"Having already cemented her legacy with a breadth of wondrous outings, Northern Irish artist Sister Ghost has now announced her plans for her long-awaited debut album ‘Beyond The Water’, showcased by its riveting lead-track “Dark Matter”. ‘Beyond The Water’ is an amalgam of sorts, a portrait of Sister Ghost’s 20s as a queer woman from a tiny village in rural Ireland, and her experiences both near and far beyond the waters of home. "
When the then 21-year old Mac DeMarco released his debut Rock and Roll Night Club 12" just a short while ago in the Spring of 2012, it was accompanied by a barrage of bizarrely funny promo videos, wildly unhinged live performances and a not-so-subtle disparate range of promo photos. The glam facade was purely that, an image that was manufactured for fun to confuse the stiff and compartmentalizing world of indie music journalists. But it wasn't all a jest, as that EP covered a whole range of music styles that were latent in the ex-Makeout Videotape frontman's already impressive slough of cassette-only releases. The sincere and warm Mac who sang "Only You" was the same lipstick-wearing sleazoid that crooned "Baby's Wearing Blue Jeans" and that suited him and his listeners just fine. Now, all of six months later, Mac is back with his first proper full length, Mac DeMarco 2. As opposed to RNRNC, "2" is a concerted effort to produce a cohesive work that showcases Mac's natural ability as a songwriter, singer and producer. With a new arsenal of recording gear, the fidelity has substantially improved without compromising the immediacy and organic quality of his prior releases under any monicker. The results are immediately rewarding, from the warm "Cooking Up Something Good" to the heartfelt "My Kind of Woman." It's obvious Mac is presenting himself musically in the most sincere way possible, no matter what happens in his wild videos or live shows. "Freaking out the Neighborhood," Mac's apologetic ode to his loved ones about such public behavior, shows that Mac DeMarco is still with us, coming along for the ride, getting everyone else in trouble. Even so, the maturation process of Mac DeMarco, recording artist, is in full swing. He did, after all, turn 22 this April.
Matter-of-factly, Lycox exclaims "Yaaahh" right at the beginning. That's an affirmation but in times of distress it can also mean resignation, something like "Yeah, whatever". Lycox says he was only freestyling though. Then the bassline appears. Elastic, expressive, full-bodied. And it's not even present the whole time. He was "trying to develop a new formula for the Kuduro beat."
Songs for the club? Most certainly. Different sensibilities, one same focused mind. Lycox evolves within tradition, he has mastered the groove, the ambience, the right tones. Simply called "Energia", the last track circles above wistfully, menacing but maybe just promising some sort of action. With a few drops one could almost switch over to a parallel universe of old school Trance, a reference that feels as alien here as maybe this track feels to someone for whom the standard Afro House sound represents modern African music.
These songs pile up in a threshold balanced between styles, sensations, maybe in the middle of life itself. Such a concentration of energy is bound to need release and that comes figuratively through details in the music reaching out to receptive ears. "To Bem Loko" explicitly tries to "literally drive everyone crazy on the dancefloor." Once again Lycox provides vocals, as in "Edson no Uige", about a friend who embarked on a trip to the Angolan province of Uige and came back speaking only the local dialect known as lingala. A nod to tradition, very emotional, without compromising complex arrangements. Consequently, we the listeners are kept believing there is still enough space for a bright future. To ears accustomed to Lycox productions the title "Contemporaneo" (opening of side B) reads like a redundancy, then.
Maybe this music can never be quite as massive as other Afro styles. Without sounding pretentious, it avoids simplistic patterns, it demands a bit more mental processing while it certainly aims to loosen the limbs. Universal in vocation, underground at the core, Lycox definitely calls it Batida but for some it is still Ghetto Music. Like DJ Veiga said when describing a previous release for Príncipe, Ghetto is home, though. Lycox adds it is a foundation of personality. "Few in our community will recognize your work when you come from the same environment, but once you establish your reputation outside of the neighbourhood and even outside of the country, people will look at you differently, as if you were a star."
Hector Mad y DA/FR forman Axeek Electronics, y nos presentan su proyecto con tres temazos originales para su sello Matterwave, incluyendo además un remix de Orlando Voorn.
