Search:minds

Repress! Little Barrie And Malcolm Catto Team Up For Seven Tracks Of Breaks And Sci-Fi Fuzz For Maverick Producer Madlib's Label

Quatermass Seven, the meeting of minds between guitarist Barrie Cadogan, bassist Lewis Wharton and drummer Malcolm Catto represents a re-birth of sorts for Little Barrie, with these their first recordings since 2017’s Death Express and the untimely passing of their gifted drummer and friend Virgil Howe. As Lewis explains, the sessions played a part in the healing process, a way to re-connect through music without any intentions to necessarily come away with a finished record. “It was good to get in the studio again after such a long break especially as we didn’t go in with any agenda or expectations,” he explains. There was no preconceptions that we would make a new Little Barrie record, it was just an opportunity to work on some things Barrie had written for fun with zero pressure.” With most tracks recorded live with minimal overdubs, and produced by Malcolm at his Quatermass studios, The Heliocentrics’ main man brings new flavour to the band’s rhythm section by blending his power behind the drum kit and his expansive skills behind the mixing desk to take Little Barrie’s music forward into new territories. Recorded on Catto’s treasure trove of analogue gear, and mastered onto ¼” tape, the overall effect is guitar, bass and drums finding a sweet spot where genres collide, delivering a record that takes the influences of the past and pushes them towards somewhere more contemporary. “I definitely hear in Barrie’s songs a lot of common musical ground’” explains Malcolm. “It felt like a great thing to do, work with Malcolm while we’re figuring out what we wanna do,” Barrie concludes, “let’s just go in and do some playing and see what happens, and we came out with more than we ever intended.” Quatermass Seven delivers a dark, deep and expansive set of grooves, layered with frazzled and flawless guitar and flowing melodies, as well as pointing toward a future of exciting new musical opportunities. “Still here, so fine, just a little darker state of mind” sings Cadogan on ‘Steel Drum’, words which sum up hope in times of uncertainty, whilst unintentionally offering a perfect description of Quartermass Seven.

Violence is the self-titled third album from Baltimore born/ New York based artist, multi-instrumentalist, and cult figure Olin Caprison.. Their compositions are known for vivisecting and seamlessly merging the idiosyncratic features of hip hop, metla, RnB, and electronica, creating a language all their own. A dense multilayered opus, the album takes us on a journey through religious ceremony, nightmarish visions, and the forgotten corners of a decaying cityscape, leading us to the celebratory catharsis of the club. Entirely written, produced and performed by Violence, the project is an ambitious and singular vision that takes their unique sound to transcendent new places. The album initiates with Small Body, a solemn hymn inspired by the procession of nurses encircling a congregation in black pentecostal tradition. It's freeform chanting and syncopated body percussion invoke the trancelike rhythms of call and response music. A hollowed chamber of reverence that pulls us deep into the vision of the album. It's followed by Reptile, a horrifying slab of industrial intensity that merges multiple narratives seen throughout history to interrogate a side of victimhood not usually explored. A baroque masterpiece of intricate instrumentation and celestial theatre, guitar melodies blast across a delicately woven tapestry, reflecting the manic, distorted, and unstable mindset of the central figure.

Bongos, bouzouki and Farfisa organ galore ! The explosive cocktail of rock'n'roll and traditional Tsifteteli hailing from 1960's Greece is still alive thanks to Deli Teli : the Marseille-based quartet performs a string of forgotten hits that once set Athens on fire, with a contagious energy and a subtle dose of Mediterranean drama.

Half a century ago, while French seasiders would dance to « Yéyé » sounds and dig the Beatles or Pink Floyd, a whole other scene was happening further along the coastline. Notably, Greek artists were a huge influence beyond the Mediterranean cradle ; Aris San's version of « Boum Pam » (a.k.a. « Bros Gremos Kai Piso Rema »), brilliantly interpreted by Deli Teli on this record, was a n°1 hit from Southern Europe to the tip of India ! Far from being an exclusive Greek sound, Tsifteteli music has travelled through borders for centuries and means « double string » in Turkish. In the 1960's, it mixed with rock'n'roll, surf and Latin-american influences, and gave birth to the typical « Laïko » sound.

