Buscar:moon b

Comet Records present the first release out of the Comet new reissue series with this cult French Free Jazz LP from 1974, Crowded with Loneliness by Full Moon Ensemble was produced by Claude Delcloo, check the classic ‘Samba `Miaou’, like a lost Pharoah Sanders tune mixed with politically-engaged French poetry! The whole LP is varied, avant-garde and spiritual and now available as Vinyl LP with Gatefold cover, set to become collectible as the original is impossible to find.

One of the most highly awaited records on the planet. In true Bad Company UK style, going against the grain to bring you what you want. Oxygen - Prolix Remix and Dogs on the Moon - Delta Heavy Remix have been immortalised together on one piece of vinyl #1, kickstarting the BCUK Remix vinyl project which has been evolving and developing over the past 7 years, to bring you something very special. As supported by the likes of Andy C, The Prototypes, AMC, Audio and everyone else, these tracks are locked and loaded.
Dogs On The Moon Delta Heavy Remix - A bouncy catchy remix by Delta Heavy, with a bass line and drop that is an energetic anthemic Bad Company UK dance-floor classic. Fit for the old school Drum & Bass heads while also being a perfectly modern new age banger with a fast tempo for those who like to move, dance, run, exercise or just enjoy DnB at its best.

 OxygenProlix Remix - An uptempo Drum & Bass remix from the highly talented Prolix, of the classic Bad Company UK deadly sinister theme - Oxygen. The old school Drum & Bass generation are thrilled to see the ‘Drilla Killa’ classic updated for 2022, giving the new age fans who are more and more interested in the foundation of the scene, a slice of the past with a modern twist. This rhythmical beast will get you showing off your best moves while screwing up
your face.


Dj support: UKF, Andy C, A.M.C, DC Breaks, Ed Rush, Audio, Prolix, Futurebound, The Proto- types, Dj Marky, Bryan G, Mampi Swift, Jumping Jack Frost.

Tedeschi Trucks Band - das von dem Ehepaar Derek Trucks und Susan Tedeschi gegründete 12-köpfige Kollektiv - veröffentlichen in diesem Jahr das ehrgeizigste Studioprojekt ihrer langjährigen Karriere : I Am The Moon, ein episches Unterfangen in vier Alben mit 24 Originalsongs. Inspiriert von einer mythischen persischen Geschichte über ein unglücklich verliebtes Paar und emotional getrieben von der Isolation und Abgeschiedenheit der Pandemie-Ära, umfasst das thematische I Am The Moon mehr als zwei Stunden Musik insgesamt, die sich in einem robusten Wandteppich aus genreübergreifenden Musik -Erkundungen entfaltet

Jedes der einzelnen Alben wird durch einen eigenen Film begleitet.

Die vier Alben, aus denen I Am The Moon besteht - I. Crescent, II. Ascension, III. The Fall, und IV. Farewell - werden in aufeinanderfolgenden Monaten veröffentlicht, beginnend mit I. Crescent, das ab Freitag, dem 3. Juni, digital und auf CD erhältlich ist (alle Vinyl-Konfigurationen werden am 9. September
erhältlich sein).

Tedeschi Trucks Band - das von dem Ehepaar Derek Trucks und Susan Tedeschi gegründete 12-köpfige Kollektiv - veröffentlichen in diesem Jahr das ehrgeizigste Studioprojekt ihrer langjährigen Karriere : I Am The Moon, ein episches Unterfangen in vier Alben mit 24 Originalsongs. Inspiriert von einer mythischen persischen Geschichte über ein unglücklich verliebtes Paar und emotional getrieben von der Isolation und Abgeschiedenheit der Pandemie-Ära, umfasst das thematische I Am The Moon mehr als zwei Stunden Musik insgesamt, die sich in einem robusten Wandteppich aus genreübergreifenden Musik -Erkundungen entfaltet

Jedes der einzelnen Alben wird durch einen eigenen Film begleitet.

Die vier Alben, aus denen I Am The Moon besteht - I. Crescent, II. Ascension, III. The Fall, und IV. Farewell - werden in aufeinanderfolgenden Monaten veröffentlicht, beginnend mit I. Crescent, das ab Freitag, dem 3. Juni, digital und auf CD erhältlich ist (alle Vinyl-Konfigurationen werden am 9. September
erhältlich sein).

