Pressed on crystal clear vinyl housed in a gatefold jacket with Japanese stylized insert and deluxe obi strip. Remastered from the original analog tapes. This record is self produced by Miles himself! Without long time production collaborator Teo Macero, Miles chases new directions with this 1984 recording. Miles allowed keyboardist Robert Irving and guitar legend John Scofield to write most of the material on the LP. The record is dripping with some of the new sounds of synths which makes this a very unique entry in the Miles catalog. Decoy features John Scofield on guitar, Robert Irving on synths and programming, Darryl Jones on bass, Al Foster on drums, Mino Cinelu on percussion, Bill Evans on sax, and guest appearances from Branford Marsalis. Tracks: A1 Decoy A2 Robot 415 A3 Code M.D. A4 Freaky Deaky B1 What It Is B2 That's Right B3 That's What Happened
For Fans Of: The Flying Stars Of Brooklyn NY, Durand Jones & The Indications, Como Mamas, Eli Paperboy Reed, Naomi Shelton & The Gospel Queens. Things are looking up for The Harlem Gospel Travelers, who return here with a new album, a new lineup, and a new lease on life. Produced by Eli Paperboy Reed, Look Up! marks the group’s first full-length release as a trio, as well as their first collection of totally original material, and it couldn’t have come at a more vital moment. The music still draws deeply on the gospel quartet tradition of the ’50s and ’60s, of course, but there’s a distinctly modern edge to the record, an unmistakable reflection of the tumultuous past few years of pandemic anxiety, political chaos, and social unrest. The songs are bold and resilient, facing down doubt and despair with faith and perseverance, and the performances are explosive and ecstatic, fueled by dazzling vocal arrangements punctuated with gritty bursts of guitar and crunchy rhythm breaks. Born out of an non-profit music education program led by Reed, The Harlem Gospel Travelers singers Thomas Gatling, George Marage, and Dennis Bailey released their debut LP, He’s On Time, to rave reviews in 2019, with Pop Matters hailing the album’s “musical transcendence” and AllMusic praising it as “dreamlike and joyous.” The record charted on Billboard, earned the Travelers high profile fans like Elton John (who invited them to appear on his Rocket Hour radio show on Apple Music), and landed them festival slots everywhere from Pilgrimage to Telluride Jazz. Tracks: 1. Look Up! 2. Hold On (Joy Is Coming) 3. God's in Control 4. Help Me To Understand 5. Nothing but His Love 6. Fight On! 7. Hold Your Head Up 8. That's the Reason 9. Let Me Tell You 10. God Will Take Care of You 11. I'm Grateful
Though Beauty is Useless is only his second solo record, James Devane has been producing and performing music for over two decades, both in isolation and collaboratively (most notably as his duo "En" with Maxwell August Croy). While his first record (s/t on Bremsstrahlung) explored digital manipulation of guitar based loops, Beauty finds Devane replacing the computer processing and aural landscape projection for a couple vintage keyboards, modular based effects and most notably a drum machine. Evoking elements of German minimal techno, Beauty is a rich, focused discovery of process and restraint where less is refreshingly more.
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Black Screen Records is excited to announce that Damián Sánchez' chill and joyful orchestral soundtrack to Crema's massively multiplayer creature-collection adventure Temtem will be available on limited edition 3xLP Picture Disc vinyl. You get 47 songs and the three starters Crystle, Smazee and Houchic in one beautiful trifold set with gorgeous artwork by Alex Muñoz and Cristina Jiménez. The vinyl and CD both come with a download card for the full digital soundtrack including all tracks. ABOUT THE SOUNDTRACK: Temtem's original game soundtrack is a melodic journey through the adventures on the Airborne Archipelago. A mixture of musical styles and flavors ranging from the chill and joyful orchestral sounds from Deniz to the most vivid and chrer-ish celtic dances from Arbury, through the folk and peacefulness of Omninesia, the mysterious glassy mallets of Tucma, the warm drums and flutes of Kisiwa, and the modern-versus-traditional Asian tunes in Cipanku. Discover the traditions of each isle through its instrumental palette and melodies, and vibe with the rhythms of the combat themes while you become the greatest Temtem tamer. The aim of this physical edition it's always been to give our fans not only another way of listening to Temtem's soundtrack, but to make a piece of art they would love to display on their shelves or even hang on a wall. Both teams at Crema and Black Screen Records worked really hard for a long time to cherry-pick the best ideas and come up with these incredibly beautiful editions. We are really proud of these products and we really hope you enjoy them! - Damián Sánchez ABOUT THE GAME: Temtem is a massively multiplayer online adventure where you'll get to explore the colorful and exciting Airborne Archipelago with all your friends and other players! Discover, tame and battle the Temtem that inhabit these islands, and maybe save the Archipelago in the process? Temtem offers a lengthy story campaign in a fully online world, and the possibility of playing the entire adventure in Co-op with a friend; a rich, complex, RNG-free combat experience, and competitively oriented gameplay, with challenges for all play styles; a bustling economy and trading environment; advanced character customization, housing and a myriad of ways to express yourself!
Dark-folk songwriter Chantal Acda and beyond drums-percussion musician extraordinaire Eric Thielemans propose a new score for Koyaanisqatsi, re-actualising the incredibly beautiful, raw, rhythmic and touching images of this 80-ties cinematographic masterpiece. Slow deep electric waves, lonely synths in sonic desert landscapes, rhythmic pulses, transporting drums and bells, and deeply longing sounds and voices make up the audible fundamentals of this imagined, neo shamanic, ritualistic music to accompany the Earth as it keeps on supporting our post human frenetics even today. This release contains a selection of the musical material scored for a live performance together with the screening of the movie. The live performance premiered on Film Festival Gent and Vooruit in the fall of 2022.
Currently based in Belgium, Dutch-born Chantal Acda (b. 1978) has worked under the Sleepingdog moniker since 2006, making three acclaimed albums that closed on the 'With Our Heads in the Clouds and Our Hearts in the Fields' (2010) album for which she collaborated with Adam Wiltzie (Stars of the Lid, A Winged Victory For The Sullen). They toured the UK and Benelux with Low in 2011. After all this, it was time for her first real solo record. Playing in various formations (Isbells, True Bypass, Marble Sounds) had made her conscious of the patterns that we all, as humans, share in. So, she sought out kindred spirits with whom she might record an album filled with freedom and intensity, and who were conscious of the patterns we so often fall back on. Nils Frahm was the first of these to cross her path. The inventive German pianist and producer is an intense and adventurous performer and was a perfect match for it. Acda also experienced a direct bond with Peter Broderick, a multi-instrumentalist known from his solo work (on labels such as Bella Union and Erased Tapes) and from his work with, among others, Efterklang. Cellist extraordinaire Gyda Valtysdottir from Icelandic group Múm had previously worked with Chantal as a member of the Sleepingdog live band. And lastly, Shahzad Ismaily stumbled into this picture by chance, but when Acda and he found themselves in the same room they formed an instant rapport. After this first record, 3 other solorecords followed. Chantal kept on searching for a deeper connection with the outside world and recorded "The Sparkle In Our Flaws" (2015) and "Bounce Back" (2017). She also released some live recordings with her band and also Bill Frisell, a highly respected jazz guitarist.(2018). These records were released on the German label Glitterhouse. Chantal and her band toured with these records in Europe. In 2019 Chantal created her first music/theatre performance P_wawau for Oerol Festival, The Netherlands. She worked with Valgeir Sigurdson (Björk, Bonnie Prince Billy,...) and singers from Het Nederlands Kamerkoor. As a result of this, she released the recorded music: Puwawau (2019). In 2021 Chantal released her most recent album Saturday Moon. (2021) For this album she worked with her band (Eric Thielemans, Alan Gevaert, Gaetan Vandewoude and Niels Van Heertum) but also with Bill Frisell, Shahzad Ismaily and Mimi and Alan Sparhawk (Low). Saturday Moon was very well received, internationally, by the press.
