motown's Eddie Kendricks in 1972 for his sophomore effort People... Hold On. The Young Senators' fuzzed-out brand of psychedelic soul is often bootlegged, but finds it first legitimate release in 45 years via these remastered sides.
- A1: ) Siamese
- A2: ) First Day On A New Planet
- A3: ) Pow R Ball
- A4: ) Kewpies Like Watermelon
- A5: ) Phasers On Stun/ Sola Kola
- A6: ) Black Hole Love
- B1: ) Velvy Blood
- B2: ) Plastic Ashtray
- B3: ) Death 2 Everyone
- B4: ) Pachinko
- B5: ) (-)
- B6: ) Kernel
- B7: ) Road Song
- C1: ) It Is
- C2: ) On Yr Mind
- C3: ) Teen Dream
- C4: ) Majesty
- C5: ) Burriko Girl
- C6: ) Got The Sun
- D1: ) Silver Krest
- D2: ) Sucker/ Kitty Litter
- D3: ) Lo-Fi Scary Balloons
- D4: ) The Power Of Negative Thinking/ The Love That Brings You Down
Remastered reissue of “We Are Urusei Yatsura” (originally released in 1996), with bonus vinyl of unreleased demos and B-sides
Celebrating the 30th Anniversary of the founding of Glasgow “Geek Rock” band Urusei Yatsura
– Double Clear-Vinyl Reissue of 1996 Album
In the days before “landfill” indie, and in rebellion against a developing Britpop orthodoxy, there were some weird but melodic bands coming of age outside London that drew inspiration from the US underground and the sparkly retro-futurism of Japan. Primitive guitar noise with art rock leanings, post punk DIY and fanzine culture. The best known of these bands was maybe Urusei Yatsura; “noisy stars”, named in honour of Rumiko Takahashi, legendary manga creator.
Back in 1996, after several increasingly well-received 7’s, the band travelled to Leamington Spa to record their debut album with John Rivers, producer of Swell Maps and Glasgow scene godparents, The Pastels. The resulting album won the group legions of new fans and gained them their first Independent #1 chart placing, alongside peers Ash and Super Furry Animals.
“These were fertile years in Glasgow, a scene with no name, no single sound, where the magic thread tying everyone together was words and works so personal, they couldn’t be mistaken for anyone else’s. ‘We Are Urusei Yatsura’ is a cascade of ‘why not?’ thinking. The way ‘Phasers on Stun’ spirals into ‘Sola Kola’; the sunburned 23-second improv at the end of ‘Pachinko’; the slack-echoing strings of the outro to ‘Road Song’ sprayed with the shrapnel of toy electronics. Pure pop magic, Ren & Stimpy on upstairs, ray-guns, Ian’s homemade walkie-talkie speaker, a beatbox, all sealed with a “Talking Tina” doll’s emphatic endorsement: “I love it”” – Nick Soulsby
The vinyl-only double LP set comprises the original 1996 album recorded by John Rivers, accompanied with an extra disk of unreleased demos, rare singles and B-sides which have not been available since the 90’s. It documents the time leading up to the release of the LP and the singles that came from it, capturing the development, lost pop moments and essential experiments from the eccentric and joyful Glasgow band. The cover has been completely remixed using archive
photos and artwork from the time, with new interviews and extensive notes. The release marks 30 years since the official birthday of the band, 9/3/93.
“When I drove the transit van that took them down to Leamington Spa to record their first proper LP, there was a sense of quiet, assured anticipation. I couldn’t wait to hear it and when I came back a couple of weeks later to pick them back up, I remember so clearly when they played it from the van’s tape deck. Fergus and Graham were hunched over, focusing intently on what they wanted to change about the mix. The reverb wasn’t right or something. Maybe they didn’t like how high the vocals were in the mix. I said to them, you’re listening to the details, but missing what is most important–this is a fantastic record! It was. It is. It is a fantastic record. They were a brilliant live band and I am so lucky to have been able to have been there to see their formation.” – Alex Kapranos.
