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ONO Records is proud to present a long awaited project from EDN, the recording project of Elena Nees. Hailing from Adelaide / Kaurna, Elena has crafted her sound in the form of sweet bedroom folk and pop, self releasing a number of tender EPs since 2020 along with releasing a fantastic six track cassette with the esteemed Naarm based cassette label Healthy Tapes under her Allume alias. Here, the EDN moniker takes these folk pop sensibilities and filters them through a love for electronic hardware production and music.
The record begins with the end-of-the-night dancefloor ballad ‘A Mirror’. Jittering and agitated drum programing makes way for EDN’s feather-weight vocals, cleverly manipulated over bubbling synths as the track melts into a bonafide braindance-pop anthem. ‘(Blue!) Flor’ keeps the tempo rising, breaking out into a funked drum machine jam allowing pearlescent pads to intermittently wash over. The thumping ‘Ummmm’ continues the jam ending the first side with an urgent techno-not-techno freak out.
Side B opens with the crystalline fourth world ambience of ‘Mess 1’ before EDN’s angelic antipodean twang takes the spotlight again on the gorgeous and introspective ‘2 Bored Angels’. Interluding briefly with the trip-hop induced breakbeat experiments of ‘Slo’, ‘Mirror Fuck’ bookends the record perfectly with glistening keys and EDN’s soulful vocals singing of longing and desire. An excellent closer.
EDN gives us a triumphant and utterly unique record that unveils itself more and more with each listen and highlights her immense and diverse talent. One we are proud to include in the ONO catalogue!
Written & Produced by Elena Nees
Artwork by Mathieu Larone & Grace Otto
Mastering by Marco Pellegrino
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ISLAND APES is a British band, formed in the East Midlands around 2018. The current line-up consists of ex members of Bivouac, Force Fed and Fudge Tunnel; guitarist/producer Dean Selby, drummer Antronhy, vocalist MKJ and bassist David Ryley. Their roots lie in anxiety, ritual and underlying melody. Call it what you like. Answers on a postcard to God Unknown. So the Germans call English football fans Island Apes? I guess they don’t know about the punk band of the same name. ISLAND APES features a lineup of UK underground punk legends. Antronhy, the drummer, was Nirvana’s infamous dancer at their Live at Reading performance. David Riley was the bass player in the legendary UK noise rock band Fudge Tunnel and current bass player in doom masters Conan. MKJ was in Forcefed and Meatfly; two early 90's influential UK hardcore bands. They have paid their dues and have produced a wild, lo-fi trip into an alternate punk universe where they tame audio chaos and explore the psychedelic side of consciousness. It’s grungy and grimy, guttural and grating, and even dubby, all in the most beautiful way. Their debut self-titled record is available on limited vinyl copies via God Unknown Records. To keep it punk the album will be released on vinyl only. Limited to 300 copies.
What I can say about TORRES is I think the music comes from a convicted place. Not convicted meaning a person is narrowly and foolishly committed to an ideal, or unshakably convinced of themselves, or a zealot, or stubborn. I mean dedicated, I mean: If TORRES' music gets weird, gets brainy, gets funny, gets defiant, provokes, deliberately scandalizes, employs the crass to undermine the austere, courts lofty philosophical truth-it's all done with the conviction of an artist with the (essential) belief in the worth of their task. I think you can hear it in the songs, someone reaching, leaning over the boundary between known and not, probing the almighty. After a decade and six studio albums and however many one-offs and tours and articles read and conversations had, the parts of this pursuit I've been able to observe are all marked by a dedication to creation that treats the act-ongoing-with as much preciousness as the evidence of the act that is left in a record. The modes of being are different: heartbroken, broke, furious (right- and unrighteously), awestruck by love, compelled by desire. sometimes resigned to death, sometimes fascinated by and reverent of the future. Sometimes viscerally present, other times suspended in heady awareness, poised on a fulcrum of observation and participation in the phenomenon that aliveness is. The tools are the same: instruments that growl and shriek and moan, a lyrical voice shouting, swooning, chuckling, snarling as the moment commands. TORRES' music-making is conducted in a melodic vocabulary unique to itself-methods, equipment, circumstances shifting around the impulse to affirm the self within the world, to make art that bears all these little artifacts of the divine and of the real and show it to people and know it is valuable. I think that's what Mackenzie's music does. And I think it's just incredibly good music to listen to. -Julien Baker TORRES is the pseudonym of Mackenzie Scott. She was born January 23, 1991, and lives in Brooklyn, New York, with her wife Jenna, stepson Silas, and puppy Sylvia. She has been releasing albums and performing as TORRES since 2013. What an enormous room is TORRES' sixth studio album (her third with Merge). It was recorded in September and October 2022 at Stadium Heights Sound in Durham, North Carolina. It was engineered by Ryan Pickett, produced by Mackenzie Scott and Sarah Jaffe, mixed by TJ Allen in Bristol, UK, and mastered by Heba Kadry in NYC. The album contains 10 songs. Mackenzie wrote all of them. Sarah played bass guitar, synths, drums, organ, and piano. Mackenzie sang vocals, played guitar, bass, synths, organ, piano, and programmed drums. Additional synth bass, tambourine, and shakers were played by TJ Allen.
