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"Perfect Saviors ist unser völlig unironischer, aufrichtiger Versuch, das größte und beste Rockalbum des 21. Jahrhunderts zu schaffen." The Armed - das in Detroit gegründete Alternative Metal-Post-Hardcore - Kollektiv - meldet sich mit neuen Album Perfect Saviors zurück, dem nächsten Schritt seit ihrem Durchbruch ULTRAPOP aus dem Jahr 2021. Perfect Saviors wurde von Tony Wolski zusammen mit Ben Chisholm und Troy Van Leeuwen produziert, mit Beiträgen von Julien Baker, Sarah Tudzin, Mark Guiliana, Justin Meldal-Johnsen, Eric Avery, Stephen Perkins, Josh Klinghoffer und vielen anderen. Das Album wurde von zudem von Alan Moulder (u.a. NIN, Iggy Pop, Jesus & Mary Chain, Wet Leg, Foo Fighters...) gemischt. Sänger Tony Wolski äußerte sich wie folgt zu dem Album: "Zu viele Informationen haben uns dumm und verwirrt gemacht. Zu viele Möglichkeiten, sich zu vernetzen, haben versehentlich zur Isolation geführt. Und zu viele Erwartungen haben jeden gezwungen, eine Berühmtheit zu werden. Vorhersehbare ursprüngliche Gefahren sind neueren sozialen Gefahren gewichen. Das Ergebnis ist eine Welt, die verwirrend und beängstigend, aber letztlich auch schön ist. Wir hoffen, dass diese Platte genau das alles auch ist. Perfect Saviors ist der Abschluss einer Trilogie von Alben, die untersucht und seziert, was "Popkultur" in einer Welt der grenzenlosen Information und des Zugangs ausmacht. Jedes Album nutzt "Popmusik" als lockeres Format, um diese Ideen auszudrücken, und nutzt Komposition und Präsentation als eine Möglichkeit, diese Fragen weiter zu hinterfragen. Perfect Saviors ist das ultimative Produkt dieser Entwicklung. Mit Hilfe eines der weltweit bekanntesten Mixing Engineers haben The Armed ein wunderschönes Album geschaffen, das die Sprache und die Welt des Pop durch eine einzigartige, extreme und perverse Linse betrachtet und so ihre Kunst vermittelt. Perfect Saviors folgt auf das von der Kritik gefeierte Album ULTRAPOP von 2021, das auf zahlreichen Best of 2021-Listen landete, darunter Pitchfork, New York Times, Stereogum, Revolver und vielen mehr. Vinyl im Klappcover mit zwei 12seitigen Booklets, Insert + DLC!

Recorded in 1995 and 1996, mostly in John Fahey"s room at a Salem, Oregon boardinghouse, the performances on Proofs and Refutations prefigure the ornery turn of the page that marked Fahey"s final years, drawing another enigmatic rabbit from his seemingly bottomless musical hat. Cloaked in the language of dogma - what is he proving? refuting? - this is Fahey dancing a jig in the Duchampian gap, jester cap bells a-jingling. True believers? He"s got something for you: an uncompromising vision that you can sneer at ("guy can"t play anymore and refuses to concede!") or embrace as evidence of his genius ("the reinventor does it again!"). Skeptics? He"s there with you, too: sending up the fallacy of certitudes altogether. Institutions, systems, accepted wisdoms. Heroes. Alternative facts, indeed. Right out of the gate, Fahey re-materializes before us, somewhere between Oracle of Delphi and Clown Prince at Olympus. Mounting a thundering dialectic from on high, "All the Rains" resembles nothing else in his extensive discography - betraying roots in everything from Dada to Episcopal liturgical chant - and contains nary a plucked guitar note. You can"t fool him! When the lap steel of yore appears on "F for Fake," it serves more as soundbed for an extended sequence of vocal improvisations, running the gamut from wordless Bashoian caterwauling to free-form (but decidedly fake) Tuvan, even revealing a burnished falsetto in the process. Fahey takes on a different kind of provocation in the two acoustic guitar-based tracks closing Side 1 - "Morning" parts 1 and 2 - the first of 4 recordings in this session that have him wrestling with the ghost of Skip James, perhaps Fahey"s effort to wrench the "bitter, hateful old creep" (his words) back into the grave. Anchoring Side 2 is the two-part "Evening, Not Night," the second half of his extended cathexis on James (and the latter"s avowed castration complex - another story for another day, perhaps). Bit of a chill in the air - where"s the impish Fahey from earlier? Unmistakably working through some psychic wounds here, we might think: the unheimlich rendered in glistening viscera. Or is he playing with our notions of authenticity, of his reputation as troubadour of raw emotional states, a pilgrim of the ominous, the simmering unconscious? These cards are kept decidedly close to the vest. The opening and closing pieces again feature Fahey"s guitar as drone soundbed - employing distortion, oscillation, and an altogether absurd quotient of reverb to create texture and harmonics that are - if we wanna go there - not dissimilar to the sustained tonic clusters of Tibetan singing bowls, the hurdy gurdy, Hindustani classical music, or La Monte freaking Young. Portions of this material appeared on obscure late "90s vinyl in the 7" or double-78 rpm format, but as a "session" it has lain dormant more than a quarter century now. Taken together, we can now see these tracks as secret blueprints to latter-day Fahey provocations, several years prior to records like 1997"s City of Refuge and Womblife.

