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Way nding is Christopher Bissonnette’s sixth solo studio release and his rst, of hopefully many, for 12k. The album embodies an evolution of Bissonnette’s work, moving from an exclusively synth-based series of explorations to an amalgam of electronics and acoustic methods. Each track seeks to nd grandeur on a diminutive scale. Bissonnette’s focus has shifted from sweeping pastoral drones to introspective passages with delicate melody and elusive harmonies interlaced with studio and eld recordings. This minute scale is also re ected in a photographic series that studies the domestic landscape of home. The sequence of images transforms the banality and insigni cance of the familial interior into expansive vistas and bucolic panoramas. Way nding is Bissonnette’s most intimate and gauzy work to date and executed with beautiful restraint.

Nils Petter Molvær and Mino Cinelu had both come a long way in their careers before they met. Cinelu gained international renown on Miles Davis’ albums We Want Miles and Amandla, also noted for his playing with the likes of Weather Report, Gong, Herbie Hancock, Pat Metheny, Sting, Santana, Lou Reed and Laurie Anderson, to name just a few. He has also released 3 solo records and collaborated with Dave Holland and Kevin Eubanks on the World Trio album. Nils Petter Molvær, meanwhile, is one of the most outstanding figures in European jazz. In 1997, he made his debut on ECM Records with the album Khmer, combining the Nordic feeling of nature with the Southeast Asian philosophy of sound. His journey into the uncharted areas of music spans almost a dozen records, on which he explores various combinations of acoustic and electrical sounds. He collaborated with Berlin’s electronic producer Moritz von Oswald in 2013, with the reggae philosophers Sly & Robbie in 2018 and with Bill Laswell on several occasions.

Cinelu and Molvær in some senses represent two worlds, which – at first glance – could hardly be more different. Their musical home is the entire planet, but while Molvær's hoarse and cloudy trumpet sound evokes boreal cold, Cinelu stands for the rhythmic fire of Latin America and Africa. On ‘SulaMadiana’, they’ve found their common playground - the album’s title itself a tribute to the two musicians’ heritage. Sula is the Norwegian island from where Molvær grew up, and Madiana is a synonym for Martinique, from where Cinelu's father hails.

SulaMadiana is a cornucopia, spilling out reverberations of Miles Davis, Gong, and previous works of Molvær, and yet Molvær and Cinelu open up doors to entirely new worlds. Cinelu becomes a singer on his percussion, while Molvær's electronically distorted sounds create a driving pulse. Cinelu plays acoustic guitar, Molvær conjures up drones on the electric guitar. The interplay between the two musicians is key, Molvær observing; “We are different, but what we have in common is that we like to give some space to things. I create space for him, he creates space for me, and we both create space for music.” Cinelu adds: “It doesn't matter who has what share in music. We both know each other’s cultures, we find bridges and crossings, and often we walk these paths that lead in the same direction. We wrote everything together and followed our feelings. There are no limits or barriers.”

Solo album by the great pianist Tete Montoliu recorded in 1971 and released on SteepleChase in 1986.
“El Grand Señior from Catalonia” was the way Dexter Gordon used to introduce Tete Montoliu to the audience at Club Montmartre in the ‘60s. Vincente Montoliu Massana, better known as Tete Montoliu (1933-1997) was born blind and learned to play piano at age 7 by Braille method.
He studied music at the Conservatori Superior de Música de Barcelona (1946-1953). His remarkable international career took off in 1956 when Lionel Hampton invited him for his big band and since then Tete played all over the world with host of jazz luminaries.
“Listen to the superb interaction between a man and his piano in the utmost sublimity...Montoliu shares the same pulse, sincerity, talent with his illustrious predecessors Art Tatum and Earl Hines...” - Pierre Steve

Guitarist and composer PAT METHENY has won 20 Grammy Awards in 12 different categories including Best Rock Instrumental, Best Contemporary Jazz Recording, Best Jazz Instrumental Solo, Best Instrumental Composition. The Pat Metheny Group won an unprecedented seven consecutive Grammies for seven consecutive albums.

Pat Metheny is one of the few artists in the world who can lay claim to such a description. On his latest album, Road To The Sun, Pat Metheny surprises us once again with his seemingly endless ability to harvest new vistas while retaining the instantly recognizable Metheny sound.