With their powerful electric bouzouki (Greek lute) and the distinctive sound of the Farfisa organ, Deli Teli have carved their style while digging through the incredible goldmine of the late 60's and early 70's Tsifteteli/Laïko singles. The 4 musicians met in 2019 with a burning desire to dive into electric sensations – bassist Christos Karypidis used to play oud and keyboardist Arthur Bacon played accordion in most of his former projects – and made the most of 2020's « lockdowns » by building their repertoire and thinking up Deli Teli.

On this mini-album, they also interpret Koko's « Chily Chily », a groovy belly-dance mover ; « Ekso Dertia Kai Kaïmi », an intoxicating and frenetic floor shaker ; « Tsiftetelli 1969 », a cool organ-lead surfing instrumental ; and 2 slightly freer and more psychedelic numbers, « Taksim Deli » (improvisation) and « Bournelis », a creative re-arrangement of 2 tracks by Leonardos Bournelis.

Deli Teli preach a collective, sensual and solar hip-wiggling across the continents and beyond ; they are ready to shake our minds and bodies until we all gel together... Join the « Tsifteteli Club » now !

Deniz Cuylan set out to explore his own distinctive sound on his 2021 solo debut album 'No Such Thing As Free Will.' The album signaled the Turkish musician's first bold step into the spotlight following a winding 15-year path in the music industry playing in multiple bands with home bases dotted all over the globe - Stockholm, NYC, Istanbul - and tackling a wide array of styles both on the stage and in the studio. Now settled into his current home in Los Angeles, Deniz lends his instrumental talents to create scores for independent films and recurring Netflix original series, yet these projects inevitably fulfill the sonic backdrop for another artist's vision. Looking inward on his own for the first time, 'No Such Thing As Free Will' laid the groundwork for his own personal soundtrack, one that fused his love of classical guitar, introspective jazz, and ambient expressionism with his whimsical compositional ear. Over a magical 6-track journey, 'No Such Thing As Free Will' painted a lush cinematic narrative with Deniz's guitar as its guide, delivering an album that "seems to invent new languages for the guitar" (The Guardian) and receiving glowing comparisons to legends like Steve Reich, The Durutti Colum's Vini Reilly, Glenn Branca, and Bert Jansch. With such a singular foundation exposed on a debut album, many artists would stay true to their inventive winning formula and find out if lightning could strike twice. Deniz is not one of those artists. An explorer at heart, Deniz unveils a beautifully alluring and lightly adjusted language on his mesmerizing second album 'Rings Of Juniper.' The record continues to spotlight Deniz's exquisite guitar work and hypnotic compositional skills, yet it boasts a punchier, refined, and more immediate tone right from the start. Accented by a desire to once again uncover a new shade of his sonic palette with the support of a talented cast of friends and artistic collaborators, 'Rings Of Juniper' lays bare a rich, dynamic, and evocative sound that Deniz lovingly refers to as Mediterranean Minimalism.

Jon K and Elle Andrews’ MAL imprint returns with a new LP from one of the London experimental underground's best kept secrets, Rory Salter aka Malvern Brume. His music is rare, eccentric and mysterious - somewhere between Coil's bleak ritual magick and the BBC Radiophonic Workshop's most experimental, minimal fringes. 

Malvern Brume operates just beneath the radar, occasionally turning up at Café OTO lineups and on a smattering of releases for Low Company, Alter, Infant Tree and Kasual Plastik - but he’s never one to shout too loudly about his work. ‘Body Traffic’ is his most interesting set to date, laying bare a process melting found sounds, field recordings and spoken word into throbbing, pulsing rhythms. It’s an evocation of a fraught mindset during the early weeks of lockdown in 2020; sequestered in his flat next to a trainline, the infrasonic - and more audible - rumbles of rolling stock and a nagging sense of dread infecting his ambiguously discomfiting recordings.

