Something's happening in country music. Newer artists and younger audiences are embracing instrumentation, vocal stylings and song structures long thought drowned in the ocean of slick, snap-track productions. Not easily dismissed as merely regional or a novelty throwback, the trend could be on its way to full-blown movement. If so, Kimberly Kelly's Show Dog Nashville debut album may prove to be the clarion call. Either way ... she's not asking. I'll Tell You What's Gonna Happen is more than her (abbreviated) album title, more than a reference to her connection with a Country Music Hall of Famer, and much more than a historical footnote. Rather, it's a statement of musical confidence earned the only way that happens: talent, work ethic, experience, vulnerability, and courage. For Kelly, it's all of a piece. "I like to think of it as a sub-genre of country music called 'country music,'" she says with a wink. A native of Lorena, Texas, Kelly has multiple connections to the Nashville industry. She has also been unafraid to defy convention. "This is not my first rodeo," she says of her label debut. "I worked really hard in Texas before I came to Nashville. I wrote songs, put out records, did a radio tour, and played every weekend while earning a Master's degree. They say don't have a 'plan B,' but I watched my mom struggle to get that next level of pay. My mom earned her bachelor's degree when she was 60, so school was important to me to know I could take care of myself.
What would it sound like if Ginger Root was asked to make the soundtrack to an American adaptation of a fictitious Japanese film from 1981 entitled, “街のやつ” (Machi No Yatsu) You’d get their new EP, “City Slicker” While the previous Ginger Root albums have had themes of introspectiveness and observations on past personal experiences, this upcoming release is the first collection of songs written from an outside perspective. The first collection of songs that live in a fabricated world. A short 19-minute escape to a metropolis that never was. Following a protagonist whose neighbors call him the “City Slicker”. On this EP, Ginger Root continues to pioneer their self-proclaimed genre: “Aggressive Elevator Soul”. By blending the bones and blueprints from the works of Yacht Rock and City Pop, with textures from the ever-evolving Bedroom Pop scene, glueing them all together fruitions something uniquely Ginger Root. One may argue that the best way to listen to “City Slicker” is not by vinyl, nor by cassette, but by VHS (if such a merch item were to be created). major label,
After an initial link up last summer, Altrimenti Records present four more remixes of cult Italian synth maestros Cabaret Du Ciel. Once again the focus is on experimentation, testing unusual crossovers between artists, eras and styles in pursuit of compelling new sounds.
The results across all four of these versions are distinct from each other, and distinct from wider trends in dance music.
First up, Benedek approaches 'Great Plains' as a low-tempo space-boogie excursion. Following in the wake of his releases on Leaving Records, L.I.E.S. and People's Potential Unlimited, the LA-based artist lays down thick slabs of Moog while retaining the ethereal swirl of the source material.
Rome's L.U.C.A. (aka Francesco De Bellis) has established his new wave-inspired sound on his own Edizioni Mondo label, not to mention working in other projects such as MAT101 and Jollymusic, and he brings a sprightly, motorik energy to 'Climatic Variation'.
Lorenzo Fortino's 'Suspacid Revisitation' version of 'Lakota' is aqueous and psychedelic, but remains elegant and understated in its execution. The emergent producer has already released on Wo-Land and most recently Miniera, and this remix ably embodies the entrancing qualities inherent in his sound.
The remix package concludes with a playful, leftfield electro diversion from elusive Montreal-based producers Sentena. Hailing from an emergent scene orbiting the Doo label and projects like SnP 500 and Fashion, their crooked take on machine music perfectly meets the adventurous aims of Altrimenti in testing out crossovers of styles and creative processes.