With two major new works, performed by five of the world´s leading guitarists, Metheny charts a new way of obliterating boundaries between genres while simultaneously unveiling new facets of an already expansive personal language.

Grammy-winner Jason Vieaux, described by NPR as “perhaps the most precise and soulful classical guitarist of his generation” was tapped by Metheny to perform his four-movement solo guitar suite Four Paths Of Light.

The centerpiece of this landmark recording is Road To The Sun, a six-movement piece for fellow Grammy-award winning Los Angeles Guitar Quartet LAGQ – Metheny describes them as “one of the best bands in the world”.

Bobby Would LP#2. Wistful waltztime psychobeat for warding off / wallowing in the 2020-21 Weltschmerz. Swelling and smearing the vision of 2018’s skeletal rock’n’roll heartbreaker Baby, most of the songs here are ballads – minimalist, ultra-hypnotic but lavishly melodic space-punk lullabies and bright, bruised expressions of jingle-jangle mourning. Highs, lows and heavenly blows. BW’s guitar is, more than ever, a thing of fearsome and filigree beauty, moving effortlessly from misty, mellifluous DIY pop-dreams to wailing vertiginous whiplash leads and dazed, epiphanic, angels-wept metha-drone, ringing in infinity - and tethered to this earth only by his beloved monotone, numbed-out, serial-killer croon. Spinning in its own orbit, but with recognisable dabs - perhaps - of Phantom Payn / JG39, Les Rallizes Denudes, Gary War, Peter Gutteridge’s Pure...and of course Bobby’s own work in Heavy Metal and Itchy Bugger.

Limited to 500 copies…

‘Stay Sane’ is the hotly-anticipated new album from London based artist Ocean Wisdom out now on his own label Beyond Measure Records.

Widely considered to be one the most technical rappers alive, his first release from the album campaign ‘Drilly Rucksack’ is a stellar offering, showcasing Ocean’s rapid-fire flow as he takes on political themes relevant in Britain today. Speaking on the track Ocean said “‘Drilly Rucksack’ is a fictional tale of a magical rucksack that protects its owner from evil Tories whilst also offering consolation and reassurance to the daughters whose lives they have presumably made miserable.”

Given the name Ocean Wisdom at birth, Ocean grew up immersed in hop-hop and reggae and began beatboxing aged seven. His homelife was what he describes as ‘hectic’, as his mum worked as an emergency foster carer. Years of writing lyrics and practicing followed and his uncompromising work ethic drove him to leave home at 17 and start working on his craft daily, never missing a single day. He used his passion for music as a way of channeling his anger and controlling his mental health, in addition to avoiding the fate of some of his friends. His meticulous attention to detail and hardwork paid off and over the past 5 years has seen Ocean’s meteoric rise lead to a quarter billion streams across all platforms and collaborations with legendary artists including Method Man, Dizzee Rascal, Fatboy Slim, Akala, Roots Manuva, Ghetts and Foreign Beggars.

Famed for his technical abilities, Ocean broke numerous records at a young age, including beating the standing Guinness World Record for most words per minute in a hit song, dethroning Eminem’s "Rap God". He remains one of the few UK rappers that can tour worldwide, headlining arenas across Europe, New Zealand, Australia, Russia and the Middle East. Since then he has gone on to set up his own label to release his music as well as building his own studio and creating a platform for future artist to thrive.

Me And Ennui Are Friends, Baby is the latest full-length from New Zealand-born, Melbourne-based singer-songwriter, Sarah Mary Chadwick, whose brutally honest songwriting has cast her contrary to the gentleness of most current music. Comprised entirely of minimal solo piano arrangements, the album is despondently clear-eyed and smirkingly self-deprecating, completing a trilogy of records that started with The Queen Who Stole The Sky recorded on Melbourne Town Hall’s grand organ, and her only outing to date featuring a full band, Please Daddy. Each record has followed Chadwick’s internal processing after a traumatic event, with Chadwick’s zeal for psychoanalysis front and center. On Ennui, Chadwick presents an exacting intensity with her choice to pare back to piano and vocals. It’s in this stark setting that she focuses on the attempt she made on her life in 2019. The methods Chadwick employed here contrast those of her previous full-band record, which thrust her into a very different world of rehearsal, planning, restraint and control as a functional tool. The result, 2020’s critically acclaimed Please Daddy, was her most aching and engaging achievement to date: “a raw, often unnerving experience,” which “delivers compelling and uplifting catharsis” (Mojo). Recording Ennui shortly after those sessions, Chadwick concludes her trilogy by returning to the most immediate compositional process she can muster, doing it alone, with less between her and the microphone than ever before. Joined by long time production collaborators, Me And Ennui was mastered by David Walker at Stepford Audio and mixed and recorded by Geoff O’Connor at Vanity Lair—both expertly bringing scale, subtlety and intangible ascendence to this recording.

