Suche:moon b

Through darkness diamonds spread their richest light…

Part four is here with Zakmina from Lithuania, Elfenberg from Sweden and Some Chemistry and Pete Beluga & Du Chatinier from Amsterdam, The Netherlands!

Melbourne’s very own Reflex Blue takes us on a five part journey through the terrain of his mind to bring in to reality the Twin Waters EP.

Through this project Reflex’s unique fusion of deep, earthy sounds and other worldly aetherial textures, help us find the way back to a primal place, buried within us all.

Digital and natural worlds come together in this project to work in harmony, coupled with a healthy dose of psychedelic accents, we are left in a mind altering state somewhere between transcendent euphoria and ecstat- ic dance... We hope you enjoy the ride.

Two years and one pandemic after his previous release, the Italian, London-based solo project M!R!M is back with a new full- length album.

Inspired by the synth pop classics, as well as from cold and dark waves, multi-instrumentalist Jack Milwaukee has been releasing material on labels such as Fabrika and Manic Depression until his first record on Avant! ”The Visionary” back in 2020.

On April 22 his fourth LP ”Time Traitor” will be released and we’re excited to say this is Milwaukee’s most personal job to date.

If you are familiar with his work, you know the DIY/lo-fi approach of his first recordings was already gone with his previous LP but these new ten recordings dig even deeper, drawing the outlines of a fantasy world lost within the foggy memories of a collective childhood.

Possibly locked in his bedroom for the necessary time, Milwaukee has been able to recreate an imaginative realm of 80’s FM suggestions, scattering a number of acoustic clues from different parts of this parallel, yet so familiar dimension. It’s almost like M!R!M is sending us a message in a bottle with each of these new tracks and each message tells a different story.
Post Fight has a punchy pop-punk riff drove by solid synthwave beats, Faultless Pitch hosts a mellow, funky bass line over a solemn drum gate, Desert Love screams italo like nothing else and it was indeed composed four-handed with fellow artists Nuovo Testamento, Say Nothing features SDH singer Andrea Pérez’s backing vocals to invoke a dream-like scenario.
There is even a Turquoise Days’ Grey Skies cover that is just one more perfect example of Milwaukee’s ability to take a single item from the suitcase of the past and make it extremely current in a handful of minutes.

All this is adorned by semi-instrumental postcards with suggestive names such as Moody Moon, Peninsula and Goodnight Galaxie that will guide you through this journey across M!R!M sound-&-memory experience.

Billie Holiday's first recordings for Norman Granz' Clef Records present the vocalist at the top of her craft. Originally issued as a 10 8243; LP titled 'Billie Holiday Sings', this 1952 session placed Holiday in front of small piano and tenor saxophone-led groups that including jazz luminaries such as Oscar Peterson and Charlie Shavers.

Includes the song 'If The Moon Turns Green' from the same session but not included on the original LP.

The LP includes a bonus track taken from the actual movie soundtrack, but not present on the original LP. The track feature Audrey Hepburn on vocals with orchestral backing. "This effervescent soundtrack for Blake Edwards' adaption of Truman Capote's wistful novella propelled Mancini into the major league of Hollywood composers. Though there were other jazz-oriented arrangers working
in Hollywood at the time, none possessed Mancini's imagination and skill in orchestration." - All Music

Originally released by Bethlehem Records in 1959, NINA SIMONE AND HER FRIENDS was a compilation album comprised of the few remaining, unreleased tracks from the Little Girl Blue recording session plus songs recorded by two other former Bethlehem artists, the powerhouse jazz vocalist Carmen McRae and the elegant song stylist Chris Connor.

As Daphne Brooks explains in the release’s brand new essay, “Bethlehem clustered their work—tracks that had previously appeared on the label’s Girlfriends compilation—together with the younger, upstart Simone’s and essentially offered up a collection of songs that span a range of genres—folk, jazz, pop song staples, and torch song laments, plus a couple of provocative original compositions by McRae and Simone. Each track is a reminder

of the clear-eyed independence, verve, and confidence of three artists whose music, taken together, brims with the majesty and the assured talents of the late 1950s women artists who led with conviction and invention as musicians and song interpreters.”
Featuring a brand new stereo mix by four-time Grammy winner Michael Graves. Includes new essay by author of Liner Notes For The Revolution, Daphne A. Brooks.

MONLIGHT LOVE AFFAIR is a love relationship in which there are no boundaries. The moon colors the world in a different light and makes us see and feel things with different eyes. So in a perfect digital world it is inevitable to let the organic flow in, to look at the other side and to unite. This is exactly what Parov Stelar does to perfection with this album. He takes the digital and organic worlds, combines them into one massive masterpiece and is not willing to compromise, because in compromise both sides always lose.

Parov Stelar completes another phase of his artistic development with the album Moonlight Love Affair. Radical honesty, openness to himself and his environment pave this path. I CAN SEE MUSIC, I CAN HEAR ART...the album artwork designed and painted by Parov Stelar himself closes the circle and completes the total work of art of all senses.