“On this, their second LP, P16.D4 solicited tapes from several artists from Europe, England, the U.S., Canada, and Japan, and mixed that with their own material. Though in the current digital age collaborations from artists thousands of miles apart is quite normal, this was a quite radical approach back in 1982, when work on this LP began – an interesting concept that actually works quite well, since these artists, which include Bladder Flask, DDAA, the Haters, Merzbow, Nocturnal Emissions, Nurse With Wound, and several others – work in a similar free-ranging experimentalism as P16.D4, and their particular elements, usually just vocals or one instrument or noise implement, blend well without diluting P16.D4’s own peculiar brand of avant-garde post-industrialism, but merely give it another facet. One of the best tracks, “Aufmarsch, Heimlich,” consists of a choir submitted anonymously from Eastern Europe phasing in and out of static while a skronky alto sax bleats away. Most of the pieces exist somewhere just beyond the borders of free jazz, industrial, and even classical avant-garde, full of jarring noises and strange transitions and with a heavy overlay of electronics. What started out as an experiment yielded one of P16.D4’s best albums.” - Rolf Semprebon / AMG
“Distruct is organized around sounds provided by the cream of experimental musicians of the early ’80s, from Nurse With Wound to Nocturnal Emissions, via De Fabriek, Die Todliche Doris, The Haters, Merzbow, and others. Obviously, there is no question of remixing here, and at no time do P16.D4 seek to hide its sources, clearly identifying the contribution of each artist in the liner notes. It would be futile to try to find the paw of each artist, the trio operating vis-à-vis its collaborators the same methods as in their own work. Reworked, distorted by various effects, cut, edited, aggregated with other sounds, produced by P16.D4 themselves, reprocessed. Exchange, communication, two other data that will constantly recur in the work of P16.D4, rich in external contributions and encounters of all kinds. Musically, and despite the diversity of sources treated, Distruct escapes the heterogeneous character, which often marks this type of collaboration, to offer a coherent whole: fragments of opera, Soviet speeches, out-of-tune guitar, saxophone, tattered violins, overdriven and metallic noisy attacks, jackhammers, field recordings, battered choirs, and many other less identifiable sounds. In addition to the desired dialogue between the artists, Distruct also offers a real reflection on listening, and on the expectations of the listener.” - Dissolve
P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW.
Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design.
The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete.
“This music is staggeringly original and innovative, and while it’s possible to locate it in a chain of circumstance that links it to ‘Industrial’ music, P16.D4 indulged in none of the empty cliches associated with the genre, worked incredibly hard, and seem to have been aiming at a form of sound art that was much more profound, varied, subversive, and potentially dangerous. Kuhe In 1/2 Trauer’s accompanying credits indicate their radical approach to making music: lots of improvisation, lots of live electronics, extensive use of tape-loops, some conventional instrumentation, and much that isn’t – like the milk churn on ‘Paris, Morgue’ or the use of baking tray and washing machine elsewhere. Even when guitars, drums or keyboards are used, they’re played very weirdly. It’s not even made clear who was doing what; the main credit is ‘Concept,’ which I assume means that one of the three devised the framework in which the noise would operate itself, and while RLW gets the lion’s share of these credits, a lot of the cuts are evenly divided among the team and I have no doubt that the group operated in a very democratic or libertarian manner. None of this prepares you for the insane and troubling sounds that reach your ears, composed with scant regard for conventional logic and following an exciting, absurdist path, especially in the matter of tape edits and juxtapositions of recordings.” - Ed Pinsent, The Sound Projector.
“Though this German group started out as a the new wave band P.D., by the time of Kuhe in 1/2 Trauer, their first LP under the P16.D4 name from 1984, they had developed far beyond into extremely experimental music similar to other post-industrial artists working with abstract avant-garde soundscapes. There’s a bleak industrial feel to the gritty, lo-fi electronics and tape loops, while the group throws in enough curve balls to keep it interesting. On some pieces, strange, looped choirs bubble out of throbbing pulses and drones of feedback, while others have clanging and clattering, and elements of musique concrète and improvisation blur the boundaries even further. The opening track, “Default Value,” is one of those disorienting pieces with noises flying everywhere, while “Paris Morgue” takes excerpts from one of their old P.D. tracks and messes it up with additional instruments, while the ungainly titled fourth track throws in a heavy texture of percussive noises to create an edgy ambience about to teeter off the edge, and the even darker and more ambient title track takes the tension even further. Arrhythmic and amorphous and capable at moments of becoming quite noisy and abrasive, while at others far more somber and quiet, Kuhe in 1/2 Trauer is quite a fascinating release.” - Rolf Semprebon / AMG
P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW.
Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design.
The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete.
Vive La Musique brings us yet another magical release, compiling four stunning tracks from South African bass player - Sipho Gumede. Taken from two rare albums originally released in the 80s, the music blends South African roots with Boogie influences and is the follow-up to the hugely successful "Jika Jika" reissue.
The release was born through label founder Aroop Roy's relentless search for a copy of the 1983 Peace album, which led to him tracking down the original producer - Greg Cutler - a key figure in South African music from that period and regular collaborator with Sipho. Aroop was blown away by "Uthinina" and "Bayabizana" - two unique tracks, featuring haunting Zulu vocals, African jazz flavours, and epic changes over hypnotic grooves.
"Something to Say" and "City of Gold" were recorded a few years later in the world-renowned Battery Mobile Studio. Sipho had been working there with Caiphus Semenya and Letta Mbulu and their influences can be heard, with drum machines and American Boogie instrumentation laying the foundation for powerful vocal lines sung in English, with soul and gospel sensibility.
The 12" comes with extensive liner notes from Greg Cutler, talking about his time in South Africa. He recalls his experience as a White producer, working with Black musicians under the challenges of apartheid and describes his musical journey with Sipho Gumede, with intriguing details on how the music and production evolved.
Feedback
"The music of Sipho is so good - wow! Uthininia def worth the 3 year search, but even more wonderful to then stumble over a tune like "Something To Say"!"
