2023 wird für viele Dinge bekannt sein. Und unter all diesen Dingen wird das kleine "Detail", das Chronicle's drittesFull-Length-Album "Where Chaos Thrives" sein wird, die Fans des melodischen/technischen Death Metals wahrscheinlich in helle Aufregung versetzen. Die Platte hebt den Sound der jungen Dänen auf eine neue Ebene der Brutalität und Technik, die durch die hervorragende Produktion, das Mixing undMastering von TueMadsen
(Meshuggah, The Haunted, The Black Dahlia Murder) noch verstärkt wird. Mit dem Artwork von Samuel Nelson (Allegaeon, FirstFragment, Vale Of Pnath) hat "Where Chaos Thrives" alle richtigen Zutaten in der richtigen Menge, um ein reiner DeathMetal-Ansturm zu werden.
Der Sound von Chronicle ist eine grausame Kombination aus melodischem DeathMeta! und technischen Thrash-Elementen. Blitzschnelle Drums, rauschende Soli und eingängige Gitarrenharmonien sind die Hauptzutaten in diesem Cocktail der Härte. Die Band besteht aus kompetentenMusikern, die alle über langjährigeErfahrung mit Auftritten vor großen und kleinen Menschenmengen verfügen. Die energiegeladenen Liveshows der Band zeugen von einer wahrenLeidenschaft für dasAuftreten und jedes Bandmitglied ist entschlossen, jedenAuftritt einzigartig und energiegeladen zu gestalten.
Chronicle haben in ganz Dänemark gespielt, darunter auf einigen der bestenMetal-Events und -Festivals des Landes, und haben sich auch
auf deutsches Gebiet gewagt.
Bereiten Sie sich auf den Death Metal-Wind von "Where Chaos Thrives" vor, ein wahres Extrem-Metal-Meisterwerk, an das man sich noch Jahre später erinnern wird.
Shuggie Otis’three solo releases from the 1970s are now regarded as some of the most essential and sought-after soul/funk albums, but that wasn’t always the case. In the 70s, Shuggie Otis’ most commercially successful moment was probably the top 10 hit The Brothers Johnson had with “Strawberry Letter 23”. It took until the mid-90s for a wider audience to get to know Shuggie.
This compilation brings together ten seminal track from Shuggie Otis’ core catalog: Here Comes Shuggie Otis (1969), Freedom Flight (1971), and Inspiration Information (1974).
Introducing is available as a limited edition of 1500 individually numbered copies on red coloured vinyl.
Alison Goldfrapp has set a towering bar for British synth-pop in the 21st century and she’s only just getting started. The magnetic London-born singer, songwriter and producer’s seven albums with Goldfrapp were fuelled by an unfailing modernity and a sixth sense for sounds that were more timeless than any trend. With the release of her debut solo album The Love Invention—an electrifying dance-pop suite—her multi-faceted musicianship reaches a new peak.
The Love Invention marks Alison’s reawakening as a dancefloor priestess, in an intoxicating showcase of the disco and house influences that have always been at the heart of her musical DNA. “So Hard So Hot” bottles the ephemeral joy of a dancefloor with its anthemic house beat, disco handclaps, and an exquisitely alluring vocal from Alison. The sense of uninhibited liberation courses through album highlights like “In Electric Blue,” a yearning synth-pop confection with a chorus as blissful as love’s first butterflies. On “Never Stop,” she is flooded with the rush of an all-encompassing love over a buoyant, rubberised beat; the sublime synth-pop of “Fever” is an ode to the intoxicating majesty of the dancefloor, with a chorus that explodes as if setting off a glitter cannon.
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Dynamite cuts is proud to cross over to the amazing sound and world of Library music. Muisc that can capture a feeling and mode in a single note and groove. This selection is from the German Library series Sound Music Albums, These tracks are taken from volume 11 in the series, the Original album sells for £150 plus
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The FunkyJaws Music label invites us deep into their world for a third time here with another delicious 12".It's a various artists EP that features one of our top disco favourites - Eddie C. He opens up with 'Do You Wanna Dance' which has vocals pacing about the mix and old school acid bass twangs under raw house drums. Elado's '25.4 Millimeters' is a Middle Eastern funk workout with spangled drum hits and the flip side brings twisted acid disco and the cosmic trip that is 'In Your Ear With It' from Funkyjaws themselves.
