quête:matt k

I Shall Die Here / Earth Triumphant is an expanded edition of the fourth full-length album by The Body, first released to widespread acclaim, and terror, in 2014. Sharing their moribund vision with Bobby Krlic, aka The Haxan Cloak, the tried and true sound of The Body is shred to pieces on I Shall Die Here, mutilated by process and re-animated in a spectral state by the collaboration.

This double album set is expanded with the previously unreleased Earth Triumphant, a full-length companion album that would become I Shall Die Here, showcasing The Body's brutality in its most primal form. With both albums revisited by The Body and Seth Manchester at Machines With Magnets and remastered by Matt Colton at Metropolis Studios, this is the definitive edition of a shocking classic of unbridled bleakness and innovation. Formed by drummer Lee Buford and guitarist Chip King in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. Their debut self-titled album (Moganano, 2003) and on the widely-acclaimed, classification curtailing of All the Waters of the Earth Turn to Blood (At A Loss, 2011) readied the band for even more experimentations. The employment of the Assembly of Light Choir's classical chorales on All the Waters, alongside more industrial music techniques such as vocal sampling and drum programming, prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring.

The undertaking of I Shall Die Here was aided by Seth Manchester and Keith Souza, The Body's long standing engineer and creative collaborator, and noted producer Bobby Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with the celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory.

The Body's musical approach, engraved by Buford's colossal beats and King's mad howl and bass-bladed guitar dirge, became something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow. This expanded edition gives us a window into the creation of a classic with the inclusion of its in utero twin, Earth Triumphant. Recorded as a nearly finished album by Buford and King before The Haxan Cloak's transformation, it stands as a raw statement of intent, the original DNA for what would soon mutate into something wholly new.

Fans of I Shall Die Here will find familiar sonic fragments in a more primitive state - like seeing an out-of-context photograph of a family member taken well before you knew them - but the album stands on its own in its minimalist brutality, a natural bridge to what The Body was soon to become. The Body's I Shall Die Here / Earth Triumphant will be released in digital and vinyl formats on June 30, 2023. On behalf of The Body, The Haxan Cloak, and RVNG Intl., a portion of the proceeds from this release will benefit Intransitive, an organization that works to advance the cause of Trans liberation in Arkansas through art, education, advocacy, organizing and culture in order to create effective systemic change and on-the-ground impact.

I Shall Die Here / Earth Triumphant is an expanded edition of the fourth full-length album by The Body, first released to widespread acclaim, and terror, in 2014. Sharing their moribund vision with Bobby Krlic, aka The Haxan Cloak, the tried and true sound of The Body is shred to pieces on I Shall Die Here, mutilated by process and re-animated in a spectral state by the collaboration.

This double album set is expanded with the previously unreleased Earth Triumphant, a full-length companion album that would become I Shall Die Here, showcasing The Body's brutality in its most primal form. With both albums revisited by The Body and Seth Manchester at Machines With Magnets and remastered by Matt Colton at Metropolis Studios, this is the definitive edition of a shocking classic of unbridled bleakness and innovation. Formed by drummer Lee Buford and guitarist Chip King in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. Their debut self-titled album (Moganano, 2003) and on the widely-acclaimed, classification curtailing of All the Waters of the Earth Turn to Blood (At A Loss, 2011) readied the band for even more experimentations. The employment of the Assembly of Light Choir's classical chorales on All the Waters, alongside more industrial music techniques such as vocal sampling and drum programming, prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring.

The undertaking of I Shall Die Here was aided by Seth Manchester and Keith Souza, The Body's long standing engineer and creative collaborator, and noted producer Bobby Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with the celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory.

The Body's musical approach, engraved by Buford's colossal beats and King's mad howl and bass-bladed guitar dirge, became something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow. This expanded edition gives us a window into the creation of a classic with the inclusion of its in utero twin, Earth Triumphant. Recorded as a nearly finished album by Buford and King before The Haxan Cloak's transformation, it stands as a raw statement of intent, the original DNA for what would soon mutate into something wholly new.

