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Repressed and note new dealer price. The members of Explosions in the Sky may just be four soft-spoken guys from Texas, but on Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever they simply tear everything apart. Combining influences from classic rock to metal to goth, the band creates instrumental soundscapes that can turn from all-out destruction to heartfelt, dreamy melodies in the blink of an eye. The result is similar to Mogwai and Godspeed a musical journey that leads listeners through the entire range of emotion without even needing words. "Greet Death" matches a crunchy Dinosaur Jr hook with warm Cure-esque bass grooves. "Moon Down" chimes and twists through ten minutes of calm night, leaving the listener with the feeling that something awesome is sure to happen. On "Have You Passed Through This Night?" one of the members of Explosions in the Sky ponders in a near-whispering Texas drawl the meaning of the world. What follows is like the climax of a tense, mind-blowing movie, driven by relentless guitars and a thundering Master of puppets Metallica drum march. "Poor Man's Memory" follows, offering some consolation in a sentimental melody. The album ends with the grand, 12-minute-long "With Tired Eyes, Tired Minds, Tired Souls, We Slept," a song that moves from Sonic Youth to Joy Division to Explosions in the Sky. Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever is nothing short of awe-inspiring and was one of the best records of 2001. A1 Greet Death A2 Yasmin The Light A3 The Moon Is Down B1 Have You Passed Through This Night? B2 A Poor Man's Memory B3 With Tired Eyes, Tired Minds, Tired Souls, We Slept

"One Sunday afternoon in 1990, I had a phone call from Keith saying that Sarah Records had received the demo cassette the two of us had recorded on a 4-track in a friend's shed and were interested in putting out two of the songs as a single. T

hey were Clearer and Alison. Delighted by this news, we booked some recording time with a studio we'd regularly used in our previous incarnation as Feverfew, the White House in Weston-super-Mare.

This was the first time we'd ever played a note of music that was using someone else's money, so the pressure was being felt. We recorded Clearer, Fearon and Chelsea Guitar, with Clearer becoming Sarah 55, the first of eight singles for the band across two labels. At that time, we were still toying with a name for ourselves and had settled with the Art Bunnies.

While driving us back home from Weston, though, I declared that I really couldn't see how people would take us seriously with a name like that. Disappointed, Keith (Girdler) then got out a piece of paper upon which he'd written several other contenders. These included Opal Trumpet, the Smiling Monarchs and (thankfully) Blueboy."

A Colourful Storm presents Blueboy's singles collection and the band's final retrospective release. Beautiful gatefold sleeve designed by Sarah Records' own Matt Haynes with original artwork insert, postcard and liner notes by Paul Stewart.

'Brexit Music' ist kein politisches Album. Aber im Titel, der dem Künstler lange nach der Idee des Repertoires in den Sinn kam, steckt eine Vorliebe für britischen Spott: Am Ende soll die Kunst alle gesellschaftlichen Modeerscheinungen überleben. Der französische Pianist und sein Akustik Jazz-Trio wollten einen frischen, verspielten Sound, Groove und ein bisschen Humor. Ein beliebtes Lied zu covern ist für Jazzmusiker gängige Praxis, dennoch war die Idee eines ganzen Albums, das sich ausschließlich um britische Popmusik dreht, nicht selbstverständlich: Es war eine Herausforderung, ohne die Texte lebendig zu bleiben. So blieb oft das schlichte Material dieser Songs, auch wenn die meisten davon ein aufregender und freudiger Teil von Trotignon's Teenagerjahre waren. CD-Digipak und 180Gr. Doppel-LP mit vier Bonustracks!

Baptiste Trotignon - Piano, arrangements
Greg Hutchinson - Drums
Matt Penman - Upright bass

“Orlando Furioso is a haunting, one-of-a-kind statement, from an important new voice in improvised music.” - Steve Lehman

“…imagining instruments that haven’t been invented yet: space harps, cosmic gamelan, Venusian banjo. It’s the purest distillation of Atria’s musical language, simultaneously grounded and unearthly.” - Stewart Smith for The Wire (November 2022)

“Making liberal use of microtonal harmony and hypnotic, ostinato rhythms – as well as the occasional stylistic smash-cut, reminiscent of John Zorn – Orlando Furioso announced itself on Wednesday as a punchy, creative force on the New York scene. (…) Atria’s rhythms had a welcoming, social propulsion, and the microtonality of his writing for keyboard proposed an individual – even insular – language.” - Seth Colter Walls for The New York Times.

