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Mischievous festa punk meets astral steppas, kalaedoscopic free ambient meets harsh noise, scattered amen breaks with IDM and free jazz trumpets meets the earthly plod of digidub. It can only be Felinto from Sao Paulo.
UTOPIA MILHÃO honors the life forces that allow us to transform the darkness where dreams reside. The album brings a new moment of intimacy for Felinto's musical expression flowing through dirty, raw, dense and brilliant dub fractals, ready to transform unexpectedly into a new shape then another, and another, and another... featuring collaborations with magical people: Sarine (Deafkids), Douglas Leal (Deafkids), Guizado (Afrobombas), Sandra X, Paula Rebellato (Rakta), Lorena Hollander, Yao Bobby, Kiko Dinucci, Paulo Papaleo, Cint Murphy, Rodrigo Lima.
Felinto is a political agitator and musician at the heart of the São Paulo underground - a movement that confronts the various effects of the capitalist system of racial, sexual, ,,,,, and 22222 lawand material oppression.

His provocations range from yoga for children and parenting studies (SACYOGA), theatre (PROJETO CRIOULOS and PROJETO JAMES BALDWIN), web series highlighting the black presence in electronic music in São Paulo (MODULAÇÃO PRETA), reflective groups on gender violence and masculinities, occupation of public spaces for political art q(Coletivo Sistema Negro), artistic curatorship (Residência SOMSOCOSMOS) and studies with sound as a tool in conflict mediation practices. Felinto composes for film, theatre and immersive installations such as MEGACITIES presented at the National Gallery of Victoria, Canada in 2023.

He is currently researching - as part of a masters project in clinical psychology - the collectivised dream realities of black people. A field of action that contemporary anthropology, psychoanalysis and psychology call ONIROPOLITICA.

His interest in affinity groups, autonomous networks of micro-political articulation and penal abolitionism led him to the questions: what do black people dream about within the permanent context of civil war and state violence (like the one in Brazil)? How does this experience create dreams and how does the dream affect the construction of identities beyond the boundaries established by the capitalist unconscious?

"Forward Ever" ist die neue LP der preisgekrönten Londoner Rapperin, Produzentin und DJ Lex Amor. Ihr 2020 veröffentlichtes Debüt-Mixtape "Government Tropicana" wurde millionenfach gestreamt und verkaufte mehrere Vinylpressungen aus. Seitdem arbeitete Lex Amor mit diversen Künstlern (Kojey Radical, The Silhouettes Project), sowie angesehenen Plattformen (COLOURS, Boiler Room) und Markenpartnern (Alexander McQueen) zusammen. Medien wie Radio 1, BBC 6 Music, Kiss FM, Clash, Pitchfork und Line Of Best Fit sind voll des Lobes für sie.

Label and collaborative musical collective, +33JOY announce their debut release, this first one from Bopperson & Bikbaye.

Born out of a meeting at New York’s annual Winter Jazz Festival, back in 2020, this 4 track EP entitled ‘The Wellness Project’ is a very personal project.

Neil Bopperson is a DJ, musician and producer originally from Yorkshire. Having travelled the world working as a DJ and chef, he landed in London for a while where he remixed afrobeat legend Dele Sosimi for Wah Wah 45s. Now residing in Paris, France, a sharer and carer of music in every aspect, he chooses not to follow trends but instead follow his heart, with variety being an essential part of his musical DNA.

Based in Los Angeles, Bikbaye Inejnema works as a cultural activist, writer, teacher, counselor and spoken word artist. He has a bachelor’s degree in Sociology boasting over ten years experience in social work. He works as a A.T.O.D. (alcohol, tobacco & other drugs) prevention specialist for Homeless Healthcare in L.A. He is also the Executive Director of The Conscious Youth Global Network (CYGN)

Bikbaye strives to utilize art to equip the youth with the skills to become positive, productive citizens. Focusing on diverse topics ranging from leadership development to financial literacy to health and nutrition, Bikbaye gives youth the tools they need to create empowered and enlightened content.
As Bikbaye says, “The goal is to flood the airwaves, the media, everywhere with enlightened art.”

This first release on +33JOY comes in the form of a collaborative project, with music coming predominantly from Neil, with a little help from some additional players - Sam Crowe; keys (Lianne La Havas, Little Simz & Native Dancer) and the saxophone of Nick Briggs; (Joel Culpepper, Poté & The Last Skeptik). All words and vocals are from Bikbaye.

After a chance meeting in NYC, where Bikbaye was hosting talks at The Winter Jazz Festival, speaking mainly about mental health and wellness in the music industry. His words really resonated with Neil, they connected and this EP is the outcome.

Sitting somewhere in the alternative hip hop world, music is used as a vessel for Bikbaye’s words to ring out. Upon being presented with Bikbaye’s recordings, Neil composed music and collected sound design accordingly.

Starting out the set is the stripped back ‘Wellness Is A Practice’, as the opener to proceedings the vocals take forefront and the message is clear. Found sound, an old crunchy keyboard and some guitar pulses keep the poem afloat.

‘Who Are You?’ raises important questions, directed at other artists and music industry professionals. Flute, choirs and spacy drums come together for an eerie and dubbed out moment.

Third track ‘Consumption’ conveys perhaps the most important memo on the release. Sam Crowe’s grand piano floats beautifully over the reading, really highlighting Bikbaye’s statements.

Finally, and with a more hopeful feel, ‘Changes’ was the last addition to the recording sessions. A sketch Neil had been sitting on for a while, DJ Bobafatt added some cuts and Nick Brigg’s sax solo opens this track out to a goosebumps inducing ending. The most upbeat of the four tracks serves as a perfect prelude to the club-ready remixes that will follow this release.

I have a thing for distant galaxies or places in the universe where there are very few stars or star clusters. In meditations, I imagine myself in an empty space in the universe where it is pitch-black. My way of dissociating.

I played shows in Tbilisi and (1.) Yerevan. Afterwards, I was taken to the airport. We were in the car, the weather was good. There is a big mountain near Yerevan, which was (2.) the view. And Alice Coltrane’s World Galaxy was playing on the radio. I resonate with this song.

A few weeks later, my wife’s mother arrived (3.) from Canada. We had dinner together that day in (4.) Antwerp. As we drove out of the underground parking, I wanted to play that Alice Coltrane song again. But the internet reception wasn’t great, so the song cut out. We then wanted to switch to the local pirate station Radio Centraal. It was playing the exact same Alice Coltrane song, from exactly the same moment. We didn’t realize it at first. A very strange continuum.

Now I’m thinking whether my thing with the universe is because of this track and this situation. The track is about (6.) Olodumare, who is the African God of everything. That is very close to the voids in the universe. The place where I like to be.

