Search:nature

A legendary indie audio artist blurring his lifelong attachments, from spontaneous composition (in the late 70's with John Zorn) to experimental rock (with Bongwater and other bands in the 80's) alongside his recent inquiries into the intricacies of ambient-folk songcraft (with his most recent solo LP, "And The Wind Blew It All Away"), Kramer continues to explore the possibilities of shaping naturally occuring aural landscapes into intoxicatingly affecting music. Sound and language - not just melody and ambient textures - has been his raw material for decades. He nowjuggles them more deftly than ever on his newest ambient opus. In the ten compositions that comprise this new LP, mournful at times yet mysteriouslylife-affirming and generous in their scope, Kramer sees films where there arenone, and composes his accompanying ambient soundtracks in a state of interrupted grace. Words, text, complete screenplays, character arcs, shooting scripts and storyboards swirl through his head as he puts his imagery to sound, and the results evoke a world in which moths, drawn to the bright flickering lightsof Cinema and the low humming lights of Dreams, in Kramer's own words, "...might never die". The LP's nature reveals an interior dialogue between musician and choice. Each piece represents Kramer's encounter with the blank canvas of silence that greets him as a composer. Embracing sounds as objects and instruments of Truth, the end result of his process is as much about what is absent and what has been removed or edited away than what is left in its wake as artifacts of emotion. These pieces are the Spring frost of lost imaginings, vanitas to broken connections, visions nearly unrecordable by the human eye. Kramer envisions a music that functions to stoptime, as an event that always plays in the present and never needs a past to give it a reference point. It is music that communicates in the most intimate way possible, as intricately and as deeply as the way it blossoms and shifts and evades categorizationwhen exposed to thin air. Drawn toward the light of a multitude of influences, we hear echoes of the feverishly frozen dreams of composers Morton Feldman, Terry Riley, Brian Eno and Arvo Part, melting alongside the surreal cinemas of David Lynch and The Brothers Quay, all parts converging to evoke a time and place that does not exist outside of the mind's eye of the listener. These ten works are fluid adventures in fathomless landscapes, emotions distilled and offered as a paintless painting without a physical home. Each individual composition is an offering to a future memory, a chalice to be filled with the listener's own reactions to them. As a whole, the ten pieces form an image of ten circling planets in an expanding galaxy that colors itself anew with each subsequent listen. Movement, grace, and Peace.

Beauty School are an emo-infused alt rock band from Leeds signed to independent rock label Slam Dunk Records (ran by the same team behind the UK’s largest independent rock festival – Slam Dunk Festival) The band sold out their debut headline show at Leeds’ rock venue The Key Club in August 2021 (400 capacity) Beauty School have been confirmed to play Slam Dunk Festival 2022 and will be on the first festival announcement in November, alongside Alexisonfire, Rancid and The Story So Far. Their debut singles and album ‘Happiness’ have all been recorded and produced by James Kenosha (Dinosaur Pile-Up / Pulled Apart By Horses)

The 40th Anniversary Edition of Fairytales is the final of many incarnations of singer Radka Toneff and pianist Steve Dobrogosz’s jewel of a duo album. In the course of the 40 years that have passed since its release – on LP in 1982, CD in 1986 – Fairytales has sold well over 100 000 units, making it the top-selling Norwegian jazz record ever, and was also voted Norway’s best album of all time in a poll of Norwegian musicians in 2011. For four decades the sometimes delicate and sometimes robust melodic intimacy between the singer and the pianist, and the fragile strength with which they imparted their lyrics and music, has cast a spell on listeners from all music scenes. Constantly new generations are enthralled by the 41 auditorily minimalist but eloquently narrative minutes, and this final version, with improved sound quality, brings us closer to the magic of the Toneff/Dobrogosz duo than ever before. Fairytales had a solemn epilogue when Radka died under tragic circumstances a few weeks after the album was released and had begun to go from strength to strength. In retrospect, though, it is not the memory of the loss of an incomparable singer, but rather the content of what Radka accomplished together with her American duo partner that keeps Fairytales alive. “It’s not just the sound itself, but it’s also about how Radka sings, about the sensitivity in her voice,” Steve Dobrogosz has said. The pianist describes Radka as a superb, forthright and genuine interpreter who was “at her best” with Fairytales, and he rejects any implication that she sounds especially lonely or depressed, or that the album can be construed as part of any autobiographical timetable. The sum of singer Radka Toneff was, naturally, more than the parts she was able to display on Fairytales. But when practically all subsequent singers in Norway, from Sidsel Endresen up to the young talents of today, get a warmth in their voices and eyes when they talk about Radka as an artistic ideal and a source of inspiration, it is not least because they heard Fairytales at some point, and were sold. The fact that the album has also been the impetus for an interest in Radka that has produced posthumous records, books, radio documentaries and countless articles only confirms the strong position the album still occupies in the Norwegian music scene, a position that this 40th Anniversary Edition will further reinforce. Terje Mosnes, January 2022 01 The Moon Is A Harsh Mistres (Jimmy Webb) 02 Come Down In Time (Elton John/Bennie Taupin) 03 Lost In The Stars (Kurt Weill/Maxwell Anderson) 04 Mystery Man (Steve Dobrogosz/Fran Landesman) 05 My Funny Valentine (Richard Rodgers/Lorenz Hart) 06 Nature Boy (Eden Ahbez) 07 Long Daddy Green (Blossom Dearie/Dave Frishberg) 08 Wasted (Radka Toneff/Fran Landesman) 09 Before Love Went Out Of Style (Dudley Moore/Fran Landesman) 10 I Read My Sentence (Steve Dobrogosz/Emily Dickinson)

823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (846k monthly listeners on Spotify). With an ethos of attention to detail and appreciation for the everyday things in life, 823 doesn’t stick to any particular genre. 823’s releases include Cabu’s (800k Monthly Listeners on Spotify) “So Far To Go” EP, Ta-ku and matt mcwaters’s duo project “Black and White,” which featured Masego collaboration “Flight 99” (14 million streams on Spotify), their debut release with Australian producer and instrumentalist Kuzich, and multiple sold out clothing capsules. “All Things Considered Vol. 1” set off a collaborative series of curated compilations, featuring both budding and well-established artists around the world including Idealism, Wun Two, pastels, SwuM, Jinsang, Saltyyyy V, and more. “All Things Considered Vol. 2” sees the continuation of this project, this time in partnership with fellow Perth-based powerhouse, Butter Goods.