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Anarcho Punk was the one sub-genre of Punk that emerged in isolation from the rock & roll establishment. During its pioneering days of the early 1980s it thrived in opposition to the music industry, existing as a fiercely underground alternative to the bands, labels and venues of the commercialised mainstream Punk scene. It continues to do so. Anarcho Punk represented one of the last truly underground and autonomous music movements ever witnessed and remains a movement that has never sold out and has never gone away.
The major differentiation between the Anarcho Punk acts and the more traditional Punk outfits was that for the former, albeit often more due to musical limitation than intent, the message was more important than the music. Standard song structures were often dispersed with in favour of a relentless lyrical polemic accompanied by a similarly uncompromising aural assault. As the scene grew, so did the diversity of records that emerged under the Anarcho Punk umbrella: from D & V (drums & vocals) to the proto-EBM synth-pop of Belfast’s one-man Hit Parade and the Dadaist Beefheart hybrid of The Cravats. In later days the two biggest acts of the scene, Flux of Pink Indians and Crass themselves, both released LPs which had more in common with improv Jazz than hardcore punk.
The resounding victory of Anarcho Punk is that it is now a the unifying soundtrack to a culture of resistance that spans Scotland to Indonesia and remains without compromise. It is still as removed from mainstream music and oppositional to conventional culture as it was over forty years ago and shows no sign of changing. Quite the opposite: the more popular Anarcho Punk becomes the less it has to engage with the music establishment and the more control it can enjoy. In 2023, that message remains as uncompromising as ever.
This is a double vinyl retrospective compilation of some of the most radical music ever made, a musical force that changed lives. Covering the years 1979 - 86 and including classic tracks from Crass, Poison Girls, Flux Of Pink Indians, The Mob, Zounds, Annie Anxiety, The Ex, ATV plus 10 more, all newly remastered by iconic Punk mastering engineer Daniel Husayn. It has been lovingly compiled by JD Twitch and Anarcho legend Chris Low and was ten years in the making. There are also a couple of previously unreleased mixes included. It comes as a high quality double vinyl pressing, and has a full colour sleeve with back and front images designed by the legendary Gee Vaucher. It also comes with a 6 page fold out poster on one side with detailed sleeve notes, recollections and essays on the other side.
The compilation is a fundraiser for Faslane Peace Camp. Not so far from Glasgow Faslane Naval Base is home to Britain's abhorrent Trident nuclear missiles. The camp has been there, protesting since 1982 and is still active to this day. We hope in our lifetime we will see those missiles leave Scottish soil. We have so much respect for those who have dedicated their lives to protesting these weapons and it seemed an obvious choice that the proceeds from this release should go to help them, and the Scottish Campaign for Nuclear Disarmament.
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Otik drops the four-track ‘Xoul Trap EP’ on Will Saul’s Aus Music this May.
Otik, aka Ashley Thomas, has been steadily making himself known as one of the finest exponents of leftfield UK club music since his debut in 2013 through a string of heavy releases on the likes of Midland’s
Intergraded, Martyn’s 3024, and his own Solar Body imprint. Arriving now on Aus Music, the London-based DJ/producer brings a set of atmospheric, breakbeat-laden techno tracks for his first appearance on the label.
‘Xoul Trap’ kicks off the A-side with moody vocal chops, emotive pads, and thunderous kicks combining to form a hair-raising late-night affair. Following is the shuffling ‘Temptress’, which sees sharp and detailed percussion fuse with dusty chords and speaker-rattling subs.
On the flip, ‘Inertia’ begins with a pumping 4/4 pattern as washed-out synths reverberate alongside shining plucks and warm, inviting low end. ‘Unorthodox’ sees shimmering leads swirl around choral samples and UK Funky-tinged drum hits, rounding out yet another standout record from both Otik and Aus Music.