Fans of I Shall Die Here will find familiar sonic fragments in a more primitive state - like seeing an out-of-context photograph of a family member taken well before you knew them - but the album stands on its own in its minimalist brutality, a natural bridge to what The Body was soon to become. The Body's I Shall Die Here / Earth Triumphant will be released in digital and vinyl formats on June 30, 2023. On behalf of The Body, The Haxan Cloak, and RVNG Intl., a portion of the proceeds from this release will benefit Intransitive, an organization that works to advance the cause of Trans liberation in Arkansas through art, education, advocacy, organizing and culture in order to create effective systemic change and on-the-ground impact.

For their 3rd record of 2023, Void+1 presents a state of the art techno EP by the legendary duo, Exium! They have been delivering an uncompromising and unmistakable sound for the last two decades and the world of techno has once again been enriched by 4 of their latest, extraordinary tracks. Merciless grooves, cybernetic synths with a pinch of acid and a lot of broken beats.

Sophomore album from Joanna Sternberg, produced by Matt Sweeney, and recorded at Strange Weather Studios in Brooklyn, NY.

Greet Death is a three piece post-rock band from Flint, Michigan. They initially made waves with their infectious debut album "Dixieland" (Flesh and Bone, 2017). The album was well received, with Pitchfork giving it a "7.7" rating and stating "...This is a remarkably tuneful, forthright pop-rock band that just so happens to play six-minute songs at bradycardic tempos". "New Hell" is the latest album from Greet Death. It was recorded by Nick Diener (The Swellers) at Oneder Studios. Additional recording was done by Jake Morse. It was all mastered by Jay Maas at Getaway Recording, and artwork for the release was created by illustrator Liam Rush. The album as a whole is a creative intermingling of lush melodic atmosphere with melancholic lyrical content. Within that haze their personal subject matter is cleverly cloaked amid beautiful vocal deliveries and dreamy guitar work. This is the case in songs "Circles of Hell", "Do You Feel Nothing", "Let It Die", and "You're Gonna Hate What You've Done". This not-so-subtle vitriol continues to spread through self reflection in unforgettable songs like "Entertainment", "Strange Days", as well as the tone-soaked "Strain". While "Crush" plays as a complex outpouring disguised as a hook-laden pop number. All of this leads to "New Hell", a nearly ten minute epic of towering proportions. Lovingly constructed before ominously swaying in the wind and collapsing under its own emotional weight.

In the End It Always does marks songwriter and producer Amber Bain’s long awaited second album as The Japanese House. Featuring collaborations with Matty Healy and George Daniel of The 1975, Katie Gavin of Muna, Justin Vernon of Bon Iver and Charli XCX, it features some of Bain’s most dynamic work to date. Her forthcoming UK headline tour announcement saw her 1600 cap London show sell out instantly with other dates close behind. The Japanese House has been championed by BBC Radio 1, BBC 6Music, NME, i-D, Pitchfork, ES Magazine, The FADER, DIY & more. The album is available on Vinyl and CD.

First time on vinyl! Formed from the ashes of the psych/sludge band Cruevo, and preceding guitar player Paul Kott’s work in Matt Pike-fronted Bay Area metal "supergroup" Kalas, High Tone Son Of A Bitch is an innovative, psychedellic stoner/doom band that pulls together a number of influential musicians from bands like Noothgrush, Kalas, Hammers of Misfortune, Men of Porn, Melvins, Hawkwind, Neurosis, High on Fire, Sleep, Witch Mountain, Saviours, Necrot, The Skull, Worshipper and more. This limited release is a vinyl version of the compilation that collects the group’s four EPs from 2003-2020 together.

Root Fire is the debut album from the Canadian rock band Bedouin Soundclash, originally released in 2001. Made while the members of the band were still in school at Queen's University. This is the first time the title has been pressed to vinyl.

It all begins here.

