Search:m b ant

Culled from half a decade of home four-tracking, Remote Echoes is a hissy, crumbly, and ungrounded expression of Clay Parton and Canaan Amber's ongoing Duster project. A mix of cassette only demos released under the banners Christmas Dust and On The Dodge, this 14 track album also includes a bevy of previously unissued stragglers. Duster's unique blend of fuzzy guitars, bargain synths, muffled percussion, and hushed vocals anticipated chillwave, mumblecore, and corecore, elegantly illustrating the holy trinity of slacker vices: cigarettes, coffee, and the weed supr eme.

Culled from half a decade of home four-tracking, Remote Echoes is a hissy, crumbly, and ungrounded expression of Clay Parton and Canaan Amber's ongoing Duster project. A mix of cassette only demos released under the banners Christmas Dust and On The Dodge, this 14 track album also includes a bevy of previously unissued stragglers. Duster's unique blend of fuzzy guitars, bargain synths, muffled percussion, and hushed vocals anticipated chillwave, mumblecore, and corecore, elegantly illustrating the holy trinity of slacker vices: cigarettes, coffee, and the weed supr eme.

Culled from half a decade of home four-tracking, Remote Echoes is a hissy, crumbly, and ungrounded expression of Clay Parton and Canaan Amber's ongoing Duster project. A mix of cassette only demos released under the banners Christmas Dust and On The Dodge, this 14 track album also includes a bevy of previously unissued stragglers. Duster's unique blend of fuzzy guitars, bargain synths, muffled percussion, and hushed vocals anticipated chillwave, mumblecore, and corecore, elegantly illustrating the holy trinity of slacker vices: cigarettes, coffee, and the weed supr eme.

Frozen reeds presents the only recorded duo playing of two legendary musical figures. Derek Bailey and Paul Motian – two longstanding pioneers of distinct strains of improvised music – came together for a brief period of collaboration in the early 1990s. Tapes of their two known live performances (one at Groningen’s JazzMarathon festival in the Netherlands, the other a year later at New Music Cafe, NYC) were recently unearthed in the Incus archives, and their contents will surprise and delight fans of both supremely idiosyncratic musicians.

The Groningen concert (1990) is released on vinyl, while the New York date (1991) is included with the digital download, free of charge for all purchasers. A conversation between Bill Frisell and Henry Kaiser on Bailey, Motian, their intertwined backgrounds, and the significance of these recordings is included as sleeve-note insert.

“This is one of those moments that we’re always hoping for, and it's so rare. And it's so hard to talk about, because it's so beautiful. It's like you're seeing some new species of plant that you never knew existed or something.” – Bill Frisell

Each player bringing decades of crucial experience to their encounters – with histories taking in vast swathes of the development of jazz and free improvisation – these fleeting shared moments provide some of the most riveting playing in the career of either.

There is precious little recorded evidence of Motian as a free improviser, but his mastery is beyond any doubt in these recordings. From knife-edge precision to textural haze, Motian’s palette is astounding, but perhaps even more impressive is his confidence in the non-idiomatic conversation itself. Pushing far beyond the established vocabulary of free percussion, his playing allows a measured degree of repetition to take form, giving rise to almost song-like structures. The covert influence of the drummer’s work on the post-rock genre (just taking its first nascent steps in the early 1990s) is made overt here.

In turn, Bailey allows some of his most unashamedly melodic passages to unfold without a mote of his trademark contrariness or antagonism. Patterns that would be acerbically disrupted elsewhere are allowed to settle, with variations of note and timbre introduced more gradually than is typical of his playing. When forceful changes in dynamics or tone do arrive, they do so in such close tandem with Motian’s rhythmic and textural transitions as to beggar belief. The guitarist’s duos with percussionists (Jamie Muir, Han Bennink, John Stevens…) arguably provide some of the highlights of his discography. ‘Duo in Concert’ represents a strong addition to the list.

An elegant sense of construction pervades the sets, as the duo ably fulfil the promise of free improvisation: carving out hugely compelling, expertly balanced, and thrillingly paced music as if from thin air.