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New album by Los Angeles MC Kid Abstrakt produced by Leo Low
Pass from Amsterdam inspired by the golden era greats like A Tribe
Called Quest, De La Soul or The Pharcyde!
Now here's a funky introduction of how nice Kid Abstrakt is!
The young MC from Los Angeles, CA represents the jazzy 90s rap sound like no one else in 2023. Not only on the Westcoast but internationally. Kid Abstrakt is keeping the legacy of A Tribe Called Quest, De La Soul & The Pharcyde alive and relevant by using it as a source of inspiration to tell his own story.
Kid Abstrakt started out as part of local trio Revolutionary Rhythm before releasing his first album “Daydreaming” in 2017, produced by The Deli from Austin, Texas. With a growing fanbase overseas Kid Abstrakt started working with producers and bands like Cap Kendricks (Germany), Emapea (Poland) and Jazzbois (Hungary).
“Still Dreaming” - his new album for Melting Pot Music - is entirely
produced by Leo Low Pass from Amsterdam. Leo's signature sound of jazzy boom-bap and Lofi beats provides the perfect backdrop for Abs positive and skillful rhymes. One could easily dismiss “Still Dreaming” as a throwback album with a sound that is somehow stuck in the past. Kid Abstrakt’s love for that jazzy boom-bap is all over the place. He even raps about it - with the same passion and humbleness that he raps about his life, his family and the world we are living in today.
That's why we rather call “Still Dreaming” feelgood music that doesn't suck. Feature artists include Vsteeze, Tab One, Kamau, Awon, Rain Bisou and Hvmble. Artwork by Gizem Winter.
For the last 30 years, Medeski Martin & Wood have explored the boundaries of modern
jazz, incorporating hip hop, avant-garde, world music, and electronic funk influences into
their fearless improvisational style. We at Real Gone Music are thrilled to be bringing the key early albums they recorded for the Gramavision label to vinyl for the first
time…pressed at Gotta Groove Records on black wax for optimum sound!
Its title taken from the first
line of “Old Angel Midnight”
by Jack Kerouac (himself a
legendary improviser), 1995’s
Friday Afternoon in the Universe
flings a whole lot at the wall and
just about everything sticks,
with mid-‘70s Miles Davis the
predominant hue in an ever-changing sonic
palette. “Chubb Sub” is a favorite, and was used prominently in the
Get Shorty soundtrack, but even the most abstract numbers groove
and move. First time on vinyl!
Sonor Music Editions presents a previously unknown Italian Library session from the golden era - »Rhythm, and Sound» by the mysterious Mandrassi & Zollinger, backed by I Beati studio band. Mandrassi, alias for Anna Maria Assunta Andreassi, is one of the very first female composers of Library Music in Italy while Zollinger is linked to Sergio Pagano, brother of the famed Italian author, composer and singer Mario Pagano. Originally released in 1973 for the private studio label Ludo Rekord, this album remained in the obscurity for almost 50 years. it’s so rare that only very few hardcore record collectors know it, we even doubt about its existence at all.. so we're now glad to bring it back to life!
A countless breaks galore, filled with outstanding funk grooves and chasing beats. The jam sounds like a missing link between The Fine Machine's »Habitat« and the legendary Arawak »Accadde a..« recordings, with its uptempo rhythms allover and the coolest funky instrumentation played by a mysterious studio group.
Though the trio of John
Medeski, Billy Martin, and
Chris Wood had already
expanded the jazz genre with
their first three records (two
of which we have reissued
here at Real Gone Music),
it was this 1996 album that
really crossed over and won
the ensemble a whole new
legion of listeners in the “jam
band” camp. Recorded in a remote, solar-powered plywood
shack in Hawaii (hence the title), Shack-Man brought the ‘70s
soul-jazz beloved by the band firmly into the ‘90s, propelled
by Medeski’s simultaneously nostalgic yet forward-thinking
excursions on the Hammond B-3. A masterpiece of groove, out
on vinyl for the first time!