Tedeschi Trucks Band - das von dem Ehepaar Derek Trucks und Susan Tedeschi gegründete 12-köpfige Kollektiv - veröffentlichen in diesem Jahr das ehrgeizigste Studioprojekt ihrer langjährigen Karriere : I Am The Moon, ein episches Unterfangen in vier Alben mit 24 Originalsongs. Inspiriert von einer mythischen persischen Geschichte über ein unglücklich verliebtes Paar und emotional getrieben von der Isolation und Abgeschiedenheit der Pandemie-Ära, umfasst das thematische I Am The Moon mehr als zwei Stunden Musik insgesamt, die sich in einem robusten Wandteppich aus genreübergreifenden Musik -Erkundungen entfaltet

Jedes der einzelnen Alben wird durch einen eigenen Film begleitet.

Die vier Alben, aus denen I Am The Moon besteht - I. Crescent, II. Ascension, III. The Fall, und IV. Farewell - werden in aufeinanderfolgenden Monaten veröffentlicht, beginnend mit I. Crescent, das ab Freitag, dem 3. Juni, digital und auf CD erhältlich ist (alle Vinyl-Konfigurationen werden am 9. September
erhältlich sein).

Tedeschi Trucks Band - das von dem Ehepaar Derek Trucks und Susan Tedeschi gegründete 12-köpfige Kollektiv - veröffentlichen in diesem Jahr das ehrgeizigste Studioprojekt ihrer langjährigen Karriere : I Am The Moon, ein episches Unterfangen in vier Alben mit 24 Originalsongs. Inspiriert von einer mythischen persischen Geschichte über ein unglücklich verliebtes Paar und emotional getrieben von der Isolation und Abgeschiedenheit der Pandemie-Ära, umfasst das thematische I Am The Moon mehr als zwei Stunden Musik insgesamt, die sich in einem robusten Wandteppich aus genreübergreifenden Musik -Erkundungen entfaltet

Jedes der einzelnen Alben wird durch einen eigenen Film begleitet.

Die vier Alben, aus denen I Am The Moon besteht - I. Crescent, II. Ascension, III. The Fall, und IV. Farewell - werden in aufeinanderfolgenden Monaten veröffentlicht, beginnend mit I. Crescent, das ab Freitag, dem 3. Juni, digital und auf CD erhältlich ist (alle Vinyl-Konfigurationen werden am 9. September
erhältlich sein).

Option Explore, Dylan Moon’s second full-length album, is a glassy-eyed survey of pop’s playing field both past and present, and a collection of clever, colorful songs filtered through frequencies, timbres, and dreams discovered and discarded while its maker shifts from one sub-genre to the next.

Option Explore signals a significant departure from Moon’s debut 2019 album Only the Blue s, which at its heart is a folk record from the forlorn fringes of psychedelia: a little mysterious, but ultimately lucid in its internal logic and generous with standalone, but sing- along, songs. Dylan’s 2020 EP Oh No Oh No Oh No suggested both a shift in his writing and listening habits, culminating with the 2021 compilation Moon’s Toons Vol. 1. On Option Explore, Moon willfully spins multitudes. With a careful study of synthpop, a penchant for warped yet unwavering guitar grooves, and an effortless songwriting ability, he leans into unlikely convergences, and arrives at something deeply futuristic in its disregard for genre sanctity.

A guiding principle for Option Explore was the “explore/exploit trade-off” concept, a behavioral mechanism of foraging (“the choice between exploiting a familiar option for a known reward and exploring unfamiliar options for unknown rewards”) which has been employed within computational neuroscience and psychiatry. Moon uses exploratory foraging as a manifesto for song construction: music without end, without limit. Many of these songs avoid conclusive compositional conventions, and sound more like turning a radio dial than pressing preset play. Tracks begin at what feels like a midpoint and fade out with little warning, adding to the sensation of sonic melt.

Option Explore, Dylan Moon’s second full-length album, is a glassy-eyed survey of pop’s playing field both past and present, and a collection of clever, colorful songs filtered through frequencies, timbres, and dreams discovered and discarded while its maker shifts from one sub-genre to the next.