Alba Gitana, Gipsy dawn, is a commencement, a turning point of particular importance in the career of a guitarist labelled as “manouche”. Because despite the universality within that word, (“manu” meaning “man” in Sanskrit), it is often reduced to the almost mystical musical legacy of the genius Django Reinhardt. Steeve Laffont’s dawn sees his artistry break away from the confines of this tradition.

In his original compositions we find the ingredients for an unexpected recipe. There is a manouche feel to it, but the fragrance of flamenco mixes with Indian spices, the bossa nova breaks and klezmer rhythms are coloured by Spain ; Steeve finds comfort in both the journey and it’s unexpected turns. Such is the very essence of Tzigane culture. This album tells the story of an emancipation and the joy of no longer being held to respect a legacy, a tradition, of finally having so many more roots to grow with.

Freedom is key to this project which never compromises on the essential : sharing the pleasure of playing together. In the company of such virtuosos as Costel Nitescu on violin, Dominique Di Piazza on bass and of course the ever-faithful Rudy Rabuffetti on rhythm guitar, the compositions are never shows of strength, rather finely crafted magic tricks.

With such vivid, liquid playing Alba Gitana is an invitation to let go, to submit to a harmonic wandering as deep as it is wide. A high-wire walk between structures and freedom, here is the spirit of jazz at its most elegant and universal.

Following the success of the initial standard version of this album, which connects the world to Mongolian culture and its unique core values of natural preservation and spiritual connection with the earth, The HU return with a deluxe version anchored by features from William DuVall of Alice in Chains, DL of Bad Wolves & Serj Tankian of System of A Down, plus LP. This 2xLP set includes vinyl exclusive acoustic audio tracks and has five colour variants in addition to a matte finish border with UV gloss patterns and a high gloss centre anchored by red foil stamp imagery. This new version will also see an accompanying coloured cassette and CD with poster insert and exclusive trading card for all eight band members. The HU continue to carry their core values throughout with the same deeply meaningful lyrics that are uplifting, while the band wishes for prosperity and peace among all.

Following the success of the initial standard version of this album, which connects the world to Mongolian culture and its unique core values of natural preservation and spiritual connection with the earth, The HU return with a deluxe version anchored by features from William DuVall of Alice in Chains, DL of Bad Wolves & Serj Tankian of System of A Down, plus LP. This 2xLP set includes vinyl exclusive acoustic audio tracks and has five colour variants in addition to a matte finish border with UV gloss patterns and a high gloss centre anchored by red foil stamp imagery. This new version will also see an accompanying coloured cassette and CD with poster insert and exclusive trading card for all eight band members. The HU continue to carry their core values throughout with the same deeply meaningful lyrics that are uplifting, while the band wishes for prosperity and peace among all.

Reissue!

The West coast series continues... after the huge Hasbeens release its Sumerian Fleet with a amazing 5 track ep full of big dark wave inspired tracks. The perfect sound track for a movie such as Irreversible. Scary, haunting and dirty! Do we hear some influences of The Cure~ Liaisons Dangereuses~ Adult.~ Front 242~, John Fox~. By far the most inspiring electro release we've have heard in a while with its crazy industrial drive and dirty machine funk and robotic synths. Btw check out that last track Blech Erkrankung... That track alone is worth buying this record! Big. (limited edition!!!)

Hi Scores is beyond excited to present SSR Records: In Retrospect. This 2LP compilation album presented in a beautiful gatefold sleeve and through all digital platforms, wishes to highlight the immense and hard to grasp legacy of the Brussels based label. SSR Records was founded in 1988 by Marc Hollander as a sub label of his Crammed Discs and spanned the nascent years of house, acid, rave, trance, new beat, hip-hop, future jazz and broken beat, collaborating internationally and racking up close to 200 releases until it was put to sleep in 2002. Far ahead of their time, SSR Records released music of both European and North American artists that hadn’t broken through yet, such as those collected on this compilation: Move D, Nu Era, Gemini, Bjørn Torske, Glenn Underground or Matthew Herbert.