What I can say about TORRES is I think the music comes from a convicted place. Not convicted meaning a person is narrowly and foolishly committed to an ideal, or unshakably convinced of themselves, or a zealot, or stubborn. I mean dedicated, I mean: If TORRES' music gets weird, gets brainy, gets funny, gets defiant, provokes, deliberately scandalizes, employs the crass to undermine the austere, courts lofty philosophical truth-it's all done with the conviction of an artist with the (essential) belief in the worth of their task. I think you can hear it in the songs, someone reaching, leaning over the boundary between known and not, probing the almighty. After a decade and six studio albums and however many one-offs and tours and articles read and conversations had, the parts of this pursuit I've been able to observe are all marked by a dedication to creation that treats the act-ongoing-with as much preciousness as the evidence of the act that is left in a record. The modes of being are different: heartbroken, broke, furious (right- and unrighteously), awestruck by love, compelled by desire. sometimes resigned to death, sometimes fascinated by and reverent of the future. Sometimes viscerally present, other times suspended in heady awareness, poised on a fulcrum of observation and participation in the phenomenon that aliveness is. The tools are the same: instruments that growl and shriek and moan, a lyrical voice shouting, swooning, chuckling, snarling as the moment commands. TORRES' music-making is conducted in a melodic vocabulary unique to itself-methods, equipment, circumstances shifting around the impulse to affirm the self within the world, to make art that bears all these little artifacts of the divine and of the real and show it to people and know it is valuable. I think that's what Mackenzie's music does. And I think it's just incredibly good music to listen to. -Julien Baker TORRES is the pseudonym of Mackenzie Scott. She was born January 23, 1991, and lives in Brooklyn, New York, with her wife Jenna, stepson Silas, and puppy Sylvia. She has been releasing albums and performing as TORRES since 2013. What an enormous room is TORRES' sixth studio album (her third with Merge). It was recorded in September and October 2022 at Stadium Heights Sound in Durham, North Carolina. It was engineered by Ryan Pickett, produced by Mackenzie Scott and Sarah Jaffe, mixed by TJ Allen in Bristol, UK, and mastered by Heba Kadry in NYC. The album contains 10 songs. Mackenzie wrote all of them. Sarah played bass guitar, synths, drums, organ, and piano. Mackenzie sang vocals, played guitar, bass, synths, organ, piano, and programmed drums. Additional synth bass, tambourine, and shakers were played by TJ Allen.
'True Blue' ist eine Sammlung von Songs, die ursprünglich als technische Demos für das gefeierte 'Black Letter Days'-Album der Catholics gedacht waren. Die Aufnahmen wurden 2001 live auf 1-Spur-Kassette in den legendären Sound City Studios aufgenommen und fangen rohe und fesselnde Sounds von Frank Black und den Catholics bei Songs wie 'California Bound', 'The End Of Miles' und 'Cold Heart Of Stone''. Bisher nur als Bonus-CD im Boxset 'The Complete Recordings' erhältlich, ist 'True Blue' eine unverzichtbarer Release für Frank Black-Fans und bietet einen Einblick in eine Studio-Session mit den Catholics. Gepresst auf 140Gr. Vinyl, neu remastert von Phil Kinrade und geschnitten von Cicely Balston bei AIR Mastering. Präsentiert in einer strukturierten LP-Hülle mit neuem Artwork von Mark Reynolds sowie exklusiven Liner Notes von Produzent Ben Mumphrey. Ebenfalls enthalten ist eine Bonus-7inch-Single mit drei Outtakes, darunter eine bisher unveröffentlichte Version von 'The Black Rider'.