In the early seventies, Joey Gilmore embarked on his musical journey, captivating audiences with a series of unforgettable singles that showcased his raw talent and unique style. It wasn't until 1977 that the culmination of his musical endeavors arrived—the release of his highly anticipated debut record.

This debut album marked a pivotal moment in Joey Gilmore's career, solidifying his reputation as a self-taught guitar virtuoso and soulful singer. The record resonated with listeners, capturing the essence of his artistry and leaving an indelible impact.

Now, after a 45-year wait, the time has finally come for a vinyl reissue of Joey Gilmore's debut album. This reissue is a celebration of his timeless music, meticulously crafted to preserve the authenticity and integrity of the original recording. Every note, every lyric and the original design of the sleeve has been lovingly restored to transport you back to the magic of that era.

Get ready to immerse yourself in the unadulterated funk and soul of Joey Gilmore's music, as this remarkable reissue brings his debut album back to life. Allow the melodies and rhythms to envelop you, taking you on a captivating musical adventure that transcends time. Revisit the magic, rediscover the artistry, and let the music of Joey Gilmore captivate your soul once again.

Perth-based artist hub 823, led by the extraordinary producer / creator Ta-ku joins forces with Berlin's Jakarta Records for the release of Godblesscomputers's fourth full-length LP, "Faded Views." The LP melds bright electronic flourishes with laidback synth-driven backdrops, weaving tapestries of mellow folktronica and groovy jazz harmony with continuous sonic intrigue that will keep you grooving into a tropical disposition. Paying homage to his musical moniker, the Bologna-based producer makes timely metallic interjections amidst lush, effortlessly groovy soundscapes. Explore a world of found, recycled, and synthesized sound on "Faded Views" out everywhere September 8.

Bologna-based producer, DJ, and sound collector Godblesscomputers (122k Spotify listeners) has returned with the release of his fourth full-length record, "Faded Views." Godblesscomputers's latest LP "The Island" (2020, La Tempesta Dischi) earned him placement on Spotify playlists like "Brain Flood" and "Coffee Club." Since then, his appearance on Willie Peyote's track "La colpa al vento" landed GBC on "Best of Indie Italia 2022." On "Faded Views," it was Godblesscomputers's creative project to explore the sonic potentials of his direct environment, picking up recordings and threads of inspiration from the most commonplace occurrences. A sonic scavenger, Godblesscomputers explored the expanses of his-both digital and physical-soundscapes. "Faded Views" does the work of crafting a unified, yet complex compilation of the noises that mark the experience of being digital natives in ever-expanding dimensions.

Godblesscomputers's use of musique concrète and found-sound composition melds curiously with his undeniable electronic and techno acumen. Superimposing metallic electronica onto esoteric sound bytes creates the occasion for complex sound collage. "Faded Views" marks a decade since the genesis of the Godblesscomputers project; the entire LP testifies to how time warps perception and sound. Godblesscomputers's music seems to decorate time, both commemorating the moments passed with mind-melting sonic collages and looking forward to the infinitudes of the future with frenetic electronic experimentation.