For the first time in their diverse second act, they allow themselves to be a rock band, freed of adornment and embellishment. As much as Carlson’s guitar has always been the focal point of EARTH’s music, it’s been surrounded by consistently diverse instrumentation. Here the dialog between Carlson and Davies drumming remains pivotal, underpinned by the sympathetic bass of Bill Herzog (Sunn O))), Joel RL Phelps, Jesse Sykes and the Sweet Hereafter) and thickened by additional layers of guitar from Brett Netson (Built To Spill, Caustic Resin) and Jodie Cox (Narrows). Perhaps the largest left turn on Primitive And Deadly, though, is the prominence of guest vocalists Mark Lanegan and Rabia Shaheen Qazi (Rose Windows) who transform the traditionally free ranging meditations of EARTH into something approaching traditional pop structures.
On “Rooks Across the Gates,” a song stylistically the closest to the folk inspired modality of Angels Of Darkness, Carlson stretches out into some of his most lyrical playing to date, creating an almost symbiotic relationship between his performance and the vocals of old friend Mark Lanegan. “From the Zodiacal Light,” meanwhile, takes the late 60s San Franciscan/freaked-out jazz-rock transcendence of The Bees Made Honey In The Lion’s Skull and quickly re-appropriates that sound into a musky torch song for the witching hour.
This contradictive tension between a band pushing itself ever-forward whilst surveying their history is reflected in the albums twin recording locales. The foundation of the record was laid in the mystic desert highlands of Joshua Tree, California where EARTH recorded hour after hour of meditations on each track's central theme at Rancho de la Luna. Upon returning to Seattle these were edited, arranged and expanded upon at Avast with the help of long-term collaborator Randall Dunn (who was previously at the helm for the Hex, The Bees Made Honey In The Lion's Skull and Hibernaculum sessions).

This one is highly recommended for fans of Khruangbin, Lord Echo, Leon Bridges or Fat Freddy's Drop.

Open is the sixth studio album from acclaimed composer, producer, filmmaker and multi-instrumentalist, Kutiman. It is an addictive & irresistible twelve-track trip taking in elements of classic soul, Middle Eastern psychedelia, Afrobeat, Thai funk, jazz fusion, cosmic library soundscapes and more.

The uptempo “Vanishing Point” opens proceedings, recalling both Abstract Orchestra’s 2017 Dilla tribute and the lounge OST/library music flips of Tosca and DJ Vadim fame.

My Everything introduces prominent guest & frequent Kutiman collaborator, Dekel, whose soul-pop vocals coupled with jangly acoustic guitar riffs tip to contemporary indie artists such as Michael Kiwanuka and SAULT. “A Day Off passes through” Anatolian psych and Khruangbin-esque Thai funk whilst the afrobeat/jazz fusion “Confetti” pays tribute to Kutiman’s other namesake, Fela Kuti.

Dekel rejoins for the beatdown, lilting dub-soul “Believe In You” with hints of Lord Echo and the sun-inflected New Zealand dub-soul sound. The Tuareg-leaning guitar lines on “Canoe” travel across the Saharan desert easterly towards Sudan and Ethiopia by the end, whilst meditative and Coltrane-adjacent album closer “Ripples” provides a final moment of reflection from a truly global excursion of soundscapes.

Who is Isabelle Lewis, anyway?

What kind of music does she make? Is she an opera singer? Does she write pop songs? Does she compose ethereal ambient soundscapes? Does she play chamber music on the violin? Is she producing dark, electronic beats?

Well… yes. But Isabelle Lewis is not so much a person as a project. Isabelle’s debut album, Greetings, credits a trio of composer–performers at its heart: producer Valgeir Sigurðsson, vocalist Benjamin Abel Meirhaeghe, and violinist Elisabeth Klinck. The sound of the elusive Isabelle Lewis is heard most clearly in the push and pull between them, the three-way tension that gives the album its musical and emotional drive.

Each of the three brings more to the collaboration than those epithets might imply. Elisabeth’s solo performance practice incorporates composition, improvisation, live electronics, and a close command of bowing and fingering techniques that make her fiddle sing, whisper or whistle as required. Benjamin is a self-taught countertenor - keening, crooning, and swelling to a voluptuous sensuality—but also an interdisciplinary stage director and performer. Well known for his work as a producer and studio collaborator, and as a composer of scores for film and stage, Valgeir’s solo discography interweaves meticulously crafted electronics, drones, noise, and other digital elements with acoustic instruments and vocals recorded with naked, unflinching clarity.

But the extravagant theatricality Benjamin brings to the aptly titled “Drama”—also featuring a heroic violin solo from Elisabeth—grapples against the thudding bass of the implacable digital backdrop. On “Mother, Shelter Me” Valgeir’s austere and detailed production throws the hushed violin and vocals into stark relief. The result is an exquisitely uncanny juxtaposition of past and present, human and mechanical, like a Rococo treasure viewed under cold fluorescent lights, or an 18th-century automaton slowly opening its clockwork eyes.

Even the lyrics seem somehow out of time. On “O Solitude,” Benjamin goes so far as to quote an entire song by the first great English opera composer, Henry Purcell, verbatim. No stranger to Purcell’s music, which has made its way into Benjamin’s theatrical productions as well, here Isabelle Lewis removes Purcell’s melodies and harmonies and sets the text, Katherine Phillips’s 17th century translation of a poem by Antoine Girard de Saint-Amant, to new music whose heightened, archaic character nevertheless seems haunted by Baroque ghosts.

Throughout the album, the outsized emotions and timeless archetypes of Benjamin’s lyrics feel like relics from some half-forgotten past—from the neatly rhymed couplets of “Fisherman,” a seemingly straightforward (but still somewhat askew) character study, to the abstraction of “Moonshell,” whose words seem like the fragments of some ancient, lost lament. It is just another of many ways in which Isabelle Lewis carefully distorts the listener’s notions of time. On a more micro level, time can stop for a moment of weightless, drifting ambience, and then plunge forward as the cloud of harmonies suddenly lock into tempo with the drop of the bass or the change of a chord. Or else that weightless moment is allowed to be, as in the aptly named prologue and epilogue to these Greetings (“Voicemail”/“…and farewell”), or in the interstitial tracks that bind the album together, connecting its dramatic peaks with expanses of meditative stasis.

The album as a whole is elegantly shaped, swelling from an intimate, interpersonal statement into something deeper and more spacious. The first half of the album leans slightly towards self-contained pop songcraft and ticking beats, while side B jumps off from “O Solitude” into the almost symphonic grandeur of songs like “Moonshell” or the instrumental “Not the water, air, or the dirt.”

But as it progresses, the contrasts only grow more sublime: antique and postmodern, human and machinelike. The ominous weight of the droning sub-bass and trombone (guest player Helgi Hrafn Jónsson) only makes the interplay between vocals and violins (guest player Daniel Pioro joining Elisabeth) seem more delicate and vulnerable. The ethereal string tremolos of “Moonshell” seem to pull against the heavy, shuddering electronics and layers of crooning vocals.

And that, in short, is where you will find Isabelle Lewis. Like an ancient stone archway, or a delicate house of cards, the architecture of Greetings is held together by the tension between opposing forces. Not just in Elisabeth’s playing, Benjamin’s singing, or Valgeir’s arrangements and production but in the conflict and contrast that generates the synergy between them.