Eric Thielemans is a drummer and percussionist. Travelling across music scenes and disciplines, Thielemans navigates by means of his own compass. Most known for his resonant solo works like a Snare is a Bell, Sprang, Aural Mist and Bata Baba Loka and many collaborations with musicians in the experimental music scene, as well as the Jazz scene, and indie folk/pop/rock scenes Thielemans keeps on pushing the borders and expanding conscious aural spaces and territories. Recently, Thielemans has collaborated with PVT - a trio together with Mika Vainio & Charlemagne Palestine (album released April 2020) , PAT - a new trio together with Oren Ambarchi and Charlemagne Palestine, A new duo together with Oren Ambarchi, Billy Hart ("Talking about the Weather"), Chantal Acda ("The Sparkle in our Flaws", "Bounce Back", "Puwawau", "Saturday Moon"), Marshall Allen (Sun Ra), Tape Cuts Tape, Distance Light & Sky, Jozef Dumoulin, Trevor Dunn, Shahzad Ismaily, Vaast Colson, Nico Dockx, and many more. Currently Thielemans is working on r-e-s-o-n-a-n-c-e , a culminative work that encompasses and brings to the surface the underlying currents within his life in and with music. Withing r-e-s-o-n-a-n-c-e he investigates the everyday magic through conversations, writing and score writing to invite as many souls as possible to experience and co create the magic in the everyday.
A natural compendium to the 391 series, with a strong selection straight to vinyl. Spittle CDs series 391 is filling a void screaming out for revenge. We’re not actually talking about hard to find material, but properly unreleased songs and compositions locked for several decades in some virtual memory lane. A proper distillate from the ongoing series, which showed the hidden roots of the Italian new-wave (with all the possible links to art-rock, goth, post-punk and industrial). Creativity has never been lacking and sometimes complete with a burst of originality, what lacked was a good promotion and a more accessible way to the underground market.
An album such as this obviously owes a lot to the atmosphere in which it was recorded, which we can imagine was magical. We know it took place in Fromentel, Normandy, in a farm converted into a studio by the producer Jacques Denjean, known for his work with Dionne Warwick or Françoise Hardy as well as having been a member of the Double Six. It was also at Fromentel, that Denjean would record two fantastic albums with Albert Marcoeur. When Emmanuelle Parrenin followed in his footsteps a year later she was in good company: the sound engineer at the studio was her partner and therefore uniquely capable (we imagine) of creating an adequate soundscape for her delicate universe. What is more, five years previously, Bruno Menny, the sound engineer partner, recorded his first and only album, but what an album: in electroacoustic terms we can hear things which make him appear as the spiritual son of his mentor Iannis Xenakis!
What makes Maison Rose unique is exactly this fusion between the two conceptions of Emmanuelle Parrenin and Bruno Menny, creating a perfect marriage of tradition and experimentation. The tradition comes from the songs collected by Emmanuelle Parrenin in rural areas, in a similar vein to the work carried out by Alan Lomax and Shirley Collins. The experimentation is in the sound captured by Bruno Menny, who both arranged and recorded the album. This is not to forget those who came with their guitar (Denis Gasser), or their lyrics (no less a figure than Jean-Claude Vannier). On the one hand we have the humble and non-demonstrative singing, with melodies which remind us of songs we would sing to calm a child's nightmares, and on the other hand a pronounced rhythmic intensity at certain points, such as on "Topaze" where the drums in particular evoke the Motorik of krautrock legends Faust.
A real haven of peace, Maison Rose is enchanting with its aura of mystery and spirituality, with soft, gentle songs which seem both ancestral and futurist. Originally published by Ballon Noir in 1977, this album follows on from other folk marvels such as Le Galant Noyé from the pre-Mélusine period. On the subject of Maison Rose, if we had to risk a few comparisons we would mention Vashti Bunyan, Linda Perhacs, Joanna Newsom, Collie Ryan, Shirley Collins, Trees Community, Sourdeline and Véronique Chalot as those which spring spontaneously to mind. But this is too reductive for the timeless singularity of Emmanuelle Parrenin: because Maison Rose was recorded in 1977, in the midst of the punk revolution.
Anita Clark’s new Motte album, »Cold + Liquid«, builds glacial atmospheres, frozen moods and isolated impressions. Portraying New Zealand through socio-geological sound, breathing in Christchurch cultures and locales, the album embodies an artistic simulation of the Kiwi environment. Motte borrows from an array of sound sources to create an immense entity, with each piece situated precisely along the path. »Cold + Liquid« offers this rich sensory experience, transporting the listener into a world of Clark’s imagination.
As a master violinist, Clark is a favorite of the NZ music scene. She’s been employed by Nadia Reid, Marlon Williams, Lawrence Arabia and Maryrose Crook of The Renderers for her skills. Currently, she plays with The Phoenix Foundation, Luke Buda and Don McGlashan and The Others. Her skillful reach across genres fuels her popularity both with the rock under and overground, and she has also built a rich CV of film soundtracks and contemporary dance compositions.
With such a powerful musical force behind it, Cold + Liquid germinated as a result of a prolonged silence. Clark was suffering from vocal cord paralysis, leaving her with a culminating sense of frustration which could only be released through songwriting . The album’s early life was purely instrumental. But as she prepared for the studio and was searching old voice memos hoping to find vocal tracks, her voice returned. A fervent week followed, where she reimagined the entire album, now with singing. She aimed to make something colossal, and set about finding the right textures to add. A friend who works at Oamaru Freezing Works gave her field recordings of the temperature control room, a vast cold space of isolated machinery, where ice grows and dissolves in ever-evolving sculptures. Getting her hands on shortwave/longwave radios, she incorporated frequency sweeps. Another friend provided her with the mechanical drones underneath the deck of a cement cargo ship, as it lay docked in Lyttelton Harbor. Still more sources came from Sign of the Bellbird, an historic environmental site in South Christchurch, where Clark and Thomas Lambert recorded bellbirds, rolling boulders, snapping sticks, thrown dirt and the papery sound of the native harakeke plant.
While violin dominates the first Motte album, Clark sought to expand instrumentation. She was gifted a handmade Pūrerehua puoro, a traditional Māori instrument that sounds similar to the whirling and hovering of a moth (which is “motte” in German). A reacquaintance to the guitar occurred after developing an alter ego project entitled 'Sex Den,' with sleazy noir-esque guitar riffs in response to a failed rumour from a local drug-addled dive bar. Guitar and synth allowed for a broader songwriting palette along with a sometimes Dadaist approach to lyric writing. These new tools accent the extreme ambiences of »Cold + Liquid«, while additional work was provided by Ben Woods on synth and bowed guitar.
UNCUT - 9/10 review and Revelations Q+A FEATURE (May issue)
“Steve Albini’s all-analogue production and the contribution of guests...add heft and texture to sounds that combine Sunn O)))’s customary force with a subtlety that can be astonishing. More mellifluous than menacing despite its formidable display of power. Life Metal may be the richest work in the band’s 21-year mission to reconfigure Tony Iommi-worthy riffage into a soundtrack for mindful meditation.”
MOJO – 4/5 review “As ever, subtle collaborative shifts reveal themselves gradually: no big names this time a la Scott Walker (RIP) , though some contributions are no less startling.”
NARC ALBUM OF THE MONTH 'Among the densest and most compelling recordings of their two decade existence'
'Monstrously Beautiful' PROG MAGAZINE
Brand new Sunn O))) album recorded by Steve Albini.
Sunn O))) are pleased to present Life Metal, their first new studio album in four years, due for release on Southern Lord in April 2019. The album will be supported by their first European tour since 2016, including their first ever French tour - dates and details below.