Themes of impermanence and transience-hence "Faded Views"-pervade the record. Godblesscomputers blurs time as each track seeps into the next in what feels like a seamless transition. He makes these swift passages in genre as well-the record opens on "Colors" with a rich horn section which frictionlessly becomes a lo-fi dance groove. It is this melding of the analog and the electronic that makes sense of his found approach to beat-making: Godblesscomputers marries the found and the synthesized; the creator and the created; the past and the future. The process of sonic dissection and recomposition that drives much of Godblesscomputers's creative process yields not only assertive breakdowns and animated dance tracks, but also complex tapestries of sound that keep the listener ever-intrigued-piano, saxophone, and modular synthesis all find a natural home on tracks like "Hello." In an apt description, the producer's work has been described as "sounding like wood, metal, and microchip."

Godblesscomputers's artistic objective lies in blurring definitive lines, constantly shifting perspectives, genres, and origins of inspiration. On "Faded Views," this design cultivates a folktronica record that truly evades definition.

Feelgood lead single "Mirrors" is out June 30th and features a rich meld of warbling layers, mixing upbeat dance music with complex instrumentation. Stream second single, "Above the Lake," for a mellow summer cut on July 21. Finally, the effortlessly groovy third single "You Feel Me" captures a genre-warping foray into folktronica. Listen to "You Feel Me" on August 11.

All LP artwork and stunning single visualizers were single-handedly put together by multi-disciplinary designer Michael Norman. "Faded Views" will be available everywhere physically and digitally on September 8, 2023. Be sure to listen for focus track "Hello" that captures the vast scope of Godblesscomputers's musical prowess. Find the LP, CD, and digital release on 823's and Jakarta Records's Bandcamp and local record stores.

Auf ihrem vierten Album "Sonic Moons" begeben sich DOMKRAFT auf eine Reise in den inneren Kosmos. Die Schweden düsen mit ihrem Fuzz-Antrieb und einem Treibstoff aus psychedelischen Riffs und Doom Metal durch die Untiefen der galaktischen Psyche in alternative metaphysische Realitäten; auf der Suche nach Flucht, Erholung und Erlösung. DOMKRAFT bleiben ihrem bisherigen musikalischen Kurs treu, wobei das nordische Trio jedoch hörbar gereift und das Songwriting deutlich präziser wirkt. Die markanten Doom-Hymnen sind geblieben, allerdings durch kleine Details und Nuancen leicht in Richtung Heavy Rock verschoben. DOMKRAFT wurde von Sänger und Bassist Martin Wegeland, Gitarrist Martin Widholm und Schlagzeuger Anders Dahlgren gegründet, um ihrer gemeinsamen Liebe zu Bands wie SPACEMEN 3, MONSTER MAGNET, SLEEP und HAWKWIND aktiv Ausdruck zu verleihen. Das Trio entwickelte aus seinen Einflüssen einen Sound, der bewusstseinsverändernde Psychedelik, hypnotischen Minimalismus und emotionale Klagegesänge miteinander verbindet. Dies drückt sich auf DOMKRAFTs monolithischem Debütalbum "The End of Electricity" (2016) ebenso deutlich aus wie auf dem heftigen Nachfolger "Flood" (2018) und dem gefeierten dritten Album "Seeds" (2021). Mit "Sonic Moons" sprengen DOMKRAFT den Fluchttunnel zu den emotional geladenen inneren Räumen des Geistes auf und gleiten durch fantastische neue Sonnensysteme zu unerforschten musikalischen Planeten. Jetzt ist der perfekte Zeitpunkt, um sich mit den Schweden auf die intergalaktische Reise ins Innere zu begeben!

Die zweifach mit dem GRAMMY® Award ausgezeichnete Sängerin und Songwriterin Lauren Daigle kündigt ihr kommendes selbstbetiteltes Album " Lauren Daigle" an, das am 12. Mai 2023 erscheinen wird.