Hunee
"Chunky, soulful and deep. Thanks for unearthing these beauties!"
Mr Scruff
"Brilliant tracks! Thank you so much"
Gilles Peterson
"This is fucking amazing!!!!"
Eli Soul Clap
"Sipho's Music is great!"
Antal
"Amazing music that is perfect for today's music environment, a lovely blend of South African and boogie flavours."
Patrick Forge
Bei Daisy Jones & The Six handelt es sich um die fiktive
70ies-Band aus dem gleichnamigen Buch Bestseller von
Tayler Jenkins Reed. Die reale Band wurde im Rahmen
der Buchverfilmung nun gecastet und hat im Zuge dessen
das Album AURORA aufgenommen.
Zur Besetzung der "Daisy Jones & The Six" Band &
Show gehören u.A. Reiley Keough, Sebastian Chacon,
Sam Claflin und Suki Waterhouse.
Die 11-Song-LP AURORA wurde vom
GRAMMY®-nominierten Autor, Produzenten und
Multiinstrumentalisten Blake Mills produziert..
Geschrieben wurden die Songs u.A. von Marcus
Mumford, Phoebe Bridgers und Jackson Browne.
SYNOPSIS: Im Jahr 1977 waren Daisy Jones & The Six
ganz oben auf der Welt. Mit den beiden charismatischen
Leadsängern Daisy Jones (Riley Keough) und Billy Dunne
(Sam Claflin) war die Band aus der Bedeutungslosigkeit
zum Ruhm aufgestiegen.
Und dann, nach einer ausverkauften Show im Chicagoer
Soldier Field, löste sich die Band auf. Jetzt, Jahrzehnte
später, sind die Bandmitglieder endlich bereit, die
Wahrheit zu enthüllen. Dies ist die Geschichte, wie eine
ikonische Band auf dem Höhepunkt ihrer Macht
implodierte.
Daisy Jones & The Six wird ab dem 03. März als Serie
auf Amazon Prime zu sehen sein. Das Album AURORA
erscheint am selben Tag.
Since releasing Bury Me at Makeout Creek in November 2014, Mitski has received international acclaim for her distinct, arresting sound and profoundly reflective lyrics.
PLAY DEAD release a career-spanning anthology, a CD digipak with sixteen of their most essential tracks (also as a ten-track limited-edition blue vinyl LP). Between 1980-1985 they grew into one of the UK"s leading post-punk bands with regular indie chart hits and a large loyal live following. They built up through exposure from three John Peel sessions, extensive gigging (with UK Decay, Sex Gang Children, Killing Joke, The Cult and more), subsequently headlining UK and EU tours in their own right and landing a live spot on the UK"s top music TV programme, The Tube. On various labels they issued a series of singles and three studio albums: The First Flower, From the Promised Land and Company of Justice, the latter produced by Conny Plank. This album is collected from all of those releases.
Fazerdaze, aka Auckland-based singer / producer / multi
nstrumentalist Amelia Murray, is back with new music after a
very intentional five year pause.
Fazerdaze returns with ‘Break!’, an air-punch purge in musical
form, marking an important reintroduction to an essential artist
of our times.
In a society where being strong and resilient is often held up like
a badge of honour, it’s much, much harder to acknowledge
when enough is enough - to accept when it’s time to let go. It’s
a truth that Murray has spent years wrangling with, but one
whose story thankfully comes with an empowering punchline of
personal reclamation. Rewind back half a decade and,
objectively, things for Fazerdaze were hitting their stride. Then
residing in Auckland, an early determination to graft hard and
“put herself in the right places” had led to working for and then
signing with legendary New Zealand label Flying Nun. A debut
LP - 2017’s ‘Morningside’ - followed, full of gauzy melodies and
nfluenced by Frankie Cosmos, Japanese Breakfast, and the
dream-pop landscape of the time.
Finishing up touring for the record at the end of 2018, Amelia
speaks of a deep sense of burn out and, more than that, of
feeling the “wheels starting to come off” in her general life. “No
longer being stoic and strong was the best thing I ever did for
myself. Giving up on the people and things that weren’t working
in my life was this big release where I could finally put down this
weight that I was carrying, and ever since then everything has
been better in my life overall,” she continues with an audible
sense of relief. “I can hear my intuition and write songs and be
creative; I signed a record deal, I moved into my own place. It’s
like the floodgates opened for good stuff coming into my life.”
Black vinyl in a single sleeve jacket and printed inner sleeve.
Design by Joey Clough.
Press - Reviews & features in The Guardian, The FADER, Brooklyn Vegan,
Complex, Consequence, DIY, Narc Magazine, Pigeons and Planes.
Radio - BBC 6 Music A-List.
Online - Support from both fans & fellow musicians, including posts shouting
out ‘Break!’ from King Krule & Lorde.
Raucous, fuzzy new cut, ‘Falling Apart’, “takes you
on a journey through a hopeless chaos of love,”
explain the band. “It goes beyond a relationship’s
horizon, the point of no return - where everyone
nvolved is getting sucked in and spat out.”