Operating in a headspace that values world-building and vivid, visual emotionality, Salter’s careful melodies are familiar - the distant, weeping melancholia of 1970s British TV hangs off the recordings like net curtains, and his atmosphere loops into experiments that weave through bare traces of industrial music, blank-faced electro pop, and hedonistic Brummie techno, all reduced to a cinder. 

The mood is set on the bellyaching resonance and crawling walls of the title tune, while 'Through Beaked Fog Horns' is drowned beneath morning mists: lopsided synth drones choke and drift, percussion mutates into inebriated bubbles, and tape-f*cked environmental whirrs create an atmosphere that’s hard to decipher in one take. 

‘Moss Spines Clenched’ follows cryptic stains on peeling flocking, and the icy creep of ‘Tense Branches Waver’ quivers beyond a cracked windowpane. The artist’s voice appears from beneath a cardboard box fort in the imaginary world of ‘Cornered Into Sleat’ as a distant drum beats out a marching thud and traffic squeals are sculpted into chirpy whistles, before ‘Bri Dun’ resolves the eerie tension in an OOBE-like ascent above the dado-rail and across the tracks, watching himself fade into a dissociative bliss.

"All chatter falls quiet…” Salter murmurs thru saturation and white noise. It’s a sound that’s gonna stick with us for a while.

Kings Bell, first made available to the world on CD and digital on November 1, 2011, is now being released on a 12" vinyl courtesy of Before Zero Records. This LP joined the best of St Croix with the best of Jamaica: an amazing lineup of players spearheaded by the venerable Jamaican production maestro Andrew "Bassie" Campbell. The result of this collaboration is Kings Bell – a modern roots masterpiece. As Vaughn Benjamin's first-ever full-length collaboration with a Jamaican producer, Kings Bell was a historic release and features some of the greatest musicians the genre has ever seen including Leroy "Horsemouth" Wallace, Earl "Chinna" Smith, Squidley Cole, Mikey "Boo" Richards and Sticky Thompson.

The driving musical force behind the album, producer and bassist Andrew "Bassie" Campbell has crafted beautiful rhythms that truly compliment the deep lyrics of Vaughn Benjamin. The power and authenticity of Andrew Bassie's productions stand out from the mass of slickly-produced modern roots coming out of Jamaica today. Much of the music was recorded organically in Jamaica at Tuff Gong Studio, with additional overdubs, vocal recording and mixing completed at I Grade's studio in St. Croix. The result is a collection of songs that capture not only the essence of classic roots from the hands and minds of some of the individuals who have literally helped build the genre, but also the urgency and innovation of the present time. In more than seventy albums and in over twenty years of Midnite music nothing like this cross-fertilization of Jamaican classic roots tradition mixed with St. Croix's own deep roots tradition has ever happened, making "Kings Bell" a glowing highlight in the expansive catalogue of Vaughn Benjamin. A catalogue born from a non-stop movement in pursuit of progressing his craft and delivering his message to the world. One of Benjamin's most fruitful stops along his journey was with I Grade Records, headed by producer/engineer/multi-instrumentalist Laurent "Tippy I" Alfred, regarded by many as some of the finest work of his career.

Amman-based Toumba announces ‘Rosefinch’, his first EP on wax, and the debut release from London-based record label Hypnic Jerks.
Key info about the artist:
His next release will be on Hessle Audio and then Nervous Horizons. His first release was a digital EP through All Centre.
Toumba is one of the creative minds behind MNFA, Jordan's most important underground music venue. He serves there as a booker and curator, bringing the likes of TSVI, Giant Swan and Parrish Smith to the venue.
He is also anationally respected artist and holds a residency at the MMAG Foundation in Amman. The foundation works with a selection of the most gifted artists in the Levant. By sponsoring Toumba's ongoing artistic practice, MMAG has furthered his research into Levantine music, which he synthesises with avant garde and electronic music.
He is a resident on Movement Radio in Athens and formerly Ma3azef Radio, with guests including Ben UFO, aya and Gabber Eleganza.
About the release:
Integrates elements from Jordanian and Levantine folk music into his left-leaning, low-end heavy club sounds.
The EP is named after the national bird of Jordan.