The album MOONLIGHT LOVE AFFAIR will be released on 29.04.2022 and shows all facets of the artist. Raw and unvarnished, thereby vulnerable, powerful and beautiful.

The Magic Mixture were a London based , psychedelic band comprising Terry Thomas (guitar/vocals), Melvyn Hacker (bass), Jack Collins (drums) and Stan Curtis (organ) .

The 60’s were productive years, though if one explores these years, you’ll find that most of the bands that rose during those heady days had some real talent, some sincere visions, and a burning desire to shape a bit of the music scene with their sonic atmospheres.

The magic found within these highly prized and rare grooves shows they did pulsate with the moment, This Is The Magic Mixture, should certainly be considered an essential part of the garage psych movement that flowered during 1968.

The Classic 1977 Folk album .and follow up to Savage Amusement.
Feat: Mick Ronson, Andy Latimer & Keef Hartley.
Recorded at Sawmills Studios, Cornwall, Tapestry Studios, London and Fairview Studios, Hull.
Incl. Extensive Sleeve Notes from Andru Chapman & Marc Higgins
With bonus track: Steel Bonnets (Instrumental)
Limited Edition on 180 gram vinyl

Immortal Onion have already built a strong position as one of the most interesting, new jazz projects from Poland. After two well received albums ("Ocelot of Salvation" in 2017 and "XD ExperienceDesign" in 2020) we've had the pleasure of presenting the new re- lease called "Screens" recorded at the initiative of the saxophonist Michał Jan Ciesielski.

The songs composed by Michał confirm, that jazz electronic fusion can be still fresh and thrilling. The album, where beside Michał, Tomir, Wojtek and Ziemowit, you will find many guest instrumentalists. Thus resulting in a step forward made by the still young musician from TriCity.

It is worth mentioning, the song entitled "ZOZI" is enriched with the string parts recorded by Ola Szymańska on violin (Alfah Femmes, Ralph Kamiński, The Fruitcakes) and Weronika Kulpa on cello. Also, you can hear the brass section consisting of David Lipka on trumpet (Zgniłość, Bizzarre Penguin) and Paweł Niewiadomski on trombone (Power of the Horns). In the composition called "OK Boomer" you can hear characteristic guitar soundscape recorded by Marcin Gałązka (Tymon Tymański).

The whole album was recorded and mixed by Michał Jan Ciesielski. Mastering was done by Michał "Eprom" Baj. Graphic design was created by Marta "Martiszu" Ludwiszewska, who, like no one else senses the crazy spirit of immortal onion.

“I am most excited, that they got out of their formula and invited Michał Jan on saxophone who perfectly complements the ideas of guys from the Immortal Onion.”
Hania Rani —

Randomly packed vinyl in various colours.

Oxbow is a band that is legendary and notorious, and their rich musicianship and history precedes them. Originally started as a recording project in 1988 from the ashes of Bay-Area punk rock band Whipping Boy, their 30-plus year history has unlike any other in contemporary music, bar none.
A cast of characters that have no problem “making you a part of the show” if you cross them, their shows have been known to push the limits of comfort, crossing over into sometimes downright dangerous. Never gratuitous though, Oxbow has always done it with class.
In 1995, the band released their Steve Albini-recorded opus, “Let Me Be A Woman” on European indie label Brinkman Records. With cover art by the amazing Jim Blanchard, and a few rounds of reissues on CD and vinyl overseas, the album has not once seen the light of day as a US Release, ever.
Until now.
Having just joined forces with Mike Patton’s Ipecac Records for the release of their upcoming new album ‘Love’s Holiday” coming in 2022, we here at Blackhouse Ltd. are proud to present also what will be the first North American release EVER of “Let Me Be A Woman” on a limited vinyl run.
Completely remastered by none other than mastering legend John Golden, the album will see multiple colored vinyl variants and completely restored artwork.

Philadelphia’s DEVIL MASTER’s roots in ritual magick have never been more prominent than on their highly anticipated new album Ecstasies Of Never Ending Night. Recorded live to analog tape by Pete DeBoer (Blood Incantation, Spectral Voice), Ecstasies expands on the warped riffing and dark atmospheres that have already propelled DEVIL MASTER as one of the underground’s most unique and unfettered bands. From the band’s blackened punk maelstrom of “Acid Black Mass” to the spiraling death rock of “Abyss In Vision” and the layers of refined atmosphere on the closer “Never Ending Night”, lead guitarist Darkest Prince of All Rebellion shines across a collection of fiery, tumultuous riffs - Lyrically, vocalist Disembody Through Unparalleled Pleasure laces Ecstasies with life-affirming blasphemy and existential dread. Ecstasies of Never Ending Night witnesses DEVIL MASTER at its core. Vocalist Disembody Through Unparalleled Pleasure has assumed the role of bassist, strengthening the songwriting alongside Darkest Prince and founding member/rhythm guitarist Infernal Moonlight Apparition. Fresh blood was required and found in drummer/keyboardist Festering Terror in Deepest Catacomb (a.k.a. Chris Ulsh of Power Trip and Iron Age). Ecstasies of Never Ending Night proves to be a crucial addition to the pantheon of evil satanic metal. In the end, magick reigns!