"The language must be tuned like a violin, and just as an excessive or insufficient vibration in the singer's voice or in the trembling of the strings makes the tone impure, so too the excess or lack of words spoils what is exposed."
Oscar Wilde, "De Profundis".
Lou Barlow personified home recording’s rise in the late ’80s and was arguably one of the few key players that changed the trajectory of songwriting as the ’90s charted its cultural course. For the 30th anniversary of his Really Insane 7-inch and Winning Losers EP, Emil Amos and Steve Shelley have compiled an overview of Barlow’s best solo work under the name Sentridoh. Based around an even mix of legendary tracks and extra deep cuts, this compilation focuses on Barlow’s arrangement innovations, signature textural explorations, and radical ability to turn psychological upheaval into classic songs.
2024 Repress
A Colourful Storm's reissue project of Blueboy's Sarah Records albums culminates with Unisex, arguably the finest moment of the trio of Keith Girdler, Paul Stewart and Gemma Townley and a bona fide indie-pop classic. The first vinyl issue since 1994, the album has gained an immense cult following in all corners of the world and stands as an almost forgotten pinnacle of pop songwriting. "I just want to kiss you in new places, to savour the joy of living, liking you..."
Colombian artist Kabinett brings a soul and harmonic proposal in the many forms of alternative disco and house through embellished productions and DJ sets finding himself every time as medium for all possibilities.
Involved in music from an early age through classical music, while being exposed and inspired by his older brothers in the many forms of what electronic music was developing, Nicolás, his given name, knew that his future and purpose was only going to be around what matters him the most, music. After learning different instruments in the early years and through a mix of self-education and formal education in contemporary music and music production, as well his first steps as a DJ, at age 20 he was ready to get involved in Colombia's capital electronic music scene as curator, DJ, label owner and music producer.
Founder of vinyl house label Nómada Records next to established artist such as Felipe Gordon & Joint4nine, his mentors, Kabinett have been fed enough to developed a full curation career working for Kaputt Club, El Coq & W Hotels, and more recently Casa Cruxada where he has helped to develop an identity for each which as of today has only enriched the local scene.
More recently as head of Kaputt.wav, his new label, which is now house of artist such as Curses, Iñigo Vontier, Theus Mago, Dombrance, Damon Jee, among many more, promises to keep growing and develope music overseas.
As of his personal artist career, have count on releases in labels such as Glitterbox, Midnight Riot Records, Partyfine, Platino Records, Duro, Playground, Sonido Moderna and more recently in Prins Thomas own label, Intersnajonal which will release his third solo EP in summer 2024.
With a deep understanding and experience on the music scene and a strong influence on dance genres, Kabinett and his music transcends the listeners souls and dive deep into a conscious dance.
Auf ihrem zwölften Album mit dem treffenden Titel 'Revolution', ihrem ersten Independent-Album überhaupt, versammeln Skillet zehn aufrührerische, ansteckende und unnachahmliche Hymnen. John Cooper Leadgesang, Bass, Korey Cooper [Gitarre, Keys], Jen Ledger [Schlagzeug, Gesang] und Seth Morrison [Leadgitarre] servieren ihren unverkennbaren, arena-erschütternden Rock, getragen von hochfliegenden Gitarrensoli, knallharten Riffs, cineastischen Streichern und einigen der eingängigsten und überzeugendsten Refrains ihrer bisherigen Karriere. Von der augenzwinkernden, mitreißenden ersten Single 'Unpopular' über die unvorhersehbare und unbestreitbare Dynamik von 'Ash In The Wind' und den mitreißenden Klargesang von 'Not Afraid' bis hin zum mitreißenden Opener 'Show Time' und der zärtlichen Ballade 'Happy Wedding Day (Alex's Song)': Skillet sind wieder da, mit neuer Energie und bereit für eine Revolution.
Bis heute wurde die Band zweimal für den GRAMMY® Award nominiert, erhielt einen Billboard Music Award und platzierte sich mit drei Alben in den Top 5 der Billboard 200. Mit weltweit über 22 Millionen verkauften Einheiten wurden 12 Singles und vier Alben mehrfach mit Platin, Platin oder Gold der RIAA ausgezeichnet. Dazu kommen monatlich 10 Millionen Hörer auf Spotify und mit dem fünffach mit Platin ausgezeichneten 'Monster' einer der meistgestreamten Rocksongs aller Zeiten.