Die erste Single aus dem upcoming Album "Thank God I Do" markiert den Beginn eines neuen kreativen Kapitels für die aus Louisiana stammende, mehrfach mit Platin ausgezeichnete Künstlerin, die erst letzten Monat bekannt gab, dass sie bei Atlantic Records in Zusammenarbeit mit ihrem langjährigen Label Centricity Music unterschrieben hat.
"Lauren Daigle" umfasst zwanzig gefühlvolle und erbauliche Songs, die in zwei Teilen veröffentlicht werden.
Die ersten zehn Songs erscheinen am 12. Mai, die anderen zehn später in diesem Jahr.
"Das ist mein wertvollstes Projekt", teilt Daigle mit, "es hat lustige Momente, feierliche Momente, extrovertierte Momente und introvertierte Momente. Und ich bin einfach begeistert davon, mein Songwriting auf dieser Platte weiter zu bringen als alles, was ich bisher gemacht habe."

Mit über einer Milliarde Streams und jahrelangen, ausverkauften US- und internationalen Tourneen festigt Lauren Daigle ihren Status als modernes Stimmgewaltmonster mit einer globalen, ständig wachsenden Fangemeinde.

God & Guns is the 13th studio album by the southern rock legends Lynyrd Skynyrd. It features the singles "Still Unbroken" and "Simple Life". "Still Unbroken" was written after the death of original bassist Leon Wilkeson in 2001. It was also the theme song of WWE's Breaking Point PPV event and is featured on WWE SmackDown vs. Raw 2010. "God & Guns" was the last Lynyrd Skynyrd album to feature the band's longtime keyboardist Billy Powell, who died in January 2009. Ean Evans, who had replaced Leon Wilkeson on bass, also passed away before this album came out.

The album's title comes from its track "God & Guns", written by Mark Stephen Jones, Travis Meadows, and Bud Tower, which was later covered by Hank Williams Jr. for his 2016 album It's About Time. The track "Floyd" features a guest performance by none other than Rob Zombie. God & Guns peaked at #18 on the U.S. Billboard pop charts, the band's highest-charting studio album since 1977's Street Survivors.

God & Guns is available on black vinyl and includes a 4-page booklet with lyrics

Despite the name, the band does not perform exclusively in trio formation, but expands the lineup with illustrious guests of the jazz genre. In the past AMC Trio has collaborated with Philip Catherine, Bill Evans, Ulf Wakenius, Mark Whitfield, Michael Patches Stewart and many others, including the guest on 'Following the Light' Randy Brecker.

The AMC Trio band has been around for about twenty years and consists of pianist Peter Adamkovic, bassist Martin Marincak and drummer Stanislav Cvanciger. It has its musical foundations in mainstream jazz but over the years has managed to develop its very own musical sound and style. The band incorporates many self-experienced stories and emotions in their compositions.

Although their music is influenced by Slovak music, it goes beyond the usual jazz progressions and touches on a number of diverse genres. For example, the wide range of melodies is inspired by popular and classical music, melodies from Eastern Slovak folk music, nature, literature and spirituality.

DJ Robert Smith presents his first ever scratch 12” - ‘Double Jabbed’!!
Previously lacing the portablist and 45 spinning community with 2 instant 7” classics,
‘The Kure’ and ‘The Booster’, ‘Double Jabbed’ is ALL that and then some!


Remixed and remastered, Side A contains all 12 of the skip-proof phrases from ‘The Kure’
plus an additional section with these arranged in ultra-pitch. It concludes with a full
phrase containing all of the samples from sides A and B in regular speed, then in
ultra-pitch. Side B contains all 13 of the skip-proof phrases from ‘The Booster’ then again

a section with these as skip-proof ultra-pitch phrases.



Pressed on premium black vinyl, the full colour picture sleeve is again illustrated by skate
industry legend Mark ‘Fos’ Foster (Heroin, Baker, Toy Machine, Santa Cruz, Element and
more).

This special release includes two never-before-heard original mixes.

The album marked the band's growth and evolution, featuring vocals and experimental elements that enhanced their sound. "Spin Your Partner," accompanied by a popular MTV video, was a standout track. The "Around the Bend" album was a success for the band both critically and commercially, topping the college charts in 1983.

Zach was pushing the envelope rhythmically, and Spencer began to simultaneously play both rhythm and melody on the same instrument. 2023 marks the 21st anniversary of HYHI, which is being repressed as a commemorative re-release by KRS, including both the remastered original album and the 3 song demo which landed them their deal with KRS in 2001.