As a father and touring musician I made this album to keep my kids company in my absence, hopefully for them to sing along with in their mom’s car. These songs evoke memories of my mother playing her Martin parlor guitar and of my father, at the family turntable, telling stories about Furry Lewis and Gus Cannon or explaining a song’s meaning. I wanted to share these childhood favorites with my kids. This collection of childhood favorites was recorded for fun, at home, with family and friends in the spirit of sharing. Everyone is welcome. I wanted to share these songs with my kids and my friend’s kids as well as expose my daughters to the joy of learning, performing and recording music that my father shared with me. The recording was largely done in 2017 during dinner parties, sleep overs and play dates, either in a family style social setting or while the kids slept. After burning rough mix CDs for the family car, I set the project aside until 2023. Finishing the album with fresh ears album benefitted from my film score work done in 2020 and 21. I love letting projects simmer on the back burner until the time is right. The perspective of time can’t be bought or faked. My daughters sang on the album, both in 2017 and in 2023. Overdubbing my daughters on top of their younger vocals, 6 years later, was a unique sensation and document of their youth. You can hear my youngest daughter sneeze and improvise wordless melodies but my oldest daughter stole the show after her first overdub party, taking me aside and asking “don’t you get paid for singing on a record?” - Luther Dickinson

- Die erste LP-Kollektion der 3 Atlantic-Studioalben von WINGER in einem LP-Set

- Enthält WINGER (1988), WINGER II: IN THE HEART OF THE YOUNG (1990), und PULL (1993)

- Beide LP & CD Sets enthalten als Bonus DEMO ANTHOLOGY - 10 seltene Demo-Versionen von WINGERs größten Hits!

- LP Box Set auf 180g schwarzem Vinyl

- Das LP-Set enthält außerdem ein 16-seitiges Buch im Stil eines Tourbuchs mit Erinnerungen der Bandmitglieder, seltenen Fotos aus WINGERs persönlicher Sammlung, frühen Albumskizzen und vielem mehr!

- Neu gemastert von Ted Jensen - Remastered unter der Aufsicht von Kip Winger

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

Celebrating her 60th birthday, Nikki Iles, one UK's most unsung jazz virtuoso, is set to release "Face to Face," collaboration with the illustrious NDR Bigband. This highly anticipated album stands as a resounding testament to the unmatched quality, meticulous artistry, and virtuosity of these extraordinary musicians. "Face to Face" marks a transformative turning point, propelling her artistry onto a grand stage where it rightfully belongs. Her piano compositions bear an unparalleled emotional depth, captivating listeners with each exquisite note.

Joined by the NDR Bigband, known for their impeccable performances and musical prowess, this album delves into the heart of contemporary jazz. Together, they craft a sonic tapestry that redefines the genre and transcends conventions. Beyond a mere celebration, "Face to Face" is a revelation of Nikki Iles' genius and a testament to her impact on the music world. It offers an intimate encounter with her raw talent and undeniable charisma. . With each listen, "Face to Face" unravels the layers of Nikki Iles' musical brilliance, perfectly complemented by the grandeur of the NDR Bigband. This album invites us into the magic of true artistry.

This is the first color pressing of this performance. Doug Sahm AKA Sir Doug was both a Texas rock & roll legend and pioneer. True, there were others before him (Buddy Holly and Roy Orbison come to mind), but the Sir Douglas Quintet counterattacked the British invasion of the mid 1960’s with their own brand of Chicano-influenced rock that they had been playing around their hometown of San Antonio. Wearing their tight-fitting, English-looking suits, they hit the charts with “She’s About A Mover” in ’65, riding the waves with Doug’s incessant guitar twangs and Augie Meyer’s much-imitated, two-to-a-beat Vox electric organ chords. This performance, recorded October 14, 1975, came after Doug had temporarily retired the Sir Douglas name, but features original member Meyer along with musical compadres Martin Steitle, John Barber, Steve McDaniels and Harry Hess. All the Sir Douglas Quintet classics are here, including “She’s About a Mover,” “Mendocino,” and “Rains Came,” and Doug ventures into other musical territory ranging from T-Bone Walker to Bob Wills. Long before the Quintet, Doug had been making music since even before the birth of rock & roll. He began his career as “Little Doug,” a guitar-playing prodigy who was invited to join the Grand Ole Opry when he was only 13. Over time, with the help of his irrepressible personality, he became a voice for Texas music, the original “cosmic cowboy” back in the heyday of the Armadillo World Headquarters in Austin. But his influence went beyond Texas; in 1973 he even lured Bob Dylan out of hermitage to record with him, and Bob in turn invited him to join his legendary Rolling Thunder Review Tour. Doug left us suddenly in 1999, but he left behind a unique legacy, a “Groover’s Paradise” indeed. - Terry Lickona (Producer Austin City Limits®)