The final taster from the band’s ‘After Taste’ EP,
ecorded with Dave McCracken (Sports Team, Pip
Blom, The Snuts) and Caesar Edmund (St Vincent,
Queens Of The Stone Age, Interpol).
Earlier singles, such as ‘Spit Me Out’ and
Landslide’, solidified the trio as one of the UK’s
most exciting new indie bands on the circuit, with
op support coming from the likes of NME, Dork,
The Line of Best Fit, 6 Music’s Steve Lamacq and
Radio 1’s Jack Saunders.
With ‘Wille’, their second album, the Vincent Meissner
Trio show that young, complex, crisp piano trio jazz
does not have to come from the USA, England or
Scandinavia, like many famous current
representatives.
Totally contemporary music with heart and brain,
whether in the form of original compositions or reconstructions of Whitney Houston, Louis Cole or The
Beatles.
What the Vincent Meissner Trio are able to do above
all is to convince with its fundamental honesty and
authenticity. Yes, the trio is being proactive in
determining how it wants to present its art, and also its
members as individuals. “It’s nice to have people
listening to us,” says Vincent Meissner, with the live
experiences of the last few months very much in mind.
He understands his pieces as a framework to be filled,
as a space to be walked through as a group together.
It is all about conveying impressions of the present
beyond words, about evoking emotional experiences
which go beyond the tangible moment in a way that is
completely natural. ‘Wille’ is an important step forward
for the Vincent Meissner Trio, and it will already make
listeners want more. This band are well on their way
TOO $HORT BORN TO MACK PRESSED ON GREEN VINYL!
Originally released on July, 20th 1987 on Dangerous Music, Born To Mack is Too $hort's 4th studio album and re-released as his first major label release in 1988 on Jive Records. Long out of print on vinyl, this West Coast classic contains the 9+ minute track "Freaky Tales" which Snoop Dogg would state was highly influential, to such an extent that Snoop covered the song in ‘97 for the hip-hop covers compilation In Tha Beginning. Too $hort is one of the pioneers of West Coast Hip-Hop, commemorated with a street named in his honor - Oakland’s Too $hort Way dedicated in December of 2022. Too $hort continues to make music and plays West Coast classics and upcoming artists on his Rock The Bells radio show Don't Stop Rappin and is a member of West Coast Pioneers super group Mount Westmore
In the last five years ElCamino has gone from up-n-coming Griselda affiliate to fan-favorite B$F member. He released two volumes of his self-titled album series in that time and left heads eagerly awaiting the third instalment. Then, last summer he served up ElCamino 3 and showed what he was really capable of. The acclaimed album features production by Harry Fraud, Camouflage Monk, CeeGee, and guest spots from 38 Spesh, Jay Worthy, A$AP Ant, and more.
BLUE NOTE TONE POET EDITION: produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern gemastert, RTI-Pressung (180g), stabiles Tip-on-Gatefold, wattierte Innenhülle.
Der Pianist und Komponist Andrew Hill gehörte in den 1960er Jahren zu den visionärsten Musikern im Blue-Note-Stall. Tatsächlich waren einige der 12 Alben, die er zwischen ’63 und ’70 für das Label einspielte, ihrer Zeit so weit voraus, dass sie erst Jahrzehnte später veröffentlicht wurden.
So wie das brillante Album “Dance With Death”, das 1968 entstanden war, aber erst 1980 das Licht der Welt erblickte. Zu hören ist Hill hier mit sechs höchst orginellen Eigenkompositionen zwischen Post-Bop, modalem Jazz und Avantgarde.
Exzellente Unterstützung erhielt er bei der Einspielung von gleichgesinnten Modernisten wie Trompeter Charles Tolliver, Saxophonist Joe Farrell, Bassist Victor Sproles und Drummer Bill Higgins.
24 Jahre jung war der Trompeter Carmell Jones, als er 1960 von seiner Geburtsstadt Kansas City nach Los Angeles ging. Schon kurz nach seiner Ankunft erhielt der vielversprechende Youngster, den manche
mit Clifford Brown verglichen, dort einen Plattenvertrag bei Pacific Jazz.
1961 konnte er für das Label sein phänomenales Debüt “The Remarkable Carmell Jones” aufnehmen. Im Zusammenspiel mit Tenorsaxophonist Harold Land, Pianist Frank Strazzeri, Bassist Gary Peacock und Schlagzeuger Leon Pettis präsentierte er auf dem Album eine hochinteressante Mischung aus Cool Jazz und Hardbop.
BLUE NOTE TONE POET EDITION: produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern gemastert, RTI-Pressung (180g), stabiles Tip-on-Gatefold, wattierte Innenhülle.
Der Pianist und Komponist Andrew Hill gehörte in den 1960er Jahren zu den visionärsten Musikern im Blue-Note-Stall. Tatsächlich waren einige der 12 Alben, die er zwischen ’63 und ’70 für das Label einspielte, ihrer Zeit so weit voraus, dass sie erst Jahrzehnte später veröffentlicht wurden.