Tala Vala combine experimental recording methods bridging marginalised genres, synths, brass and strings, jagged guitars and primal percussion.

John Roffe-Ridgard is a producer and former touring musician and Ben Locket is a composer for TV and Film.

The pair began making music in 2017 and self-released their first EP on a limited vinyl run. Mixed by Jake Jackson at Masterchord studios, the records were sold exclusively through Sounds of the Universe and Bandcamp.
Enthused by the interest in the record and selling out the run, the pair set about recording a full-length album expanding on the ideas of the fist ep. The album was again performed and produced by Ben and John using mainly analogue processes, where possible utilising 24 track tape and mixed by Jake. The self-titled record was self-released on vinyl and made it into the Stranger Than Paradise top 10 albums of the year.
Album number two began as a soundtrack project in early 2019, it was abandoned as they became disillusioned with the boundaries the film was imposing. The only remaining music from the soundtrack session is the opening cue which can be heard as the last track of what became Modern Hysteric, album two.
The new album was worked on throughout 2019 and mixed in early 2020 again sticking to mainly analogue processes, avoiding any audio plugins and computer editing. Jim White (Dirty Three, Xylouris White) guest drums on two of the tracks ( Reoccurring Weather & Haxen ) bringing his instantly recognisable style to the Tala Vala sound. In addition to the string quartet and brass sections, a kora player and the manipulated voice of soprano singer, Grace Davidson can also be heard throughout the album.

Modern Hysteric will be released in early 2021 on the bands’ newly set up Number Witch Records distributed via Forte music.

Calvin Keys’s 1971 debut album for the Black Jazz Records label announced the arrival of a new star in the jazz guitar firmament. Keys had spent the ‘60s backing up the crème de la crème of jazz organists— Jimmy Smith, Jimmy McGriff, Jack McDuff, Richard “Groove” Holmes—but for his first record as a leader, he was eager to play with a piano player instead. So he recruited one of the best—Larry Nash,
who, besides being a member of the L.A. Express, played with everybody from Eddie Harris to Bill Withers to Etta James. Bassist Lawrence Evans, drummer Bob Braye, and flautist-songwriter Owen Marshall rounded out the group on Shawn-Neeq, which might remind some of Pat Metheny’s early work (Metheny acknowledges Keys as an influence), or Grant Green. But what gives Shawn-Neeq extra depth is that it comes from the heart; as Keys says in Pat Thomas’ liner notes, which feature an interview with the artist: “My thing was, I write about some of the experiences that I’ve had in my life.” Keys has since become a fixture in the Bay Area jazz scene; this is the album that started his journey. Another gem from the celebrated Black Jazz catalog!

Harry Bertoia's Glowing Sounds LP contains three versions of the same composition, each transferred at different tape speeds in accordance with the artist's instructions. This is the third LP to be released from Bertoia's extensive tape archive and it's the first, of many, to be released using instructions left behind by the artist himself.

Bertoia wrote the concept for this Glowing Sounds LP on a note in 1975 and slipped it into the master tape case where it sat unread for 45 years. The idea was simple, transfer the original recording at its original speed and two slower speeds. Bertoia noticed that the results, however, were profound.

Recorded on January 20, 1975 using two large gongs, Glowing Sounds is one of the most powerfully minimal recordings yet discovered in Bertoia's collection. The artist's note left with the tape indicated that it was recorded at a speed of 15 IPS (inches per second) but slowing it down to speeds of 7.5 IPS and 3.25 IPS were quite effective for enhanced playback. Side A features the original 15 IPS recording and the 50% slower 7.5 IPS recording. Side B features a 20 minute, ultra-slow version at 3.25 IPS.