There is a second more meditative LP titled Pyroclasts, also recorded by Steve Albini in parallel, and which will be revealed in the autumn 2019 (more later) with all music performed by Stephen, Greg, T.O.S., Tim Midyett, and Hildur Guðnadóttir.
Sunn O))) are touring March (EU/France), April (USA), September (USA), October (UK & Europe). They are working toward some special events in London and other cities.
For Fans Of: The Flying Stars Of Brooklyn NY, Durand Jones & The Indications, Como Mamas, Eli Paperboy Reed, Naomi Shelton & The Gospel Queens. Things are looking up for The Harlem Gospel Travelers, who return here with a new album, a new lineup, and a new lease on life. Produced by Eli Paperboy Reed, Look Up! marks the group’s first full-length release as a trio, as well as their first collection of totally original material, and it couldn’t have come at a more vital moment. The music still draws deeply on the gospel quartet tradition of the ’50s and ’60s, of course, but there’s a distinctly modern edge to the record, an unmistakable reflection of the tumultuous past few years of pandemic anxiety, political chaos, and social unrest. The songs are bold and resilient, facing down doubt and despair with faith and perseverance, and the performances are explosive and ecstatic, fueled by dazzling vocal arrangements punctuated with gritty bursts of guitar and crunchy rhythm breaks. Born out of an non-profit music education program led by Reed, The Harlem Gospel Travelers singers Thomas Gatling, George Marage, and Dennis Bailey released their debut LP, He’s On Time, to rave reviews in 2019, with Pop Matters hailing the album’s “musical transcendence” and AllMusic praising it as “dreamlike and joyous.” The record charted on Billboard, earned the Travelers high profile fans like Elton John (who invited them to appear on his Rocket Hour radio show on Apple Music), and landed them festival slots everywhere from Pilgrimage to Telluride Jazz. Tracks: 1. Look Up! 2. Hold On (Joy Is Coming) 3. God's in Control 4. Help Me To Understand 5. Nothing but His Love 6. Fight On! 7. Hold Your Head Up 8. That's the Reason 9. Let Me Tell You 10. God Will Take Care of You 11. I'm Grateful
140gm gold vinyl in gatefold. MENTALIST, the Saarbrücken Germany based Melodic Metal group, like maybe no other recently new band has managed to leave big, positive marks in the Power Metal scene! After the big success of the debut album ‘Freedom Of Speech’ (2020), the German/ Swedish foursome consisting of Peter Moog (guitars), Thomen Stauch (dr., ex BLIND GUARDIAN), Kai Stringer (guitars) and Swedish exceptional singer Rob Lundgren just scraped past the German official media control album charts with their 2021 effort ‘A Journey Into The Unknown’ (trend charts: #63)! On iTunes, MENTALIST reached an impressive #2 as highest position at the Metal charts, and the fans of the Facebook group ‘Power Metal’ with 110K followers voted ‘A Journey Into The Unknown’ as best Power Metal release of the year 2021. ‘Empires Falling’, the third full length by the German/Swedish outfit, now continues where its predecessors have stopped! Oliver Palotai (keys, Kamelot) und Mike LePond (b., Symphony X) again joined MENTALIST as energetic guests on keyboards and bass. On this release, outstanding musicianship teams up with fabulous melodies and fine, subtle arrangements as parts of epic, stirring and energy-driven songs which reinforce the high quality of MENTALIST. The front cover artwork again was designed by Andreas Marschall (Blind Guardian, Running Wild), the mix & the mastering once more was handled by Jacob Hansen (Volbeat, Amaranthe, Pretty Maids etc.). ‘Empires Falling’ will be released on September 16th, 2022 on CD, digital, and as gold vinyl 2-LP. A tour for Autumn 2022 is currently in preparation. Track listing: Solution Revolution; Stairs Of Ragusa; Tears Within A Paradise; Empires Falling; If You Really Want; Columbus; Noah’s Ark; Generation’s Legacy; Heavy Metal Leia; Out Of The Dark; Years Of Slavery; Forbidden Fruits (Bonus Track); Bumblebee (Bonus Track)
FATSO JETSON was formed in Palm Desert, CA, in 1994 and are often credited as one of the fathers of the desert strain of stoner rock made most famous by their slightly younger neighbours Kyuss and Queens of the Stone Age. While musically similar to some of their stoner brethren, FATSO JETSON incorporate a broader variety of musical influences that includes punk, blues, jazz and surf music. That is not to say that the band isn't capable of dishing out supremely heavy riffs... Certainly grounded in dense hard rock, FATSO JETSON experiment with many musical textures, angular instrumental epics, and bizarre lyrics to create a punk, blues art rock all their own. In 1995, the group recorded their debut "Stinky Little Gods" and followed that up in 1997 with "Power of Three" (both appeared on SST). Brant Bjork briefly joined up as second guitarist and appeared on two 7" releases. The band then teamed up with Bongload Records, who released FATSO JETSON's third full-length, "Toasted", in 1998. Guitarist and old friend Gary Arce joined the band to record their fourth LP "Flames for All" in 2000 for Artist Frank Kozik's Mans Ruin Label. FATSO JETSON also contributed to "The Desert Sessions" releases that Josh Homme organized, bringing desert musicians and other creative like-minded rock musicians together to collaborate. It was Homme's record label Rekords Rekords that released the next FATSO JETSON album in 2001 "Cruel and Delicious". For this session the band was joined by Vince Meghrouni on Sax and Harp, adding a new dimension to FATSO's hard to pin sound. The band continues with this line up in 2009. There must be something in the sand of sweltering Palm Desert, a California town that has birthed Kyuss and Queens of the Stone Age, as well as Fatso Jetson. Like Kyuss/QOTSA, Fatso Jetson built a name for themselves by putting their own unique spin on the Sabbath sound, but unlike their counterparts, larger than life singer/guitarist Mario Lalli's true love lies in both jazz (Thelonious Monk, Eric Dolphy) and experimental rock (Frank Zappa, Devo). On paper, this conglomeration of different styles sounds like the perfect recipe for a train wreck, but it somehow all comes together on disc, as evidenced by the trio's 2003 offering, Cruel & Delicious. Issued on old pal Josh Homme's label, Rekords Rekords, the trippy songs perfectly fit the feel of the album's cover (a sun-bleached photo of a long stretch of desert highway), especially such standouts as the saxophone free for all "Drinkin Mode," the melodic "Light Yourself on Fire," the bouncy instrumental "Heavenly Hearse," a barely recognizable cover of the Devo obscurity, "Ton O Luv," and the jazzoid freak-out, "Pig Hat Smokin." Cruel & Delicious is an enjoyable slice of hard rock, well off the beaten path. Originally released on CD via Josh Hommes rekords rekords label. Right in time for its 20th Originally released on CD in 2001 on Josh Hommes own Rekords Rekords-label and now on vinyl for the first time! 20th anniversary! Remastered for the vinyl release. This record is a classic and we’re happy and proud to put it out on wax! Track listing: Pleasure Bent; Drinkin’ MODE; Light Yourself On Fire; Died In California; Heavenly Hears; Ton O Luv; Pig Hat Smokin’; Superfrown; Iron Chef; Sunshine Enema; Party Pig; Stranglers Blues; Mountain Of Debt
"It's the same as it ever was," Disco Doom sing on the opening - and title -
track of their brand new album Mt Surreal – but it's a lyric that never quite
rings true
While there's definitely a path from these eight new songs to the hearts and
minds of those waiting to hear them, it's never linear, never as straightforward as
just putting one foot in front of the other. Disco Doom is, as always, led by the
band's core of Anita Rufer and Gabriele De Mario, and the pair began working on a
new album back in 2018, with the final version we hear today worked on from
2019 until late 2021, the story taking many twists and turns along the way.