10
An original member of Soft Machine, Kevin Ayersd
embarked on a solo career following a US tour with the
Jimi Hendrix Experience in 1968. He was one of the first
signings to EMI’s Progressive imprint Harvest and recorded
his debut album in the Summer of 1969 at Abbey Road
studios.
‘Joy Of A Toy’ is a classic of psychedelic and progressive
rock, featuring contributions from his former Soft
Machine band mates, David Bedford and such wonderful
songs as ‘The Lady Rachel’, ‘Stop This Train (Again Doing
It)’, ‘Girl on a Swing’ and ‘All This Crazy Gift of Time’.
This official gatefold LP vinyl edition fully restores the
original LP artwork, has been remastered from the
original Harvest master tapes and has been cut at Abbey
Road studios.
Erste Vinyl-Neuauflage des selbstbetitelten Debütalbums von Frank Black and the Catholics aus dem Jahr 1998, gemastert von den Originalbändern von Phil Kinrade in den AIR Studios. Die Songs voller roher Garage-Punk-Energie waren ursprünglich direkt auf Zweispurband aufgenommen, und eigentlich als Demoserie gedacht. Doch dann entschied Frank Black, dass die Aufnahmen nicht zu verbessern waren, und veröffentlichte sie so wie sie eingespielt wurden. Inklusive der Fan-Favoriten 'All My Ghosts', 'I GottaMove' und 'Dog Gone'. Der Album-Klassiker erscheint als 180Gr.-LP als Half-Speed-Master inkl. 5-seitigem Booklet und Obi-Strip.
"Come Around and Love me", the title track from Jalen's smash debut album, is a modern, mid-tempo masterpiece whose lush arrangement and laser-sharp groove provide the perfect foundation for Jalen's profoundly soulful vocals. The track exudes charm and manifests positivity in a way rarely captured on today's soul scene. On the flip is the moody, previously unreleased beat-ballad, "What is Left to Do", whose gorgeous strings, plaintive, call and response chorus and tasteful delay create the kind of subdued psychedelic that was coming out of Motown in the early 70's. But contrary to the trends of that era, both sides of this disc are presented in glorious mono.
- Who Can Find The Beast?
- Pyramid Of The Sun
- We Got The System To Fight The System
- They'll No More Suffer From Thirst
- Ruins
- They'll No More Suffer From Hunger
- Oaxaca
- Bye M'friend, Goodbye
- Pyramid Of The Moon
- Pyramid Of The Moon (The Field Remix)
- No More Sages (Live At Radio K, Sxsw Music Conference, 3/19/2009)
- We Got The System To Fight The System (Live At Radio K, Sxsw Music Conference, 3/19/2009)
- Pyramid Of The Moon (Live At Radio K, Sxsw Music Conference, 3/19/2009)
- Monoliths (Live At Radio K, Sxsw Music Conference, 3/19/2009)
14
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Purple w/ Magenta Vinyl[35,71 €]
Das 2010 erschienene Album „Pyramid of the Sun“ ist der Meilenstein von Maserati. Es war die letzte Aufnahme der Band mit Schlagzeuger Jerry Fuchs, die ein Jahr nach seinem tragischen Tod fertiggestellt und veröffentlicht wurde. Es wurde zu einem der wichtigsten Alben der Band und ist nach wie vor der Grundstein von Maseratis legendärem Katalog. Als letzter Teil der Feierlichkeiten zum 20-jährigen Bestehen von Maserati kommt "Pyramid of the Sun - Anniversary Edition" neu verpackt, von den Original-Masterbändern von Josh Bonati neu gemastert und ergänzt um die Bonustracks "Pyramid of the Moon" und "Pyramid of the Moon (The Field Remix)" sowie ein grandioses Live-Set von der SXSW Music Conference 2009.