Early European composers felt that their work reflected in its structure the divine nature of the material world. Via tuning, form, and contrapuntal alchemy, these musicians sought to illuminate and edify the complex and perfect order of existence. The music recorded here also reflects the contours of an ordered world, but it is no place any of us has ever visited. By assembling far-flung building blocks from the detritus of a 21st-century musical vocabulary, Orlando Furioso brings the listener into a bizarre new cosmos. The result is deeply expressive music that speaks not with the voice of a narrator or memoirist, but with that of a cartographer.

Like a science-fiction Dante, the listener is taken on a tour of many diverse and colorful provinces of an alien world. Though each composition references its own set of real-world musical locales (from the Andes to Indonesia to Italy to New Orleans), they are bound by stylistic consistency into a coherent, continuous geography. Permeating this world is an uncompromising commitment to microtonal harmony, rhythmic intensity, and an ability to deploy the esoteric (Nicola Vicentino's notorious 31-tone temperament) and the head-smackingly obvious (a surprise djent breakdown) with equal conviction. Though Vicente's compositions are steering the ship, serious recognition is due to all the players on the record for their ability to meet these demands.

Our omnivorous musical diets offer real abundance. They enrich our craft by providing access to limitless approaches from which to choose - more masters to study, traditions to absorb, and techniques to hone than is possible in multiple lifetimes. They can also inflict heavy and often contradictory burdens of influence. When every corner of the map has been charted, it becomes difficult to find a new direction in which to travel. One solution I hope to see more often is the one pursued on this record: breaking down distinct musical worlds into component parts and reassembling them into a language. When completed with precision and with no stone left unturned, the seams between the pieces vanish and the listener is deposited somewhere beautiful and strange, left to assign their sensations meanings of their own. - Mat Muntz

Orlando Furioso is led by Vicente and features David Acevedo, David Leon, Andrew Boudreau, Alec Goldfarb, Daniel Hass, Simón Willson, and Niña Tormenta. Orlando Furioso celebrated its release at Roulette Intermedium in Brooklyn, NY, as a part of Wet Ink Ensemble's 24th Season opening concert, a performance which The New York Times heralded as "virtuosic", "punchy, creative" and "even revelatory."

Winner of the Deutscher Jazz Preis: Best International Debut Album 2023

Wanda Jackson is a true pioneer of American popular music. One of the first women in history to record country and western music, as well as rock ‘n’ roll, and a brief romantic liaison with Elvis.This collection reminds of the greatness of her peak years at Capitol Records. From the mournful twists of “Sinful Heart,” to the hard-rocking thrills of “Let’s Have A Party” and “Riot In Cell Block Number Nine,” Wanda Jackson attacks the material in her distinctive way, with a wry glance at innocence left somewhere behind. All hail the Queen, and long may she reign!

Matching expansive ambience with environmental sound, Chihei Hatakeyama’s new album continues Field Records’ exploration of Japan and the Netherland’s shared approach to water management. As with Sugai Ken’s 2020 album Tone River, a specific project becomes Hatakeyama’s area of focus - in this case the Hachirōgata Lake in Akita Prefecture.

Previously the second largest body of water in Japan, the government ordered extensive drainage work of Hachirōgata Lake after the second world war with the help of Dutch engineers Pieter Jansen and Adriaan Volker. After the project was completed in 1977, reclaimed land took up eighty percent of Hachirōgata Lake’s total size. As a result, a new ecosystem was established as plants spread from surrounding areas, bringing with them a wider variety of birds and other wildlife.

Hatakeyama’s approach to this unique subject matter took in field recordings from particular locations around the lake - the drainage channels, the Ogata bridge, grassland conservation reserves and other key areas. The aquatic subject matter and sonic material is a natural fit for Hatakeyama’s accomplished sound, which has featured on numerous solo works for labels including Kranky, Room40 and his self-run White Paddy Mountain.