Meshell Ndegeocello grooved jetzt bei Blue Note Records!

Die GRAMMY-prämierte Multiinstrumentalistin, Sängerin und Songwriterin gibt ihr Blue-Note-Debüt mit einem vielschichtigen Funk-Jazz-Album, das den Beginn eines neuen Kapitels in ihrer Karriere markiert.

Nach ihrem Coverversionen-Album „Ventriloquism“ (2018) kehrt Meshell jetzt mit 100% neuem, eigenem Material zurück, das ein breites Spektrum ihrer musikalischen Wurzeln abdeckt. „The Omnichord Real Book“ wurde von Josh Johnson produziert und präsentiert eine vielseitige Familie von Gastkünstlern, darunter Jason Moran, Ambrose Akinmusire, Joel Ross, Jeff Parker, Brandee Younger, Julius Rodriguez, Mark Guiliana, Cory Henry, Joan As Police Woman, Thandiswa und andere.

On this album, his third work published on Umor Rex, the french producer Alexandre Bazin takes what he started in Four Steps (Umor Rex 2022) to the maximum point. However, on Innervision, there is no longer that discreet flirtation towards the dance floor. Instead, the ten cuts that make up the album are influenced by musical research and the UK and Berlin electronic scene. Bazin's new proposal revolves around sound textures, saturations, feedback, autosampling, and cut and tuned sounds, allowing new melodic elements to emerge in the process, akin to a live act. While maintaining his minimalist exploration and obsession with melody and structure, Innervision undoubtedly marks a turning point in Bazin's discography. It is epic, compelling, euphoric, utterly enjoyable, and at times violently beautiful.

The album was composed and mixed by Alexandre Bazin at Château Rouge, Paris, and mastered by Rafael Anton Irisarri at Black Knoll, New York. François Desmoulins played the acoustic drums on Four Steps (Remix). The artwork for the album was created by Daniel Castrejón in Mexico City.

Nous'klaer Audio presents Martinou - Chiral, the follow full-length up to his 2021 album Rift. This time nine tracks across two vinyls. An album flowing 'in a way' like Rift, but it's different: More outspoken, heavier sound design and it peaks on a blissful note. ''Open up the blinds and take me there. We'll break the surface tension. We'll dive in. I'm locked in your devotion. You give an inclination to our demise. It will be our exit. To bliss, we'll be its guardian. Once there was love. Clear as glassy water. No ripples, no waves. I followed while you led. Our arrival was warm. Hot, even. Stunning to a startling degree. Hands intwined, frolicking towards the blue. Hours passed, and white heat cede to an orange hue. We cooled down. Red. We rallied. Black. It began. Into the deep darkness we ran. White sand, it has a tendency to get everywhere. Salt water will only dehydrate you more. Shriveled and dry. Scratchy and coarse. More. And then we were lost. Fingers once locked grew distant. Morning, dear. Where have you gone? We looked. A glimpse from afar. Red. We rallied. Shall we share a bottle of wine? Black, lost again. Afternoon, friend. Where were you? Red. Alone. Black. We rallied. Shall we try somewhere new? Sand and salt. Evening, sir. Reservation for one? Reservations a plenty, I say. Evening, miss. Dining alone? Aren't we all? Dining, miss, not dying. Oh, yes, alone. Black. Sand and salt. I found you. No. No. Wait, do I know you? You feel like a dream. Don't touch me. Move along, sir. Who are you? Leave. Who are you? Where did you go? Keep moving. I am, I will. Time to move on. I'm moving! Leave. Don't touch me. Leave. Why are you? Exit. Purple. Orange. Yellow. White. Blue. Morning, dear. Shall we have breakfast? I think I'll sleep some more. But it's our last day. I know. See you downstairs when you're ready. OK. I open up the blinds. A bird breaks the surface tension. Locked in. To Devotion? No. Demise. An inclination. Reverie. Take me there. Where? Exit (To Bliss) '' Text by Gregory Markus

Hot Creations welcomes Viot and Vitor Vinter as they make their label debut with ‘FMF’, featuring a remix from Bruno Furlan.