Purple & Clear Mix Madison's latest project, I Hope You Can Forgive Me, represents an evolution in her career as she finds ways to improvise and self-produce in the midst of an ever changing global pandemic landscape. I Hope You Can Forgive Me builds upon that next step sonically while exploring themes of love, self preservation, fear, and conjuring. What comes out of this work and Madison's career thus far is a commitment to leave - leave fear and doubt behind in order to make space for what is next to come, all with a sense of style, fun, and invitation to dance through it
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25 Jahre Blutengel! Neue Sounds, aber immer noch der gleiche Typ - Mit dem neuen Album “Un:Sterblich - Our Souls Will Never Die” reflektiert Chris Pohl seine gesamte musikalische Vergangenheit, zeigt aber auch, dass Blutengel sich weiterentwickelt und wandelt. “Un:Sterblich - Our Souls Will Never Die” ist wohl Blutengels bisher persönlichstes Album mit Einblicken in tiefere, dunklere Gefühle der letzten Jahre. Stilistisch hat Chris Pohl einerseits mit Songs wie “King of Blood”, “Can you see me” und “Ohne Wiederkehr” neues gewagt, bleibt dabei aber sich selbst und seinen musikalischen Anfängen mit Liedern wie “Back for Blood”, “Dark History” und “Shine Again” treu. Mit 25 brandneuen Songs und 12 (!!!) Musikvideos zelebrieren Blutengel ihre 25-jährige Erfolgsgeschichte.
The Reverend Horton Heat ain’t
just a person, or a band—it’s a
state of mind. Drawing on such
crazed rockabilly ancestors as
Charlie Feathers, Hasil Adkins,
and The Killer himself, James
(Reverend Horton) Heath and his
long-time bassist Jimbo Wallace
have, over the course of the
last 30-plus years, helped bring
rockabilly kicking and screaming
into the modern age, marrying
punk with rockabilly to create the psychobilly genre.
And, on their 2000 album Spend the Night in the Box—which,
to burnish the “psycho” credentials, was produced by fellow
Texan Paul Leary of Butthole Surfers fame—The Reverend
Horton Heat struck gold (hence our gold vinyl edition!), going
to #2 on the CMJ charts on the strength of such numbers as
“Sue Jack Daniels,” “The Girl in Blue,” and other misbegotten
tales of babes and booze. This is actually a bit of a return to
a classic rockabilly/swing sound, powered by the Rev’s 1954
Gibson ES-175 and the rhythm section of Wallace and drummer
Scott Churilla, but it’s no less (ahem) heated. Vinyl debut
boasting inner sleeve with lyrics!
Giovanni Tommaso is an Italian Jazz bassist and founder and member of the important Italian Jazz Rock ensembles, the Perigeo band.
He composed »Indefinitive Atmosphere« at the end of 1969, recorded it at Rca studios in Rome & released a few months after in 1970 on Sermi label. »Indefinitive Atmosphere« was the first album, he released as a sole composer/artist. The Maestro dug in personal archive for us and finally found a copy of the original master tape containing part of the recordings. Besides the misspelled title »Indefinitive« instead of »Indefinite«, that became part of the legend here, this album was incredibly ahead of his time, with the young Maestro Tommaso playing electric bass and contrabass a in studio ensemble composed of 3/4 elements plus the strings section, with plenty of stunning Jazz-Funk, Jazz-Rock and Free Jazz tracks. The session is also known for including the legendary American Jazz soprano sax Steve Lacy on the track called »Steve"«, where he plays a sax solo.
We entirely restored the full session from the original tapes found, and digitally remastered the sound for a greater sound experience, chasing the original analog source.
The Motions were a Dutch beat explosion group and were founded by Rudy Bennett and Robbie van Leeuwen. The Motions were the first Nederbeat band to achieve chart success and released seven albums in their eight-year career. The 1969 album Electric Baby was the follow-up to the 1967 album Impressions Of Wonderful. This 13-track set includes “Freedom”, “Wedding Of The Hundred Brides”, “Eliza”, and “It's Alright” a.o.