Option Explore signals a significant departure from Moon’s debut 2019 album Only the Blue s, which at its heart is a folk record from the forlorn fringes of psychedelia: a little mysterious, but ultimately lucid in its internal logic and generous with standalone, but sing- along, songs. Dylan’s 2020 EP Oh No Oh No Oh No suggested both a shift in his writing and listening habits, culminating with the 2021 compilation Moon’s Toons Vol. 1. On Option Explore, Moon willfully spins multitudes. With a careful study of synthpop, a penchant for warped yet unwavering guitar grooves, and an effortless songwriting ability, he leans into unlikely convergences, and arrives at something deeply futuristic in its disregard for genre sanctity.

A guiding principle for Option Explore was the “explore/exploit trade-off” concept, a behavioral mechanism of foraging (“the choice between exploiting a familiar option for a known reward and exploring unfamiliar options for unknown rewards”) which has been employed within computational neuroscience and psychiatry. Moon uses exploratory foraging as a manifesto for song construction: music without end, without limit. Many of these songs avoid conclusive compositional conventions, and sound more like turning a radio dial than pressing preset play. Tracks begin at what feels like a midpoint and fade out with little warning, adding to the sensation of sonic melt.

Red Marbled Vinyl

Blood Moon ist ein außergewöhnliches, vielschichtiges
Werk. In 13 wunderschön arrangierten Liedern bewertet
der als Ry Cuming geborene Sänger die Beziehungen,
die er im Laufe der Jahre erlebt hat, und schreibt dabei
von einem Ort aus, der für ihn eindeutig unglaublich
persönlich ist. Diese Songs halten ihm einen Spiegel
seiner eigenen Selbstwahrnehmung als Künstler vor, der
ständig lernt und wächst. Blood Moon ist vielleicht das
bisher organischste Album von RY X , das über intime
Beziehungen reflektiert und sie in umfassendere
Gespräche über den Geist, das göttliche Weibliche und
die Erforschung des Selbst übersetzt

There have been many great Jazz Pianists, but foremost amongst them is Bill Evans.
Accepted by all fans as being supremely influential for defining the format and scope of the
Jazz trio, Evans entered his first purple patch in the mid to late fifties and refined his playing
with a series of album. Over the years he recorded many trio albums with frequent changes
of members, with the most lauded being his first and second line-ups. By May 1962 Evans
cut what would be his seventh album for Riverside . New Bassist, Chuck Israels, joined the
group, and together this second classic line-up cut two albums in the same sessions. The
first was Moon Beams which contained ballads, while the second one, How My Heart Sings,
had the up-tempo numbers. These were recorded as a mixture during the sessions as
producer Orrin Keepnews wanted to release an album of just ballads from Evans, and so
made up the album from the varied session tracks. During the recordings, Evans only
revealed the tracks to his trio at the session itself. Fans and critics alike were more than
appreciative of Chuck Israels' ability to meld into the trio with his punchy lines, meshing in
especially well with Motian

"His music filled me with the urge to connect with the world," Kaitlyn Aurelia Smith says of Emile Mosseri. She first heard his work while watching the 2019 film The Last Black Man In San Francisco; just minutes in, she paused it to look up who did the score and wrote to him immediately. "I love Emile's ability to create melodies that feel magically scenic and familiar like they are reminding you of the innocence of loving life." Those talents saw recognition in 2020 with an Oscar nomination for Mosseri's original score to the film Minari. He was already a fan of Smith's and became increasingly intrigued by her impressionistic process as they started to talk. "The music feels so spiritual and alive and made from the earth," Mosseri says. "I think of her as the great conductor, summoning musical poetry from her orchestra of machines." I Could Be Your Dog / I Could Be Your Moon, their two-part collaborative album, introduces an uncanny fusion of their sonics. Constructed using synthesizer, piano, electronics, and voice, this soft-focus dream world is lush, evocative, and fleeting. It finds two composers tuning their respective styles inward as an ode to mutual inspiration, a celebration of the human spirit and its will to surrender to the currents of life. As a full album set, I Could Be Your Dog / I Could Be Your Moon moves fluidly from track to track, panning through textural vignettes. Two roughly 17-minute halves, the set evokes the bittersweet sense of something too bright or rare to last, a short-lived glimpse into a golden hour. There is a dreamy, elemental intention to this music, which Smith and Mosseri say came naturally, as they both embraced intuitive interplay throughout their creative back-and-forth. The stylistic threads of each composer are recognizable yet become more ambiguous as the album progresses, sewn into a singular vision.