SSR Records was run by Crammed Discs chief Marc Hollander and Minimal Compact singer Samy Birnbach aka DJ Morpheus. SSR Records: In Retrospect comes with extended liner notes, exploring the pivotal milestones in the history of the adventurous label and zooming in on the origins of all records featured on the compilation.

All nine tracks on SSR Records: In Retrospect were selected by Hi Scores’s head honcho Kong DJ and have been remastered. Created between 1990 and 1996 and in the at the time pioneering spheres of house, breakbeat, electro and trance music, these treasures from the vast SSR catalog today stand as a stunning testimony to a truly remarkable and timeless musical legacy. Kong DJ: ‘While collaborating with Crammed Discs on the releases of Aksak Maboul in 2016 and Zazou / Bikaye in 2018 on Ensemble, I began to grasp the impressive catalog of the label and its sub labels, including SSR. Surprised by the tiny footprint SSR had left on the world wide web - often the case for labels ceased before the internet revolution - I wrote an article for British website The Vinyl Factory.

This would later prove to be the first step towards this compilation album, collecting favorites from the label as a kid in a giant candy store.’

In 2016, After Reissuing Two Bruce Haack Albums, Haackula And Electric Lucifer Book Ii, Telephone Explosion Began Speaking With Ted Pandel (bruce's Lifelong Friend And Business Partner) About Working On The 1970 Masterpiece The Electric Lucifer. It Turned Out There Was Another Matter That He Wanted To Discuss: Finding A Final Resting Place For The Bruce Haack Archive.

We Were Shown Test-pressings Of The Electric Lucifer Board Mixes From His Columbia Studio Sessions, Countless Pieces Of Written Music, A Large Number Of Personal Photos, An Invitation From Raymond Scott Inviting Bruce To Play His Newly Created Electronium
Instrument (now Owned By Devo's Mark Mothersbaugh), Poems, Press Clippings, And, Most Importantly, A Heavyduty Shelf Containing 213 Reel-to-reel Tapes. All Of The Chosen Material On The Preservation Tapes Is Unreleased, Has Only Been Heard By A Handful Of People And Showcases A Relatively Unknown Period In Bruce's
Musical Career Where Bruce Was Recording For Sparrow Records (who Billed Themselves As "america's Best Christian Music Record Label'). Bruce's Signature Farad Vocoder Continues To Feature Prominently, But The Lyrical Content Is Decidedly More Religious.
The Bruce Haack Archive Is Now Resting In The Provincial Archives Of Alberta, In Edmonton,
Alberta, Canada.

Debut album recorded for launch of new record label by award-winning mastering engineer Kevin Gray!
Recorded all-analogue/all-tube at Gray's new studio, Cohearent Recording, for Cohearent Records!

Shapes and Sound from jazz saxophonist Kirsten Edkins is the debut LP release from Cohearent Records — the new record label companion to famed mastering engineer Kevin Gray's latest enterprise, an all-valve (vacuum tube) recording studio (Cohearent Recording) adjoining his home-based mastering facility in California.

"It's the 'essence of an era' we are trying to recapture with today's musicians, not the sound of specific spaces, engineers or recordings," Gray told music reviewer Michael Fremer.

This album was produced all-analogue/all-tube at Gray's Cohearent Recording on December 10 and 11, 2021. Dave Connor produced, while Gray and Ryan Wirthlin co-engineered. Edkins on sax was joined by Gerald Clayton (courtesy of Blue Note) on piano, Ahmet Turkmenoglu on bass, Lemar Guillary on trombone and Chris Wabich on drums.

Edkins, a composer and saxophonist from Los Angeles, graduated from Eastman School of Music on scholarship. She studied composition and arranging with Bill Dobbins, as well as Walt Weiskopf and the legendary Ray Ricker. Before her time at Eastman she studied with Bob Sheppard, a jazz recording artist and woodwind specialist. Edkins is a sought-after improviser who has performed with Arturo Sandoval (Al "Tootie" Heath), Tim Hagans, Clay Jenkins, John Beasley, and Geoffrey Keezer.