As the BBE Music J Jazz Masterclass Series hits its 19th title, the milestone is suitably matched by a collaboration between two giants of jazz brought together to deliver an exceptional album, working with a band of the very best Japanese jazz musicians. ‘Reminicent Suite’ by American pianist Mal Waldron and Japanese trumpeter Terumasa Hino was originally released in 1973 on the famed Victor label and was one of several Japan-only albums recorded and released by Waldron over a thirty-year period, most of which have never been available outside Japan. ‘Reminicent Suite’ comprises two extended tracks, both taking up a side each. The title track on Side A is composed by Waldron, and is a dark, brooding heavy groove typical of his early 70s sound. ‘Black Forest’ on side B is written by Hino and is a vivid and energetic piece, layered and textured with dense percussion and Hino’s signature trumpet tone. Mal Waldron started out in the early 1950s working extensively on the Prestige label with notable figures such as Gene Ammons, Jackie McLean and Charles Mingus. Most famously, he worked with Billie Holiday before leaving the States in the mid-60s and relocating to Europe where he established himself as a major figure working across many countries including France, Italy, and Germany, where he made his home in Munich. In 1969, Waldron recorded the first releases for two major European jazz labels, ECM and Enja, before visiting Japan on tour for the first time in 1970. Waldron instantly fell in love with Japan and, over the next three decades, extensively toured and recorded there for numerous labels. Terumasa Hino is one of the towering figures of post-war modern jazz in Japan. Coming to prominence via the Hideto Shiraki and Sadao Watanabe bands in the mid-60s, Hino soon emerged as one of the prime movers in new jazz generation that changed the direction of jazz in Japan. He explored a more open, freer, and improvised sound, mixing psychedelic and rock elements with freeform and post-bop jazz. Hino recorded for many of the leading jazz labels of the era including Columbia, Three Blind Mice, and East Wind and would go on to relocate to the US in the mid-70s, immersing himself with the leading fusion players of the New York scene including Larry Corryell, Mtume, Al Foster, Dave Liebman and many more. In the early 80s, Hino’s jazz funk tracks were dancefloor smashes on the UK jazz dance scene. Joining Waldron and Hino on ‘Reminicient Suite’ is a band made up of the very best Japanese jazzman of their day: Takeo Uematsu on sax, Terumasa’s brother, Motohiko Hino, on drums, and the legendary bass master, Isao Suzuki. Together, they deliver one of the very best albums of the era, a richly articulated and dynamic session that exemplifies the very best that the Japanese jazz scene was doing in the early 1970s. ‘Reminicent Suite’ is pressed on 200g vinyl presented in a gatefold sleeve plus obi strip, with new photos by Tadayuki Naito; translated original sleeve notes; and a 7500-word essay including interview with Terumasa Hino from Tony Higgins, co-curator of the J Jazz Masterclass Series. This is the first time this album has been available outside of Japan
High Roller Records, reissue 2024, black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, restored & mastered for vinyl by Patrick W. Engel at Temple of Disharmony.
High Roller Records, reissue 2024, black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, restored & mastered for vinyl by Patrick W. Engel at Temple of Disharmony.
High Roller Records, reissue 2024, black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, restored & mastered for vinyl by Patrick W. Engel at Temple of Disharmony.
High Roller Records, reissue 2024, black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, restored & mastered for vinyl by Patrick W. Engel at Temple of Disharmony.
Hiyo is a coming out party in a lot of ways for a band that has been a staple of the American Folk Music scene for over two decades. Co-Produced and engineered by Nashville's Rachael Moore and including performances by Jamie Dick (Drums), John Mailander (fiddle) and Maya de Vitry (vocals), the album Hiyo pushes the sound of CCL past anywhere it has been before. For a band that spent 15 years performing around a single microphone, CCL has found new inspiration in all of the sounds the world has to offer. "Synthesizers, drum machines, banjo...the world is really open right now to what constitutes folk music and we are grabbing on to that inspiration with both hands and not letting go," says leader Dave Wilson. Produced by Rachael Moore & Dave Wilson. Recorded & Mixed by Rachael Moore (George & Tammy) at Echo Mountain in Asheville, NC. Mastered by Nathan Dantzler at The Hit Lab in Nashville, TN.
High Roller Records, reissue 2024, black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, restored & mastered for vinyl by Patrick W. Engel at Temple of Disharmony.
High Roller Records, reissue 2024, black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, restored & mastered for vinyl by Patrick W. Engel at Temple of Disharmony.