In the late 1950s, Tina Turner (née Anna Mae Bullock) caught a performance of Ike Turner’s Kings of Rhythm at St. Louis nightclub and practically begged Ike to let her sing with the band. Ike refused, as only men were allowed to sing in his group at the time, but she persisted, and once he heard Tina sing he wouldn’t let her stop. Since that fateful meeting, the world of R&B has never been the same. Ike & Tina Turner’s Kings of Rhythm Dance is their second long player, originally released in 1961, and it is full of stompers, rippers, and all around rocking R&B magic. Ike’s guitar tone and style are the perfect complement to Tina’s unmistakable voice. Now nearly impossible to find an original LP at a reasonable price, Destination Moon once again saves the party by putting another R&B classic back in print. Features the original hit version of “It’s Gonna Work Out Fine”.

The unstoppable DMX Krew returns for his third full EP on the label. As classy as ever and packed with different flavours.

The A side opens with the Wigged out and intense Techno assault of 'Spasm', clearing the path for the tortured alien beauty of Electro track 'Second Moon'.

Over on the flip, DMX revisits 'The Wiggly Worm', giving it some DMX Acid with a sardonic stomp for the dancefloor and the EP closes with a nod to Detroit with 'It Isn't What It Was' .

Also included are 2 tools, useful bridges for the discerning DJ !

This is no easy listen... sparse, complex, often brooding arrangements coupled with Cassandra Wilson's deep, earthy voice and complicated phrasing demand your attention. Waver and you're lost. But... give this album the listening time & space it deserves and reap the rewards. Unusual, highly atmospheric tracks that combine superb singing and marvellously "distant" musical backings to weave real magic.

Cassandra Wilson's own excellent, jazz tinged compositions sit alongside a stunning set of ingenious covers from a highly diverse spectrum of composers. "Last Train To Clarksville" is transformed from a catchy pop song into a stripped-down and genuinely effective jazz vocal work-out. "Harvest Moon" slows down Neil Young's already wistful ballad to an almost painful level and, in so doing, takes it to an even higher level of gentle reflection. Hank Williams' "I'm So Lonesome I Could Cry" & U2's "Love Is Blindness" are transformed into 3 in the morning jazz club classics. The vocals and backing to Robert Johnson's "32-20" are simplified to the point where only the essence of the blues is allowed to shine and, Lewis Allan's "Strange Fruit" becomes as desolate and challenging as it's horrific lyrics.

The second LP on Hot Concept from Yr Lovely Dead Moon, aka, Rachel Margetts. ‘‘Don’t Look Now!’ mixes post-punk, electronica and jazz influences alongside Margetts’ hypnotic vocal poetry, reminiscent of Jenny Hval or Anne Clark, to deliver an incendiary and captivating critique of the oppressive forces of modernity, easily walking a tightrope between tenderness and tension.

With golden voice and silver-dipped pen Grant-Lee Phillips presents
another milestone in a career brimming with the like - Little Moon is track
after track of well-anchored classic American music - rock and folk swirl
under clouds of cinematic strings for a primer on the art of the timeless
tune
His legendary well of melody is in full display on Little Moon, with even the most
lilting piano ballad standing comfortably on a thick, powerful trunk ('Older Now').
Long one of Los Angeles' most sought after songwriters, Grant-Lee meets Little
Moon with positive inspirations including the birth of his daughter Violet ('Violet')
and a creative calm that saw the songs well up organically from earlier live
collaborations with drummer Jay Bellerose, producer bassist Paul Bryan and
keyboardist Jamie Edwards. Captured live in the studio with limited overdubs, the
album keenly chronicles the sunny day feel of the songs and that ever-elusive in
the moment groove of a finely- tuned band working out equally finely- crafted.
Upon Little Moon's 2009 release, American Songwriter named it "His strongest
album ever." This limited edition pressing is on burgundy colour vinyl and limited
to 1,000 copies worldwide.