Between the late 70s and the early 80s, pop music was in a transitional phase. After a return to the roots of punk, rock was morphing into new wave, while disco was rapidly declining and the electronic revolution, already on the rise, was ushering in the transition from analog to digital. This period also saw the emergence and relatively brief flowering of a commercially dominant style that mixed soul influences (especially Stevie Wonder and Ear th Wind & Fi re) , folk/pop songwriting and jazz sensibilities in equal measure, creating a hybrid easy on the ears but also emotionally and musically rich. It was the style represented by artists like Christopher Cross, Michael McDonald, Gino Vannelli and Kenny Loggins, who were all influenced by black music. They belonged to a larger trend that took place in all major music producing countries, including Italy where, like so many other things, the style was not merely imported or copied, but reshaped into a specifically local version based on the nation's tastes and cultural traditions. In Italy, a soulful and sophisticated approach to pop music was embraced not only by established names like Mina, Alan Sorrenti and Loredana Berté, but also, and perhaps most importantly, by an entire generation of writers, arrangers and musicians who had grown up listening to early fusion, to Steely Dan's refined recordings, and to Quincy Jones's productions. So, with this compilation we hope to give new exposure to artists and songs that, despite having moderate or little success when first released, must be regarded as among the creative peaks of Italian pop music. "Paisà Got Soul" features pop veterans Peppino Di Capri, Mario Lavezzi and Alberto Radius alongside atypical singer-songwriters (Enzo Carella, Enzo Cervo, Gino D'Eliso), Italo-disco heroes (Stefano Pulga), international hit composers (Beppe Cantarelli, who has co-written for Aretha Franklin and Mariah Carey), Brazilian-born naturalized Italians (Jim Porto) and complete unknowns (Franco Camassa, I Ricci, Massimo Stella).It brings together little gems that in most cases are no longer available on the market, or only available in their original and now very rare vinyl format. We believe they all deserve to be rediscovered today, partly because of the recently renewed interest in "yacht rock", as this music style has been retrospectively named, and partly because they provide further evidence that Italian artists rework international music styles in creative and original ways.
Compiled and conceived by David Nerattini partnered by Pierpaolo De Sanctis
Italo disco meets Balearic ethno-funk in the third installment of re-edits from DJ collective Siffleur. Side A is your leftfield, sensual 80s nostalgia, your introspective, post-multiverse ‘club tropicana’. Side B will take you on a dreamy night-journey through city streets where love is a pink neon light.
Wir sind happy euch hier das lang ersehnte Debüt Mini-Album der Norditalienischen Band DEAD CHASM anzukündigen. An der Spitze der Band steht die zierliche Frontfrau Lorenza, die neben den höllischen Vokillz auch den Gitarrenpart übernimmt. Gigi am Bass und Dave am Schlagzeug komplettieren das Trio.
2021 enterten DEAD CHASM die ADSR DECIBEL Studios, um das selbstbetitelte 4-Song Mini-Album einzuspielen. Euch erwartet extrem morbider Death Metal mit Doom Einschlag.
Ihr mögt Cruciamentum, Krypts, Grave Miasma oder Asphyx...dann sind DEAD CHASM ein absolutes MUSS !
Limitiertes, schwarzes Vinyl!
Black Truffle is pleased to announce World in World, the latest solo offering from prolific Berlin-based guitarist-composer Julia Reidy. Where the recent trilogy of LP releases – brace, brace (Slip, 2019), In Real Life (Black Truffle, 2019), and Vanish (Editions Mego, 2020) – focussed on increasingly lush electronic settings for Reidy’s propulsive fingerpicking and auto-tuned vocals, arranged into wide-ranging side-long epics, World in World finds Reidy refocusing on the core elements of their approach while simultaneously pushing into challenging new areas. Comprising nine pieces ranging between two and seven minutes in length, the album’s opening title track promptly introduces the distinctive palette of just-intoned electric guitars, subtle electronic processing, and voice that is rigorously explored throughout. Where much of Reidy’s guitar work on previous recordings explored rapidly pulsed cycling figures, here notes often