Brazilian-born pairing Viot and Vitor Vinter have both emerged as rising names to watch in the scene, capturing the attention of industry heavyweights like Joseph Capriati, Michael Bibi, Marco Carola and many more. Previously collaborating on SOSA’s imprint COCO, they now bring their latest offering ‘FMF’ to Jamie Jones and Lee Foss’ esteemed label Hot Creations, marking another milestone in their careers - accompanied by fellow Brazillian talent Bruno Furlan who returns to the label on remix duties.

With both artists favouring a freaky atmosphere, ‘FMF’ unveils deep, sultry vocals nestled over the top of an alluring acid bassline that drives the track forward. Bruno Furlan’s twist to the track injects a surge of high-octane energy with tumbling percussion and shadowy stabs, guaranteed to whip the crowd into a frenzy.

EXPANSION continues its series of 10' CLASSICS back to back with the coolest CONTEMPORARY takes of one awesome track. First off is the 70s masterpiece by the NORMAN CONNORS, as originally recorded by CARLOS GARNETT - a jazz funk, timeless 'rare groove' and '100 mile an hour dance' classic previously only a single as an edit and LP track but glorified here complete with a stunning vocal performance by JEAN CARNE.

The new version is by 'Queen Of The Broken Beat' BEMBE SEQGUE (pronounced 'segue-way'), a singer, composer, DJ and poet influenced by DOUG & JEAN CARNE who has worked with I.G. CULTURE, LIKWID BISKIT and DEGO from 4 HERO. She was an intrinsic part of the vibe that created the West London Broken Beat scene working extensively with KAIDII Tatham (Agent K) Orin Walters * Daz `IQ - Bugz In The Attic, MARK de-CLIVE LOWE etc as well as appearing on Seiji and G-force's album released on Re-inforced.

Bembe's 'live ' take on the classic released to acknowledge a rare live appearance in London by Norman Connors at the Royal Festival Hall. LIMITED EDITION RELEASE

We’ve had a quieter start to 2021 than previous years, but that doesn’t mean we’ve not been busy. In fact, our next physical release marks the first in a run of 9 or more we’ve got booked and ready for the rest of the year... To kick off the first FKOFv release of 2021, we welcome an artist back to the roster we first worked with as FKOF Records in 2013. It’s been great watching Subreachers develop his sound and material over the last ~10yrs, and it’s wicked to have him on a record – with some incredible tunes as well! FKOFv005 also welcomes Congi to the label for the first time, with a sumptuous remix that we know you’ll love as much as we do...

Machine's self-titled album is shrouded in mystery. Supposedly released in 1972 on All Platinum Records, it completely disappeared without a trace and only a few copies seem to have survived, making it one of the rarest Funk albums on the planet. The album, only known to a handful of hardcore collectors, fetches prices in excess of $5000 whenever one turns up on the auction market, which happened four times in the last twenty years. Consisting of three young session musicians backing their label mates The Whatnauts, the group display a superb mix of socially-conscious hard-hitting funk and earthy soul, the album is reissued here in its original artwork and remastered by Colorsound Studio in Paris. It includes a 2-page insert with new liner notes by Charles Waring. Masterminded by singer and guitarist Michael Watson accompanied by bass player Curtis McTeer and drummer Donald McCoy, the album Machine came straight out of the New Jersey-based All Platinum studios where the label was based. The musicians had been active as session musicians for the label since the late 60s, mainly backing such label acts as The Whatnauts. As a matter of fact, the Whatnauts' manager, Bunch Herndon, makes guest appearance on the album as percussionist. Beside the core group of Watson, McTeer and McCoy, the album's line-up features several other cult musicians and also the orchestrator Sammy Lowe, a seasoned professional who had been arranging for Sam Cooke, James Brown and Nina Simone to name just a few. âÇ

teely Dan's gold-selling third studio album Pretzel Logic, charted at No. 8 on the Billboard 200 and restored the group's radio presence with the single "Rikki Don't Lose That Number," which became the biggest pop hit of their career and peaked at No. 4 on the Billboard Hot 100. The 1974 album was produced by Gary Katz and was written primarily by Walter Becker (bass) and bandleader Donald Fagen (vocals, keyboards). The album marked the beginning of Becker and Fagen's roles as Steely Dan's principal members.