LOOSE CATTLE, the five-piece roots rock outfit declared "favorite Americana cowpunks in New Orleans" by OffBeat Magazine. work to make music that matters, aligning themselves with, and advocating for, people at the margins of our society. In the band's mind, if "Americana" is to mean anything, it should mean inclusion and a diverse music scene populated by the people the American Dream crushed. The misfits and outcasts are who they sing for, and choose to dance with. On "Someone's Monster", two-time TONY and GRAMMY Award winner Michael Cerveris turns up the volume and the urgency.
The 24 songs on this double album are in some ways a completion. Together with Young Man Songs here are nearly all the songs Kerry Lee Crabbe and Daryl Runswick wrote (and Daryl sang) which are good enough to be issued. The subject matter here is wider ranging than on Young Man Songs:love songs, but also family, heroes and antiheroes, zen, celebration, nostalgia, philosophy, life and death.
Daryl Runswick writes: "I first set Kerry Lee Crabbe's words to music in 1967; for the last time in 2010. Our most prolific period was 1970-1980 during which time we had considerable success as a songwriting team, though we didn't have big hits. The pinnacle for us was when Cleo Laine recorded a whole album of our songs (One More Day: well worth looking out for on vinyl or CD). There are a number of reasons for our lack of hits: songwriting was for neither of us our main job - not 'the principal source of his revenue' as Paul Simon put it (One Trick Pony) - we did it in our spare time. Also, neither of us had any interest in being an entrepreneur, nor did we employ a manager to push the songs; also, perhaps we were snobs who disdained moneygrubbing; but perhaps the main reason was that these are art songs: art songs in the style of pop music, yes, but not aimed (other than tangentially) at the commercial market.
We'd have loved to have hits but that's not why we did it and we didn't bother overmuch flogging our wares around. Kerry and I were introduced to one another as undergraduates at Cambridge University. Kerry had written the book and lyrics for a musical (Someone is Squeaking) and I was instructed by Clive James, then President of the Footlights Club where I was Musical Director, to compose the songs. It was put on at the Edinburgh Festival Fringe in 1967 with Julie Covington in the lead role. Kerry directed and I was musical director, playing piano in the accompanying trio. After that summer I went down to London to be a jazz bass player while Kerry had a further year at Trinity College, Cambridge. After he came down, we got together again and continued making songs."
''One Foot in the Rave'' is a vibrant collection that showcases Jonny's signature style--a blend of melodic, melancholic acid jams, bleepy funk, and warm analog electronics. Whether for the stereo or the sound system, the LP moves from the upfront bounce of ''The Apocalypse is Now'' and ''Raymond Tuesday's Big Day Out'' to the shimmering reverb of ''Starry Night'' and the birdsong-infused ''Ringfort.'' Listeners will find themselves in familiar Automatic Tasty terrain, rich with psychedelic exploration. According to Jonny, ''What to say about this record? I don't really know and it hardly matters. I wrote them on different bits of gear; ye olde faithful Roland SH101, my MC202 (pencil and paper de rigeur), a battered x0xb0x 1.0 (thx Daniel!), a beloved Yamaha Cs-5, a similarly beloved Roland SH5, a truly hammered Juno106, a Roland JX3P, a Nord something or other, an MPC2500, my TR606, and a Vermona DRM1 MKII being sequenced via a bedraggled TR626. Also Jay's TR808 is on there (thx Jay!) and a TR8 being squashed through a Mutronics Mutator (wheee Damo!) and a Zoom H4n recorder. I edited them on a dilapidated laptop, with no headphones or monitors, steering by the tiny speakers on the computer and playing them in my car, twiddling the mix as I went. But these are frivolous and unimportant details. All that matters is that these songs were made out of love. Cheerio, Jonny. P.S.: This record is dedicated to Jay 'Winthorpe' Kelly.'' ''One Foot in the Rave'' will be available on vinyl and digital platforms starting October 14th.
