quête:moth

E-Talking crashes onto Love On The Rocks with a 4-track EP that’s weirder, faster and harder than anything Paramida’s ever-evolving imprint has put out to date; pushing the label into new territory that’s simultaneously unexpected and unmistakably true-to-form.

The Berlin-via London-based French producer, one half of the duo & collective Nummer, released his studio debut on AD93 in 2018 and his first album on Going Good in 2021, with productions that are dense, intricate and intoxicating, overflowing with ideas and effortless finesse, qualities all on display on this EP in otherworldly abundance.

The ‘Cosmic Egg’ refers to our modern understanding of the universe as ever-expanding; extrapolated backwards in time, it implies a finite starting-time and a small starting-place, from which the entire cosmos metaphorically hatched.

‘Pads & Frogs’ finds E-Talking in the midst of this process; slowly awakening to find himself up to his eyeballs in a shimmering psychedelic rainforest, awash with swirling pads, lush percussion, tripped-out inter-species vocals and tribal rhythms, building and looping into each other in a joyous dance of life-giving. A cosmic field recording from the incubation of this special egg, recorded somewhere between whatever passes for a rainforest in Berlin and deep, infinite space, sat upon lovingly and diligently by Paramida and Alex while in the process of developing a close friendship with its birth-mother – the three of them keeping it collectively warm and preparing to hatch since early lockdown days.

The time, motherfuckers, is now. After a warm, fuzzy beginning, of course, comes a huge, shattering explosion: ‘Rise Up’ is the EP’s first big leap into new territory, turning up the pace considerably and wasting no time in serving up some seriously pounding cosmic techno, LOTR-style, with some unexpected twists and turns halfway through. It’s all in the switches and details here, and they are so good you will want to literally get naked and lick your speakers for momentary sonic relief.

Unfortunately for you, ‘Life Begins Now’ doesn’t let up, proceeding with the same intensity but a more house sensibility, with layers of percussion and grooves building off each other into a drop which could easily carry the track, but is really just a tease for another twist that sends this one off fully into intricate, exquisite orbit. ‘Neidan’ brings us slowly back to Earth for another slamming house workout with all the hallmarks of a future LOTR classic: sun on the horizon, cosmic energy to infinity, all your friends together on the dance floor. It doesn’t get better than this.

Previously, the universe was thought of as eternally old, with no start and no growth. Boring. This EP exemplifies just how wrong that is: an adrenaline-fuelled salute to the constant creative expansion of the universe, and all the weird beings who inhabit it.

Effortlessly dismantling the barriers between R&B, soul, funk, disco and jazz sounds, MF Robots present long player ‘Break The Wall’, on BBE Music. Astonishing musicianship, pristine production and top-tier songwriting, ‘Break The Wall’ immediately calls to mind those iconic American rhythm sections of the 70s and 80s. The music is energising, uplifting and the potent result of a highly accomplished musical partnership maturing, growing and hitting their stride together in lock-step. Jan Kincaid and Dawn Joseph met as members of one of the UK’s most successful Acid Jazz bands, which influenced Mark Ronson, D’Angelo, Jamiroquai, Erykah Badu and The Roots to name a few. Founding the Brand New Heavies was an important chapter for Jan, but once he and vocalist and songwriting partner Dawn began working together, the chemistry was instant and irresistible. It was time to turn the page, and soon MF Robots was born. “When we made our first album, we didn’t have a band as such. We basically made a lot of the record at home and called on other musicians as and when we needed them. Our sound was developing organically, and when we finally released the record to great critical acclaim, it was time to get out on the road,” says Jan. “We put together a band of like-minded young musicians, playing intimate gigs and big festivals all over Europe and beyond, growing tight as a unit, so that when it came time to think about making this, our second album, we knew we had an extra level of musicianship full of personality that could realise our vision.” Inviting band members Alex Montaque (keys), Naz Adamson (bass), Mark Beaney (guitar), Jack Birchwood (trumpet), Ben Treacher (sax) to improvise and contribute their own ideas over song-sketches laid out by Jan and Dawn gives ‘Break The Wall’ a special sense of off-the-cuff brilliance. Even on the polished final product you can detect a collaborative, fluid and unhurried approach to production that’s all-too rare these days. There’s guest performances from bassist Gail Ann Dorsey (‘The Love It Takes’, ‘Make Me Happy’) and guitarist Cory Wong ('Shine', 'Make Me Happy'), the former a top-flight session player who’s collaborated with Lenny Kravitz and David Bowie among others, the latter a member of the incredible Vulfpeck collective and an accomplished solo artist in his own right.