hang in the air in a more spacious, lyrical fashion. The elasticity of rhythm and non-linear repetition of pitches initially suggests improvisation until the listener becomes aware of the precise arrangements of spatialised lines. At times, World in World suggests classic bedroom electric guitar works of the 1990s such as Loren Connors’ Airs or Roy Montgomery’s Scenes from the South Island; like those works, Reidy’s possesses a wonderfully live ambience, with frequent pedal clicks adding to the music’s powerful sense of intimacy. In Reidy’s case, however, the yearning, melancholic mood of Connors or Montgomery is tempered by the unorthodox guitar tuning, which at points produces a unique and uncomfortable effect somewhere between the hyper-precision of Harry Partch or Lou Harrison and Jandek’s slack-stringed descent into the void. While World in World plots out its terrain with a bold single-mindedness that allows some pieces to appear almost as variations on a common theme, subtle changes in emphasis distinguish each track. Tactile percussive interjections skitter across the tremolo tones of ‘Paradise in Unrecognisable Colours’, while ‘Ajar’ ramps up the role played by the electronics, with glitching pitch-shifted and back-masked textures threaded through the guitars and thickly harmonised vocal layers. Ranging from autotuned melodic lines to buried murmurs, Reidy’s voice is a frequent presence throughout these nine pieces, at times creating the impression that a more conventional series of songs lurks underneath the chiming microtonal guitars. On the stunning ‘Poised’, whispers and distant, ghostly wails surround the layers of guitars, at times suggesting the foggiest outer reaches of Liz Harris’ Grouper. Both rigorously experimental and emotive, World in World is undoubtedly Julia Reidy’s finest work yet.
First album by this duo, known separately for their work in Mouse on Mars
and Gastr del Sol.
Two long-form pieces, utterly different from one another: one hyper-detailed
electronic music and sound poetry, and the other live-in-the-studio electric
guitar and laptop paint-peeling.
The exciting first chapter in a long-anticipated collaboration
David Grubbs and Jan St. Werner met in the mid-1990s when Grubbs was
playing with Gastr del Sol and The Red Krayola and St. Werner in Mouse on
Mars and Microstoria. After years of exchanging ideas, ‘Translation from
Unspecified’ marks their first time locking horns as a duo, and it’s clear this
deck-clearing collaboration was long overdue.
In January 2020 Grubbs arrived at Mouse on Mars’ Berlin studio Paraverse
with a guitar and ‘Translation from Unspecified’, an open-ended, seemingly
self-generating poem suggesting AI, one of the themes in St. Werner’s recent
work. This became the side-length title track, a winding corridor of electronic
fanfares and spontaneous musical miniatures urging Grubbs’s slow and
steady recitation to grow wings and graduate into song.
Who knows where this idiosyncratic mise-en-scène - day-glo, extrovert
electronics and task-oriented human - came from? Reference points - distant
ones - might include Robert Ashley and Paul De Marinis’s ‘In Sara, Mencken,
Christ and Beethoven...’ and the sound poetry of Anton Bruhin.
Flip the record and you have ‘Soixante Ooze’, a live-in-the-studio duo for
guitar and computer more recognizably St. Wernerian and Grubbs-like that
reconfigures elements of the title track before finally morphing into needlepinning monoliths of sound.
David Grubbs has released fourteen solo albums and appeared on more
than 200 releases. He was a member of the groups Gastr del Sol, Bastro,
and Squirrel Bait and has performed with Tony Conrad, Pauline Oliveros,
Luc Ferrari, Will Oldham, Loren Connors, the Red Krayola, Royal Trux, and
many others. His newest book is ‘Good night the pleasure was ours’ (Duke
University Press, 2022).
Jan St. Werner is an artist and electronic music composer best known as
one half of the group Mouse on Mars. He has collaborated with Oval’s
Markus Popp as Microstoria and written music for installations and films by
visual artist Rosa Barba. In 2013, St. Werner released ‘Blaze Colour Burn’,
the first of a series of experimental recordings called ‘the Fiepblatter
Catalogue’. Recently his work has prioritized installation and interventions
with spatialized sound, including a number of collaborations under the name
Dynamische Akustische Forschung (DAF).