She has performed with the Clare Fischer Big Band, Bill Holman Big Band, Bernie Dresel Big Band (The BBB), Sara Gazarek and others. She's appeard on television shows such as American Idol, Duets, Knight Rider, Glee, and Bones, plus The Tonight Show. She's also a music educator whose associations include Cal State Fullerton, Stanford Jazz Workshop, Saddleback College and Golden West College. She also direct the American Jazz Institute's community outreach program and teaches saxophone at Occidental College in Eagle Rock.

The album is an excellent showcase for Gray's new recording studio. Cohearent Recording was born from Gray's relentless passion to create the best sound recordings. It was that passion that has inspired Gray's long career cutting lacquers for such noted labels as Blue Note, Music Matters and Analogue Productions.

He spent 15 years building gear for the project. "I had a novel idea: In order to get the vintage sound we all love, (I'd) design and build an all-valve (vacuum tube) recording system from microphones through to the disc cutting head, NO transistors or IC's anywhere in the signal path. That took much longer than anticipated but it is finally complete."

Gray was inspired to use his own living room as the studio space when he realized it was similar in size and shape to legendary jazz recording engineer Rudy Van Gelder's Hackensack N.J. parents' home. Many classic jazz albums were recorded there by Gelder.

Some of the same microphones used on those earlier Gelder recordings are in use in Gray's setup. The custom vaccum tube electronics are different and for Shapes and Sound Gray used a tube-based Studer C37 rather than an Ampex.

Gelder's Hackensack recordings for both Blue Note and Prestige, Gray says, are "some of my favourite jazz records, and they are also exceptionally good sonically."

Welcoming the inimitable DJ and Producer Dan Shake with his forthcoming EP Verde, set for release on May 26 2023.
Renowned for his infectious charm in the booth and an expert ear for funk, soul and disco rarities, the producer who cut teeth making maximum impact dancefloor groovers is now taking an introspective new direction. Dan was inspired after his relocation to Devon from London where a new found feeling of escapism and appreciation for nature allowed him to experiment with his own sound more than before, including using his own vocals at the forefront for the very first time.

Dan Shake (Daniel Rose-Weir) began his notoriety with the Mahogani Music released 3AM Jazz Club / Thinkin’ in 2014, using Moodymann’s seal of approval as a springboard for his ambitions. Even as dancefloor-igniting releases piled up year on year, such as the Ibiza-smashing ‘Claudia’s Trip’, or any number of Shake Tapes white label edits, Shake’s expertise as a DJ began to match his production chops. This makes for two combined sides of what Dan Shake represents: an explosion of colour, variety and flavour, no matter whether he’s jamming on a rotary in the booth, or juicing fresh joy from old samples in the studio. Basements, lofts, tents, festival stages with the production dialled up to 11 – all are welcome opportunities to let loose. But as his sound has evolved and his reputation as a killer DJ has grown, Shake’s love of connecting to the dancers in front of him has remained, well, unshakable.

Pop/rock singer, songwriter, and guitarist Albert Hammond Jr. is the lead & rhythm guitarist and songwriting member of the GRAMMY® and BRIT Awards-winning band The Strokes. He has released 4 solo albums to date, most recently the acclaimed “Francis Trouble” in 2018 which spawned the radio single “Far Away Truths”. In the 4 years, since then, The Strokes released their US Top 10 charting GRAMMY® nominated rock record “The New Abnormal” and toured the world extensively. Albert also began the songwriting process for his 5th solo album “Melodies on Hiatus”, a 19-track album, crafted in a most experimental style. Albert teamed up with his writing partner, Canadian songwriter, and poet Simon Wilcox (whom he never met during the process) and had lengthy conversations via the telephone; Simon would jot down notes from Albert’s stream of consciousness, and draft the lyrics on her typewriter, and drop them into his letterbox! Albert then added the lyrics to the melodies he had already crafted. The songwriting process became a long distant “anonymous love affair of ideas & lyrics.” The album covers themes of childhood, surviving adolescence, adulthood, vulnerability, fame, relationship with self and others, and is Albert’s “deconstructed broken down ego reaction” to “Francis Trouble.” The album also features songs with GoldLink, Matt Helders (of the Arctic Monkeys), Steve Stevens and Rainsford, and was mixed by Tony Hoffer (known for his work with Beck, Air, M83, The Kooks, Fitz and the Tantrums, Metric, Chromeo, etc.) and mastered by Dave Cooley at Elysian Masters (Paramore, Spoon, Tame Impala, Jimmy Eat World, Peanut Butter Wolfe).