Releasing music together for some twenty years, such longevity has earned the
band a legendary status in Switzerland, as well as a reputation for making
incredibly forward- thinking rock music. Since the release of 2014's "Numerals",
the Zurich- based band have toured the EU/ UK with both Built To Spill and The
Breeders, had their music featured in the end credits of HBO's Animals, and have
also released a critically acclaimed album under their J&L Defer alter-ego.
True to its name, Mt. Surreal is truly that – a strange and peculiar journey that'll
wrap you up deep inside its intoxicating world, where lyrics leap out at odd
moments, where a hook grabs just when the whole thing threatens to combust.
"Mt. Surreal is a feeling we can't describe properly and one that's constantly
changing. It is a longing for what we can not yet describe," the band say of the
new album.
With their "wall of fuzz" - the Swedish duo NOVA BLAST have a strange
way of finding their way into the heart of different audiences
Whether it has been by opening for acclaimed lo-fi electro acts or breaking the
sound barrier at punk, doom and indie festivals, NOVA BLAST have made a mark.
On Eccolalia - their wonderfully loud, melodic, dynamic and long-awaited debut LP
- they continue to do so.
The album treats the time when lyricist and frontman Anti Zurowski was in
neuropsychological evaluation - it's a diary about Swedish mental health care,
forced medication, stigma and insomnia. The lyrics (in both Swedish and English)
are purposely dreamy, metaphorical, repetitive and shaped as dialogues to
capture the broad (and chaotic) range of his inner conversations. The same can
be said about the music with sudden shifts in dynamics and sensory stimulating
walls of reverb and distortion, a focus on bass/ mid glide chords and noise
crescendos. Limited Edition Blue and Pink color vinyl.
Hailing from Los Angeles with an arsenal of songs as varied as the
American landscape itself, PJ Western creates music of contradictions
His tripped out pop- rock psychedelia evokes a haze of 60’s AM radio as heard
emanating from someone else’s car window.
Here I Go, Western’s debut album, recorded during the lockdown we all endured,
was written in dreams. In visions. Wild but refined, classic but modern. The album
is a lot like the man who wrote it: complex, celebratory, grateful. Recorded in LA
with the help of some of the finest musicians the city has to offer, Here I Go
offers a perspective of the city as heard through the ears of a precocious outsider
– someone who may call the city home, but also can’t quite shake the suspicion
he might not belong in the Hollywood Hills surrounding him.
Packaging:CD Digiwallet, 16-page booklet, marketing sticker
Formed in 1985 in Athens, GA by David Barbe (Bob Mould's Sugar),
Mercyland's blast of post-punk was ahead of its time
The band was nourished by a steady diet of the Minutemen's Double Nickels on
the Dime, Husker Du's Metal Circus, Meat Puppets 2, Dinosaur Jr's Yr Living All
Over Me, Volcano Suns, and Mission of Burma. There were few experiences as
exhilarating as seeing Mercyland tear up sweaty rock clubs like Athens' own 40
Watt on a Friday night. Mercyland frequently left clubbers up and down the east
coast in a meltdown. The group disbanded in 1991 and the nine songs marking
their first official collective release here are a necessary historical document of
the end of the criminally unknown band. The time for Mercyland to be better
known is now.
Fanfara Station's brand new album on Garrincha GOGO is mixing the
power of a brass band with the energy of the rhythms and the chants of
Maghreb and electronic music, an overwhelming dance party
"Boussadia", is the first chapter of a path that explores the cultures of each
member, Nord Africa is the first chapter, a voyage trough the roots of the singer
and percussionist Marzouk Mejri. Recorded in Tunisia in order to immerse and
breath the culture, capture the streets' vibe and work with local artists such as the
rapper VIPA. Deeply inspired by the Stambeli, the animistic music of the Tunisian
slaves "Boussadia" is a full immersion in the cosmopolitan Tunis.
UNCUT - 9/10 review and Revelations Q+A FEATURE (May issue)
“Steve Albini’s all-analogue production and the contribution of guests...add heft and texture to sounds that combine Sunn O)))’s customary force with a subtlety that can be astonishing. More mellifluous than menacing despite its formidable display of power. Life Metal may be the richest work in the band’s 21-year mission to reconfigure Tony Iommi-worthy riffage into a soundtrack for mindful meditation.”
MOJO – 4/5 review “As ever, subtle collaborative shifts reveal themselves gradually: no big names this time a la Scott Walker (RIP) , though some contributions are no less startling.”
NARC ALBUM OF THE MONTH 'Among the densest and most compelling recordings of their two decade existence'
'Monstrously Beautiful' PROG MAGAZINE
Brand new Sunn O))) album recorded by Steve Albini.
Sunn O))) are pleased to present Life Metal, their first new studio album in four years, due for release on Southern Lord in April 2019. The album will be supported by their first European tour since 2016, including their first ever French tour - dates and details below.
There is a second more meditative LP titled Pyroclasts, also recorded by Steve Albini in parallel, and which will be revealed in the autumn 2019 (more later) with all music performed by Stephen, Greg, T.O.S., Tim Midyett, and Hildur Guðnadóttir.
Sunn O))) are touring March (EU/France), April (USA), September (USA), October (UK & Europe). They are working toward some special events in London and other cities.
A multi-layered kaleidoscopic musical ride that will take you to places no other soundtrack has ever taken you before. Uplifting latin funk, melancholic chanson, dark synth drone, biguine punk, acid techno and a few absolutely indescribable hybrids, the songs created by Figueira to back the images of the film where he also plays the main character, are very impactful and cover an impressive array of influences and musical languages, put together in exquisite cinematic fashion.
After 5 highly acclaimed singles under his own name, the unpredictable, “out there” song writing and production style of Figueira is displayed here from a new perspective. Composing expressively for specific moments of the film, he has allowed yet new elements arise in his already extensive palette of sounds.
Relying once again exclusively on himself to get the job done, he has assembled a collection of songs that portrait many different emotions. Happiness, awe, fear, paranoia, helplessness, disappointment, excitement… are all evoked, reflecting all key twists and turns of the short-film directed by Mateo Fava and Dave Postma.
Limited cassette release (99 copies) with exclusive dialogue excerpts from the film (not included in the digital version). Hand-numbered, beautiful risographed foldable inlay, drawn by Kevin Mancera.
"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.
Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.
Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..
It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.
Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."
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"Kontakt Audio and Infinite Fog Productions proudly present the 25-th anniversary reissue of the one of most unique albums on avantgarde/neoclassic music – Ihor Tsymbrovsky – Come, Angel.
Recorded in 1995 in Ukraine and released in 1996 just as a small run on cassette on Polish label Koka Records, the album without any promotion little by little became legendary and madly wanted by many fans all around the world. And from the first seconds, you can hear why it is so. Pretty hard to explain what songs play Ihor, moreover that would be senseless. “Come, Angel” is one of those albums which are so unique that takes you in a vacuum of verbal forms in an attempt to describe the record. In a few words, this is definitely very intimate and deeply emotional music with an absolutely incredible voice. The first associations could forward you to Antony Hegarty from Antony And The Johnsons, Marc Almond, Arthur Russell, Baby Dee, Bjork. Experienced listener familiar with these great artist knows that all of them are inimitable and Ihor Tsymbrovsky is totally inimitable as well.
In 2016 well-known German label Offen Music published 3 tracks from the album “Come, Angel” which brought a lot of attention to Ihor’s music. This time we’re excited to announce the first full album reissue on CD, Double vinyl, and tapes. Beside the full version of the album, you’ll find an exclusive bonus song from the cult compilation “Music The World Does Not See” – Nefryt Records 2000.
~
“For me, music is a certain way of cultural survival. Here I do not set myself theoretical problems or experiments.