'I've been obsessed with western swing since I was a kid, and it's always
been an influence, but my records in the past have ranged from bluegrass
to hard country to folk, So I've never fully explored it' - So says genrebusting Fargo-born, Austin- incubated, Nashville resident Brennen Leigh,
whose new collaboration with the kings of modern-day western swing,
Asleep at the Wheel, Obsessed With The West, is a showcase not just for
the Bob Wills fans, but for anyone who's ever curled up with Loretta Lynn,
Hank Sr, Cindy Walker, Billie Holiday, or Willie Nelson
On twelve all original songs, Leigh's supple winking voice and multi- instrument
fluency, her interplay with Ray Benson, and the undeniable chops of the Wheel
serve up a treat on Leigh's seventh album. With cameos from Emily Gimble and
Katie Shore, and all the players getting their moments in the sun, Leigh - a twotime winner of the Texas Music Awards Best Female Vocalist award -
demonstrates on the terrific jump 40's rhythm and blues, 'Comin' in Hot' and the
lonesome cowboy musing of 'Riding Off Onto Sunset Boulevard' why Rodney
Crowell and Lee Ann Womack have recorded her songs. Obsessed With The West
is a celebration of music for music's sake in 2022, not just an exercise in looking
back on times gone by.
Eurovision Song Contest: The Story of Fire Saga is a 2020 American musical comedy film directed by David Dobkin and written by Will Ferrell and Andrew Steele. The film follows Icelandic singers Lars Erickssong and Sigrit Ericksdóttir (Ferrell and Rachel McAdams) as they are given the chance to represent their country at the Eurovision Song Contest. Pierce Brosnan, Dan Stevens, and Demi Lovato also star.
“Volcano Man” was the first song released from the album and features vocals from Will Ferrell and Swedish singer Molly Sandén (credited as My Marianne). Towards the middle of the film, as the characters of Lars and Sigrit get fully immersed in the Eurovision magic, the audience is treated to a “Song-A-Long”, producers mash-up iconic pop classics into a celebratory party anthem. Cher transitions into Madonna, which transitions into homages to the aforementioned ABBA and Celine Dion, capped off with a little from The Black Eyed Peas. The cherries on top are vocal cameos from Eurovision champions: Conchita, Netta, Jamala, Loreen, and Alexander Rybak. The album also features the cult hit “Jaja Ding Dong”.
The soundtrack has been nominated for Best Compilation Soundtrack For Visual Media at the upcoming 63rd Annual Grammy Awards.
Eurovision Song Contest: The Story Of Fire Saga is available as a limited edition of 1000 individually numbered copies on “Lion Of Love” pink coloured vinyl. The package includes a 4-page booklet and printed innersleeve with movie stills.
Marta Sanchez's creative voice is strikingly original - circling rhythms,
elaborate forms and criss-crossing counterpoint distinguishes her sonic signature on the crowded New York contemporary music scene
Following three critically acclaimed quintet releases, the Madrid- born pianistcomposer presents 'SAAM (Spanish American Art Museum)' on Whirlwind Recordings, an album driven by emotional candour and boundary- pushing compositions. A talented cast realises her knotty, technical writing - frontline partners Alex Lore and Roman Filiu meet Sanchez, Rashaan Carter and Allan Mednard on backline duties.'SAAM' riffs on the Smithsonian American Art Museum, on an album that's an exhibition of Sanchez's life in musical form: "It's made up of all the elements of society from both countries Spain and America that impact my life and make me who I am." Matters internal and external are realised in musical expositions of complex feelings. The pieces took shape in lockdown, as Sanchez exchanged fortnightly composition tasks with a pen- pal.
"Those compositions express all the phases I was going through at that time. I was reflecting super deeply on what's important, and how we might give some sense to life."
Memento catalogue number 046 will be the first release of the label for 2022, a solid way to celebrate its sixteenth birthday.
Dj Rocca is a veteran Italian producer whose first releases came out in the late 90s, ad drum&bass and breakbeat cuts under the moniker Maffia Soundsystem, representing the legendary Italian club withe same name.
His four tracks for Memento are dance floor essentials grooves with a fine arrangement and an exquisite sonic flavour. Blending together retro drums and futuristic synth lines, dj Rocca has achieved to bring on vinyl a touch of freshness with a super organic arrangement.