They enlisted prominent Los Angeles-based studio musicians to record Pretzel Logic, but used them only for occasional overdubs, except for drums, where founding drummer Jim Hodder was reduced to a backing singer, replaced by Jim Gordon and Jeff Porcaro on the drum kit for all of the songs on the album. Steely Dan's Jeff "Skunk" Baxter played pedal steel guitar and hand drums.

Pretzel Logic has shorter songs and fewer instrumental jams than the group's 1973 album Countdown to Ecstasy. Steely Dan considered it the band's attempt at complete musical statements within the three-minute pop-song format. The album's music is characterized by harmonies, counter-melodies, and bop phrasing. It also relies often on straightforward pop influences. The syncopated piano line that opens "Rikki Don't Lose That Number" develops into a pop melody, and the title track transitions from a blues song to a jazzy chorus.

Other standout tracks include "Any Major Dude Will Tell You," a reflective ballad with lush harmonies, and "Parker's Band," a playful ode to the jazz great Charlie Parker.

Lyrically, the album explores themes of nostalgia, lost love, and the struggles of the creative process. In "Barrytown," the band reflects on their early days as struggling musicians, while in "Through with Buzz," they offer a biting critique of the music industry and the pressure to conform to commercial expectations.

One of the defining characteristics of Pretzel Logic is its use of unusual chord progressions and unexpected musical twists and turns. The band's intricate arrangements and skilled musicianship are on full display throughout the album.

Rolling Stone praised the album, calling Steely Dan the "most improbable hit-singles band to emerge in ages."

"When the band doesn't undulate to samba rhythms (as it did on 'Do It Again,' its first Top Ten single), it pushes itself to a full gallop (as it did on 'Reelin' in the Years,' its second). These two rhythmic preferences persist and sometimes intermingle, as on 'Rikki Don't Lose That Number,' which jumps in mid-chorus from 'Hernando's Hideaway' into 'Honky Tonk Women.' Great transition." — the review said.

AllMusic gave the album 5 stars, with reviewer Stephen Thomas Erlewine noting that "instead of relying on easy hooks, Walter Becker and Donald Fagen assembled their most complex and cynical set of songs to date." Dense with harmonics, countermelodies, and bop phrasing, Pretzel Logic is vibrant with unpredictable musical juxtapositions and snide, but very funny, wordplay.

The album's cover photo featuring a New York pretzel vendor was taken by Raeanne Rubenstein, a photographer of musicians and Hollywood celebrities. She shot the photo on the west side of Fifth Avenue and 79th Street, just above the 79th Street Transverse (the road through Central Park), at the park entrance called "Miners' Gate."

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

Overall, Pretzel Logic is a standout album in Steely Dan's discography. The album's blend of catchy hooks, complex arrangements, and thoughtful lyrics has made it a favorite among fans of classic rock and pop music.

Ocela can be a dance album if you want it to be, but above that, it is an album about dancing. The second instalment in a planned trilogy, it regards dance as a form of pathmaking, a physical chronology of a journey. Its voyager is the eponymous Ocela // an invented feminine form of the word steel // who wields both strength and brittleness. While the first album (Spojky Čiary) focused on Ocela's inception and youth, here she is mature // on a resolute trajectory between birth and passing away.

Ocela is not a concept album // unless you want it to be // but it is an album built around beats. While there is a loose precedent for rhythms in the two-piece project Jamka, the trilogy also marks Daniel Kordik's solo return to melodical composition. On this record, Ocela dances on her orbits in patterns that are harmonious but always slightly elliptic. Each song on the album travels with its own varying velocity, before it abruptly finds itself at the subjective beginning. Then it goes through further revolutions, with determination bordering on a lack of choice.

Recorded live onto a 4-track before mixing, Ocela is unlike its predecessor in that it shuns any form of field recording, and was instead made using only hardware (Elektron Octatrack MK1, Elektron Digitone, Jomox Mbase01).

Daniel Kordik, also known as Iskra, is one half of Jamka, member of the Urbsounds Collective, co-founder of Earshots Recordings and Ocela is his second release on the melodramatic label Weltschmerzen.