The first color pressing of this title. We’re talkin’ TEX-MEX ROCK ‘N’ ROLL! In this show from January 21, 1981, Doug Sahm (AKA Sir Doug) reunites with original band members Augie Meyers and Johnny Perez, along with the legendary Alvin Crow on guitar and Speedy Sparks on bass for a no-holds-barred, rip-snortin’ Texas rock ‘n’ roll revival. Back in the day, the SIR DOUGLAS QUINTET was Texas’s answer to the British Invasion. With the arrival of the Beatles, Sir Doug & Co. saw their chance to break out the rough, Chicano-influenced rock they had been playing in the joints around San Antonio. They donned English-looking suits and hit the charts with “She’s About A Mover” in 1965. Nobody was quite sure where they came from, but they rode the English-pop wave to fame. There’s something contagious about Augie’s cheesy, pumping Vox organ chords and Sir Doug’s chang-a-chang rhythm guitar over Johnny’s Mexican drumming style, drenched in psychedelia, that stood out from everything else at the time. And it still does today. You may not be able to sit down through “She’s About A Mover” or “Mendocino,” but that’s OK. Doug is no longer with us, but you can be sure that somewhere he’s still kickin’ out the jams. - Terry Lickona (Producer Austin City Limits®)

In the corner of your vision, there’s a daydream on a mission” says Russell Edling in the beginning of “Park (Rye)”. Humming vibrations crescendo around the words floating inthe air and a listener may visualize a flower growing in fast motion, or a dog running backwards, lava flowing, children jumping rope in the evening sun. Suddenly these visions plumet and new frenetic images appear as drums, percussion, and full accompaniment burst into space. The band has arrived, a theme recurrent in Golden Apples’ new record, Bananasugarfire.

A listener might hear echoes of the Velvet Underground, Stereolab, Stone Roses, Yo La Tengo, but there is more going on than just a studied homage to indie rock’s progenitors. The themes of doubt and bewilderment found on previous albums are still present, but they are thrown into a kaleidoscope with beams of positivity, hope, and optimism.

Encore!? Say no more.. Plush number 4 is here!
Elusive local live hero JCow soft launches into the arms of Plush Records, bringing a modern day classique to the underground masses. The Berlin based producer & DJ has been humbly making waves amongst prancers and dancers; unless you’ve been living under a rock!

“Wish U Were Here W Me” is a pupil dilating, rump shaking sunrise anthem; a melodic masterclass with a bassline that puts funky town to shame. Vocals expertly extracted from Brandy’s “Long Distance'' which soar like silk over a breathtaking breakdown.. tugging at heartstrings across the globe. The Emotional Breakdown mix is catering to the softies out there, stripped back and filling up your cup, pure natural ecstasy.

Close your eyes and get lost in the groove.

On his debut 45, Junior Scaife shows us he's a vocal heavyweight whose prowess on the mic is tantamount to the pen. Backed by house band The Penrose Scholars and co-written by producer Anthony Masino, 'When My Heart Beats' is a bouncy stepper with feel-good vibes and groove in equal measure, serving up a Brenton Wood-esque blast of sunshine and soul. On the flip is 'Moment to Moment', a gorgeous, bluesy ballad with a vocal performance that transcends the trappings of lesser tunes, giving it a depth and serious-ness that takes you by the heart and mind to a place where longing and love reigns supreme.