So wie das brillante Album “Dance With Death”, das 1968 entstanden war, aber erst 1980 das Licht der Welt erblickte. Zu hören ist Hill hier mit sechs höchst orginellen Eigenkompositionen zwischen Post-Bop, modalem Jazz und Avantgarde.
Exzellente Unterstützung erhielt er bei der Einspielung von gleichgesinnten Modernisten wie Trompeter Charles Tolliver, Saxophonist Joe Farrell, Bassist Victor Sproles und Drummer Bill Higgins.
24 Jahre jung war der Trompeter Carmell Jones, als er 1960 von seiner Geburtsstadt Kansas City nach Los Angeles ging. Schon kurz nach seiner Ankunft erhielt der vielversprechende Youngster, den manche
mit Clifford Brown verglichen, dort einen Plattenvertrag bei Pacific Jazz.
1961 konnte er für das Label sein phänomenales Debüt “The Remarkable Carmell Jones” aufnehmen. Im Zusammenspiel mit Tenorsaxophonist Harold Land, Pianist Frank Strazzeri, Bassist Gary Peacock und Schlagzeuger Leon Pettis präsentierte er auf dem Album eine hochinteressante Mischung aus Cool Jazz und Hardbop.
Multi-RIAA Platinum and Gold certified singer/songwriter and producer Cavetown, also known as Robin Skinner, announces a highly anticipated new album ‘worm food’ today to be released November 4th / Limited Green Vinyl released March 3rd 2023
The first full length since 2020’s Sleepyhead, ‘worm food’ finds Cavetown unpacking the inner workings of his mind and delivers some of his most intricate lyricism to date. The announcement is a long time coming for fans of Cavetown, who have been patiently awaiting news of a new album for over two years. In that time, the popularity of Cavetown songs has continued to snowball, with an ardent community of fans proliferating around the world.
Since the age of 14, Robin (he/they) has created self-produced songs both intensely diaristic and touched with offbeat imagination. Now 23, the Cambridge, UK-based artist has emerged as one of the preeminent voices in the DIY bedroom pop scene, with more than 1 billion global streams to date, including nearly 7.6 million monthly listeners and 2.5 million streams a day on Spotify alone. With over 2 million YouTube subscribers and 1 million Instagram followers, he kicked off 2022 with the release of “Fall In Love With A Girl” with beabadoobee, which was featured in Billboard’s “The 25 Best Pride Songs of 2022 (So Far)” and followed it with “Grocery Store” in July, a reimagination of his collaboration “Trying Not To Cry” with Kina Beats that received praise from PAPER and V Magazine. Robin has also co-written and produced for artists such as mxmtoon, Chloe Moriondo, Addison Grace, and more.
Cavetown opened for Bleachers this summer at the Kia Forum in Los Angeles, CA, following US Tour that wrapped up in May. With over 50,000 tickets sold, Robin sold out venues across the country including the Hollywood Palladium in Los Angeles and Terminal 5 in New York City. He will embark on an EU/UK tour this Fall with sold-out shows in Paris, Berlin, London, and more.
The five songs on the Kingfisher EP deal in nostalgia, lost time, and the peculiar pleasure of sadness. It was recorded in StudiOwz in Pembrokeshire in December 2021, engineered by Iwan Morgan (who co-produced along with Georgia, and with whom she worked on her last album Mai). Musicians include Stephen Black (Group Listening, Sweet Baboo) and Iwan Huws, and with additional percussion by Osian Williams, and string arrangements by Owain Roberts. Georgia’s one-year-old son Idris features in the background of a few of the songs, if you listen closely enough! Glassy electronic beats and improvised vocals sit alongside dreamy Americana.
Georgia said: “There's a freedom you get with an EP - you can try things out, get it all out of your system. But all these songs are connected - they come from the same place. I imagined them all as scenes from the same film! “
- 1: Rita Lee & Tutti Frutti - Agora E Moda
- 1: 2 Jorge Ben & Toquinho - Carolina Carol Bela
- 1: 3 Rosa Maria - Deixa Nao Deixa
- 1: 4 Trio Mocoto - Swinga Sambaby
- 1: 5 Sandra De Sa - Trem Da Central
- 1: 6 Os Brazoes - Volks-Volkswagen Blue
- 1: 7 Myriam Makeba - Xica Da Silva
- 1: 8 Lalo Schifrin - Bossa Nova Em Nova York
- 1: 9 Tenorio Jr - Nebulosa
- 1: 0 Grant Green - Brazil
- 1: Tom Zé - Jimmy, Renda Zedisc
- 2: 1 Noriel Vilela - 16 Toneladas (16 Tons)
- 2: Marisa Rossi - Deixa Eu Te Amar
- 2: 3 Sandra De Sa - Vale Tudo
- 2: 4 Lemos E Debétio - Morro Do Barraco Sem Agua
- 2: 5 Marcos Valle - Naturalmente
- 2: 6 Antônio Carlos Jobim & Roberto Paiva - Eu E O Meu Amor
- 2: 7 Salinas - Tenha Fé, Pois Amanha Um Lindo Dia Vai Nascer
- 2: 8 Osmar Milito - Morre O Burro, Fica O Homem
- 2: 9 Nico Gomez And His Afro Percussion Inc. - Lupita
- 2: 10 Ze Roberto - Lotus 7D
- 2: 11 Rosa Maria - Avenida Atlantica
- 2: 1 Super Som Ta - Agora Chega
Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions Brazilian RARE GROOVE Discover the wonders of Brazilian music from 60s, 70s & 80s. A wave of modernity invades the country and Soul, Funk & Disco influences merge with traditional genres such as Bossa Nova, Samba or Batucada. This union led to a colorful and cheerful groove symbolizing the transformation of Brazil.