12" + 7" !

Mind Maze is, amazingly, Trees Speak’s fifth album to be released on Soul Jazz Records in the space of little over two years– an output matched only by the intensity of their music created during this short time.

The first pressing only of the album comes with a bonus seven-inch single containing two tracks that are not available on vinyl anywhere else.
As with all their previous releases, ‘Mind Maze’ is a mind-boggling tightrope walk across an array of musical influences that seamlessly create the unique present-day world of Trees Speak.

The band’s sound is characterized by a combination of German krautrock motoric-beat rhythms, angular New York post-punk attitude, 60s spy soundtracks, psych, rock, jazz, and 70s synthesizers and vocoders. There is also a cosmic spatial awareness to their sound; both personal inner space and galactic outer space, as well as a wilful pushing of sonic boundaries.

Trees Speak are a musical duo based in Tucson, Arizona, composed of Daniel Martin Diaz and Damian Diaz. Their music is heavily influenced by the cosmic magic of the natural desert landscapes of Arizona, creating a unique and captivating sound that is both experimental and innovative.

Here you will find the myriad sounds of 1970s German electronic music (everything from Can to Cluster, Popul Vuh to Tangerine Dream); 1980s New York post-punk and synthcore (from No Wave to Suicide); John Barry’s 1960s movies, John Carpenter’s 1970s horror. You will also hear the influences of French and Italian progressive rock (Magma, Goblin) as well as cosmic, new age and experimental space soundscapes …. an almost endless list of diverse influences that ebb and flow like an ocean of sound, in the process creating a truly unique soundscape that Trees Speak have made wholly their own.

The name Trees Speak reflects their interest in the concept of using future technologies to store information and data in trees and plants, with the idea that trees communicate collectively. This interest in nature and technology, combined with their passion for experimentation, has led Trees Speak to create a truly one-of-a-kind listening experience that is both unique and engaging.

If you ever wanted to hear Can, Neu!, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid, Tangerine Dream, Suicide, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one band - then this is it! Trees Speak are a band that defies categorization and offer an eclectic listening experience, both exciting and memorable.

The two bonus tracks (‘Seraphim’ and ‘Orpheus’) included with the album give us a further window into the complex mind maze of the group - two stunning acoustic tracks that explore a distinct early 70s sound of Yes, Argent and other progressive rock accolytes.

Kaijupop is conceived as a record created by an international
supergroup operating under the umbrella of Soft-Bodied Humans. Over the past decade, UK producer David McNamee has curated an impressive series of releases under the Blue Tapes label that highlight various aspects of minimal music, ranging from grime to gugak, American primitivism to Japanese ambient, and released his own longform minimal music under the name Cut A Lonely Figure

McNamee now unveils on vinyl his latest project, Soft-Bodied Humans, a supergroup that transcends boundaries, drawing inspiration from grime, minimalism and industrial alike. Soft-Bodied Humans brings together an eclectic ensemble of like-minded producers, vocalists, and performers, resulting in a diverse and mesmerizing album.

Collaborators on this spellbinding album include L.A. avant-garde
artist Anna Homler, rising Ugandan MC Swordman Kitala, Brazilian
artist and musician Cadu Tenorio, Japanese grime artist PAKIN,
throat-singer and doom metal auteur Abysmal Growls of Despair, and
Chicago-based producer Fire-Toolz.