Manasyt vs Sam Lowry. A clash, mashup and/ or battle between two minds yet one and the same face. Hailing from the twilight zone, Bulgaria. The currently Xiamen, China, based Petar Tassev has joined the forces of his alter ego's on this 9 tracker. A side 4 celestial and daring Electro tracks followed by the more eerie B side. An experimental, future horror movie-like sound. Thrilling in all the right ways!

Fifth release of Bipolar State on its BSR label in collaboration with Pacific State and the contribution of Kaiser.

Damiano von Erckert’s ‘The Past, The Present The Future’ lands on Aus music this November perfectly in time for the winter season. TPTPTF is Damiano’s third studio album and sees him perfectly balancing rave euphoria with more cuddly intimate moments moving effortlessly from deep Detroit techno to the spacious kraut sounds associated with his homeland. ‘The Past The Present The Future’ has depth substance and timelessness all packaged beautifully by design and art legend Eike Koenig

'The Past, The Present, The Future is for all independent thinking romantics and specialists looking for urban melancholy and the feeling of freedom and security. It is for those who find themselves in the dust and rain of the night darkness. It serves people who are determined to conquer their inner fears and readjust the orientation of their minds to banish stress, anger and despair from their lives. Finally, it is the soundtrack for lovers and fighters who want to slow down time and create new patterns to open up new dimensions in their lives as ravers, dancers and people of the night. It is about forgotten fragments of past sounds and the simplicity of clubbing'

BYG album, facsimile-edition. Newly mastered to vinyl from original BYG tapes. Lacquers cut by Alchemy Mastering at AIR STUDIOS. Exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. Cd: expanded cd edition in deluxe gatefold sleeve & printed inner wallet Original 1973 BYG album. Expanded with 2 original single-version tracks. Digitally mastered from original BYG tapes by Nick Robbins. 16-pages booklet with exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. *** Vocalist-multi-instrumentalist Areski and singer Brigitte Fontaine are a legendary French musical couple that rose to prominence in the ‘60s, making a series of albums that showcased a boldly unorthodox approach to the art of song. While their defiantly esoteric style, which could veer from North African folk to Brazilian samba to subversive takes on French chanson, was striking their lyrics were no less provocative, broaching anything from mental health to social injustice. “This re-mastered version of a timeless work is a must-hear for open minds and open ears ...” Kevin Le Gendre, 2022

Delights label is wrapping the year 2022 with yet another project from the restless minds of Shay Landa and Markey Funk.

With Voxatone, the two set to explore the otherworldly sound qualities of vintage keyboards with "vox" in their name: the 1950s Univox keyboard, the 60s Vox Continental organ and the 80s Soviet Polivoks synthesizer. Joined by Elia Yakin on drums and Estonia's most prolific artist today, Misha Panfilov, - on Vox Phantom bass, Shay and Markey have crafted yet another way-out groovy psych double-sider: the mid-tempo mind-bender "Figure I.108" and the upbeat floor-stormer "Figure III.122" - on the flip.