The connotations of life are important: rhythms, melodies, their connection with language, poetry, real life, virtual or imaginary space. It is very important to me how the recitation of work sounds, how consonant and vowel sounds dissolve in singing, how they combine musically. I understand sound space as a field of my interpretations, preferences, priorities, and I do not use direct imitation. If I hear a melody or a musical phrase, and it is fixed in my memory, later I extract it in my own interpretation, as already formed by this field. In art, the goal is in the work itself, not outside it. For me, the expression “To be is to create a new reality” is another winged reality.” – Ihor Tsymbrovsky
~~
“Tsymbrovsky – an architect, musician, a poet, an artist; one of the most underestimated musicians in Ukraine’s artistic world. Many critics pulled their hair out trying to get to the bottom of Tsymbrovsky’s music. It has been inspired by jazz, minimal, modern, ethnic, and meditation music. Tsymbrovsky is not a virtuoso, however, he creates whole worlds with his astonishing falsetto. Although Cymbrovsky’s music is simple it is made of many elements. Filled with magic and unusual sensitivity and warmth it can be therapeutic for the listener. This is that kind of music, which can be listened to many times – in a different way each time.” – Koka Records.
~~~
“Igor Tsymbrovsky’s only album “Come Angel” (1995) still remains perhaps the most bizarre phenomenon in Ukrainian music since independence. The story of its author is a vivid example of cultural amnesia. In the pre-Internet era, Tsymbrovsky was a prominent figure in the Ukrainian underground, performed on the “Red Route”, went on tour in Germany. However, he left a minimum of evidence of his activity and became a silent legend for a few. We talked to Igor to find out where he came from and where he was going.
The album “Come Angel” is eight compositions performed with a falsetto to the accompaniment of a piano. (Tsymbrovsky’s falsetto is a legacy of the Lviv Dudaryk choir, where he sang as a child.) It would seem that it could be easier. But, despite such ascetic tools, Tsymbrovsky managed to create a phenomenon unique to Ukrainian culture. Some people compare him to Benjamin Clementine and Anthony Hegarty, but no comparison will be exhaustive. The lyrics of the songs attract special attention: two of them were written by Tsymbrovsky himself, the others demonstrate his remarkable literary knowledge. Here and Guillaume Apollinaire, and Mikhaijl Semenko, and even less obvious poets, such as Mykola Vorobyov or Jozsef Attila.
The young performer’s first performance took place in 1987 in the club of the Forestry Institute. It is quite symbolic that this room used to be a Jesuit church because such a chamber environment suits his songs about angels much better than the noise of big festivals. However, there were also many festivals in Tsymbrovsky’s career: in 1989, Chorna Rada and Chervona Ruta, in 1991, Kharkiv’s Nova Scena and Ukrainian Nights in Gdansk, Alternativa in Lviv. Ihor calls his first performances musical performances and notes that they sounded completely different. Unfortunately, we will never know exactly how.” – Amnesia
~~~~
“The magicians at Dusseldorf’s Offen Music pluck a madly beguiling pearl of late-night songcraft by Ukraine’s Ihor Tsymbrovsky to follow their vital releases by Toresch and Rex Ilusivii. Come Angel was first recorded in Lviv, Ukraine, in 1995, and issued on cassette by Poland’s Koka Records in 1996. There appears to be no prior mention of the release or artist on the internet and quite how it came into of Offen Music possession is not disclosed, and that only ratchets the record’s enigma to astonishing degrees once you’ve heard the music. In a quivering, high register, androgynous trill, Ihor Tsymbrovsky beckons heavenly beings in the remarkable A-side Come, Angel against a swirling backdrop of phasing, subtly delayed organ. It was recorded in one take (this is the 2nd version), and, if we’re not mistaken, you can hear the keys being pressed rhythmically in the background, which seems to be the song’s only tangible connection to this mortal world as Ihor vaults octaves high and close-in-the-mix with the sort of alien, dreamlike vocal that requires pinching oneself to make sure you’re awake. Spellbinding is definitely the word. On the other side he (we’re assured it is a ‘he’ in the promo text) sets two poems by Mykola Vorobyov and Mykhal Semenko, respectively, to emphatic piano keys, this time more shy of FX save for some delay, placing that willowing, avian vocal at a dreamy arms reach in Roses for the Poet, and with a sort of liturgical dark jazz feel, sorta like Lewis repenting his sins as a castrato monk, in the spare atmosphere in By the Sea. This is gold-seal business, we tell ya. Clock the clips and clear some swooning room.” – Boomkat
Punk rock creative moment music born out of DC & Baltimore scenes. Jarrett Gilgore (Alto/ Soprano Saxophone) is a gifted sonic melodic soothsayer. Luke Stewart (Bass, Irreversible Entanglements) lays down heavy danceable free bass lines, and Ian McColm (drums/percussion) is a drummer with an endless vocabulary moving from thrash to swing - always pushing the energy forward. This trio is unearthing new sonic territories with unwavering musicality and a steely grin. Special notice must be paid to the second track ("Aaron's Ride") - a piece dedicated to the life, spirit, and music of Aaron Martin Jr. - a mentor and fixture of the DC creative music scene who recently departed this realm for another. These musicians know the tradition and fearlessly venture into a vast ocean of sound. Dive in! - Jaimie Branch
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"Matasuna Records" returns to Mexico for a third time to dig for rare treasures. They got their hands on a special gem - two obscure Latin/Jazzfunk tunes by a band called "Colorado" from "Mexico City". The songs were released in 1976 on the Mexican label Peerless and the super rare original 7inch is virtually unavailable. Fortunately, the release is finally available for the first time as an official reissue in a remastered edition. An unjustly under-the-radar Latin jazzfunk highlight!
The song "Colorado", named after the band, opens the "A-side" of the single. The hypnotic fender rhodes puts the listener in the right mood right from the start, before the drums and percussion set the rhythm. The horns also add depth and melodiousness before the song takes a turn and reveals its funky side with guitars, synths and bass. A nice guitar solo also reveals the affinity for rock music without losing sight of the vibe of the song or tipping it a different direction. Definitely a fabulous song that comes up with a lot of ideas and inspirations, offering an unexpected richness in the under 3-minute running time.
The "B-side" also continues musically energetic in the same way with "Para Ti". Here, too, you can feel and hear the playfulness and experimentation of these extraordinary musicians. Atmospherically dense passages alternate with quieter phases and solo parts, before the tension rises again and literally explodes. As in the song "Colorado", rhodes, brass, guitars & bass offer a great and varied interplay. The secret highlight, however, might be the drum and percussion parts in the middle of the track, which will surely enchant not only the B-Boys and B-Girls.
Artist info:
The internet, a source of almost endless knowledge, offers no information about the band Colorado. All the more fortunate that one of the band's founding members, "Emilio Espinosa Becerra", provides detailed info for the reissue.
In 1968 the three brothers "Luis", "Francisco" and "Emilio Espinosa Becerra" from Mexico City started to rehearse together to play wellknown rock & pop songs at friends or family parties. At first, they played on Japanese guitars and a Teisco bass borrowed from a school friend. They saved up money to then buy guitar & bass amps and a microphone, which they always had to rent until then. However, the budget was only enough for Mexican replicas of the legendary Fender Bassman and the Fender Super Reverb. Original equipment was simply unaffordable.
Shortly thereafter, more members joined the band. Three musicians from the school band "Tepeyac": "Marco Nieto Bermudez" (trumpet), "Raymundo Mier Garza" (tenor saxophone) and "Alfonso Romero" (trombone). Another classmate named "Carlos Mauricio Fernández Ordóñez", who studied piano, also joined the group. His father had a chemical factory in the United States and helped bring equipment (amplifiers and a Farfisa Fast 5 organ) - hidden in the back of a truck - to Mexico. In the time that followed, more instruments were acquired, including bass and guitars (from Gibson, Rickenbacher and Fender) and microphones (from Shure) for vocals and horns.