Long, deep drones and powerful overtones define the sound of this recording. Comparison of the three speeds provides a revealing magnification of Bertoia's gongs, overtones and the artist's inventive approach to performance, composition and recording.

Bio:
Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a the artist's logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

Scofield and Metheny. What more needs to be said? A masterpiece meeting of musical minds, these two guitar virtuosos entered the studio in December 1993 with Steve Swallow on bass guitar and Bill Stewart on drums to create one of the greatest jazz guitar albums of all time. Produced by Lee Townsend, I Can See Your House From Here is an 11-track set of Scofield and Metheny originals including Sco’s expansive title track and Pat’s rocking “The Red One” and the stunning ballad “Message To My Friend.”

Trace the arc of Clap Your Hands Say Yeah's evolution and it shows an accomplished musician and composer sounding ever more confident, constantly refining and broadening his sound and indulging an ever wider set of influences. Few have been as consistently brilliant, eclectic, and intimate; fewer still have done so while being defiantly, 100% independent, refusing to sign deals that compromise artistic vision. New Fragility is a continuation of this, yet it also stands apart as one his strongest collection of songs yet. Personal yet universal, New Fragility confronts numerous modern ills. 'Where They Perform Miracles', a song concerning spirituality and alternative methods of healing, harks back to Ounsworth's time as an anthropology student doing fieldwork in Mexico, while 'Dee, Forgiven' is an intimate look at what harm anxiety, and the over-prescription of certain medication, has on the vitality of youth. The song contains one of Ounsworth's strongest vocals yet - a quivering beacon that shifts from a wail to a low grumble in the blink of an eye, a remarkable expressive instrument that sits perfectly amid the understanded orchestration. For 15 years, it's been one of music's most distinctive voices, and it's never sounded as rich or poised.

LTD. BONE OPAQUE VINYL

Trace the arc of Clap Your Hands Say Yeah's evolution and it shows an accomplished musician and composer sounding ever more confident, constantly refining and broadening his sound and indulging an ever wider set of influences. Few have been as consistently brilliant, eclectic, and intimate; fewer still have done so while being defiantly, 100% independent, refusing to sign deals that compromise artistic vision. New Fragility is a continuation of this, yet it also stands apart as one his strongest collection of songs yet. Personal yet universal, New Fragility confronts numerous modern ills. 'Where They Perform Miracles', a song concerning spirituality and alternative methods of healing, harks back to Ounsworth's time as an anthropology student doing fieldwork in Mexico, while 'Dee, Forgiven' is an intimate look at what harm anxiety, and the over-prescription of certain medication, has on the vitality of youth. The song contains one of Ounsworth's strongest vocals yet - a quivering beacon that shifts from a wail to a low grumble in the blink of an eye, a remarkable expressive instrument that sits perfectly amid the understanded orchestration. For 15 years, it's been one of music's most distinctive voices, and it's never sounded as rich or poised.

In his essay ‘The Meaning of My Avant-Garde Hillbilly and Blues Music’, Henry Flynt talks about how his music should be analysed as an intellectual tribute to the music of the autochtone, setting aside plain folk references, but adopting academic insights to mold the music one makes as a folk creature. Much of Flynt’s discourse applies to the music of Glen Steenkiste’s Hellvete. Over the past twenty years he has been thoroughly investigating both the ethnic musical language of various regions as well as the contemporary pioneers that preceded him as a drone musician, internalizing concepts such as e.g. deep listening or just intonation. Casting off any redundant ideas or sounds, and stripping down the focus to develop singular concepts, his working method lead to pieces such as ‘Droomharmonium’, in which he shapes the endless variations on a theme, emphasizing detail and nuance rather than multitude. The Indian harmonium here serves as the main device to worship ancient ghosts and masters, and to preserve a continuum in a tradition that touches both folk and avant-garde culture. The materialisations are sustained tone compositions which become a means of appreciation of the people and cultures that paved the way for forms of mutual escapism. This might well be the core of what Hellvete’s music is about. As much as it is a form of self-entertainment – like folk music in the old days – it also invites the listener to a shared experience of sonic reverie, it is a casual gift to the community.