Rediscovered and compiled for release shortly before her death in November 2023, Further Selections from the Electric Harpsichord presents a never-before-heard recording of composer and artist Catherine Christer Hennix's early magnum opus. Originally debuted in 1976 at the festival Brouwer's Lattice at Stockholm's Moderna Museet, The Electric Harpsichord has steadily mystified fans and students of Western minimalist music for its implacable, transformative qualities, and the long-held, relative obscurity of its creator. Like the work of Hennix's close friend La Monte Young, the piece is set in just intonation and focuses on the transcendental potentials of precise tuning, inspired by their studies with Pandit Pran Nath. Composed of bursts of oscillating, synthetic tones using a carefully retuned synthesizer and a tape-based system for feedback delay, the sounds swirl, twinkle, and appear to bend time, space, and perception. Additional, sustained chords on the sheng, most likely played by her Deontic Miracle bandmate Hans Isgren, are present at the opening of the piece and reemerge towards the end of the recording. The release of Further Selections constitutes the most comprehensive original recording of this foundational work to date. Originally billed as The Well-Tuned Organ during its debut in Sweden, The Electric Harpsichord has developed a legendary reputation, predicated on a twenty-six minute fragment salvaged and circulated by Hennix's friend Henry Flynt. Promoting its importance on multiple occasions, Flynt aired the work on WBAI radio, organized a pair of tape concerts at New York alternative arts spaces in 1970s, and later penned a 1998 essay which served as the liner notes to its eventual CD release in 2010. For him, this work not only represented a sterling milestone in minimal sonic aesthetics, but also spawned a new genre that he dubbed "hallucinogenic/ecstatic sound environments (HESE)," which in turn inspired his own drone-like compositions. Gradually, interest in the recording led to a spate of archival projects, public performances, and new compositions by Hennix in the 2010s, in turn drawing into focus her multifarious practice, which includes serious contributions towards mathematics, poetry, sculpture, Noh drama, philosophy, and light art. Since 2018, Blank Forms has spearheaded a comprehensive publication effort in support of her work, including the writing collection Poësy Matters and Other Matters (2018); archival recordings like Selected Early Keyboard Works (2018) and The Deontic Miracle's Selections from 100 Models of Hegikan Roku (2019); and recent compositions such as Blues Alif Lam Mim (2021) and Solo for Tamburium (2023).
THE DYNAMICS • DRAG’N'FLY
by VINCENT HELLO.
Jamaica, 1960s. Ska artists, rock steady and reggae take back some soul songs of the United States, thus giving their versions that will in turn become future classics. The hits of the moment are also seasoned with Jamaican sauce, no matter where it comes from Original, pop, country, jazz... The rhythms of the island permanently transform the tracks of origin. In 2024, with their third album called Dragn'fly and decorated with a beautiful dragonfly (a "dragonfly" so in the language of King Tubby) the Dynamics honour Jamaican tradition and dynamite 10 versions of hits from yesterday and today. The Dragonfly spread his wings reggae, soul, funk to land in all headsets at the heart of good stereos and on spicy dancefloors. Because this dragonfly is a true superfly that speaks to the heart... and legs.
After two albums whose success led them to walk the globe of Glastonbury in Tokyo, honoured by the large elders (the first part of Lee Perry here, a regular dj support of Don Letts over there) the Dynamics are alive so their 'soul reggae vocal sound system” in front of audiences specializing in Jamaican or to those who are who were lucky enough to meet them by chance in Chemical Brothers... or Lady Gaga.
The Dynamics have forgotten the weight of ancestors to make their own recipe. They proclaim it, they are Sound System! The voices of Mounam, Steve Levi and Mr Day are in the front row, so making lovers, preachers, crooners and crooners to Turns of Duty, while Fab Master Flab all in one of the roots and futuristic echos. But if the mind is a sound system, the dynamics sounds also as a group through instruments live performances that plunge the tracks into a fervor unique. And then there are the hits, so, from all times and of all styles.