BABY BLUE VINYL

"Workin' all day, trying to forget about the old me." Like most of us, Martin Frawley is busy trying to work himself out. He lives alongside the long shadow of his late dad, musician and songwriter Maurice Frawley, a cultural icon of the Australian underground and collaborator of Paul Kelly, Tex Perkins and Mick Thomas. Most of Martin's 20s were spent writing and playing songs in locally beloved Melbourne band Twerps - a collection of pals who were on the forefront of the city's jangle pop renaissance. A few albums, US tours and band rotations under its belt, Twerps split up in 2018 and Martin turned his compass towards a solo project. His first album, Undone at 31 (2019), was a bit of a reckoning; a wild ride through the wreckage of both a band and longterm romantic break up. His new album The Wannabe is a personal, cheeky and, at times, self-depreiciating collection of songs unpacking the reality of finding his way as an adult without his dad around, and ultimately falling back in love with life, music and someone new. Martin and his band - friends Dan Luscombe (The Drones), Steph Hughes (Boomgates, Dick Diver), Nik Imfeld (Tyrannaman) and Dan Kelly - had heaps of fun recording The Wannabe in Melbourne. The title track is a particularly spicy take on an entertainment industry that seems to give more shits about marketing than music. The album is a bit of an emotional tour, from anger and derision, through to comedy, through to deep and honest love. It's positive with a lot of sadness. Not unlike Martin himself. As well as the guitar, Martin had some fun playing the piano on this record. The technical term is `multiinstrumentalist' but Martin's more of a musical explorer of sorts. No one is exactly sure how these things work - if Martin was born into music or if it was born into him, but it doesn't really matter. Music is what he loves. It's what he does. It's not about the industry or about success - not anymore. It's about the freedom of creating songs on his own terms, and trying to let go of the feeling he has something to prove: to his dad, to his critics, and to himself. And while he's not sure he'll ever fully shake that feeling, he's at least relaxing and having a bit of fun doing it. Like his dad, Martin has a reputation as a `musician's musician'. He hosts a pretty sporadic podcast Dive For Your Memory, where he has fast and loose chats with musicians while doing a deep dive into their musical inspirations and canon. He and his fiancé Lauren also make wine under the label El'More Wines, named after the farm and small town where his dad grew up. It's all come a bit full circle, really.

"Good things come to those who wait", says Matt Harris aka Hyroglifics about the theme of his debut album, 'I'll Wait, I Guess', a personal journey to hope and healing reflected through 16 tracks of ever-evolving music and the stories that lie within them. "I believe that good things happen with time, however, I also wanted this album to depict the realities of waiting for something and how seemingly hopeless it may seem at times".

After committing to music full time after getting picked up by RBMA for 2016's Montreal academy, Hyroglifics has released key tracks and EPs on Critical Music, 20/20 LDN, Hooversound, and System. Written and recorded in Bristol before sessions in London and Los Angeles, where he now lives, 'I'll Wait, I Guess' is his most diverse body of work so far. Though led by the detailed drum and bass he's best known for, the album also includes tracks leaning towards grime, half-time, hip hop, techno and ambient music.

"I really wanted to create something that shows my range as a producer and artist", Hyroglifics explains. "My taste is always evolving, so it's hard to pin down a specific 'sound', as I really enjoy exploring the process of trying to create hybrids of genres."