Back in stock on Black Vinyl !

Stars Are the Light, the luminous seventh album by the American psych explorers Moon Duo, marks a progression into significantly new territory. From a preoccupation with the transcendental and occult that informed Ripley Johnson and Sanae Yamada’s guitar-driven psych rock, and reached its apotheosis in the acclaimed Occult Architecture diptych, Stars Are the Light sees the band synthesize the abstract and metaphysical with the embodied and terrestrial.

Branching out from Occult Architecture Vol. 2, the album has a sonic physicality that is at once propulsive and undulating; it puts dance at the heart of an expansive nexus that connects the body to the stars. These are songs about embodied human experience — love, change, misunderstanding, internal struggle, joy, misery, alienation, discord, harmony, celebration — rendered as a kind of dance of the self, both in relation to other selves and to the eternal dance of the cosmos.

Höga Nord Rekords kindly welcomes Teecwa back to the label, following up his last full length-album “Beyond the Altai” with “Elysian on Moon Lake”. He is still exploring the intersections between house, electro, techno and dub and once again he manages to harness the analogue electronics in his machines to produce modern psychedelia.

“Elysian On Moon Lake” is rawer, less airy and not as sparkling as his last album. This is a tighter, and slightly darker experience than Teecwa’s previous work, maybe caused by being in quarantine for extensive time during production, letting some of the dreaminess aside for the harsher reality in a pandemic world. Still, you get a mind-altering experience in a lot of tracks since the album starts off in a lighter tone than how it later develops. Switching from the A- to the B-side works as a rite of passage going from dusk to night; the sun rays through the blinders are replaced by neon light dancing on the walls and ceiling.

Regarding the dramaturgy of “Elysian On Moon Lake”, this album has movielike qualities; a well-directed piece from the opening impact and setup through the confrontational part where intensity builds up to the climax in “Hythmdoser” to the cooling down effect of the peaceful closer “Celestial Trails”. The trip eventually ends up in a safe and happy place after the cathartic finale.

This is not a just collection of songs, this is an album made to experience in full length without interruptions.

'Mellow Moon' is the debut album from Alfie Templeman - an album that
"feels like something of a miracle, landing somewhere between an
otherworldly trip and a joy-filled ode to life back on earth"
Like all journeys, the change in mood is palpable throughout Mellow Moon, with
songs like the nostalgic '3D Feelings' or 'Broken', which is about "all the little
wobbles of being a teen and figuring yourself out," that bristle with the energy of a
life being lived again.
There's nuance in there, too. Candyfloss suggests that life can sometimes appear
too good to be true, something Alfie has felt since was a kid. "There's always a
downside to the cool shit," he says. "Candyfloss is what it all appears to be until
you get deeper into it."
The result is an easily accessible comfort place. Across 14 tracks Alfie closes his
eyes and imagines another world, one where he's at ease and not distracted by
life's many challenges.
Inspired by modern influences like Steve Lacy, Khruangbin and Leon Bridges, as
well as Alfie's constant cosmic guide Todd Rundgren, Mellow Moon flows with an
ease that belies its difficult creation. "It's a moment in my life that I want to
remember forever. I've put so much effort into this and it's a real experience to
listen to."
Acting as both an intimate diary entry and a communal call to arms, Mellow
Moon is Alfie's most complete work to date and a platform from which he will
surely use to propel himself further into the stratosphere. If ever proof were
needed that music is a salvation or a transportative force, this is it.
Live sessions with Radio 1, Radio 2 and Virgin have now aired.
TV performances confirmed with Sunday Brunch (22 May) and Blue Peter (20
May), the week prior to album release (EMBARGOED!!!!!).
135M total global career streams

From the very beginning in 2011 the concept was simple and crystal clear.

Mad Mats & Tooli's new label Local Talk had two main focus points.
First, the actual music was to be inspired around those magical 4/4 house rhythms...and beyond.