Mit "ELVIS Original Motion Picture Soundtrack" veröffentlicht RCA Records in diesem Sommer den Soundtrack zum neuen Baz Luhrmann-Film "ELVIS", der am 24. Juni in die Kinos kommt und Austin Butler sowie Tom Hanks in den Hauptrollen zeigt. "ELVIS" ist ein absolut episches Leinwandspektakel des visionären Filmemachers Baz Luhrmann, das das Leben und die Musik von Elvis Presley (Austin Butler) und vor allem seine komplizierte Beziehung zu seinem rätselhaften Manager, Colonel Tom Parker (Tom Hanks), beleuchtet. Der Soundtrack zeigt das außergewöhnliche Werk von Elvis aus den 1950er, 60er und 70er Jahren und würdigt gleichzeitig seine vielfältigen musikalischen Einflüsse sowie anhaltende Wirkung auf populäre Künstler von heute. Neben Musik von Elvis Presley, befinden sich Original-Soundtrack-Recordings von Austin Butler auf der CD als auch neue Reimagined Tracks von Künstlern wie Doja Cat, Maneskin, Swae Lee & Diplo, Chris Isaak & Stevie Nicks, Gary Clark Jr, Nardo Wick, Jack White uvm. Avec "ELVIS Original Motion Picture Soundtrack", RCA Records publie cet été la bande originale du nouveau film de Baz Luhrmann "ELVIS", qui sortira le 24 juin dans les salles et mettra en scène Austin Butler et Tom Hanks dans les rôles principaux. "ELVIS" est un spectacle à l'écran absolument épique du cinéaste visionnaire Baz Luhrmann, qui met en lumière la vie et la musique d'Elvis Presley (Austin Butler) et surtout sa relation compliquée avec son énigmatique manager, le colonel Tom Parker (Tom Hanks). La bande-son met en lumière l'oeuvre exceptionnelle d'Elvis dans les années 1950, 60 et 70, tout en rendant hommage à ses multiples influences musicales et à son impact durable sur les artistes populaires d'aujourd'hui. Outre la musique d'Elvis Presley, le CD contient des enregistrements originaux de la bande originale par Austin Butler ainsi que de nouveaux morceaux réimaginés par des artistes tels que Doja Cat, Maneskin, Swae Lee & Diplo, Chris Isaak & Stevie Nicks, Gary Clark Jr, Nardo Wick, Jack White et bien d'autres.

Limited edition vinyl collection of tracks from Altered Five Blues Band's most popular albums. Includes a new "With Horns" version of the song "Great Minds Drink Alike" which won First Place in the Blues category of the International Songwriting Competition in 2019.

Essentia is not only the latin word for – you guessed that right – essential, but also the name of Krystal Klear’s return to Running Back. While trance might be a state of mind (according to DJ Dag), it’s also a tone theory with a very specific tool kit. Here you get the version that makes sense in the aural universe of a producer that got raised on a diet of hip hop, boogie and the foundation tunes in house music. Moderate in tempo, the result is still euphoric to say the least: melted brains, stimulated spinal cords and rave rampage included. Essentia balances the euphoric rush of its topical genre perfectly with the happy-sad moments after the rave. If that is not musical or emotional enough for your taste, you will find content in the Sunrise version. Excessive use of the well-beloved choir, breakbeats and - downs make it equally irresistible for sun-ups and love-ups.

Flip the coin for Winnies Karaoke. Stemming from the same source and session as Essentia. Named after the interactive entertainment bar in Chinatown NYC and made sometime in the early morning hours, its the quintessential Krystal Klear. Sawtooth boogie, if you will. It’s counterpoint is the Sundown mix. Techno prog for the tilted generation.
Sometimes, in the permanent search of happiness, the world of tomorrow needs the sound of yesterday made with the means and minds of today. Essential bliss.