Oh—Isabelle says hi, by the way. She’s looking forward to meeting you.

Naoki Zushi. Perhaps best known for his stellar guitar contributions to psych folk group, Nagisa Ni Te, Zushi has had a parallel career, for several decades, slowly releasing solo albums that spotlight his exultant guitar playing. Originally released to CD only by Shinji Shibayama of Nagisa Ni Te’s Org imprint in 2018, IV has Zushi playing and writing at a peak, its six songs slowly unfurling with a kind of paradoxical understated grandeur. This is psychedelic guitar music at its most paced and considered, yet given to flights of inspiration, and in this respect, Zushi sits within a lineage of guitarists who’ve used their instrument both as textural anchor and improvisatory tool – think of figures like Phil Manzanera and Robert Fripp, but also Roy Montgomery, Liz Harris of Grouper, even Tom Verlaine on his instrumental solo albums. Like those artists, Zushi locates moments of deep emotional resonance amidst luxuriant textural and melodic exploration. Zushi’s history stretches back to the mid 1970s. While for many, he first appeared on the scene as a founding member of noise legends Hijokaidan, alongside Jojo Hiroshige, his musical contributions predate that encounter. He started out playing progressive rock and improvised music, making home recordings of when he was in high school. He was a member of Rasenkaidan (Spiral Staircase) alongside Hiroshige and Idiot (Kenichi Takayama), the group that soon mutated into Hijokaidan (Emergency Staircase). Zushi and Takayama would soon form Idiot O’Clock, in 1982; Zushi also led his own Naoki Zushi Unit, starting in 1983. But for many, Zushi’s first significant appearance on record was as a member of Shinji Shibayama’s mid-eighties psych-pop group, Hallelujahs, whose sole album was recently reissued on vinyl. That group mutated into Nagisa Ni Te, and Zushi has played a significant role as their lead guitarist for several decades. His own solo music has appeared sporadically – Paradise (1987), Phenomenal Luciferin (1998), III (2005) and IV, with a few recent, meditative offerings, For My Friends’ Sleep (2021) and Nocturnes (2022). With IV, though, Zushi achieved something remarkable, a kind of extended exploration of the time-altering properties of echoplexed, hypnotically spiralling guitar interplay. The opening ‘Mirror’, “a song about the mirror inside me,” Zushi explains, starts out as a lush psych-folk song, slow and gentle, but soon takes to the skies with a cat’s cradle of Fripp-esque guitars, before thick, droning chords sweep the song to a drowsy coda. ‘Nocturne’ weaves silver skeins of guitar melody around a cyclical chord pattern; it gathers energy and quiet intensity through insistent repetition. The rest of the album explores the nuance Zushi can draw out of simple elements, building on what ‘Mirror’ and ‘Nocturne’ offer – the profundity of a chord change; the melancholy of a few quietly sighed words; the exhilaration of a guitar solo bursting out of the speakers; the subtle shifts in emotional register offered by tone and touch. Throughout, there’s something quiet, yet ineffable, shading the contours of the songs, such that it makes perfect sense when Zushi says, “What I want to express through music may be ‘sense of mystery’.” A few of the songs had their basic parts recorded at LM Studio and Studio Nemu with Shibayama and Masako Takeda joining on bass and drums, respectively; much of the album, however, was tracked at Zushi’s home studio. That seems appropriate for a collection of songs that are expansive in their intimacy. Asked what drove the sessions, Zushi answers, “I thought I’d make IV an album that particularly focuses on the guitar play.” And focus it does, as Zushi’s sky-scraping, soaring, elemental tone is front and centre throughout. But these are no guitar heroics; rather, Zushi uses the guitar as conduit and diviner, a tool for spirit location, and IV is his most eloquent expression yet of such singular magic.

An extremely prolific artist, whose work encompasses composition, opera, theatre, radio plays, film or performance, Ergo Phizmiz returns in due time to the Discrepant fold long after his 'Two Quartets' and 'Disco Carousel' - under his given DW Robertson name - albums. A purveyor of the Creative Commons rights, Phizmiz has been deploying much of his work on the ever expanding Free Music Archive directed by WFMU since the early 2000's, creating a sprawling and defiant body of work that defies given and stale notions of sound hierarchies, history and copyright through a process that comprises collage, sampling, reappropriation, songwriting, covers and pretty much any available media with a playful and thoughtful approach.
For this new Discrepant entry, Phizmiz goes back in time to push into the future a number of pieces recorded more than two decades ago creating this perpetual motion outside a linear chronologic progression. Anticipating by almost 20 years the memefication of ASMR videos, 'Selected Ambient & ASMR Works 2001-2003' - itself a pun on the AFX classics - embraces the ambient tag not at its functional face value, but instead as a means to the "evocation of imaginary spaces, and correspondingly the invention of their sonic environments". Collecting recordings from a myriad of instruments - violin, xylophone, banjo, kora, found percussion and so on...-, shortwave radio and field recordings to create loops with different lengths that play with and/or against themselves continuously in a process "(dis)conjunction" not far removed from Feldman's 'Why Patterns?' or hip-hop's sampledelia. A free-floating temporal space that collapses the flashing images of Angelfire pages unto Web 2.0 sense of displacement.

Bon Jovi has used great hooks, epic-sounding productions and stadium-sized passion to forge a sound that combines a pop sensibility with a heavy-metal attitude.

Ernesto Antonio Puente, born in 1923, popularized Latin jazz in the U.S., introducing rhythms like mambo and bossa nova in the 1960s.

Voivod wurde 1982 in Jonquière, Quebec, von Sänger Denis „Snake“ Belanger, Gitarrist Denis „Piggy“ D'Amour, Bassist Jean-Yves „Blacky“ Thériault und Schlagzeuger Michael „Away“ Langevin gegründet und nahm eine Reihe von Demos auf, bevor Brian Slagel auf die Band aufmerksam wurde und einen Vertrag mit Metal Blade Records unterzeichnete. Das Ergebnis war das furiose Debütalbum „War And Pain“, das im August 1984 veröffentlicht wurde. Zu dieser Zeit teilten sich alle vier Mitglieder eine Wohnung in Montreal und lebten von 150 Dollar Sozialhilfe pro Woche. Da sie die Schule bereits hinter sich hatten, konnten sie fast jeden Tag proben, was zur Entstehung ihres zweiten Albums „Rrröööaaarrr“ führte. Während der Aufnahme des Albums wurde fast die gesamte Ausrüstung aus dem Proberaum gestohlen. Um Geld aufzutreiben, organisierte die Band zusammen mit ihrem Manager Maurice Richard das legendäre „World War III“-Festival. Dort lernten sie Karl-Ulrich Walterbach kennen, der Voivod davon überzeugte, bei seinem Label Noise Records zu unterschreiben. Nach „Rrröööaaarrr“ von 1986 hieß Voivods zweites Album für Noise „Killing Technology“ und gilt weithin als der größte kreative und klangliche Sprung der Band. Es wurde in West-Berlin unter den wachsamen Augen von Harris Johns aufgenommen und kam 1987 auf den Markt. Weniger hektische Kompositionen wie „Tornado“, „Ravenous Medicine“ oder „Killing Technology“ hoben die Kanadier schnell von ihren Thrash-Zeitgenossen ab. „Rrröööaaarrr„ haben wir mit unserem Tontechniker in einer heruntergekommenen Schule ohne Geld selbst produziert“, erklärt Michael Langevin in dem Buch „Damn The Machine. The Story Of Noise Records“ des amerikanischen Autors David E. Gehlke. „Plötzlich hatten wir ein professionelles Umfeld, ein richtiges Studio mit einem richtigen Produzenten und ein Label, das die Finanzierung sicherstellte. Es ging Schritt für Schritt. Für „Killing Technology“ haben wir vielleicht ein bisschen langsamer gemacht. Wir konnten die Rollen spielen, und es hat viel Abwechslung. Es ist mein Lieblingsalbum und in meinen Ohren die perfekte Mischung aus Thrash, Prog und Hardcore. Es ist definitiv ein entscheidendes Album.“