The low rider becomes toaster and leaves the road a American carried by these vocal harmonies Sky to take the exit Kingston. On the roadside, the joker delivers his lovers soft rock after a small detour to Muscle Shoal, The time to borrow a guitar from Duane Allman. In the south again, Mounam “Mrs Dynamics” meets the spirit of «Mr Dynamite» and tells him his radical, soul version. “ man’s world...” inna digital style! The spiritual anthem “you got to have freedom” by Master Pharoah Sanders becomes a universal skank, pop and dub who sends resounding high its universal message Dance! The dynamics are mutating the classic of ESG into a small, minimal pop bomb that is not without resemblance to the Neptunes of Mr Pharell Williams. On the edge of the track, Peter Gabriel sees his “Sledgehammer” groover as he does could imagine it and dissolve into sublime soul scrolls. Later, “After laughter...” soul classic celebrated and sampled Born into a rock steady air promised also to eternity. JJ Cale’s "cocaine," leaves its on the dancefloor for a reggae disco version, necessarily! And then, we must conclude. So it’s time to send an original title. It will be "Rubba Sub", to the aromas of sleng teng, which proves that far from the hits, the Dynamics deploys same layouts to deliver fresh and authentic sounds. And when the dub echoes evaporated, that the riddims have been silent, only remains an album majestic, in turn a future classic, full of unique Dynamics sound that mixes with instinct the echoes of yesterday to its own voices today.
Color Vinyl[31,30 €]
Icelandic indie-pop songwriter Kaktus Einarsson will release his second album ‘Lobster Coda’ via One Little Independent Records on October 25th. Amidst a collection of lush, electronic earworms, Kaktus has penned an honest account of his recovery from a sudden functional neurological disorder (FND) that required him to relearn how to use his motor functions, while also performing his duties as a new father.
‘Lobster Coda’ incorporates dreamy, glistening synth-pop and melancholic ambience, created through layers of atmospheric keys, percussion, and groove-laden funk bass. Kaktus details his journey following a stress-induced nonepileptic seizure that halted his brain’s ability to communicate with the rest of his body, resulting in losing control of his legs, arms and causing involuntary facial tics. Crucially, he spent months on a course of physical therapy while also trying to care for his children and his partner, that by his own admission he then needed to reconnect with. With an occasionally brutal candour, Kaktus’s new album is about taking the time to reflect and recognise changes that need to be made, to listen to your body, and to trust the process no matter how long it might take.
Black Vinyl[31,05 €]
Icelandic indie-pop songwriter Kaktus Einarsson will release his second album ‘Lobster Coda’ via One Little Independent Records on October 25th. Amidst a collection of lush, electronic earworms, Kaktus has penned an honest account of his recovery from a sudden functional neurological disorder (FND) that required him to relearn how to use his motor functions, while also performing his duties as a new father.
‘Lobster Coda’ incorporates dreamy, glistening synth-pop and melancholic ambience, created through layers of atmospheric keys, percussion, and groove-laden funk bass. Kaktus details his journey following a stress-induced nonepileptic seizure that halted his brain’s ability to communicate with the rest of his body, resulting in losing control of his legs, arms and causing involuntary facial tics. Crucially, he spent months on a course of physical therapy while also trying to care for his children and his partner, that by his own admission he then needed to reconnect with. With an occasionally brutal candour, Kaktus’s new album is about taking the time to reflect and recognise changes that need to be made, to listen to your body, and to trust the process no matter how long it might take.
Untenable is the sophomore full-length by Washington, D.C.’s Bad Moves. On this record, the band has leaned into the outer edges of their influences, expanding their power-pop umbrella to include hints of folk, garage rock, and ’90s “indie” while still keeping the hooks tuneful and sticky. Lyrically, the band explores the myriad anxieties of modern living -- from heady questions of self-definition and identity to day-to-day matters, like labor precarity, climate change, social media, automation and the surveillance state."
"Ukraine's most beloved and enduring band Okean Elzy will release their first-ever English-language studio album, Lighthouse, on October 11 via Elektra. The group herald the record’s announcement with the title track and new single ‘Lighthouse’ featuring John Rzeznik of Goo Goo Dolls. Produced by John Feldmann (Blink 182, Avril Lavigne, 5 Seconds of Summer), and co-written by Slava, Feldmann and Eva Arnby Busacker (5 Seconds of Summer, Landon Barker), the track also features Travis Barker on drums. A portion of the proceeds from the song will be donated to United24, an initiative launched by the president of Ukraine in support of the country during the ongoing war. The song is accompanied by a cinematic music video – available to stream on the band’s You Tube Channel
Okean Elzy’s lead vocalist Sviastoslav ‘Slava’ Vakarchuk says, ""The creative process was a unique experience for me. Working alongside Feldy and Evey was both fun and inspirational. The song came together in a matter of minutes. Having Travis on drums took the vibe up to a whole other level, and is yet another example of how special the human camaraderie and support is on this track.""