The Supremes A’ Go-Go marked the
group’s first number one pop album. It is
presented here in its rarely heard Mono
mix, which according to many reviews has
more punch and immediacy than the Stereo
version. Various compilations had skimmed
the most familiar songs off of other Supremes’
albums, but the concept behind Supremes A’
Go-Go was to get the group to cover some of
the top hits of other (mostly Motown) acts. As
a result, every song on the album was familiar
in name, and only “You Can’t Hurry Love” was
culled for any hits packages. A number one
album on the pop and R&B charts, Supremes
A’ Go-Go also benefited from the fact that the
album didn’t include any pop standards or
slow ballads, just solid R&B dance numbers. It
was the first LP by an all-female group to reach
number-one on the Billboard 200 album charts
in the United States. The LP contains two of the
Supremes’ top ten Billboard Hot 100 singles:
the #9 hit “Love Is Like an Itching in My Heart”
and the #1 hit “You Can’t Hurry Love”. 180-
gram VIRGIN VINYL LIMITED EDITION.
Released in 1965, Temptin’ Temptations marked
the band’s third album for Motown’s Gordy
subsidiary. It boasted seven chart-hitting
singles, including “Since I Lost My Baby,” “My
Baby,” “Don’t Look Back,” and “Girl (Why You
Wanna Make Me Blue).” Smokey Robinson
produced six of the tracks, while the album
also introduced Ivory Joe Hunter and Mickey
Stevenson’s production work on “Just Another
Lonely Night” and “Born to Love You” and future
producer Norman Whitfield on “The Girl’s Alright
With Me,” “I Gotta Know Now,” and “Everybody
Needs Love.” The LP climbed to #1 in the U.S.
Top R&B Albums chart, while “Since I Lost My
Baby” and “My Baby” both rose to #4 in the
U.S. Billboard R&B Singles chart. The album
features The Temptations’ top formation, with
David Ruffin, Eddie Kendricks, Paul Williams,
Melvin Franklin, and Otis Williams. 180-gram
VIRGIN VINYL LIMITED EDITION
One of Yusef Lateef’s best albums from one of the
finest periods of his esteemed career, the 1964 LP
Live at Pep’s showcases the reedman backed by
trumpeter Richard Williams, pianist Mike Nock,
bassist Ernie Farrow, and drummer James Black.
Taped at a live performance at Pep’s Lounge in
Philadelphia, Pennsylvania, the album was so
successful that a full second LP was culled from
the same sets. The program alternates between
hard bop originals and covers of jazz classics such
as Leonard Feather’s “Twelve Tone Blues” and
an unorthodox version of Ma Rainey’s “See See
Rider”. On “Sister Mamie”, “Number 7”, and “The
Magnolia Triangle”, Lateef moves away from strict
jazz, although he retains his improvisational flair. Live
at Pep’s received the maximum five-star rating on
AllMusic, with critic Ron Wynn stating that: “This was
a pivotal date in Lateef’s career, and those unaware
of it will get a treat with this disc”. 180-gram VIRGIN
VINYL LIMITED GATEFOLD EDITION.
Freitagabend. Das Wochenende ist immer noch eine glänzende Aussicht und die Müdigkeit verwandelt sich plötzlich inin einen energischen Drang, Spaß zu haben, auf Beutezug zu gehen, einfach zu LEBEN. Das ist der Moment, in dem NIGHTHAWKsperfekte Mischung aus klassischem AOR und Weltklasse-Hardrock am besten zur Geltung. Unverblümt, unverblümtund verdammt brillant.
"Prowler", ihr neues Album, hält genau das, was es verspricht: erstklassigenRock'n'Roll.Außerdem hat die Band den richtigen Stammbaum, um das zu liefern, was sie verspricht. Nighthawk begann als einSoloprojekt von Robert Majd (Bassist bei Metalite & Captain Black Beard). Die Idee war einfachSpaß zu haben, Gitarre zu spielen und energiegeladenen Rock'n'Roll zu schreiben. Das Debütalbum enthielt eineverschiedenen Sängern. Nach der Veröffentlichung des ersten Albums im Sommer 2021 verspürte Robert den Drangmehr zu machen.Diesmal sollte der Einsatz höher sein. Er buchte die weltberühmten Abbey Road Studios, eine Bandund eine Sammlung von Songs, die dem Kaliber des Studios entsprechen. Björn Strid (The Night FlightOrchestra, Soilwork & Donna Cannone) übernahm den Gesang, Magnus Ulfstedt (Ginevra) das SchlagzeugSchlagzeug, John Lönnmyr (The Night Flight Orchestra) an den Keyboards und Christan Ek (Captain BlackBeard) am Bass. Neun Eigenkompositionen und zwei Covers (von Kiss und Bruce SpringsteenKlassikern!) wurden in nur zwei Tagen live im Studio aufgenommen.