This groundbreaking album explores a dynamic range, effortlessly
transitioning from abstract moments to intense sonic experiences.
While grime-inflected beats form its core, Kaijupop fearlessly mutates
and diverts this foundation into uncharted territories. The result is
an immersive sonic journey that pushes the boundaries of the genre.
With each track, the album offers a fresh perspective and an
adventurous exploration of sound.

Soft-Bodied Humans stands as a testament to the power of collaboration and experimentation. This international supergroup definitely breaks the mould of traditional music-making, delivering a groundbreaking and boundary-pushing album that will leave listeners eager for more.

“My mother” says HDSN “is my biggest idol to date. She gave me the roots to grow and the wings to fly and pretty much dedicated her life to my sister and i. She has been holding herself accountable day in day out for more than twenty years to raise two kids as a single mom. Although my dad couldn´t be there she always kept the cable long and so we lacked of nothing - she literally gave us all that she got. It´s been her strength, her humbleness and her relentless effort which has made me and my sister the beautiful human beings we are today. Most importantly it was her acknowledgement of my passion for music that saw me being able to pursue what i call my destiny today. She has been my biggest supporter since day one even she couldn’t understand at first. She oftentimes called my music too “esoteric” little did we know how many peoples hearts these songs would touch on the way. From the very beginning i wanted to dedicate a song to her but as she was pretty delicate when it comes to my tracks i knew i needed to find the right notes to hit the right spots. It´s been eight years now since i started out to make music and with very much excitement i can announce i finally been able to thrill her soul. It´s with little hesitation that i dedicated this song which i ended up calling “Stronger” to her. I come from a family full of fighters, there have been many ups and downs for all of us but we stood strong to the struggle and managed to keep our shine. This goes especially for my sister as life dealt her a couple of rough patches early on. She was fighting her own war marching through the valley of death from a very young age. She never gave up though, thrived out of darkness into light like a poppy seed and now eventually became a mother, too. Life kinda neglected us over the year. I had to leave my loved ones behind to live my dream but there has always been a part of me that tried to find his way back home, which i finally stopped denying. “No Place Like Home” is dedicated to most important women in my life, my mother, my sister and her newborn child. This record is an homage to my family and the beauty that lies within our tribe.”

CALAMITA = KARKHANA members TONY ELIEH, SHARIF SEHNAOUI and Lebanese drummer MALEK RIZKALLAH join forces with the Egyptian singer AYA METWALLI - the result is the improbable meeting between free jazz / improv, punk rock & Oum Kalthoum!

CALAMITA is the "rock project" of SHARIF SEHNAOUI and TONY ELIEH, two of the most active musicians on the Lebanese experimental scene (among others projects, both are members of the "free Middle Eastern music" collective KARKHANA). SEHNAOUI comes from a jazz and improv music background, ELIEH is primarily a rock musician and founding member of the Lebanese post-punk band THE SCRAMBLED EGGS whose work in the last decade has covered many directions from pop-rock to plain experimental. They are joined by Lebanese drummer MALEK RIZKALLAH (WHO KILLED BRUCE LEE, ex THE SCRAMBLED EGGS). As trio they develop instrumental pieces that draw their inspiration from artists as diverse as Tony Conrad, Last Exit or Oum Kalthoum.

AYA METWALLI is an Egyptian singer/songwriter, composer and sound artist currently based in Beirut. Grown up in Cairo, her father would play non-stop Oum Kalthoum songs on road trips to the beach and Aya's mother; known to have the most beautiful voice in the family, she always sang at home and at family gatherings, so long before Aya was able to form her own music taste, immense amounts of Arabic classic songs and melodies already settled in her subconsciousness …

After her first EP "Beitak" in 2016, Metwalli (named "a musical enigma" by The Guardian) started to integrate more experimental and eerie sonic excursions into her avant-pop, so the collaboration with CALAMITA feels like a natural or logic step.

