Cerca:lofty

The word masterpiece gets bandied about a lot. Not least by us. But here is a release that truly befits such a lofty title.

In 1980, Randy Muller’s Skyy dropped the monumental “Here’s To You”, comfortably one of the greatest dance singles of all time. Released on Salsoul, “Here’s To You” is now exceptionally hard to find in its original form. On this special Be With double-header, we present the sought-after 12" mix and back it up with the strutting “You Got Me Up”, which has never been on a 12" before.

Naturally, both are cut loud and bumping for devastating dance floor power.

A sure-fire classic of the NYC club scene and a true block party rocker, “Here’s To You” beautifully combines sweeping synth-strings, loose cymbal hits and swaggering lyrics delivered with enviable style. But the real hero is *that* bassline. Oh, wait, no, actually, it’s *that* synth refrain halfway through. Harnessing the Oberheim Matrix 12 to emulate a horn section has provided goosebumps on discerning dance floors ever since.

As Muller expressed in his 2007 Red Bull Music Academy lecture, “It’s a very special record, it’s positive and has that spontaneous, life-giving spirit in the groove. Everything locks, just pure chemistry.”

Like we said, it’s a masterpiece.

If that wasn’t enough, over on the B-side is “You Got Me Up”, a real hidden gem from Skyy’s Skyway LP. Also released in 1980, the track is a wonderful showcase of the group’s airtight rhythm section and Muller’s uncanny ear for a groove and a melody.

Santa Fe, New Mexico based artist Maggie Thornton a.k.a. Sky Civilian joins Atomnation and releases debut EP “Open Door” on the 14th of June, 2019. The productions from Sky Civilian evoke a lust for the future and the far-away, but she grounds this lofty mood in familiar territory, with nostalgic, detuned synth instrumentation and four-on-the-floor percussion. Her weightless, almost-whispered vocals capture a hyper-natural feeling. The overall lyrical message is one of raw sincerity, as listeners confront unmistakable themes of loss and longing. Strange yet playful vocal production techniques grant the work a subtle pop tilt.

A wonderful companion piece to the totemic Fed, we proudly announce the first ever vinyl edition of Korp Sole Roller by Plush. Liam Hayes' magical fourth full-length LP was previously only available on a rare Japanese import CD. Produced and arranged in 2010 by Pat Sansone (Wilco / The Autumn Defense), it finally arrives in a limited edition of 500 copies.

The common impression of Plush is that of an underground rock myth, lent greater poignancy by the lofty vision that galvanised his music. Yet while he has long been a cult concern, clued-up celebrity fans periodically declare their profound love for Hayes' maverick genius. Indeed, after Jason Schwartzman introduced Plush to Roman Coppola, several stunning songs from Korp Sole Roller soundtracked Coppola's A Glimpse Inside The Mind Of Charles Swan III.

As ever with Plush, it's easy to imagine you are listening to a privately pressed rarity from the mid-late 1970s. Or one of the criminally neglected jewels from the discography of Jimmy Webb or Burt Bacharach. The sound on Korp Sole Roller does differ crucially from Fed, however. It is more streamlined. These 10 gorgeously seductive creations careen around ornate string and wind instrument arrangements and producer Sansone's deft work is likely the reason for this. Yet, brilliantly, it still possesses that sun-warped take on classic pop-rock, that Plush specialises in. That peculiar "down-lifting" phenomenon of performing upbeat songs in an enigmatically mournful way.

Upon completion, Korp Sole Roller barely received anything resembling a release. Press coverage was zero because none of the major magazines or blogs knew of its existence. His management at the time essentially buried the album in order to concentrate on other releases. Looking back on this decision, it really made little sense. Everyone involved in its creation of these near-perfect gems is extremely proud of it. Liam himself has described it as the favourite of his albums. Pat's delicate work is astounding. Remastered especially for this special limited edition, it is presented in a sumptuous gatefold jacket with high-end art photography throughout, including full colour inner sleeves. Finally, here's your chance to own a slice of kaleidoscopic pop history.

The Numero Group's dive into the deep end of America's private press continues. Having battled the witches and wizards of Darkscorch, the outlaws of Cosmic Americana, and traveled alongside Ladies From the Canyon and their Lonesome Heroes, it's time to take it easy.With pop music's volume knob adjusted for deflation in the early '70s, softness begat smoothness. Crewmen arrived from the worlds of jazz, folk, rock, and soul, all peddling a product that was sincere, leisurely, and lofty. A sound that was buoyant, crisp, defined. Sometimes classified as West Coast—and, later, Yacht Rock—the compass points of our Private Yacht expedition are the blue-eyed harmonies of Hall and Oates, the cocaine-dusted Fender Rhodes of Michael McDonald, and the combover strums of James Taylor. Here, at the glassy apex of rock's softer side, 20 strong swimmers are gathered together. An album for both relaxation and reflection, where listeners can enjoy the present, a cool breeze, and a taste of the good life.

The fifth Modern Cathedrals release by Altstadt Echo seeks to exhume genuine, complex, and often contradictory human emotion from dead samples and broken beat structures. Throughout the 1905 EP, the artist crafts melodies that embody a tension between nostalgia and frustration, supported by carefully textured and relatively functional percussion. The remix of 'Dry Despair' by Abdulla Rashim (AR) strips the original of its lofty chords, instead pursuing a focused and bone-dry experimental techno approach. In contrast, the remix by Stave combines elements of the original's drifting atmosphere with violent industrial percussion.

There is a purpose behind ambient music: it is utility music. Brian Eno made that clear. If we go by Eno's definition, the music on T.RAUMSCHMIERE's new album is not ambient. Although - or in fact, because - each individual track on this album immediately and effortlessly generates atmospheres, it is impossible not to be drawn in. T.RAUMSCHMIERE sucks the listener into the perceptible endlessness of his pulsating sounds, even though the music does not actually expect anything from the listener. It is not demanding, it does not sound lofty or ethereal. It is in constant movement and evolution while sounding grounded at the same time. The tracks are not weightless; they have body.