From the intimate intricacies of the sampled material to the glacial expanses of droning synthesis and languid guitar, Hatakeyama creates a tangible environment which at once reflects the settings around Hachirōgata Lake, while offering the listener any number of imagined scenes to observe in their mind’s eye.

16 moderne krautige elektronische Tracks inspiriert von Kraftwerk, CAN, Neu, Rother Klaus Schulze und Konsorten. Kuratiert und kompiliert von Compost Künstler Fred und Luna. Seine Auswahl (mit sechs exklusiven Stücken!) zeigt, wie gut jüngere Künstler die Kraut-Szene beleben. Die langjährig Bekannteren wie Pyrolator, Sankt Otten, I:Cube, sowieso. Und Vol. 2 ist auch schon in der Mache, folgt im Winter 2023. Die Collage auf dem Cover ist von der fantastischen Künstlerin Norika Nienstedt extra für die FSOK angefertigt worden. Sie lebt in der Kraut Metropole Düsseldorf.

Intro: Future sounds of Kraut, what’s it all about? Keine Ahnung, I don’t know. Überraschung, where we go...Alles andere als einfach oder im Grunde unmöglich, die Begriffe „Krautrock“ oder „Kraut“ zu definieren. Dennoch begeben sich Compost Records und Fred und Luna auf eine Zeitreise, um die unterschiedlichen Elemente deutscher elektronischer Musik der 1970er und 1980er Jahre und ihre Auswirkungen auf die neuere deutsche und weltweite Musikszene zu entdecken. Auf „Future Sounds Of Kraut, Vol. 1“ präsentieren die beiden Kuratoren Fred und Luna als erste „Forschungsergebnisse“ hauptsächlich Bands, die vom repetitiven Charakter vergangener deutscher Elektronika à la Kraftwerk, Can, Neu!, Harmonia und Cluster, beeinflusst sind.

Viel Vergnügen und erfolgreiches Krautifizieren!

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.

Tracked in 1977, this bundle of never-before-released basement demos throw Harris’ beloved Philadelphia Sound into an unfinished root cellar, pelting it with Clavinet attacks, disco skats, and infectious hooks. Named for the street address of its underground uptown genesis, 1514 Oliver Avenue (Basement) is James “Jimmy Jam” Harris’ first foray into songcraft and an organic Minneapolis-vintage alternative to a late ’70s Prince songbook gone increasingly synthetic.

Tracked in 1977, this bundle of never-before-released basement demos throw Harris’ beloved Philadelphia Sound into an unfinished root cellar, pelting it with Clavinet attacks, disco skats, and infectious hooks. Named for the street address of its underground uptown genesis, 1514 Oliver Avenue (Basement) is James “Jimmy Jam” Harris’ first foray into songcraft and an organic Minneapolis-vintage alternative to a late ’70s Prince songbook gone increasingly synthetic.

Wewantsounds is delighted to continue its Akiko Yano reissue program with the reissue of her superb double album recorded with YMO at a time when she was part of the group's touring line up between 1979 and 1980. The album is pure Akiko Yano featuring her superb singing and piano playing, enhanced by touches of YMO's synth-pop sound (check her cult version of YMO's classic, "Tong-Poo"). It is the first time the album is released outside of Japan and the deluxe 2-LP set features the original artwork with gatefold sleeve and 4-page insert.