Dalton was a band from Tunis, the capital of Tunisia. They came together as a band around 1968 when most of the members studied together at the University of Tunis. The band had five members. Faouzi Chekili on guitar, piano and vocals, Ridha Kouhen on bass guitar, Mustapha Rehouma and sax and percussion, Sadok Gharbi on trumpet and vocals and Skaner Alim on drums and vocals. They were active in the local scene, playing music that was heavily influenced by American soul and funk and at the same time regional musical traditions. In the early 70s the band got a regular gig at a beach hotel called Sahara Beach Resort on the coastline of Tunisia. They had six month contracts for a couple of years in the early 70s and during that time they would play every single night of the tourist season. While the hotel gig required the band to play sets leaning towards tourist entertainment, the regular work helped put some money into the band's accounts. Using those funds the band was able to travel to Rome to record their one and only 7' single release "Alech" around 1971/1972. The band eventually dismantled in the mid 70s and returned briefly as a new group with new members in the late 1970s under the name Carthago but that is a different story.
"That "Soul Brother" is my jam.... !!!!" Lefto
The single itself impressed us heavily when we first stumbled upon it through French collector Victor Kiswell. While the b-side "Soul Brother' sounds like a Tunisian version of modern soul / AOR with it's English lyrics and lush arrangements, the title track "Alech' is the one that will get every party started. An infectious 3/4 rhythm, a great horn arrangement and brillantly layered vocals that made us think of Brazillian music or the Georgian groove band Gaya. Luckily Faouzi Chekili, the former band leader and composer uses social media communication so he was easy to track down. He is still active as a renowned musician in the Tunisian jazz scene and remains active recording and playing concerts both in Tunisia and internationally.

Jess Holt aka. total tommy veröffentlicht ihr mit Spannung erwartetes Debütalbum 'bruises' (= blaue Flecken, Prellungen). Mit auf dem Album sind ihre bisherigen Singles 'microdose', 'REAL', 'Adeline' und 'Losing Out', die in den britischen und australischen Medien bereits auf sehr viel Gegenliebe gestoßen sind. Die letzten Jahre waren für die in Sydney lebende Künstlerin Jess Holt, besser bekannt als total tommy, eine Zeit der radikalen Veränderungen: Die Songs entstanden während einer Phase , in der sie eine Trennung durchlebte, die Stadt wechselte, sich als queer outete und ihre jetzige Ehefrau kennenlernte. Aus diesen Erfahrungen entstand das dementsprechend mehr als passend betitelte Debütalbum 'bruises': Eine Sammlung von rohen, energiegeladenen Bedroom-Rockhymnen, die Holts mutige, ungeschönte und scharfzüngige Stimme in ihrer vollen Pracht zeigen. Auf 'bruises' zeigt sich total tommy von vielen Seiten: romantisch, hedonistisch, verloren, weise, manchmal als Arschloch, manchmal liebenswert. Was alles zusammenhält, ist ein neu gefundenes Selbstbewusstsein und die Gewissheit, zu wissen, wer sie wirklich ist.

Als Malédiction 2001 ihr Album „Condamnés“ bei Brennus Music herausbrachte (damals ausschließlich auf CD), waren die Reaktionen der Medien und des harten Kerns der Fans begeistert. Da jedoch der traditionelle Heavy Metal zu Beginn des neuen Jahrtausends eine schwierige Phase durchlief, erhielt die Band nie die Anerkennung, die sie verdient hätte, und löste sich einige Jahre später nach dem zweiten Album „Esclave Du Vice“ (2004) auf. Die aus dem nordfranzösischen Laon stammenden Sylvain Mollard (Gitarre/Gesang), Mathieu Poulain (Gitarre), Olivier Messaoui (Bass) und Nicolas Mollard (Schlagzeug) fanden sich ursprünglich im September 1997 zusammen. Anfangs mit einem Repertoire von Coverversionen von Megadeth, Judas Priest und Iron Maiden, konzentrierten sie sich bald auf das Schreiben von eigenem Material (gesungen auf Französisch). Im November desselben Jahres nahmen die vier in aller Eile (während einer zweitägigen Session) ihr erstes Demotape auf, das aus fünf Titeln bestand. Angespornt durch die positiven Reaktionen der Musikpresse beschlossen Malédiction, die fünf Songs des Demotapes zwischen dem 15. und 24. Januar 2021 im Studio Val D'Orge neu aufzunehmen. Zwei brandneue Eigenkompositionen sowie eine Coverversion von „Les Enfants De L'Ombre“ (von ADX) wurden hinzugefügt, und das französische Label Brennus Music entschied sich folgerichtig, das Album auf Compact Disc zu veröffentlichen. Musikalisch stehen Songs wie „Le Fils De Satan“, „Le Masque De Fer“ oder „L'Ange Noir“ in der Tradition von Blasphème, Sortilège oder eben ADX. Das Material fällt in die Kategorie Mid-Tempo Heavy Metal, mit galoppierenden Riffs und eingängigen Melodien. Sänger Sylvain Mollard macht mit seinem melodischen Gesangsstil einen wirklich guten Job, ebenso wie Lead-Gitarrist Mathieu Poulain, der ganz offensichtlich viel Randy Rhoads gehört hatte, bevor er das Aufnahmestudio betrat. Leider löste sich die vielversprechende Band irgendwann in der zweiten Hälfte der 2000er Jahre aus Frustration über die mangelnde öffentliche Unterstützung und die fehlende Unterstützung durch das Label auf. Nun ist High Roller stolz darauf, die ultimative Ausgabe dieses unentdeckten französischen Metal-Juwels zu präsentieren. „Condamnés“ steht sicherlich auf einer Stufe mit den besten Werken von Bands wie Sortilège, Killers, Attentat Rock oder High Power.