Alison Goldfrapp has set a towering bar for British synth-pop in the 21st century and she’s only just getting started. The magnetic London-born singer, songwriter and producer’s seven albums with Goldfrapp were fuelled by an unfailing modernity and a sixth sense for sounds that were more timeless than any trend. With the release of her debut solo album The Love Invention—an electrifying dance-pop suite—her multi-faceted musicianship reaches a new peak.
The Love Invention marks Alison’s reawakening as a dancefloor priestess, in an intoxicating showcase of the disco and house influences that have always been at the heart of her musical DNA. “So Hard So Hot” bottles the ephemeral joy of a dancefloor with its anthemic house beat, disco handclaps, and an exquisitely alluring vocal from Alison. The sense of uninhibited liberation courses through album highlights like “In Electric Blue,” a yearning synth-pop confection with a chorus as blissful as love’s first butterflies. On “Never Stop,” she is flooded with the rush of an all-encompassing love over a buoyant, rubberised beat; the sublime synth-pop of “Fever” is an ode to the intoxicating majesty of the dancefloor, with a chorus that explodes as if setting off a glitter cannon.
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Having emerged as a luminary of the Los Angeles Beat Scene, MatthewDavid immersed himself for several years in the rich, neglected, and all-too-often-derided archive of New Age sound/culture, stewarding a kind of New New Age sensibility into being. Mycelium Music constitutes a synthesis of these aesthetics, an alchemical marriage of sorts, in which the digital and the organic, the earthen and the aethereal, the bloom and the rot all collide and coexist. How might the Mycelium sing? Where other sound artists might be tempted to capture the phenomena, reaching for a field recorder, MatthewDavid responds with a succinct, impressionistic, and diaristic suite of “songs” (although, as with the mycelium itself, one cannot easily distinguish where one song/organism ends and another begins). Leaving Records founder Matthewdavid announces his new album Mycelium Music, his first proper full-length since 2018. The first single to be taken from the album 'Liquidity', was created as a direct response to ambient pioneer Laraaji encouraging Matthewdavid to innovate zither music. Beautifully textural, Mycelium Music constitutes an alchemical marriage in which the digital and the organic, the earthen and the aethereal, the bloom and the rot all collide and coexist. The record is a product of serious contemplation on the meaning, the problems, and the promises of interdependence.
"A Place For Love" is a captivating electronic house music endeavor, expertly crafted by the synergistic partnership of San Proper and Figi, hailing from the vibrant city of Amsterdam. The project boasts an impressive roster of guest contributors, including Tom Trago, Seth Troxler, and the esteemed label heads of Guti & David Gtronic, each imbuing the compositions with their signature style. The project exudes a funky, charming, and inviting energy, inviting listeners to fully embrace their individuality and lose themselves in the hypnotic beats. Whether it be the electrifying dubby techno, the shimmering and ethereal twists, or the razor-sharp edges injected into the club-ready tracks, "A Place For Love" offers a diverse array of auditory delights. It is truly a sanctuary for those seeking to indulge in the boundless beauty of electronic music and the euphoria of self-
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Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, due for release on March 4 2022 via Soulwax’s iconic label DEEWEE.
Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.
Their debut studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent.
Beyond the album’s thematic heft, Topical Dancer reflects Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”
Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their new single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.”
‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.”
On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”
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Dynamite Cuts begibt sich in den erstaunlichen Sound und die Welt der Library Music. Musik, die ein Gefühl oder Modus in einer einzigen Note oder Groove einfangen kann. Die 4-Track-Auswahl stammt aus der 'Sound Music' Albenreihe der Deutschen Bibliothek, deren Originale heute zu dreistelligen Summen gehandelt werden.
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