This is certainly true for the pieces presented on this album. They were first presented in a smoke filled and darkened art space in Ghent, Steenkiste surrounded by only a couple of candles and just enough stage light to see him erratically moving to the rhythm of the piece, occasionally twiddling the knobs of a Doepfer synth that processed the prerecorded harmonium tracks. Unlike most of his other performances this piece embraced the audience in a trance that was similar to that of an old-school rave club. Flynt writes: ‘The music should be intellectually fascinating because the listener can perceive and participate in its rhythmic and melodic intricacies, audacity of organization, etc. At the same time, the music should be kinesthetic, that is, it should encourage dancing.’ ‘Voor Harmonium’ does exactly that; it builds on the artistic ideas that have long been established in Hellvete’s oeuvre, but the ecstatic nature of these pieces merges the usual spiritual transcendence with one of determined physical bliss. It encourages both mind and body to step into the sound, to be enraptured, to celebrate.

Ein einzigartiger Künstler an einem legendären Ort: Tripping with Nils Frahm dokumentiert seine transzendentalen Liveshows in der geschichtsträchtigen Kulisse des Funkhaus Berlin. Gleich vier Shows im Funkhaus Berlin gaben den Auftakt zu Nils Frahms ambitionierter All Melody Tournee Anfang 2018, die sein gleichnamiges und allseits gepriesenes Studioalbum in den nächsten zwei Jahren auf die Bühnen dieser Welt brachte. In den folgenden über 180 ausverkauften Shows war der Ausnahmekünstler unter anderem im Sydney Opera House, in der Disney Hall in Los Angeles, im Barbican in London, in der Elbphilharmonie sowie auf zahlreichen großen Festivalbühnen zu Gast. Dennoch blieben Frahm die Konzerte im ehrwürdigen und für seine großartige Akustik gerühmten Saal 1 im Funkhaus Berlin in,mm besonderer Erinnerung.

Als Frahm ein knappes Jahr später zu vier weiteren Konzerten im Funkhaus einlud, waren die Tickets binnen Stunden vergriffen. Frahms langjähriger Freund und Filmemacher Benoit Toulemonde, der unter bereits für die Film-Konzertserie La Blogothèque mit zahlreichen weltbekannten Künstler-innen und Bands zusammenarbeitete, hielt die Abende an diesem geschichtsträchtigen Ort mit einem siebenköpfigen Kamera-Team fest.

Tripping with Nils Frahm ist ein Dokument Frahms vielfach gepriesener Fähigkeiten als Komponist und passionierter Live- Musiker sowie der besonderen Stimmung und Atmosphäre seiner legendären Funkhaus-Shows. Ein außergewöhnlicher musikalischer Trip — exklusiv und intim, roh und direkt.

"It was about time to document my concerts in picture and sound, trying to freeze a moment of this period where my team and I were nomads, using any method of travel to play yet another show the next day. Maybe tonight is the night where everything works out perfectly and things fall into place? Normally things go wrong with concerts, but by combining our favorite moments of four performances, we were able to achieve what I was trying to do in

these two years of touring: getting it right! When you hear the applause on the end of the film you should know that I was smiling happily, being a tad proud and feeling blessed to share these moments with you.

Much love, Nils"

In celebration of its 5th anniversary Sony Music is proud to release the debut album from acclaimed country hit makers on vinyl for the first time. The album contains the #1 hit singles ‘Break Up With Him’ and ‘Song For Another Time.’ Old Dominion has emerged as one of the hottest breaking bands out of Nashville, fusing clever lyrics and an infectious sound. Their lyrical wit and hook heavy songwriting has certainly proved a winning method: since breaking onto the music scene in 2014, the band has notched eight US #1 singles, surpassed one billion on-demand streams, earned several Platinum and Gold single certifications and headlined arenas and amphitheatres around the globe. An x11 trk, standard Black LP Vinyl. Specialist promo & marketing activity.

Not different from Nerderland mental hardtech style, this nu SOS comes with 4 tunes in between mental and acidy hartechno.

Superb acid tribe machine !! Dancefloor and precise.