Second, the logo! The idea was that a simple and direct visual point together with a strong dance MUSIC message would make the label stand out among other labels in their northern neck of the woods.
In Scandinavia, the main theme is electronic 4/4 rhythms (techno, tech-house etc) and with Local Talk being more inspired by black dance music this has made them the black sheep in the hometown of Stockholm.

To set the musical direction straight from the very start they released Bassfort's 'Moon Shadow' which got instant attraction from both house heads and the more open-minded clubbing community.
With its warm, melodic chords, infectious piano theme and big strings it's always been the label's fave jam from their now +150(ish) releases.
When they decided to choose a track that would define the label for their 10-year anniversary, the choice was simple.

Mats & Tooli thought long and hard about who they wanted to interpret 'Moon Shadow' and after months of discussing options they decided that the only one they could trust to give the track a quality boost was NYC legend Joe Claussell.
Back in the late 90's, Mats used to book Joe for his legendary Raw Fusion parties in Stockholm so the connection and mutual respect were already in place. The result is a +11 minute long musical house journey that builds and builds until those characteristic piano chords make an entrance and transform the dynamics into a rainbow of sounds. Epic is not a word big enough to explain this grand musical production !

But the goodness does not end there, we're only halfway in on this anniversary release. The blood brothers Javi & Luis aka Kyodai (and 2/3 of Bassfort) made their own mix on the B side track from the original release, Moonlight.
As schooled jazz musicians they diverted from the electronic soundscape and went for a live jazz-funk production.
The final product is a warm and musical version with live drums, bass, piano, strings and even vocals from the brothers themselves.
The track almost comes across as something 4 Hero would put out back in the day.

All we can say, enjoy the dance!

Japanese artist Yama Warashi releases new album "Crispy Moon" via PRAH Recordings. The first material to come out of her relocation to London is a bold advancement of her sound. Much of the move and Yoshino's experiences of being in the capital have made their way into the themes of the record. There are new contributing members, including Cathy Lucas of Vanishing Twin (with whom Yama toured with in 2021), Aletta Verwoerd on drums and Mermaid Chunky's Moina Walker on sax. Compared to the more lo-fi, homespun feel of early releases such as Moon Zero and Moon Egg, there's larger brush strokes at play, a bigger sound and an understated but self-assured grandeur.

"His music filled me with the urge to connect with the world," Kaitlyn Aurelia Smith says of Emile Mosseri. She first heard his work while watching the 2019 film The Last Black Man In San Francisco; just minutes in, she paused it to look up who did the score and wrote to him immediately. "I love Emile's ability to create melodies that feel magically scenic and familiar like they are reminding you of the innocence of loving life." Those talents saw recognition in 2020 with an Oscar nomination for Mosseri's original score to the film Minari. He was already a fan of Smith's and became increasingly intrigued by her impressionistic process as they started to talk. "The music feels so spiritual and alive and made from the earth," Mosseri says. "I think of her as the great conductor, summoning musical poetry from her orchestra of machines." I Could Be Your Dog / I Could Be Your Moon, their two-part collaborative album, introduces an uncanny fusion of their sonics. Constructed using synthesizer, piano, electronics, and voice, this soft-focus dream world is lush, evocative, and fleeting. It finds two composers tuning their respective styles inward as an ode to mutual inspiration, a celebration of the human spirit and its will to surrender to the currents of life. As a full album set, I Could Be Your Dog / I Could Be Your Moon moves fluidly from track to track, panning through textural vignettes. Two roughly 17-minute halves, the set evokes the bittersweet sense of something too bright or rare to last, a short-lived glimpse into a golden hour. There is a dreamy, elemental intention to this music, which Smith and Mosseri say came naturally, as they both embraced intuitive interplay throughout their creative back-and-forth. The stylistic threads of each composer are recognizable yet become more ambiguous as the album progresses, sewn into a singular vision.

To celebrate the 45th anniversary of iconic Dutch jazz label Timeless Records, Music On Vinyl is releasing a series that features albums that are part of the Timeless Records legacy and will be released mainly throughout 2022.