Als Malédiction 2001 ihr Album „Condamnés“ bei Brennus Music herausbrachte (damals ausschließlich auf CD), waren die Reaktionen der Medien und des harten Kerns der Fans begeistert. Da jedoch der traditionelle Heavy Metal zu Beginn des neuen Jahrtausends eine schwierige Phase durchlief, erhielt die Band nie die Anerkennung, die sie verdient hätte, und löste sich einige Jahre später nach dem zweiten Album „Esclave Du Vice“ (2004) auf. Die aus dem nordfranzösischen Laon stammenden Sylvain Mollard (Gitarre/Gesang), Mathieu Poulain (Gitarre), Olivier Messaoui (Bass) und Nicolas Mollard (Schlagzeug) fanden sich ursprünglich im September 1997 zusammen. Anfangs mit einem Repertoire von Coverversionen von Megadeth, Judas Priest und Iron Maiden, konzentrierten sie sich bald auf das Schreiben von eigenem Material (gesungen auf Französisch). Im November desselben Jahres nahmen die vier in aller Eile (während einer zweitägigen Session) ihr erstes Demotape auf, das aus fünf Titeln bestand. Angespornt durch die positiven Reaktionen der Musikpresse beschlossen Malédiction, die fünf Songs des Demotapes zwischen dem 15. und 24. Januar 2021 im Studio Val D'Orge neu aufzunehmen. Zwei brandneue Eigenkompositionen sowie eine Coverversion von „Les Enfants De L'Ombre“ (von ADX) wurden hinzugefügt, und das französische Label Brennus Music entschied sich folgerichtig, das Album auf Compact Disc zu veröffentlichen. Musikalisch stehen Songs wie „Le Fils De Satan“, „Le Masque De Fer“ oder „L'Ange Noir“ in der Tradition von Blasphème, Sortilège oder eben ADX. Das Material fällt in die Kategorie Mid-Tempo Heavy Metal, mit galoppierenden Riffs und eingängigen Melodien. Sänger Sylvain Mollard macht mit seinem melodischen Gesangsstil einen wirklich guten Job, ebenso wie Lead-Gitarrist Mathieu Poulain, der ganz offensichtlich viel Randy Rhoads gehört hatte, bevor er das Aufnahmestudio betrat. Leider löste sich die vielversprechende Band irgendwann in der zweiten Hälfte der 2000er Jahre aus Frustration über die mangelnde öffentliche Unterstützung und die fehlende Unterstützung durch das Label auf. Nun ist High Roller stolz darauf, die ultimative Ausgabe dieses unentdeckten französischen Metal-Juwels zu präsentieren. „Condamnés“ steht sicherlich auf einer Stufe mit den besten Werken von Bands wie Sortilège, Killers, Attentat Rock oder High Power.

After a two-year silence, the Russian imprint Goodbye Royalty returns with a 12-inch Line Conductors EP. The release is only for vinyl media and embodies the eclecticism of dance, creative minimalism, and the conceptual idea of the album is in a positive experience and purity of spirit. "Line Conductors" and "Topass" have a different set of sound solutions, but the psychedelic shades characteristic of Acusmouse are quite intelligent. Ab Show takes another step forward without departing from its usual sound, offering absolutely two different scenarios. With the frivolous, atmospheric "Antithese" and the deeper and hypnotic "Subminimal Message", where the protracted development of the composition allows you to immerse yourself in the associative images of the new time.

Original Sun Sound wurde erst 1964 veröffentlicht, sechs Jahre nach Johnny Cashs Wechsel von Sun zu Columbia Records im Jahr 1958, und enthält sowohl seine ersten als auch seine letzten Aufnahmen für das Label. Das frühe 'Wide Open Road' zeigt den Sänger noch unter dem Einfluss von Hank Williams (und ist auch deshalb eine Rarität, weil es die Steel-Gitarre von A.W. "Red" Kernodle enthält, der die Gruppe kurz darauf verließ), aber das sardonische, von Charlie Rich geschriebene 'Thanks a Lot' aus einer seiner letzten Sun-Sessions zeigt, dass Cash niemandem außer sich selbst verpflichtet ist. Auch Cashs eigener Gospelsong 'Belshazah' ist hier zu hören, eine ungewöhnliche Aufnahme, da sein Produzent Sam Phillips normalerweise nur das weltliche Material des Künstlers aufnahm.

- Remastered von den Originalbändern
- Neuauflage zum 60sten Jubiläum
- Enthält Hits wie 'Big River', 'Country Boy', 'Born To Lose' und mehr

- Ltd. Col. LP: (Violett-transparentes Vinyl)

Carrying on a string of stunning archival releases from major figures of Indian classical tradition (including releases from members of the Dagar family and Amelia Cuni), Black Truffle is pleased to announce an unheard recording from tabla master Kamalesh Maitra (1924-2005). For over fifty years, Maitra devoted himself to the rare tabla tarang, a set of between ten and sixteen hand drums tuned to the notes of the raga to be performed. While the tabla tarang has its origins in the late 19th century, Maitra was the first to recognise its potential as a solo concert instrument, using the set of tuned drums to perform full-length raags. Seated behind a semi-circular array of drums, Maitra produced stunning waves of melodic improvisation enlivened with the rhythmic invention of a master percussionist.

Across his career, Maitra performed in ensembles led by Ravi Shankar, collaborated with George Harrison, and led his own East-West fusion group, the Ragatala Ensemble. However, it is in the solo setting that his remarkable artistry and the otherworldly timbral qualities of the tabla tarang are most strikingly on display. Recorded during the same 1985 Berlin sessions that produced Maitra’s self-released solo LP Tabla Tarang: Ragas on Drums, on Raag Kirwani on Tabla Tarang we are treated to Maitra stretching out for over forty minutes on the late night Raag Kirwani, accompanied by Laura Patchen on tabla and Mila Morgenstern and Marina Kitsos on tanpura. The performance begins with the traditional free-floating exposition section, where Maitra’s spacious melodic improvisation at times almost resembles a plucked string instrument (like the sarod, which Maitra also played). For the listener unaccustomed to the tabla tarang, the sound of these microtonally inflected melodic patterns played on drums has a magic quality. As Maitra begins to imply the rhythmic cycles more strongly, Patchen joins on tabla, beginning half an hour of rhythmic-melodic exploration, where virtuosity sits side by side with delicacy and meditative attention. Accompanied by beautiful archival images and extensive liner notes from Laura Patchen, for many listeners Raag Kirwani on Tabla Tarang will be the perfect introduction to the magical world of Kamalesh Maitra, released to coincide with the hundredth anniversary of the master musician’s birth.

Research Records teams up with organist and synthesist E. Bobby G. to release his sophomore album, Bobby Business. Once again, the album is primarily centered around the 1982 Kawai DX900, but it masterfully explores more genres than his debut, Giving You M.O.R.E.

Bobby Business was recorded in 2022 after E. Bobby G. received an eviction notice from his beloved sharehouse of 12 years. After moving out, he stored the organ at his workplace, Bakehouse Studios, where his boss let him use the space overnight to record until the early hours. The remainder of the album was recorded in his old studio space, NGBE.