"Ramblin' Soul was inspired by the new appreciation I had for the freedom to travel around the country and perform," explains lifelong wanderer Melissa Carper of her forthcoming album. Carper was relieved and energized to be back on the road, on a familiar pilgrimage from Texas to Arkansas and back to meet and collaborate with musician friends. "I had taken for granted the ability to interact with audiences and friends and how much it feeds my soul and my creative process," she adds. Feeling inspired by time on the road and time with other creative minds, she penned the title track on the way back home, and the Ramblin' Soul seeds were planted. From its conception and throughout the recording process, Ramblin' Soul seemed to take on a life of its own. "It wasn't what I had first planned," Carper recalls. "A couple of the songs we recorded I'm now saving for a future album, and there are some brand new songs I decided to add, including one that was written during the week of recording. Thematically, I had a handful of songs about rambling around and living a free life that I wanted to weave through the album. I also knew I wanted Ramblin' Soul to have a different feel than my previous release, Daddy's Country Gold, with more upbeat and diverse styles and grooves," she says. Ramblin' Soul features a co-write with friend Gina Gallina, a song penned by friend and frequent collaborator Brennen Leigh, a reimagined classic from folk pioneer Odetta and 10 Carper originals--venturing into her blues, early rock 'n roll, and soul influences, blended with her signature flavors of country, western swing, and jazz. There is something for everyone on Ramblin' Soul.

In 2003, Pisco Crane assembled a six-piece band from motivated and talented like minds in the Kinshasa slums where he grew up. Pisco had been involved with a handful of local rap acts when he was younger, but after meeting legendary instrument builder Bebson De La Rue, he was inspired to follow a new path. He set about building instruments from the discarded trash that surrounded his city: bits of old computers or oil cans were fashioned into bass guitars and drums, and keyboards were bashed together using springs, metal pipes, and offcuts of tubing. If there was a core philosophy that guided Pisco at this stage in his journey, it was that everyone should have access to instruments, no matter where they come from or what their budget might be. And following in the footsteps of Bebson, Pisco locked into a Congolese tradition that touches on the eccentric genius of globally lauded artists like Konono Nº1 and Staff Benda Bilili. Over the years, Fulu Miziki's notoriety grew in the Kinshasa underground - their utopian vision of the future was infectious. Eventually, they were joined by performance artist, sculptor and fashion designer Lady Aisha, who offered the band unique colour and a soulful central focus. Influenced by Kinshasa's street performance scene, Aisha helped the band devise vivid masks and costumes that were as electric and singular as the instruments they played, and the scene was set. In 2020, as the world was plunged into lockdown, footage of Fulu Miziki went viral and their star began to grow exponentially, with a video of the band preforming the track 'Tikanga' racking up millions of views on Facebook. The band used this opportunity to work on documenting their sound, and shored up at the Nyege Nyege studios in Kampala for a year to assemble a definitive album. Recorded by HHY & The Macumbas' Jonathan Saldanha, this record captures the band's furiously innovative mixture of industrial sonics, spiritual jazz, punk, and Congolese soukous pressure. At their best, Fulu Miziki sound almost completely out of time, curving pounding rhythms around microtonal clanks, rousing chants and spiky sonics. On 'Mutangila', there's a hint of disco in the 4/4 stomp, but it's been shifted into a post-punk ritual, adorned with complex bell percussion and overlapping vocals. 'Congo' is even harder to define; electrified buzzes form a bassline, but it's the mindboggling rhythms that shuttle the track into psychedelic realms, led confidently by Lady Aisha's limber rhymes. Fulu positively slither on the sultry, industrial-influenced 'Sebe', while 'Tikanga' reminds of Congo's rumba-derived soukous traditions, materializing the sounds into the future with tight, pounding percussion and head-melting fx. The story of Fulu Miziki is sprawling and complex and constantly evolving, with various offshoots and band iterations. Two members left the band in 2016 to form KOKOKO! with French producer Débruit. Not long after they recorded this magnum opus album, several other original members left to form a similarly named outfit currently based in Europe. This other incarnation recently released an EP of electronic productions without the band founder Pisko Crane and lead vocalist Lady Aicha, on the UK based Moshi Moshi records. Pisco and Lady Aicha currently lead a different outfit in Kinshasa made up of completely new musicians. This full-length is the remaining proof of Fulu Mziki at their most vital and most complete - it won't be repeated - and can never be recreated. It's an essential portrait of one of the Democratic Republic of Congo's most innovative contemporary outfits, and some of the most surprising hybrid music you're likely to hear.