Part of this series is Pharoah Sanders’ Moon Child from 1990, which bookended a decade of musical soul searching for Sanders. The acclaimed free jazz player is known to have a raw and abrasive sound, but reinvented himself on this album as a more traditional improviser capable of thoughtful deliberations. Moon Child is a grand old time throughout, and Sanders has never been more eminently sing-along-able as he is on its title track. The record was co-written with Horace Silver, George Gershwin and Abdullah Ibrahim and recorded with William Henderson, Stafford James, Eddie Moore and Cheikh Tidiane Fal

Stars Are the Light, the luminous seventh album by the American psych explorers Moon Duo, marks a progression into significantly new territory. From a preoccupation with the transcendental and occult that informed Ripley Johnson and Sanae Yamada’s guitar-driven psych rock, and reached its apotheosis in the acclaimed Occult Architecture diptych, Stars Are the Light sees the band synthesize the abstract and metaphysical with the embodied and terrestrial.

Branching out from Occult Architecture Vol. 2, the album has a sonic physicality that is at once propulsive and undulating; it puts dance at the heart of an expansive nexus that connects the body to the stars. These are songs about embodied human experience — love, change, misunderstanding, internal struggle, joy, misery, alienation, discord, harmony, celebration — rendered as a kind of dance of the self, both in relation to other selves and to the eternal dance of the cosmos.

Highly acclaimed guitarist Philipp van Endert played and produced on
"Moon Balloon" the largest and most complex music project that he has been able to record with in his music career so far

Combined with the renowned Filmorchester Babelsberg he recorded an outstanding and unique album featuring his original tunes that combine Jazz, Classic and Film music. Philipps compositions were arranged by Peter Hinderthür and the live performance at Filmstudios Babelsberg was conducted by Jörg Achim Keller (BBC Concert Orchestra, Metropole Orkest, HR BigBand, WDR BigBand a.o.)

The Wastelands' is an album of material made around the same period as 'The Entire City' though never released commercially. The album expands on 'The Entire City's shadowy, futurescape, featuring foreboding, percussive songwriting, with euphoric choral swells. 'The Wastelands' also features the captivating photo collage artwork of British artist, Suzanne Moxhay.

In 2011 Gazelle Twin self-released 'The Entire City', a debut album that gathered rapid acclaim and sparked a decade of creativity during which its creator, Elizabeth Bernholz has built big upon her foundation of dark, cinematic energy. The album is now set to be reissued on deluxe coloured vinyl featuring the captivating photo collage artwork of British artist, Suzanne Moxhay, with newly designed artwork by Paul Agar & Gazelle Twin.

Infectious and charismatic dream trance track by debuting mystery producer Moon Intern. Remixes by Helsinki-based artists ODJ Pirkka, RAD and ER transform the original track into mellow jungle, hypnotic trance and funky electro.

»Informations of Death« is a key single from the proto-ebm Florence band Neon, their 1980 official debut with an early duo line-up comprised of Marcello Michelotti and Stefano Gasparinetti. The single is now released on double vinyl, accompanied by a 1979 live performance, recorded at the legendary Bananamoon Club in Florence.

Meaning all things magick and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo’s fourth album - a psychedelic opus in two separate volumes released in 2017 - is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light.

Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark ener¬gies through the Chinese theory of Yin and Yang.

In Chinese, Yin means “the shady side of the hill” and is associated with the feminine, darkness, night, earth. Following this logic, Vol. 1 embraces and embod¬ies Moon Duo’s darker qualities — released appropriately on February 3, in the heart of winter in the Northern Hemisphere.

According to guitarist Ripley Johnson, “the concept of the dark/light, two-part album came as we were recording and mixing the songs, beginning in the dead of winter and continuing into the rebirth and blossoming of the spring. There’s something really powerful about the changing of the seasons in the Northwest, the physical and psychic impact it has on you, especially after we spent so many years in the seasonal void of California. I became interested in gnostic and her¬metic literature around that time, especially the relationship between music and occult qualities and that fed into the whole vibe.”

Adds keyboardist Sanae Yamada, “the two parts are also intended to represent inverted components of a singular entity, like two faces on the same head which stare always in opposite directions but are inextricably driven by the same brain.”

Meaning all things magic and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo’s fourth album - a psychedelic opus in two separate volumes released in 2017 is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light.

Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang.