With a larger band and new equipment, they played many parties in their district of "Lindavista" in "Mexico City" and neighboring areas from 1970 to 1973, as well as gigs at various festivals and school events. The group's band name at the time was "Sound Core Brass". However, more and more often people with turntables and speakers showed up at parties, which were also able to heat up. The so-called "Sonideros", a sound system culture that was emerging in the 1960s, charged less than a multi-piece live band, so the band's performances declined.
During those years, three other "Espinosa Becerra" family members joined the band: "Jorge Rafael" (trombone), "Sergio Alejandro" (tenor saxophone) and "Felipe de Jesus" (drums and percussion).
A brother of the musicians, "Carlos Espinosa Becerra", studied electrical engineering at the University. Together with another fellow student, he designed and built a 10-channel console with a variety of functions and features that far surpassed the devices available at the time. They also went to the US again to buy JBL speakers & tweeters to build their own sound system. On another trip to Los Angeles, they bought Phase Linear amplifiers, which offered enormous power by the standards of the time and had an extremely low distortion factor. With this equipment they could turn up the volume really loud and noise-free.
This was also the time when they stopped playing music from English bands & youth groups and changed their repertoire completely. They played mambos, chachachas, pasodobles and tangos on special occasions in big ballrooms and halls. Also, every now and then they hired a string quartet of well-known Mexican violinists to provide the musical entertainment at dinner events.
During those years, classmate "Pablo Rached Diaz" joined the band, playing tenor saxophone. Pablo was very active and organized many parties. He was also the one who helped the band to record on the Mexican label "Peerless". So in 1975 they were asked by Peerles Records to record their own songs. They had recorded a total of 12 songs - six of these songs were released on three vinyl singles (45rpm). Most of the songs were composed by "Gustavo Ruiz de Chavez Sr.". The band was asked to adopt a more commercial name, and so they had chosen the band name "Colorado". In the course of the releases, the band made some promotional tours and appeared in shows on "Televisa", the most important television station in Mexico in those years.
Later, several members of "Colorado" graduated and began to pursue regular professions. They didn't stop playing at events, but priority was given to more formal duties and the band was no longer as active as it had been in its heyday.
About 8 years ago, the band got back together to play again. The next generation of musicians also joined the band: two sons, a nephew and a brother-in-law of the original band members. Currently, they are back playing at friends' parties and family gatherings in Mexico City.
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Highlighting the continuing evolution of Durban's globally influential gqom sound, this special trilogy of releases showcases three separate artists from South Africa's fertile musical landscape. The set captures a fresh wave of gqom innovation from veteran producer DJ Skothan/DJ Scoturn, DJ Scriby, and 20-year-old DJ MaRiiO. DJ Skothan/DJ Scoturn has been a key figure in Durban's underground scene for many years, producing alongside Phelimuncasi, Bhejani, Tweeyking, Lafaristo, MaRiiO and DJ MP3. His gqom and house tracks have quietly provided a rumbling engine for the city's scene, and "Nevegation" is his debut full-length, providing a complex diagram of his dancefloor versatility. This isn't the gqom you might expect to hear: immediately on opener 'The Gringo' familiar sounds - shovel kicks, chopped vocals, sampled gasps, horror movie strings - are shuffled into atypical patterns, creating jerky soundscapes rather than the expected four-on-the-floor bump. 'Salut to DJ Lag' pays respect to Durban's Beyoncé-approved pioneer, but twists the template into a propulsive new form, adding rolling and evolving percussion that teases fractal shapes each bar. But the album's most unexpected and forward-thinking moment arrives with the aptly titled 'The King of Gqom', a track that simmers the genre's percussive sounds into limber sci-fi club futurism, tweaking the bass sounds into patterns that nod to dubstep, Jersey club and ballroom. 25-year-old DJ Scriby has been working behind the scenes since 2013, assisting the first wave of gqom innovators promote their sound both inside Durban and beyond. In 2017 he joined London's Trax Couture to release "The Clermont EP", and here he introduces his long-awaited follow-up "Izingoma zeGqomu". Scriby's approach to gqom is well-studied and self-aware, which gives him the ability to stretch the sound's scope across the diaspora: just peep the Atlanta trap synths on the dynamic 'Friday 13th', or the absorption of tight grime snares on opening track 'Goi'. Scriby's engineering skill pushes his productions to the next level, lending slithering downtempo tracks like 'Ouuu1' and 'Igqom Libuye' a widescreen, big-room punch without losing the genre's undulating funk. And the producer even eyes the EDM mainstage with 'Qumqum!!', balancing saccharine synths with jerky kicks, claps and rolling toms. The youngest artist featured in the collection, DJ MaRiiO started producing when he was just 12 years old, watching YouTube production videos. "No one told me how to use FL Studio," he admits, "and no one helped me doing different genres." This might be why his music sounds so completely unique; the basic structure of gqom is still present, but MaRiiO augments these elements with youthful energy and carefree use of unusual sounds and production methods. "Zulu Man" opener 'GQom NyeGe' manages to mash together trance synths, DMZ bass and a driving woodblock rhythm that reminds you of its Durban roots, while the bizarre 'Ngom ya Phesh', featuring MaRiiO's regular collaborator Hot Chicks on vocals, pushes the gqom template into the red, with overdriven kicks and disorienting environmental sounds. All three records provide a 360 degree view of Durban's contemporary underground, nodding to the past, present and future of gqom. It's a genre that's constantly in flux as it moves from South Africa's bedrooms and basements to main stages and movie screens across the globe.
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Lampen is Kalle Kalima and Tatu Rönkkö. Kalle plays guitar, Tatu plays percussions and sampler. Together they're Lampen, a duo making highly addictive "post jazz" with a musical heart far beyond genre. Call it what you will, but the main point is listening, and there's a high season for that coming as Lampen is set to release their debut album on We Jazz Records on "Kintsugi Gold" vinyl and digitally. Previously a CD only release (Karkia Mistika Records, 2020), "Lampen" presents two artists who have a knack at making music which opens up with each listen, pulling you deeper and deeper. Meditative passages flow by slowly as in a peaceful river stream, erupting into full rapids of sound when the time is right. This is sonic rafting for the curious listener.
Tatu Rönkkö (b.1983) is a Finnish percussionist and drummer who has been active in the experimental music scene of Helsinki and Berlin during the past ten years and has toured Europe, U.S. and Asia extensively. He is a forming member of Liima (DK/FI) and has performed with such artists as Ilpo Väisänen (Pan Sonic), Samuli Kosminen (Múm), Jimi Tenor, Nils Frahm, Efterklang, Raoul Björkenheim, Elifantree and Islaja. Rönkkö has been playing improvised solo concerts in people's kitchens ("I Play Your Kitchen") using only kitchenware found in each home as instruments.
Kalle Kalima (b. 1973 in Helsinki, Finland) has worked with trumpeters Tomasz Stanko and Wadada Leo Smith, sax players Juhani Aaltonen, Anthony Braxton, bass players Greg Cohen and Sirone, guitarist Marc Ducret, composers Michael Wertmüller and Simon Stockhausen, pianists Jason Moran and Hans Lüdemann, drummers Jim Black and Tony Allen and singers Andreas Schaerer, Linda Sharrock as well as with Ensemble Resonanz and Jazzanova. Kalima has composed orchestral music for Opera Lyon, Ensemble Resonanz (Chamber Ensemble of Elbfilharmony in Hamburg), String Trio of Munich Symphony, NDR Big Band, Umo Big Band and Jousia Ensemble among others.