The first track, "Ha-Ha," is as meditative as it is glittery, with floating sustained chords. "Big Boy" and "Disco Shift" bring back a slightly more polished E. Bobby G. sound—lo-fi library music with bright tones that will appeal to fans of proto-electronic icons like Brian Bennett. Tracks like "Lucky Strike" and "Tropical Dino Ride" are video game music dreams, featuring West Coast lead lines and strutting percussion. The second half of the album explores spaced-out '90s downtempo and dub elements, with a distinctive refinement that hides the fact it was created primarily using the Kawai DX900.

Bobby Business closes with "Lillian," a sonic dedication to the artist's Grandmother, with a more traditional song structure that hints at what Bobby has planned next.

The medium is the message! Vinyl has always been our preferredmedium for releasing music and without this tactile form ofpresentation, Samurai Music would not continue in its current form.Vinyl is the ultimate personification of what the label wishes torepresent. Music always comes first, but the vinyl artefact is king forus.

Hyaku is the 100th Vinyl release on the Samurai Music label.Through the many twists and turns of the industry in our almost 17years of existence, the Samurai Music vinyl releases havemaintained their aspiration for quality, unique design that stands thetest of time. Praise and thanks always to our long time designerRyan Quinlivan and the many pressing plants we have worked withover the course of our labels lifespan.

To celebrate this milestone we have assembled a gang of producersthat best represent the Samurai Music sound of now to contributetracks that they feel best encapsulates their take on our sound. Hyaku is a mutable mix of vibrations that navigates from the searingambient drift of Ancestral Voices all the way through to the headsdown assault of Dom and Roland. Singular takes that capture theartistry of this impressive crew of creators at their glistening best.

Finally we'd like to thank everyone who has ever and continues tosupport our vinyl releases. We are forever grateful!

"The new album of the Maîtrise de Notre Dame de Paris is a world premiere recording of a new Magnificat written by composer and long-time Notre Dame choir organist Yves Castagnet.
Release date ties in with the official re-opening of the Notre Dame Cathedral in December 2024 (public opening December 8, 2024).
France TV will dedicate a special program to the opening on December 7, 2024, in with Gautier Capuçon and the Maîtrise de Notre Dame de Paris. The event will be covered by worldwide media.
Recording was made by Maîtrise de Notre-Dame de Paris, Chœur d’adultes, Henri Chalet, conductor, Yves Castagnet, Organ.
Soloists: Thaïs Raï Westphal, Anouk Defontenay, Jordan Mouaïssia and Carlos Builes Velez
The Magnificat will be premiered live at Notre Dame on December 9, 2025, at the ceremony inaugurating the fully restored choir organ.
“The Magnificat has accompanied me in my daily life for over 30 years. In fact, this text appears daily in the Catholic liturgy, every evening of the year, in the office of Vespers. Every evening, I accompany the singing of the Magnificat on the organ as part of the services at Notre-Dame Cathedral. The Virgin Mary's own words, sung in this cathedral dedicated to her... How can you not be moved by the power and beauty of this text?” says Yves Castagnet."

This album is often recommended for fans of modern jazz and is considered a notable addition to the discography of Lee Konitz and Jimmy Giuffre

It exemplifies the ethos of jazz as a medium for exploration and innovation, with a focus on personal expression and artistic dialogue. Released in 1959, featuring two influential figures in the genre this album captures a significant moment in jazz history, showcasing a unique collaboration that emphasizes improvisation and melodic exploration. In the late 1950s, jazz was undergoing significant transformations, with movements such as cool jazz, hard bop, and avantgarde emerging. Lee Konitz and Jimmy Giuffre were both pivotal figures in the cool jazz scene, and their collaboration was a meeting of two innovative minds. Known for his smooth tone and lyrical improvisation, Konitz was influenced by the bebop movement and studied under legendary figures like Lennie Tristano. He often pushed the boundaries of traditional jazz through his emphasis on melody and harmony. Jimmy Giuffre was notable for his unique approach to composition and improvisation, often incorporating elements of classical music and folk traditions. He was a key figure in the West Coast jazz scene and known for his use of space and silence in music. The album features a mix of standards and original compositions, highlighting the artists' ability to reinterpret familiar melodies with Giuffre's arrangements often incorporate complex harmonies, while Konitz's playing brings a sense of lyricism and warmth: an essential listen for fans of jazz.

The inspiration comes from The rhythms that unite us, the sounds
that guide us on a meditative journey. The whole set maintain a
development and exquisiteness in each note and section that
flood you with a hypnotic and essential groove, offering an
immersive and captivating experience as result.
--
This is an odd to unity!
A long time ago in the Mongolian steppe, people from the Khori,
the Kiyat and the Sunud decided to unite their forces with other
tribes to fight against the oppression of Western forces. The tribal
leaders celebrated their union under the stars of Altan Ovo sacred
mountain. The Mongol Empire was born, the attackers were
defeated and the steppe found peace for centuries.
Don’t stay alone, go with your tribe and you’ll be able to move
mountains!

Two-Piers präsentiert die nächste Killer-Compilation: "Weird Scenes From The Hangout (Psychedelic & Freakbeat Dancefloor Anthems 1967-1982)", kuratiert von Richard Norris (The Grid, Beyond The Wizard's Sleeve, The Time And Space Machine) und zentriert um seine Liverpooler Clubnacht "The Hangout" in den 1980ern. Dort brachten er und weitere DJs bewusstseinsverändernden Wahnsinn aus Psychedelia und Freakbeat auf die Tanzfläche. Herausragende Songs wie "The Left Banke - I've Got Something On My Mind", "The Turtles - Buzzsaw" oder "Can - Outside Your Door" wurden zu echten Hangout-Hymnen. Man widmete der eher trendy Ausbeute der Spät-Sechziger ebenso viel Zeit wie angesagten Acts, solange der Groove auf dem Dancefloor funktionierte. Das Hangout kam und ging im Nu, aber sein Erbe, psychedelische Fußstampfer auf die Fläche zu bringen, lebt weiter, gemeinsam mit der Liebe zu allem, was mit Beat und Freak zu tun hat.
** Exclusive tracks to Vinyl Format

UEVPD - Usage/Efficiency/Variance/Platform/Domain - is the solo project of Dominic Goodman, a former member of Mosquitoes and currently one half of Komare.

The self-titled UEVPD debut LP, released on 22nd November via World of Echo, consists of eight sequentially numbered electro-acoustic tracks made over approximately five years, living recordings that have morphed in shape over time, each systematically stripped back to their elemental form before being deemed complete. From the outset, Goodman purposefully deployed a relatively limited array of equipment and adopted a determinedly minimalist approach to composition, a practice in restraint that privileges detail and nuance. Field recordings, made using a combination of dynamic, condenser, contact and electret microphones, geophones and hydrophones, were allied to a basic modular/analogue synth setup, allowing for little in the way of excess or indulgence.