A massive E.P. with brighter moments and darker excursions, bounded by a deep clubbing awareness.
Die dunklen und dennoch betörenden Bilder, die DARKHER alias Jayn Maiven mit ihrem schwerelosen Gesang, Gitarren und Streichern akustisch malt, beschwören cineastisch schillernde Szenen herauf, in denen Schönheit in der Dunkelheit liegt oder es zugleich vielleicht genau andersherum ist. Mit ihrem zweiten Album "The Buried Storm" gelingt es der Musikerin, Komponistin, Texterin und Produzentin ihre geliebte alchemistische Musikformel noch zu verbessern, die sie auf DARKHERs Debütalbum "Realms" aus dem Jahr 2016 fest etablieren konnte. DARKHER wurden 2012 als Soloprojekt der nordenglischen Sängerin und Gitarristin Jayn Maiven ins Leben gerufen. Der düster-melancholische, aber auch massive Sound auf ihrer selbstbetitelten Debüt-EP "Darkher" (2013) sorgte in Kombination mit der markanten Stimme der schüchternen präraffaelitischen Schönheit vor allem in der Doom-Szene für Aufsehen und führte dazu, dass bereits die folgende EP "The Kingdom Field" (2014) via Prophecy Productions erschien. Sogar ohne ein fertiges Album in der Tasche wurden DARKHER zu renommierten Festivals wie dem Roadburn in Tilburg, Niederlande, und dem Prophecy Fest in der Höhle von Balve eingeladen. Im Jahr 2016 erschien das Debütalbum "Realms", das von Fans und Kritikern gleichermaßen gelobt wurde. Die Musikpresse verglich DARKHERs Musik mit einer Vielzahl von höchst individuellen Acts wie CHELSEA WOLFE, ESBEN AND THE WITCH, SÓLSTAFIR, LOREENA MCKENNITT und PORTISHEAD. Mit "The Buried Storm" geben DARKHER der Dunkelheit eine verführerische Gestalt, die vor den Augen des Betrachters verborgen am Rande des Bewusstseins lauert, um geduldig auf ihre Zeit zu warten und dann direkt das Herz zu ergreifen.
'Doroth follow on from a 2019 self-released digi EP with this fresh 7" for Research. The duo of Loretta Wilde and Maria Moles from Melbourne have established a song writing craft that's equal parts This Heat and Throwing Muses; all disjointed rhythms and dry vocal delivery that seems to come with an intentional feeling of malaise. Where their self-titled EP allowed for the sprawling Still House Plants-esque sound of 'On The Lamb', both 'Take It Easier' and 'Picture' condense the live sound into two sub 4 minute slices of indie pop / art rock goodness. We've got no clue what photograph Wilde is singing about but the combination of bass and drums bouncing off one another underneath her prolonged strainings will be sure to stick in your brain.'
Split remix record with Visitor strictly limited to 200 copies. Remixers include Kontravoid, Morah, Xarah Dion, Sarin, Qual, Visitor, Filmmaker, and Oliver. Mastering at Dadub Studio Distributed by ReadyMade Distribution Side A Graphic Design by Jean Lorenzo Side B Graphic Design by Nicolas Zupfer Braid Records 2022
"Deficiency" is the first solo release of Gyeongsu. This record is a collection of 10 songs recorded in the past three years, ideas and sketches initially conceived separately and evoking different moods at the time of birth.
Supported by NTS's Ony, Maria Sommerville, Okonkole Y Trompa ...
To the empty-stadium rock opener "after diner not yet" to the buzzing closing "a post", through the fading down cello on "gratitude" to the burgeoning arpeggios of "1,2,3", the record is continuously fournishing elements of guitar in different states of work, juxtaposed on additional drums, bass lines, nebulous voices and samples sometimes reminiscent of a psychedelic state or confused dream with many elements hard to reassemble.
All songs have been mixed by Yohann Henry at Plush Space Studio, Paris. Mastered by Lorenzo Targhetta.