Recorded at the height of the global pandemic, and at a time when remote communication was becoming increasingly prevalent, "Choreological Exchanges" is part of Hastings Of Malawi's continuing investigations into the medium of communication itself. Prior to telephony becoming digital, all phone calls were routed through mechanical telephone exchanges, and the majority of the sounds on side one are the sounds of these exchanges and some of the voices of the engineers who worked with them.
Hastings Of Malawi make strange records and this one is no exception although it has a more linear narrative structure in opposition to what critics have described as their Dadaist approach. Their records certainly resist genre classification and do not really fall into the category of music. Hastings Of Malawi have themselves described previous records as films without light, radio plays and as poems. This one is a dance - a dance that takes place within the chain, or pipe, that is brain - mouth - telephone - telephone exchange - telephone - ear - brain.
"It is a dance record but not in the way that these are usually understood. An invitation to dance appears twelve minutes in on the first side. It is a dance within the wires, movement around noise used as a sculptural material rather than unwanted signals and a joyful exploration of sonic materiality. The second side begins with the voice of a telephone engineer, who states that in the top floor switch room of the exchange is the only vestige of human control. Is this top floor switch room the human brain? The sounds on this side, float between the mechanical telephone exchange and the body where the messages are created and interpreted - it is an exploration of the relationship between thought and the material devices in which telephone sound is propagated and transformed. Side two ends with a long list of randomly generated words created by digital voice synthesis." - HOM
The original 1975 version on Roulette is a much loved classic. Ron Foster’s 1985 instrumental version is a completely different interpretation with a full 21+ orchestra and now it takes on a new identity with the original lead singer of Whirlwind, Sandi Everett, who recently recorded a new vocal - This composition’s 48 year journey is now fulfilled!
On the flip we are proud to present LEE McDONALD’s LET’S PLAY LUCK, a hidden gem from his iconic LP ‘Sweet Magic’; released on a 7” for the very first time and as an extended mix!
After an interminable wait due to the vinyl manufacture crisis, Mercury 200 is back stronger than ever, supplying some homegrown material that is conceivably as potent as GOTG001. This time they teamed up with 2 legendary OG's, Apoc Krysis & MCR-T, to spice up your musical experience and bring you the best of the two worlds. Dealing at the intersection of breakbeat, Ghetto tech and trance, this record will definitely catch your attention. Parental Advisory Explicit Content. Legally available only on prescription.
For the first track of the vinyl, they teamed up with the Atlanta based rapper Apoc Krysis to blend two opposite genres in a Memphis rap infused techno banger. This unique collaboration put on the table whats the both side has the best to offer: powerful and lethal flow. This track is here to pick you up and put you back on your feet after a breakup. When nobody's there for you, this track is.
Full of fast and filthy grooves "Caramelo" is the track that will make you sweat. A heavy stomping beat with devilish vocals ready to make your ghetto inner self dance. Heavy grooves and a powerful bassline this track will slap you into consciousness. 100% Floor impact guaranteed.
On the flip side we start with an outstanding collaboration with Berlin most notorious player in the ghetto house-techno scene: MCR-T. An uplifting, instant serotonin booster.
Building up the tension at the start with a breakbeat and OG (original gangsta) lyrics, the tracks eventually turns into four to the floor house infused groove. Party killer guaranteed!
Last track but not the least consists in a classic mercury 200 signature breakbeat track. A fine blend of trancy and infectious melodies with a short rap hook and chest punching drums.