The results are markedly defiant, displaying an expert exercise in control and restraint that lets in little light but plays a great service to space and time. This is patient, claustrophobic sound design that bears out the value in attentive listening, a meditation on the acceptance of passing time, change, growth, death and regeneration. As such, listeners might connect associative lines with the likes of Pan Sonic and Mika Vianio’s solo work, Emptyset and Civilistjavel (who’s Tomas Bodén shows up on mastering duties here), though this remains distinctively Goodman’s vision, a continuation of his interests shown in Mosquitoes and Komare that further pushes out into the murky unknown.

Lonely Planets Rec. is thrilled to announce label co-pilot Caim with his luring new EP Medusa Hunter. A deep dive into a sonic realm where ancient myth intertwines with futuristic soundscapes, Medusa Hunter invites listeners on a seductive journey through hypnotising layers of hissing rhythm and smouldering, Goa-inspired techno. This EP pulses with energy, as Caim masterfully blends trance-inducing melodies with venemous driving bass-lines, creating an atmosphere of ancient mystery and suspense. Each track coils and twists like the mythic Gorgo, luring us deeper into her sonic gaze where time dissolves and consciousness drifts. Rhythm and warmth and whisper seamlessly through the mesmeric soundscapes, igniting a primal sense of movement where sound and myth collide.

"‘One of the most exciting composers alive.’ – Daily Telegraph

Nonesuch will release the original score for Ken Burns’s new two-part documentary, LEONARDO da VINCI, with new compositions by Caroline Shaw; the documentary airs on November 18 and 19 on PBS. The album features performances by the composer’s longtime collaborators Attacca Quartet, Sō Percussion, and Roomful of Teeth as well as John Patitucci. Shaw wrote and recorded new music for LEONARDO da VINCI, marking the first time a Ken Burns film has featured an entirely original score.

In celebration of LEONARDO da VINCI, New York City’s historic venue The Town Hall presents an evening of performances from Shaw’s score by Attacca Quartet, Sō Percussion, and Roomful of Teeth on October 29. The filmmakers will also preview excerpts from the four-hour film..

LEONARDO da VINCI is directed by Ken Burns, Sarah Burns, and David McMahon. The film, which explores the life and work of the fifteenth century polymath Leonardo da Vinci, is Burns’s first non-American subject. It also marks a significant change in the team’s filmmaking style, which includes using split screens with images, video, and sound from different periods to further contextualize Leonardo’s art and scientific explorations. LEONARDO da VINCI looks at how the artist influenced and inspired future generations, and it finds in his soaring imagination and profound intellect the foundation for a conversation we are still having today: what is our relationship with nature and what does it mean to be human?

“No single person can speak to our collective effort to understand the world and ourselves,” said Ken Burns. “But Leonardo had a unique genius for inquiry, aided by his extraordinary skills as an artist and scientist, that helps us better understand the natural world that we are part of and to appreciate more fully what it means to be alive and human.”

“To help give depth and dimension to Leonardo’s inner life, and to carry our viewers on his personal journey, we enlisted the composer Caroline Shaw,” McMahon says in the album’s liner note. “Caroline’s existing body of music—joyful, daring, at times transcendent, and wholly unique—seemed to speak directly to Leonardo, a seeking soul who, 500 years after his death, can come across as strikingly modern. A fully original score, we believed, would add crucial connective tissue to areas where the record of Leonardo’s life is thin and it’s possible to briefly lose his trail. The music Caroline created is dynamic, enthralling and filled with wonder.

“This soundtrack is a testament to the inspired efforts of Jennifer Dunnington, who marshaled it into being, the brilliant musicians and vocalists who, with the help of Alex Venguer, Neal Shaw, Colton Dodd and Tim Marchiafava, made it soar, and most of all Caroline Shaw, who might be Leonardo’s soulmate from across time,” he continues. “With her help, the Leonardo who emerges is no wizard shrouded in mystery, but a prideful, obsessive, at times lonely or flustered, occasionally ecstatic, and, in the end, content man who is in ways both modern and thoroughly of his time.”

“As we set out to explore Leonardo’s life, we realized that while he was very much a man of his time, he was also interested in something more universal,” said Sarah Burns. “Leonardo was uniquely focused on finding connections throughout nature, something that strikes us as very modern today, but which of course has a long history.”

Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. She has worked with a range of artists including Rosalía, Renée Fleming, and Yo-Yo Ma, and she has contributed music to films and TV series including Fleishman Is in Trouble, Bombshell, Yellowjackets, Maid, Dark, and Beyoncé’s Homecoming. In addition to three albums with Sō Percussion, Narrow Sea, Let the Soil Play Its Simple Part, and Rectangles and Circumstance, Nonesuch has released her two Grammy-winning albums Orange and Evergreen, both of which feature Attacca Quartet. “Two-Step” and “Ghost,” Shaw’s songs with Ringdown, her duo with Danni Lee Parpan, are available now on Nonesuch. Caroline Shaw is Wigmore Hall’s 2024-25 Composer in Residence."

Mustapha Skandrani, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabic-Andalusian and European styles.

"Istikhbars and Improvisations", recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as istikhbars. Playing these istikhbars (which have roots in the Islamic Arab-Andalusian culture which flourished in Spain) on the piano - that quintessentially European instrument - Skandrani was greeted with derision by some purists. His powerful musical vision, however, perceives the European element involved in Arabic-Andalusian musical culture, a world of exchange and co-existence.

Skandrani's modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on it, and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani's playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani's precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not so vast. This is an admirable achievement, resulting in beautiful music of a rare charm.

Mustapha Skandrani was born in Algiers in 1920, and died there in 2005. He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education.

Originally reissued by Em Records as a limited edition of 200 in 2012, now available once again, in offset printed sleeve, with insert of Japanese and English sleeve-notes and rare photosMustapha Skandrani, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabic-Andalusian and European styles.

"Istikhbars and Improvisations", recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as istikhbars. Playing these istikhbars (which have roots in the Islamic Arab-Andalusian culture which flourished in Spain) on the piano - that quintessentially European instrument - Skandrani was greeted with derision by some purists. His powerful musical vision, however, perceives the European element involved in Arabic-Andalusian musical culture, a world of exchange and co-existence.

Skandrani's modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on it, and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani's playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani's precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not so vast. This is an admirable achievement, resulting in beautiful music of a rare charm.

Mustapha Skandrani was born in Algiers in 1920, and died there in 2005. He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education.

Originally reissued by Em Records as a limited edition of 200 in 2012, now available once again, in offset printed sleeve, with insert of Japanese and English sleeve-notes and rare photos

Rasmus Littauer (School Of X), Musiker hinter gefeierten Releases und Kollabos mit Liss, Trentemøller, Mø und Deb Never, veröffentlicht seine neue LP "Seventh Heaven". Da der verworfene Erstentwurf nach einer Wiederholung früherer Werke klang, erweiterte Rasmus das Team und gab die Produktion in fremde Hände. So wurden die Songs mit neuer Band und dem Produzenten Søren Buhl Lassen (Lucky Lo, Brimheim) aufgenommen, was Raum für Rasmus schuf, sich auf Musik und Songwriting zu konzentrieren, während die Band School Of X' intensive Live-Energie und vielschichtige Musik in eine dynamische Performance kanalisierte, die energetische Ausbrüche mit zarten, intimen Momenten ausbalanciert. Die LP ist per Sticker versiegelt und nicht cellophaniert.