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To mark the club's 6th Anniversary, Tbilisi club KHIDI announces a series of three VA EPs with tracks from its residents and artists closely affiliated with the club "Two thorns together, a hundred tears apart" credits releases September 16, 2022 Written and produced by Ancient Methods, OTHR, Roman, Boyd Schidt, Silent Servant, Unhuman and Vulkanski Mastered by Dadub Studios Artwork by Studio Ekun
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Svart Records to release new album by rising stars of eclectic heavy rock, Messa on the 11th of March 2022. Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next. New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation. The hushed Fender Rhodes piano intro on opener “Suspended,” picks up where Messa left off on their previous album “Feast For Water” but then collapses gloriously into Jazz guitar and widescreen impassioned crushing riffs, lighting our way for the odyssey ahead. The scene is set magnificently for the journey that “Close” expertly takes the listener on, with Messa’s obvious care and passion for the album as a pilgrimage of sonic experience. Heavyweight tracks like “If You Want Her To Be Taken” or “0=2” are modern Doom Rock classics that expertly upgrade and leave the genre reeling in their wake. “Pilgrim” and “Orphalese” are woven with tapestries of Mediterranean sounds where oudh and eastern chord phrasings expand Messa’s cinematic palette with a panache that is all their own. Atmospheric and grandiose belters like “Rubedo” and “Dark Horse” build into an almost limitless climax of discord and harmony where blast beats and saxophones descend into a thrilling cacophony that’s a masterclass in artful cutting edge Doom. Referencing bands like Dead Can Dance, Swans and Om, Messa have created an album where song, experience and atmosphere are focused into a crystalline modus where high art flawlessly embraces good old fashioned riff-worship. Transcending the occult and noir-tinted atmospheres of their past works, “Close” confidently weaves Messa’s multifarious influences into a singular breath-taking sound that leaves the listener enthralled. Perfection or something extremely close, Messa’s “Close” is not just a Metal record, but it’s definitely one of the best things to break out of the confines of Metal in a long time.
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Known as the “Dynamic Duo” Pig&Dan celebrate twenty years by making a long-awaited debut on Crosstown Rebels next month. The two-track Rock You All Night EP draws inspiration from the USA’s heritage house scene, with a slice of Hot Filtered Disco!
The influences of Chicago and New York are heard right from the offset, with rolling homegrown stabs coupled next to heavy and wholesome bassline grooves. There’s an inherent feel-good atmosphere to the piece, reflective of the era’s freedom and openness, before Let Yourself Unwind finishes proceedings on a similarly euphoric close. Disco-esque melodies flitter beneath an upbeat, repeating vocal as choir-like instrumentals build to create the perfect synergy for both dancefloor and radio play.
Pig&Dan have firmly established their presence as one of electronic music’s most esteemed duos. The pair’s releases speak for themselves, be it on Sven Väth’s Cocoon, Adam Beyer’s Drumcode or John Digweed’s Bedrock to name a mere few of the labels they’ve found success on. Their DJ performances are similarly impressive, with recent years marking the launch of a new live show that debuted across some of the biggest global stages, including Fabric (London), Warung (Brazil) and AIM festival (Canada).
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Not every day do you celebrate a 40th birthday. That’s why, the most famous French Jazz Festival, “Jazz at Vienne” is marking the four-decade – emerald – anniversary of France’s signature jazz and blues event not once, but twice. After a truncated 2021 edition, the festival’s storied history, dating back to 1981, is being celebrated with a full concert schedule this year, alongside a compilation album, Past & Future in collaboration with Heavenly Sweetness. The album - an amalgam of stories, emotion and resonant echoes – captures the festival’s essence. Listen in closely, then once again.
PAST
Listen to the best moments of live music in Vienne Antic Theater. With prestigious names of jazz : McCoy Tyner, trio Romano / Sclavis / Texier, Hank Jones, Milt Jackson, Lalo Schiffrin, Roy Hargrove and world music Gilberto Gil, Banda de Santiago de Cuba.
FUTURE
A selection of the best young artists of the French jazz scene, chosen following a call for candidates of several months ! 7 unreleased tracks specially recorded for this album. The young talents who will hopefully be part of the festival in the coming
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One of the most highly awaited records on the planet. In true Bad Company UK style, going against the grain to bring you what you want. Oxygen - Prolix Remix and Dogs on the Moon - Delta Heavy Remix have been immortalised together on one piece of vinyl #1, kickstarting the BCUK Remix vinyl project which has been evolving and developing over the past 7 years, to bring you something very special. As supported by the likes of Andy C, The Prototypes, AMC, Audio and everyone else, these tracks are locked and loaded.
Dogs On The Moon Delta Heavy Remix - A bouncy catchy remix by Delta Heavy, with a bass line and drop that is an energetic anthemic Bad Company UK dance-floor classic. Fit for the old school Drum & Bass heads while also being a perfectly modern new age banger with a fast tempo for those who like to move, dance, run, exercise or just enjoy DnB at its best.
OxygenProlix Remix - An uptempo Drum & Bass remix from the highly talented Prolix, of the classic Bad Company UK deadly sinister theme - Oxygen. The old school Drum & Bass generation are thrilled to see the ‘Drilla Killa’ classic updated for 2022, giving the new age fans who are more and more interested in the foundation of the scene, a slice of the past with a modern twist. This rhythmical beast will get you showing off your best moves while screwing up
your face.
Dj support: UKF, Andy C, A.M.C, DC Breaks, Ed Rush, Audio, Prolix, Futurebound, The Proto- types, Dj Marky, Bryan G, Mampi Swift, Jumping Jack Frost.
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Last delivered 18 months ago available to reorder, subject to availability
Limitierte Loser Edition, gepresst auf "Misty Kiwi Fruit Green" farbiges Vinyl. "When The Wind Forgets Your Name" ist das erste neue Built to Spill -Album seit der Veröffentlichung von "Untethered Moon" aus dem Jahr 2015 und das achte Studioalbum dr langlebigen Band um Mastermind Doug Martsch. Es wurde von Martsch produziert, von Martsch, Lê Almeida, Joao Casaes und Josh Lewis gemischt und von Mell Dettmer gemastert. Das Cover Artwork wurde von dem Comiczeichner Alex Graham (Dog Biscuits; Fantagraphics Books) gestaltet, der auch den fünfzigteiligen Comicstrip für das Klappcover des Albums illustriert hat (erhältlich mit den CD-, LP- und MC-Ausgaben des Albums). Seit 1992 wollte Doug Martsch, Gründer von Built to Spill, dass seine geliebte Band ein gemeinschaftliches Projekt ist, eine sich ständig weiterentwickelnde Gruppe von unglaublichen Musikern, die gemeinsam Musik machen und live spielen. Nach mehreren Alben und EPs auf Independent-Labels stand Martsch von 1995 bis 2016 bei Warner Brothers unter Vertrag. In dieser Zeit nahmen er und seine wechselnden Mitstreiter sechs unbestreitbar großartige Alben auf - "Perfect From Now On", "Keep It Like A Secret", "Ancient Melodies Of The Future", "You In Reverse", "There Is No Enemy", "Untethered Moon". "When The Wind Forgets Your Name" setzt nun die Erweiterung des Built to Spill -Universums auf neue und aufregende Weise fort. Im Jahr 2018 brachten Martschs Glück und seine Intuition ihn mit dem brasilianischen Lo-Fi-Punk-Künstler und Produzenten Le Almeida und seinem langjährigen Mitstreiter Joao Casaes zusammen, beide von der psychedelischen Jazz-Rock-Band ORUA. Als Martsch ihre Musik entdeckte, verliebte er sich sofort in sie und bat sie bei Built to Spill mitzumachen, als er eine neue Begleitband für Auftritte in Brasilien brauchte. Die Auftritte in Brasilien liefen so gut, dass Martsch, Almeida und Casaes beschlossen, 2019 weiter zusammen zu spielen und durch die USA und Europa zu touren. Bei Soundchecks erlernten sie neue Songs, die Martsch geschrieben hatte, und als die Tournee zu Ende war, nahmen sie die Bass- und Schlagzeugspuren in seinem Proberaum in Boise auf. Nachdem sie nach Hause geflogen waren, begann Martsch selbst mit dem Overdubbing von Gitarren und Gesang. Das gemeinschaftliche Abmischen fand während der Pandemie übers Internet statt, in dem die Tracks hin und her geschickt wurden. Herausgekommen ist "When The Wind Forgets Your Name", eine komplexe und schlüssige Mischung aus den unterschiedlichen musikalischen Ideen der Künstler. Neben den poetischen Texten und Themen von Built to Spill sorgen die Experimente und die Liebe zum Detail für ein Album voller einzigartiger, lebendiger und zeitloser Klänge.