Enter the realm of Illa J, the musical force shaking the foundations of the industry. His latest offering, 'No Traffic', is a testament to his boundless talent and versatility, showcasing his singing, production and rapping abilities on 19 tracks written and produced entirely by Illa J himself. This album marks his debut on BBE Music and a new chapter in his musical journey. Meet Illa J: a musical prodigy raised in a family of talented musicians. With a jazz bassist father and a gifted singer mother, it's no surprise that Illa J was destined for greatness. He's best known as the younger brother of hip-hop legend J Dilla and has made a name for himself as a former member of Detroit's iconic hip-hop group, Slum Village. With a lifetime of exposure to quality music and top-tier musicians, Illa J is a force to be reckoned with. Created amidst the chaos of the pandemic, Illa J's 'No Traffic' serves as a beacon of hope, a roadmap for creatives seeking their path. He enlists the help of Detroit legends Amp Fiddler, Frank n Dank, British soul sensation Harleighblu, and introduces the rising stars of Detroit, Serious, Joz B, Maine Soul, and more, all matching Illa J's energy and passion on the tracks. The focus track of the album, "Star Struck", is a prime example of Illa J's signature style. The astral pentatonic soundscape and precise drum programming transport you to new heights, while Illa J's beats, melodies, and bars will leave you in awe. 'No Traffic' is a musical journey that takes you to a place where Illa J's playful and versatile sound reigns supreme. The album is expertly mastered by Grammy-award nominated The Carvery Studio and is a refreshing experience of a true artist reveling in their artistry. Don't miss out on this once-in-a-lifetime opportunity to delve into Illa J's musical realm."

i am fortunate to play with amazing musicians - always have had my ear to the 6 winds to assess players and their strengths and the music we would make...
electric or acoustic, 2 or 5 people, country, folk, blues, string players, grass,
rocking, quiet or loud - WHATEVER the category does not matter (as it is just a category) - there has always been a group of great musicians near to help me get there - and yes, i am lucky

on this recording MATT FLINNER (mando and banjo), SHAD COBB (fiddle)
and BRYN DAVIES (double bass) & ALL folks on vocals and me on dobro/piano/banjo and guitar -mostly ben bullington's 1933 D18- we had been playing anytime a festival wanted a fiddle/banjo/mando/double bass/acoustic guitar instrumentation sound from me- in one way, it can easily be called "bluegrass" -( not a big stretch )- i kinda think "string band " is as good or a better name (certainly less used)... so enter this DARRELL SCOTT STRING BAND
(a rose by any other name)

HERE'S HOW THIS RECORD CAME ABOUT- we had 2 consecutive weekend gigs (arkansas and colorado) and rather than sending us... more

'Ain't Ever Easy' is the best example to date. The muscular, chooglin' beat of the country funk heater "Can't Take Back" opens Ryan Curtis' sophomore album 'Ain't Ever Easy.' Like a steam train gliding into some high desert station, it bears the strong vintage machinery of Curtis' "alt-country from the high country" sound. The song lopes in on oozing guitar and keys over a backbeat that pulses sexier than a
breakup song has the right to be. Regret has rarely sounded this happy, but Curtis is capable of turning love and loss into dripping hot, powerful songs. Over the last decade the various styles of country have become Curtis' stock-in-trade. With a gravelly growl he paints cinematic pictures of picaresque people from the Midwest and the badlands; down and out townies, bar room drifters, forlorn lovers, and resilient loners fill his visionary tales, mournful subject matter he turns into country gold.

Their second LP, Astral Plains, arrives on via We Are Busy Bodies. While the group's 2021 debut Noteland was described as "akin to getting stuck in a sensory deprivation tank with Keith Jarrett", in itself by no means a bad scenario, by contrast Astral Plains opens up, offering spacious and blue- sky arrangements and production. Perhaps it's closer to laying in a prairie field looking for animals in the clouds with Mark Hollis.

In 1955, Chet Baker prepared the first European tour of his newly formed quartet. The tour began in Holland in September 1955 and continued with stops in Germany, Switzerland, and France. In Paris, pianist Dick Twardzik died from a heroin overdose in his hotel room on October 21, 1955. He was only 24-years old, and his early death was a tragedy for the jazz world. Chet was marked for life by this tragedy and from that point on his own addiction would haunt him forever. This album compiles material from three studio sessions made during that European tour. Side A presents music recorded right after Twardzik's death, and Side B has tunes from the only two studio sessions recorded by Baker with Twardzik.

Bill Evans spent late 1961 and most of 1962 participating on a variety of recording projects which featured him playing either solo or along with musicians with whom he rarely worked. Empathy was the first of only two albums Evans recorded with drummer Shelly Manne (their second collaboration, A Simple Matter of Conviction, was taped in 1966). It features the pianist and drummer in a trio format, with Monty Budwigon bass, and presents an unusual program, with four out of six tunes Evans would never record again in any format.