Memorial are a duo, Jack and Ollie. Neither are in any great hurry, with their songwriting process originally found spent solo, several hundred miles apart in Brighton and Manchester. Voice memos zipped across the internet, all half thoughts and feelings seeking the other's encouragement.

Headline shows in London and Brighton and supports in 2021: Bess Atwell, Chartreuse, Richard Thompson, Courtney Marie Andrews, Amber Run, Samantha Crain. Nominated for AMA's 'UK song of the year', award ceremony in January at Hackney Empire.RADIO:
Sessions on BBC Radio Wales with Janice Long Interview with Robert Elms on BBC Radio London Chosen as John Kennedy's Hot Ones and X-Posure Big One on Radio X Consistent radio plays on Radio 1's Chillest Show with Sian Eleri, Chris Hawkins on BBC 6Music and on Amazing Radio Further spot plays from Elton John on Beats, Roddy Hart on BBC Radio Scotland, Soho Radio and more.

A cold wind blows while a disembodied drum marches in distance, diving slowly into an orchestra warm-up that ends with a bang: Marmo Music welcomes back Massimo Pegoraro, aka Modus, this time with a special tape release that carries genuinely shaped musical fantasies by the enigmatic electronic music composer and DJ from Genova. Each tune brings a new shade of his polychrome musical universe. He wrote a library music leaning ode to Moondog, recalls forgotten WW1 battles with longing choirs’ chanting along a minimal droning dream house Cello tone, and drops a melancholic fairytale that pits footage of kids laughing at a street market against Fellini-Score spinet melodies. Three of 14 mesmerizing, profoundly written pieces of music, that tell multi-layered contes with Synth reverberations, jazz ambiances, experimental Brit pop sonics, and a sundry range of field recordings. Together they build an enthralling story arc, that displays the open-minded spheres of the broad musical cosmos of Modus. To open the doors to his universe extensive, he additionally wrote some author’s notes for each single composition, that evoke vibrant images on his inspirations and their sounding outcome. Check the spell below while listening to intensely produced explorer music, that brings you obscure ideas from afar who express all the many subtle spirits of Modus.

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

Paris-based producer Alexandre Bazin returns to Umor Rex with another side to his music approach. If in Full Moon (Umor Rex 2016) he explored the analog electronic music merged with classical minimalism, in this new work, Bazin dives into totally rhythmic terrains while maintaining his devotion to electronic exploration and acoustic drums. Four Steps even rubs shoulders without discretion with techno music and the dancefloor, and retains his refined obsession with melody and structure.

In these pieces, Bazin lends space to electronic soundscapes, experimentation, and computer programming, everything derived from precise compositions. With melodies created with Buchla Music Easel, EMS Synthi, among other instruments, Four Steps –through the drone and ambient music– crosses roads with elegant and infinite techno loops. The album is a 4 track EP released in vinyl 12" in 45 rpm, finely mastered by John Tejada with a focal point in harmonics and dimension, offering an exquisite hi-fidelity experience even for the digital lossless audience.

Alexandre Bazin has been a member of the France GRM (Groupe de Recherches Musicales) since 2005.

Composed & mixed by Alexandre Bazin at Château Rouge. Drums in Four Steps III by François Desmoulins. Mastered by John Tejada in Sherman Oaks. Artwork & photos by Daniel Castrejón in Mexico City.

After blazing a trail with 2020's critically acclaimed Good Luck Seeker, The Waterboys waste no time in delivering again with the announcement of their brand new record All Souls Hill on Cooking Vinyl. First track 'The Liar' is a creeping, groove-laden masterpiece, taking a powerful, descriptive swipe at Trump and the lies and deceit that infest those in power. The video, featuring a haunting image by satirical collagist Cold War Steve, leaves nothing to the imagination and amplifies its subject matter in a dark, eerie fashion. "The Liar is a comment on recent and still-current events, and both the song and video speak for themselves." says frontman Mike Scott. "We were proud to work on this video with the brilliant Cold War Steve." All Souls Hill is nine tracks of Waterboys brilliance, all mixed by Scott himself. Announced off the back of the band's recent sold out UK tour and latest box set 'The Magnificent Seven: The Waterboys' Fisherman's Blues/Room To Roam Band, 1989-1990 ', All Souls Hill is current, on the money social commentary, but with an air of hope. "All Souls Hill is mysterious, otherworldly, tune-banging and emotional." comments Mike. "I made it with Waterboys old and new and my co-producer, brilliant sonic guru Simon Dine. Its nine songs tell stories, explore dreamscapes, and cast a cold but hopeful eye on the human drama."