Following the Yin (feminine, darkness, night, earth) represented on Occult Architecture Vol. 1, Vol. 2 presents the Yang. Yang means “the bright side of the hill” and is associated with the male, sun, light and the spirit of heaven, and as such Vol. 2 explores the light and airy elements of Moon Duo’s complex psyche.

“In production we referred to Vol. 1 as the fuzz dungeon, and Vol. 2 as the crystal palace,” guitarist Ripley Johnson explains. “The darkness of Vol. 1 gave birth to the light of Vol. 2. We had to have both elements in order to complete the cycle. We’re releasing them separately to allow them their own space, and to ensure clarity of vision. To that end we also mixed Vol. 2 separately, in the height of Portland summer, focusing on its sonic qualities of lightness, air, and sun. Listeners can ultimately use the two volumes individually or together, depending on circumstance or the desired effect.”

10 Track LP - Japanese multi-instrumentalist Masahiro Takahashi's latest album, Flowering Tree, Distant Moon, is a meditation on seasons and distance. Recorded in isolation at his temporary home studio in Toronto, following the coldest winter he’d experienced to date, this is a collection of hushed, lush color wheel electronic vignettes.

Flowering Tree, Distant Moon was created using an array of instruments including software synthesizers, granular samplers and a shruti box. The original Not Not Fun cassette run sold out quickly and this Telephone Explosion re-release will be Takahashi's first official vinyl offering.

The songs shimmer and sway, unspooling in sparkling arcs and alternating between reverie and lullaby. Inspired by blooming apple trees, gagaku music, the nostalgia of immigrants and longing for home, Flowering Tree, Distant Moon moves from soothing to surreal, a swirl of quiet melody and imagined landscapes, as transportive for its listeners as its maker.

It begins with a rustle of noise, equally reminiscent of distorted factory noise and a cassette recording of cathedral bells unspooling, before a near-robotic beat and stuttering bassline enter the fray. Initially, you could be forgiven for thinking you’ve stumbled across the lost tapes of Joy Division’s early Warsaw incarnation, but the atonal blast of strafing guitars fading in and out soon make you realise this is a very different proposition. This is The Drin, and ‘Engines Sing for the Pale Moon’ is their debut album. It’s also one of the best things you’ll hear all year. Helmed by Dylan McCartney, drummer of the rock band Vacation, The Drin originally released this album as a hyper-limited cassette via Future Shock. It’s as much of a departure from McCartney’s usual output as it is for Drunken Sailor Records; songs don’t so much explode out of the gate as drift towards you like a creeping fog that turns your skin inside-out and leaves you sloshing organs all across the carpet. Second track ‘Guillotine Blade’ shows the pieces all coming together, a dubbed-out riot of claustrophobic noise that feels like Pere Ubu trapped in a cupboard one minute, and ‘Warm Jets’-era Eno trying on Bauhaus’ trenchcoats the next. Meanwhile, ‘Down Her Cheek A Party Tear’ unfolds across jittering, skittering rustles of drums and an undulating bassline, making you wonder why post-millennial post-punk so often settles for dickheads shouting non-sequiturs over landfill indie, when it could be entering these dark, unsettling territories instead. The Drin like to get weird. The Drin like to get wild. The Drin rarely cut loose, but that’s because the trip is already intense and haunting enough without things getting raucous in here as well. Hey kids, turn off those shite band name redacted records and get into this; you deserve so much better, and better’s right here. Fall into it, immerse yourself and step forward into a brave new world. I love this record

The first release by Moon Mood. A versatile electronic music label. The EP starts off dreamy, then drifts into bass heavy kicks and machinery, ending in a mildly euphoric club vibe.

NITE aus der San Francisco Bay Area - Blackend Heavy Metal mit Gitarrist Van Labrakis (SATAN'S WRATH) und Scott Hoffman (HIGH SPIRITS)! Für Fans von: CLOAK, DARK THRONE, TRIBULATION, WATAIN, DISSECTION

NITE aus der San Francisco Bay Area - Blackend Heavy Metal mit Gitarrist Van Labrakis (SATAN'S WRATH) und Scott Hoffman (HIGH SPIRITS)! Für Fans von: CLOAK, DARK THRONE, TRIBULATION, WATAIN, DISSECTION