WITCH RIPPER haben eine liebevolle Hommage an die legendären Pulp-Science-Fiction-Storys aus der "Goldenen Zeit" des Genres erschaffen. Auf ihrem zweiten Album "The Flight After the Fall" erzählen die Amerikaner eine durchgehende Geschichte, die aus all den schmackhaften Zutaten besteht: Ein verrückter Professor, seine sterbende Frau, Kryo-Kammern und ein Schwarzes Loch dürfen dabei nicht fehlen. Garniert wird das Konzert von universell wichtigen Themen wie Liebe, Angst, Verlust und Akzeptanz. Musikalisch haben WITCH RIPPER ebenfalls das passende Rezept für "The Flight After the Fall" gefunden. Das Album steckt nicht nur erwartungsgemäß voller Vorwärtsdrang und ungezähmter Energie, sondern es finden sich ebenso flinke wie vertrackte Gitarren-Attacken, ein subtiler Hauch von Synthesizer-Sounds und kosmischer Atmosphäre sowie unverschämt eingängige Clean-Vocal-Hooks. Kurz gesagt, WITCH RIPPER bleiben ihren knorrigen Wurzeln treu, während sie sich gleichzeitig den Arena-Rock-Bombast von QUEEN und DAVID BOWIE sowie den überschwänglichen modernen Prog von COHEED AND CAMBRIA und MUSE zu eigen machen. Geboren und aufgewachsen in der Stadt des grauen Himmels und der lauten Musik, Seattle im Jahr 2012, haben WITCH RIPPER aus Washington von Anfang an die zeitgenössische Härte von Acts wie MASTODON, GOJIRA und BARONESS nahtlos mit der hymnischen Qualität des klassischen Rock verschweißt. WITCH RIPPER gehen ihre Musik auf typisch amerikanische Weise an: Fette Riffs, große Hooks und verdammt sei dieser Schlagzeuger! Mit "The Flight After the Fall" meldet sich die Heavy-Truppe aus Seattle mit einem kühnen musikalischen Statement in der US-Metal-Szene zurück.
Erstmalig als Repress auf Vinyl erscheint die offizielle Dubversion zum Kultalbum "Rasta Communication". Die 10 Tracks des 1978er Originalalbums wurden in Jamaika in Randy's sowie im Channel One Studio und in London (Chalk Fram Studio) mit Sly & Robbie und Musikern des Soul Syndicate aufgenommen. Am Mischpult saßen dabei Clive Chin, Lloyd McKenzie und Sid Bucknor, der finale Mix wurde von Prince Jammy im King Tubby's Studio ausgeführt. Die Arbeiten des Sängers und Produzenten Keith Hudson, auch bekannt als 'The Dark Prince of Reggae' (geboren 1946 in Kingston, Jamaika - r.i.p. 14.11. 1984 in New York), hatten einen großen Einfluss auf die Entwicklung des Dub.
Macht euch gefasst auf eine apokalyptische Reise!
"S.A.L.I.G.I.A" bietet komplexere Songs sowie düstere Texte über die Weltlage von heute und damals, und wie wir die Menschheit durch Krieg und Umweltzerstörung in die Apokalypse treiben.
Im Vergleich zum Debütalbum der Band bietet dieses Album ausgefeiltere Songs und Arrangements und ist eine musikalische Reise durch die Geschichte vom Mittelalter bis hin zur Gegenwart.
A limited edition 7” release by TARIKA BLUE. DYNAMITE CUTS give you a super fresh loud 45 cuts of this wonderful jazz dancer. Including a wonderful re-production of the original sleeve. Taken from the rare Blue Past LP, both tracks are first time on 45, don’t miss out x500 only
Second VA for ISSUES is a limited copy and special edition yellow vinyl and its big one as all the tracks included on the vinyl are the top selling tracks of the past few months.
First track on the A side is by Detlef. “Back2back” is simple but effective, with a strong kick, subby bassline, technical effects and a massive captivating vocal in the breakdown, creating tension using effects that leads to a massive drop. On the same side Just Jake’s “Sphinx” has a unique Ancient Egyptian vibe, with a funky Sitar and traditional Arabian singing driving the breakdowns, the track has a quick thumping, wobbly bass line groove with solid percussion.
On the B side there is Nicola d’Angella’s “Kill vibe” which is a dancefloor weapon with a quick bass that creates a unique groove and a massive breakdown with full vocals. On the same side there is also Chicks Luv Us with their popular track “Look so fun” which is extremely groovy and catchy with a big bassline and vocals that create a playful groove.