""Lighthouse is a very powerful metaphor for me,"" Slava continues. ""As a Ukrainian I couldn't think of a better metaphor to express our hope for the future, which is part of why the song and album bear that name.""
Okean Elzy radiate luminous energy through ‘Lighthouse’. Anchored to a steady beat, warm guitars ebb and flow beneath a heartfelt promise, “Take my hand, I’ll get you through the storm.” The momentum builds as the song climaxes on an uplifting chorus, “Tonight, I’ll be your lighthouse, shining on.” Meanwhile, Vakarchuk and Rzeznik lock into a bold and bright back-and-forth. The music video seamlessly translates this energy to the screen, capturing the chemistry between the frontmen.
With their upcoming album, Okean Elzy aims to transcend borders and share the rich tapestry of Ukrainian culture with audiences around the world. The album will include collaborations from Travis Barker (Blink-182), Paul O'Duffy and Diane Warren.
In support of Lighthouse, a portion of their North American tour’s proceeds will be donated to Open Eyes Fund, specifically supporting their Drive For Life initiative, whose goal is to deliver 30 ambulances, along with essential medical equipment to the frontlines where urgent medical assistance is required. These efforts will be in addition to the 242 ambulances already delivered to Ukraine and 36,000 lives saved previously by Open Eyes. Following their North American tour, Okean Elzy are set to headline the O2 Academy Brixton in London on December 4. Check out the full confirmed itinerary below. General on-sale begins today at 10am local time.
Consistently selling-out stadium shows, winning multiple YUNA Awards (the nation’s equivalent to the Grammys or the BRITs), and topping airplay charts, Okean Elzy are undoubtedly Ukraine’s biggest band."
Selection of all winners from the Music Team label - mid 80s to early 90s gems on here!
One of South Africa’s biggest independent labels for more than a decade, Music Team offered working musicians a shot at fame via access to top studios, producers, songwriters and session musicians, as well as distribution via a number of imprints: CTV, Red Label, Solid, Spinna, Mambo Music and others. Artists in the stable who tasted success would typically release a few albums over as many years before moving on to other labels or falling off the radar as times changed. At their peak, according to label boss Maurice Horwitz, Music Team was selling a million records a month, and was at the forefront of South African pop music as it evolved from soul to disco and beyond.
Afrosynth Records’ ‘Music Team Sampler’ dusts off six rare and long-forgotten gems from the Music Team catalogue, originally released between 1986 and 1992. Four are typical of the label’s take on the popular ‘bubblegum’ sound of the day — Isaac ‘Cool Cat’ Mofokeng’s ‘Candy’, ‘I Won’t Let You Go’ by Linda Oliphant, Jappie Lebona’s ‘My Love is Yours and ‘Instant Love (Eyami Lendoda)’ by Thandi Zulu (aka TZ Junior). Two instrumentals — Mr. Ace’s ‘Ace 1’ and ‘Axe Chop’ by The Hard Workers, a studio project by Music Team’s in-house producer Tom Mkhize — meanwhile hint at the imminent rise of kwaito and house.
Forged in the fire of a cruel and volatile political system that was gradually unraveling, instead of addressing political realities these indelible pop songs sought to provide an escape to a world where love and music were all that mattered.
Repress!
Post Punk inspired heat from London's Moin. TIP!
Moin is made of Joe Andrews and Tom Halstead (Raime / Blackest Ever Black) as well as long time collaborator and percussionist visionary Valentina Magaletti (Tomaga / Vanishing Twin). A serendipitous conversation brought the project to life. The band say simply: “The record was made as an experiment really, it felt like the right time to play on the fringes of this kind of music. The priority was to be direct at first and then change the edges perhaps. Make something to experience rather than something as a spectacle.”
Moot! a quick and painless album to create, allowed the musicians to re-appreciate the recording process, using a combination of live recording and studio techniques. As Andrews, Halstead and Magaletti come together as Moin, they’re freed from any past inhibitions or self-made parameters to explore uncharted territory. The album spans psychedelia, alternative rock and post-punk mixed with their signature electronics and sampling practice.
The band conclude: “All of this sounds very matter of fact, which is correct. It’s immediate music that isn’t pretending to be anything but.”