The roots for "Al Saher" ("stay awake") were laid when SEHNAOUI and METWALLI first worked together in "Night", a dance piece by ALI CHAHROUR which included a wide collection of Arabic songs and ancient poems, later Sehnaoui invited her to work with CALAMITA. The four met in a recording studio in Beirut, using songs by "The Voice of Egypt" Oum Kalthoum as starting point.Together they aim to fully revisit the song format and explore the possibilities of classical Tarab songs, extracted from their origins and reframed within the music of the twenty-first century. The result is a mix of various styles and influences that often seek to stretch the contrasts to towering extremes - animprobable blend between free jazz & improv, punk rock & Oum Kalthoum!

Lord knows we have put out some rare R&B records here at Real Gone Music, but this one may take the cake! Mary Mundy’s 1980 album for the obscure Image label goes for hundreds of bucks if you can find it at all (which, as of this writing, you can’t). Loaded with bassheavy, disco-soul grooves over which Mundy’s voice floats like
a butterfly and stings like a bee, Mother Nature lives up to the collector hype. That Mundy’s discography consists of this album and a few scattered singles just adds to the mystique of this intriguing one-off, which sees its first reissue in any format here. Remastered for vinyl by Mike Milchner at Sonic Vision. We’re only making 1000 copies and you better not tarry…pink vinyl pressing!

YIAN” (燕), means swallow in Chinese, and is part of “Siew Yian,” the name given to Chua by her parents to preserve her connection with her Chinese heritage. Just as the migratory songbird lives between places, so did Chua, the artist living in the in-between of the English, Malaysian and Chinese cultures that make up her heritage. In the absence of Mandarin as a mother tongue, music became a way to express the parts of herself that couldn’t be described in words; “YIAN” emerged as a way to heal.
A deeply introspective and fully realized vessel of creative expression (Chua self-produced and engineered eight of the ten tracks), “YIAN” emerges as less an album than a worldview, a commitment to learning and uncovering one’s own selfhood honed over Chua’s lifelong reconciliation with her own personal history and identity.

Staran Wake is a collaborative project by Andrew Bunsell and Tom Relleen. After several years creating music in various groups together, followed by countless hazy late night recording sessions at each other’s studios and crisper afternoons producing the results, the British duo’s musical vision materialised with this self-titled instrumental album, taking nearly 4 years to complete.

This collection of pieces is composed with a wide range of instruments and combines multiple dark, experimental genres to form a rather lavish and unique proposition. It is imprinted with intense turgid textures, interweaving the hyper-tactile characteristics of analogue sound with field recording elements and sound effects.

Although the project’s name suggests a rather celestial concept (‘an’ means moon in one of the early protolanguages), the music actually explores the intimate feelings of transient space and otherness. It uses subtle build-ups of tension and repetitive progressions to shape an impression of distended time and space. More than a mere treat for the ears, it’s a multi-layered album that invites reflection.

All tracks composed, performed and recorded by Andrew Bunsell and Tom Relleen at Dalston Studios, Space Studios and The Bunker, London, UK

Arranged, produced and mixed by Andrew Bunsell and Tom Relleen at The Bunker, London, UK

Mixed and mastered by Marta Salogni at Studio Zona, London, UK

Artwork and design by Jonas Meier

Anno 2022 stiegen die deutschen Extrem-Metaller MYSTIC CIRCLE aus den dunklen Untiefen empor und veröffentlichten ihr selbstbetiteltes neues Studio-Album.

Dieses führte zu einer eindrucksvollen Rückkehr, samt einem furiosen Charteinstieg auf Platz #78 in den offiziellen deutschen Albumcharts.

Mit viel neuer Inspiration schufen die beiden Hauptmitglieder Beelzebub und A. Blackwar neun neue Tracks für ihr neuntes Studioalbum, das "Erzdämon" heißen wird und am 17. März 2023 auf ihrem neuen Label Fireflash Records das Licht der Welt erblickt.