- A1: War In
- A2: Fn .380 Acp#19074
- A3: Vimy Ridge (In Memory Of Filip Konowal)
- B1: Pillars Of Fire (The Battle Of Messines)
- B2: Don't Tread On Me (Harlem Hellfighters)
- B3: Coward
- C1: And A Cross Now Marks His Place
- C2: Corps D'autos-Canons-Mitrailleuses (A.c.m)
- D1: Mit Gott Für König Und Vaterland
- D2: The Green Fields Of France
- D3: War Out
Ukrainian blackened death/doom metal offensive 1914 continue to reflect the gruesome tales of World War I, its soldiers’ fate, their death, fear and feats to be never forgotten, and unleash their new opus, Where Fear and Weapons Meet, on October 22nd, via Napalm Records. Its eleven tracks of pure historic harshness follow up to the band’s sophomore full-length, The Blind Leading the Blilnd (2018), and debut, Eschatology of War (2014), both highly acclaimed amongst critics, and create a sophisticated variety of massively brutal blackened death metal accented by dramatic and realistic audio soundscapes and disquieting melodies spiced with the approach of sludge and doom! Blurb IG#1: "After their highly acclaimed previous records, blackened death/doom metal unit 1914 again faces the cruelty of World War I on its third opus Where Fear and Weapons Meet . The first single “...And a Cross Now Marks His Place” already marks an absolute highlight, as this massive outburst features none other than Paradise Lost icon Nick Holmes, whose pervasive delivery matches with 1914 ’s mastermind Hptm. Ditmar Kumarberg’s (9. Westpreußisches Infanterie-Regiment Nr. 176) vocal harshness." Blurb IG#2: Blackened death/doom metal frontrunners 1914 return with their third inexorable opus, the new studio album Where Fear and Weapons Meet. On this masterpiece of pure harshness, 1914 again reflects the gruesome tales of World War I without making any compromises. Second single “Pillars of fire”, that deals with The Battle of Messines in 1917, starts with an atmospheric introduction that draws the listener deep into the album theme and erupts into a massive blackened death/doom outburst shortly after. Blurb IG#3:Since 2014, Ukrainian blackened death/doom metal visionaries 1914 have told the gruesome tales of World War I and are now ready to face the fiery depths again on their third attack, Where Fear and Weapons Meet. Third single “FN .380 ACP#19074” breaks in with heavy guitar lines and thunderous black metal drumming like a blaze of gunfire and reflects the assassination of Austrian Archduke Franz Ferdinand and his wife 1914 in Sarejevo, an event that caused the outbreak of World War I.
Following her 2021 debut, ‘Save My Day’, remixed by DJ Python, PYTKO returns to Phantasy with ‘Silent’, experimental and introspective electronic songwriting this time radically reworked by beloved pop-experimentalist, Bullion.
On ‘Silent’, PYTKO invites listeners to lean in closer than before. Seemingly untangling the frustrations of a faltering love affair, it’s vulnerable lyrics arrive buried beneath a sophisticated arrangement that, with bit-crushed electronics and rumbling bass notes, seems to decay with haunting effect. In contrast, the austere ‘Orchids & Limes’ mines an equally original sound, a striking sort of cyber-balearica sculpted around PYTKO’s intricate guitar work, conjuring an even darker sense of romance.
In radical contrast, Bullion proves a perfect fold to PYTKO’s vision with his positively high-spirited flip of ‘Silent’. The man behind DEEK Recordings and cult hits such as Blue Pedro keeps PYTKO’s perspective front-and-centre, while performing an alchemy of magic and melancholy that results in one the most memorable remixes in Phantasy’s fifteen-year history.
- A1: Yasper, Moods - Blessed
- A2: Aves - Stay Positive
- A3: Psalm Trees - Curosau
- A4: King I Divine - Reflections
- A5: Makzo, Jacuzzi Jefferson - Zephyr
- A6: Mommy - Jellyfish-Lamp
- B1: The Doppelgangaz - Dialed Up
- B2: Poldoore - Serenity
- B3: Bao, Venuz Beats - In Between
- B4: Kissamile - Daylight
- B5: Cygn - 2Girls 1Rose
- B6: Enzalla - Morning View
- C1: Sadtoi, Akulta - Billie & Zanaho
- C2: Mama Aiuto - Beach Safari
- C3: Vhsceral - Gimetime
- C4: Benson & Hedges - Masked Man
- C5: Evil Needle, Misha - Lost In This Moment
- C6: Chromonicci - Summer's Delight
- D1: Ian Ewing, Philanthrope - Barcade
- D2: Plusma - Luumi
- D3: Oddfish - Indian Summer Rally
- D4: Comodo - Last Up
- D5: Arbour - Solarium
- D6: Sleepy Fish - Pond Sketch
Following two standout releases from Rudi Creswick & Jamie Leeming, Alfa Mist’s Sekito Records imprint prepares to unveil their third LP project. Continuing their showcase of some of the most impressive up & coming Jazz players the UK has to offer, they are proud to present JSPHYNX’s debut LP ‘REFLEX’. Hailing from the coastal town of Broadstairs (Kent), JSPHYNX (AKA Johnny Woodham) is a talented trumpeter, who cut his teeth performing alongside the likes of Barney Artist, Mr Jukes, Corto Alto, Ego Ella May, Tom Misch, Loyle Carner, Ashley Henry, Jordan Rakei, Tertia May, Subculture & Maisha. Finding inspiration during lockdown, JSPHYNX began crafting loops at home before bringing them to his bandmates to help add some meat to the bones of the tracks. With an impressive roster of musicians on board (including Rudi Creswick on Bass duties, and Richard Spaven on drums) label boss Alfa Mist adopting the role of executive producer, ‘REFLEX’ is positioned at the sonic intersection of UK Jazz & Bass music.































































































































