Jaya The Cat are a US band from Boston now based in Amsterdam with a
loyal worldwide following
Touring constantly, they play an original mix of reggae, punk rock and ska music,
from booze fuelled anthems to chilled out dance tracks to political commentary.
This will be their fifth album and the first to have a full UK release.

Teramo, Italy's Inutili, return with their fifth full-length album, "A Love Supreme." It's a departure from the band's last albums After a long lockdown, Inutili discovered the pure pleasure of playing music together. In their own words: The album was made simply and naturally through free and psychedelic jam sessions in the band's rehearsal room. A declaration of love for music, just a holy respect for music without schemes: A Love Supreme! Inutili is Alessandro Antinori (bass, guitar), Pietro Calvarese (guitar, vocals), Giancarlo Di Marco (guitar, bass) and Lorenzo Mazzaufo (drums, percussion, vocals). Special Guest: Francesco Gaspari (synthesizer, programming)

The guitarist and composer, Trond Kallevåg, sets sail and explores the stories and mystique of American music and culture. With a cinematic quality reminiscent of Ry Cooder and Bill Frisell, that could serve as the soundtrack of a Cohen Brothers movie, it draws inspiration from transformative journeys of hundreds of thousands of Norwegians who embarked on transformative journeys across the vast ocean."Amerikabåten," (“The American boat” in English) is Trond Kallevåg’s highly anticipated third album following the critical success of "Bedehus & Hawaii" (2019) and "Fengselsfugl" (2021). To bring his stories to life, Trond has assembled a stellar ensemble of esteemed young Norwegian musicians, including Selma French, Daniela Reyes, Håkon Aase, Jo Berger Myhre, and Ola Øverby. These talented individuals, who also boast successful solo careers, are revered figures in today's vibrant Norwegian music scene. Drawing from Norwegian hymns, old broadside ballads and Americana, "Amerikabåten" builds upon Trond's unique sound, incorporating the vast expanse of American folk music. Trond's guitar serves as a tool for musical expression, providing a melodic foundation and narrative quality that allows fellow musicians to shine. Trond expands his sonic palette, complementing his masterful guitar skills with the haunting melodies of the pedal steel guitar. As with his previous albums, Trond's compositions and meticulous production are integral to his creative process, bringing his artistic vision to life. Composing and mixing all the music himself, Trond's honest and lyrical instrumental expression earning him praise from critics worldwide."Fengselsfugl" (2021) unveiled Trond's evocative guitar mastery and compositions, which drew inspiration from traditional Norwegian prison ballads and his own firsthand experiences within the walls of Oslo Prison. The album garnered significant acclaim from critics worldwide, further solidifying Trond's artistic prowess. Trond Kallevåg's "Amerikabåten", merges traditional Norwegian and American music into a fresh, contemplative and thrilling ride across the ocean with some of Norway’s finest young musicians."

"Musik für animierten Tonspurfilm", the twelfth album by Die Anarchistische Abendunterhaltung (or DAAU, as they are commonly known), is the soundtrack to a series of short, abstract animation films by Rudy Trouvé, who also acted as a creative director during the recording process.

The music originates from acoustic improvisation sessions by accordionist Roel Van Camp, clarinetist Han Stubbe, double bass player Hannes D'Hoine and percussionist Jeroen Stevens. These took place according to conceptual guidelines set by Trouvé. Sometimes the starting point was a play on words or a random chord sequence, sometimes a specific atmosphere, but the playing field was always kept deliberately limited. Hence, the musicians were forced to build a musical structure with minimal means. The result was cut on cassette, after which the Antwerp enfant terrible - Rudy Trouvé-, known from his work with dEUS, Kiss My Jazz, Gore Slut and I H8 Camera among others, happily hit the tracks with a virtual sledge hammer. DAAU's pieces were cut up, sampled, drastically restructured and pasted together again, a method that had been applies earlier on the retrospective album 'Hineininterpretierung' (2017). On top of that audio collage, the musicians added new electronic layers, using a digital accordion, synths, digital bass and marimba. DAAU says: 'On the soundtrack, like on the older record, we were looking for a symbiosis between an acoustic and electronic sound. And there too we messed around with dub and Krautrock references'.