Woven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of "gathering from the air a live tradition".
Cloudy Clear plus Black Galaxy effect vinyl in dub style jacket. Limited and Non-Returnable.
At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.

Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

"Herne's Oak" provides seismic bass waves that physically halt the track in its steps - giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman.

If Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Cover art is by Henry Hablak, who also designed the art for Part One and Part Two.

J. Written has been preparing for this moment almost his entire life. From early on he has been writing. You might even say he was obsessed with writing. It did not matter what he was writing, he just felt compelled to write. Hence the name Written.
Born on January 18, 1994 (yes, he will gladly accept birthday greetings!) in the Payne Land neighborhood of Kingston, Jamaica, J. Written entered this world as Jason Rasheed Wright. Due to certain financial instability in his family they had moved around a bit to various locations within the Kingston area. His parents, wanting him to be safe, encouraged him to be at home with his two sisters and to occupy his time at home he began to write. And write and write. And write some more.
He would write daily journals and even create newspaper articles written on the walls of their home. This creative outlet gave way to writing poems, speeches and essays while a student in high school. At 16 he started a dance trope known as the ACEZ dancers who were quite popular around Kingston.
He was then drawn to music around age 18 and began to create beats at a studio in Trench Town. He became part of the Trench Town community and is still very connected with the people there. His drive to write songs became his new medium for expressing himself. And this has led to him being recorded for various producers and included in the song “Fear To Understand” with Albarosie. Other songs and music videos followed and J. Written was brought to the attention of reggae producer Doctor Dread.
“When I first saw a video with J. Written and began to listen to more of his songs I knew this was a unique artist with a special vibe and a knack for writing interesting songs” says Doctor Dread. So he came to Jamaica and produced a first album “Kaleidoscope” for J. Written which is due for release in late 2024.

“My mission is to be active and positive. Not to confirm with the norm. To sometimes make people feel uncomfortable with issues impacting our community and society at large. To give thought to what is happening in the world and presently around us”. J. Written has made his intentions clear and it is revealed through his music.
And of special note is that J. Written has a role in the Bob Marley movie “One Love” as Junior Braithwaite, a member of the early Wailers in the scene when the young Wailers first come to audition for Coxsone Dodd of Studio One.
The future is bright for J. Written. He is creating music and lyrics as a constant in his life. And now the world will be able to share in his vision of creative expression.

With a career spanning over 50 years, U Brown is one of the last legends of Jamaican reggae. Singer, toaster and producer on the famous Hits Sound label, he has spanned the decades, leaving an indelible mark on roots reggae with hits like “Weather baloon”, “Superstar” and “Tu Shung Peng”.

His discretion and humility, despite being one of the world's greatest toasters like U Roy or Big Youth, make him a cornerstone of this music.

After many years of collaboration on stage and in the studio, U Brown and French label Irie Ites Records have teamed up to produce this new album entitled 'Still Chanting Rub A Dub'.
Comprising 12 tracks, this opus showcases U Brown's inimitable voice.

U Brown's inimitable voice and flow, recognizable from the very first notes. The themes addressed revolve around current social issues, in which the artist encourages us to surpass ourselves on a daily basis and to fight against the corruption of the most powerful. Lyrics that will speak to a wide audience!

Musicians on the album include the cream of reggae songwriters such as Roots Radics, Naram & Art, Med Tone, The Ligerians, Irie Ites All Stars, Nambo Robinson and Dean Fraser. Mixed by Roberto Sanchez and Irie Ites for a rootsy result in the image of 70s albums. A host of roots reggae greats feature on various tracks, including Eek A Mouse, Cornell Campbell, Frankie Paul, Sugar Minott, Linval Thompson, Glen Washington, Al Campbell, Naggo Morris and Trinity.

Still Chanting Rub A Dub is an album that will undoubtedly mark U Brown's long career as one of his landmark albums. A must-have for all fans of Reggae Roots and Rub-A-Dub!”

Last Temptation ist eine von Gitarrist Peter Scheithauer gegründete Hardrock-Band. Nach dem Erfolg ihrer beiden Alben und Tourneen an der Seite legendärer Gruppen kehrt die Band mit ihrem vielversprechenden dritten Album in die vorderste Reihe zurück.

Nach zwei erfolgreichen, von Fans und Medien gleichermaßen gefeierten Alben sowie Auftritten bei so renommierten Festivals wie dem Hellfest, ist die von Gitarrist Peter Scheithauer (Killing Machine, Belladonna, Temple of Brutality) gegründete Band bereit die nächste Phase ihrer musikalischen Karriere einzuleiten.
Nun ist es offiziell: LAST TEMPTATION ist bereit, euch in die Hitze Kaliforniens zu entführen, zu den Wurzeln des Rock'n'Roll.

'Oase' ist das zweite Album des in Berlin ansässigen Progressive-Rock-Kollektivs Weite, und der Nachfolger des 2023 erschienenen Debütalbums der Band. Mit einer Laufzeit von fast einer Stunde nimmt das Album die Zuhörer mit auf eine komplexe und vielschichtige Reise, die vom Pioniergeist des Psychedelic Rock der 1970er Jahre inspiriert ist und Einflüsse aus "Canterbury Scene"-Prog, Krautrock, früher Electronica, Postrock und Americana vermischt. Man möge sich hierzu nur die über 10-minütige Vorab-Single 'Roter Traum' anhören.
Das neue Album zeigt Weites Fähigkeit, das Alte mit dem Neuen zu verschmelzen und einen eindringlichen, forschenden Sound zu schaffen, der von kontemplativ und pastoral zu riffig und düster wechselt, ohne jemals die Melodie zu opfern. 'Oase' zeichnet sich durch längere, weitläufige, atmosphärische Kompositionen aus, ist aber zweifellos kompositorisch durchdachter als das Debüt der Band. Mit dem Fokus auf Melodie, Textur und Stimmung - wenn auch nicht unbedingt immer in dieser Reihenfolge - kreieren Weite einen komplexen und meditativ klingenden Sound, der den Hörer einlädt, sich auf eine Reise durch wechselnde Klanglandschaften und sich entwickelnde musikalische Erzählungen zu begeben. Weite wurde im Winter 2022 in Berlin von Bassist Ingwer Boysen (delving) gegründet, der Schlagzeuger Nick DiSalvo (Elder, delving) und die Gitarristen Michael Risberg (Elder, delving) und Ben Lubin (Lawns) rekrutierte. Ursprünglich als einmalige Aufnahmesession gedacht, erkannten die vier eine offensichtliche musikalische Chemie und Gemeinsamkeiten und beschlossen, das Projekt in eine richtige Band umzuwandeln. Keyboarder Fabien de Menou (Perilymph) kam 2024 dazu. 'Oase' ist auf 180Gr. Pink-marmorierter Doppel-LP erhältlich.