Idiology was originally released in 2001 and is now finally back on vinyl. This re-issue is pressed on white color vinyl and presented in a die cut jacket with artworked inner sleeve and free download card. From their beginnings in 1992, Cologne native Jan St. Werner and Dusseldorfer Andi Toma have consistently challenged electronic music"s paradigm in often surprising and always intriguing ways. Idiology is the duo"s seventh album and is no exception to this rule, as Mouse on Mars surround themselves with strings, woodwinds, brass and the band"s own heavily modified fleet of machines in the St. Martin"s Tonstudio. Fans should once again brace themselves for the inevitable shock of the new as Germany"s most irreverent audio renegades have created the perfect soundtrack for a highly sinister dance party. Kicking off with "Actionist Respoke", the album"s first single, Mouse on Mars officially declare their independence from glitchtronica"s shoegazing legions. Longtime collaborator Dodo Nkishi lends a uniquely warped vocal sensibility to the track which already features Mouse on Mars"s darkest grooves to date. The rest of the album continues to thicken the group"s sonic stew. Tracks such as "Presence" and "Catching Butterflies With Hands" have their populist intentions undermined by Werner and Toma"s meddling hands, while the duo reprise their flirtation with the orchestral as heard on the opening tracks from 2000"s Niun Niggung. At the other end of the spectrum, "Introduce" is a truly evil slice of twisted lympho-zoid hip-hop. Idiology takes no prisoners in its dual-pronged assault on the conventions of modern music. Only with the loungy closing number, "Fantastic Analysis" (a term Werner and Toma invented to describe their working process), do Mouse on Mars let the arrangements breathe a long sigh of relief, the calm after the storm. To enable these stylistic achievements Mouse on Mars enlist the help of partners in crime such as: Nkishi, the multi-talented Harald "Sack" Ziegler, house icon Matthew Herbert on piano, violinist Matty Arouse, in addition to fellow programming wizards Adam "Vert" Butler and F.X. Randomiz. The latter two toured with Mouse on Mars in 2000 as they successfully triumphed over audiences around the globe.
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Last delivered 4 years ago available to reorder, subject to availability
Spirit Fest is an underground avant-pop supergroup (for those of us that feel the weight of each member’s individual power), made up of Saya and Takashi (Tenniscoats), Markus Acher and Cico Beck (Notwist), and Mat Fowler (Jam Money). They have steadily been crafting and solidifying a beautifully surreal world since their inception in 2016. Their independent artistic selves have been stripped back to their rawest forms, and they then have become a centralized being. The building blocks used are made with materials that have already started to decompose. It’s familiar, but also “kind of off”. Their sounds become a part of our collective consciousness. Spirit Fest is more than a band. It’s an idea that we can all participate in. A spirit we can all conjure. The freedom and space they give is a gift. This is an invitation into a freedom we can all experience. But first, you have to follow suit, rid yourself of your preconceived ideas and become your rawest form.
Moone Records bring you Spirit Fest’s first live album entitled, “Live at Import Export”. Here are some words Markus Acher shared about this show and the tour surrounding it:
“In 2021 Spirit Fest went on a summer tour to Italy which ended at our favourite alternative venue in Munich, called Import Export. Italy had been like heaven, Through mountains and tunnels with a soundtrack by Morricone, Yo La Tengo and Teenage Fanclub we drove from Autogrill to Autogrill and played outdoor-concerts at welcoming places. Although our dear friend Mat, who is an important part of Spirit Fest couldn‘t come, we felt like a real band and there were many evenings, when the moment and the music, the heart and the hand became one. We visited the tower of Pisa and had the best ice-cream. And the food of course! Another drive + another tunnel and then a last concert in Munich. A new song by Saya about Fuchur from the „Never Ending Story“. Saya‘s singing on Takeda No Komoriuta stopped time. So moving. I will never forget this tour and I am happy, there is a recording of the Import-export concert and Caleb from Moone Records made this beautiful tape from it.” - Markus Acher
Recorded live at Import Export, Munich, on June 27, 2021 by Noel Riedel
Over the course of the last two decades, of Montreal’s creative force, Kevin Barnes, has been wowing fans with their vast catalog of endlessly fascinating pop and mesmerizing live shows. Barnes’ songwriting and production aesthetic has since become iconic in the industry and has garnered massive critical acclaim in publications such as Rolling Stone, The New York Times, NPR, and Pitchfork, who described the band’s album, Hissing Fauna, Are You The Destroyer? as “ceaselessly fascinating and inexhaustibly replayable,” as well as ranking it as the #5 album of the year. Barnes’ influence on pop music is undeniable, with multiple late night TV appearances, including The Late Show With David Letterman and Late Night with Jimmy Fallon, as well as brilliant collaborations with the likes of Solange, Janelle Monáe, Jon Brion, and others. The band has also performed across the globe, with festival appearances at Coachella, Sasquatch!, Pitchfork Music Festival and others, as well as hundreds of millions of streams worldwide.
On of Montreal’s latest album, Freewave Lucifer f ck, Barnes continues to push the boundaries of what pop music can be. On songs like “Marijuana’s A Working Woman,” Barnes revisits themes of psychedelia using pulsating synths
Recorded predominantly in Orlando’s studio in Los Angeles, ‘When the Lights Go’ is his first album since 2012’s critically acclaimed ‘Trouble’. The new album marks a departure in sound, defined, of course, by the events of the last few years. Encompassing songwriting, ballads and a pop-centered aesthetic, it’s full of depth, feeling, storytelling and woe - presented in a compelling manner, as only he can.
When the Lights Go is a substantial body of work, containing 17 tracks, representative of the duration between albums, “I feel grateful to know that there are people who are interested in more music from me. So I want to give them something significant in length”, he says. When the Lights Go also marks a shift into the pop domain, Orlando’s vocals take center stage with arrangements that complement the sadness in the songwriting.
Now a 45 RPM 180-gram 2LP release!
Peter, Paul & Mary Album 1700 reissue from Analogue Productions!
Mastered by Kevin Gray at Cohearent Audio from the original analogue tape!
Gatefold old-style "tip-on" jacket by Stoughton Printing
Plated and pressed at Quality Record Pressings!
Now a 45 RPM 180-gram 2LP release! Wider grooves for better tracking, more detail, more breath and sparkle! Transport your ears completely back to the studio!
This is a phenomenal reissue of a significant album for the famed folk rock trio. Album 1700, released in 1967, yielded the group's final hit single (and only No. 1), "Leaving on a Jet Plane." It also yielded graceful folk-rock trappings for their repertoire of originals and covers by, among others, Bob Dylan and Eric Anderson, writes David Wolf.
This is the deluxe Analogue Productions treatment. An expert remastering by Kevin Gray of Cohearent Audio. A 180-gram pressing with lacquer plating by Gary Salstrom at Quality Record Pressings. Expertly recreated jacket artwork. A masterpiece.
ercussive Maintenance is an initiative by drummer Simon Popp and Squama aimed at forming new ties through improvisation. For the monthly events at ZIRKA in Munich, Simon invites fellow artists to engage in an open-format collaboration.
The second episode featured Embryo's Marja Burchard on vibraphone and the recording is now available on tape in a limited edition.