Butter Goods is a Perth clothing brand rooted in skating culture and style, but drawing inspiration from hip-hop, jazz, and music at large. Butter Goods has been featured in major publications, including GQ, Complex, and HYPEBEAST. They’ve collaborated on releases with Peanuts and Puma, and have reached international levels of popularity. Butter Goods co-founder Garth Mariano’s deep love for and eclectic tastes in music drive his creativity, and are front and center in his partnership with Ta-ku and 823 on “All Things Considered Vol 2,” where the two team up to curate a wide-ranging compilation.

Arriving on September 2nd, 2022, “All Things Considered Vol. 2” is an exploration of Ta-ku’s and Mariano’s extensive and often overlapping musical palettes in two parts. The record pays homage to the love of instrumental music and hidden gems of new school jazz and funk that act as a source of inspiration and nostalgia for the both of them. The collaboration brings together over a dozen producers and instrumentalists from Sydney to Chicago, including Jadu Jadu, Gnarly, Tenderlonius, silentjay, and more. Side A is curated by Ta-ku and 823. It’s as much a love letter to the past as it is a nod to the future of beat-making. Featuring sample heavy, drum looped beats, sprinkled with the occasional ear candy for the attentive listener, it presents cruisy soundscapes & easy listening. Side B is curated by Garth and Butter Goods. It’s a raw and eclectic companion to Side A, leaning heavily into the texture and grit of multi-layered jazz and funk-driven beats.

As with any 823 release, the project is as visual as it is sonic. The artwork and visualizers are a celebration of Garth’s love of thrift culture and old nature documentaries, fused with 823’s design aesthetic of bringing everyday inspirations to the forefront. CRT style visuals are paired with 90’s spin, slide and fade away transitions. When partnered with the music, each visualizer could easily work as the intro for an episode of a VHS series of nature docos.

1st single, “senzu bean,” arrives on July 7th and kicks off Side A, showcasing Ta-ku’s hip-hop-centric tastes. Sydney producer Jadu Jadu teams up with UK-based TAMBALA, apltn, and Makzo for a vibrant instrumental. From a head-nodding bassline beneath fuzzy synths, to soft horn licks sprinkled over electronic drums, “senzu bean” is sonically rich and multilayered.

2nd single, “Too Much” by UK producer saaaz arrives July 20th. It’s a moody and low-tempo beat that builds itself up over time, complete with cryptic vocal samples and syrupy drums and bass. Also off of 823’s Side A, “Too Much” maintains a laid-back hip-hop theme but with saaaz’s signature and definitive lo-fi twist.

3rd single, “Goodmorning” from Baro Sura and silentjay of Melbourne arrives August 3rd, kicking off Butter Good’s Side B. The track is bright from start to finish and is a sun-filled track perfect for closing out the summer with. Final single, “Fool’s Gold” by Los Angeles producer L.Dre arrives August 17th. The infinitely creative beatmaker layers soft hums and the sounds of crashing waves over crisp drums and an infectious bassline. Together, it makes for a beat that sounds like it was made outside, under the sun, and is best enjoyed in the same way.

Focus track, “Seventh Wonder” by Tenderlonius, comes off of Side B, and is a window into the ideas and palettes on both sides of the compilation. The beat slowly fades in, one sound at a time, until it reaches a full-fledged groove, soaked in synths, bass, and horns, that’s impossible not to move to.

On the whole, “All Things Considered Vol. 2” is a forward-focused, sonic journey into the minds behind two of today’s great creative brands, and is as artistically eclectic and varied as those minds are, and a proud follow-up to its first volume.

LP contains A2 poster on uncoated stock.

Following the release of Netflix's inspiring documentary short 'Hold Your Breath: The Ice Dive', Galya Bisengalieva presents her official soundtrack. To accompany the gruelling journey of freediver Johanna Nordblad as she tries to break the world record for distance travelled under ice with one breath, Galya has crafted an expert ambient narration that highlights the rising intensity toward the films looming climax. She uses warped solo violin techniques and electronically manipulated strings to produce compelling and emotive compositions that induce complete submersion. Aiding in the use of the dive to make comment on both global warming and the pandemic, the soundtrack commands attention while giving the characters their own space to breathe. Galya explains; "Composing music to Joanna's story was a completely new challenge. Until now my writing has been based on more abstract concepts but now I had the opportunity to engage closely in a clearly defined journey of an individual. A story of the freediver and her attempt to break the world record (men's and women's) for distance travelled under the ice, no fins, no wetsuit, on a single breath. What Joanna achieved is truly inspiring and incredibly brave. It would have been extremely easy for me to focus on the jeopardy of her record attempt. However, the story that is being told is her love of the cold water, her sister, family, and the nature she communes with every day. My music needed to reflect the personality of an extremely determined and loving woman. In order to achieve this, I used the violin as her voice, high harmonic soaring melodies. This I juxtaposed against layers of low warped drone and nature sounds, using field recordings of underwater, cutting of the ice for the dive and the howling wind in extreme weather conditions in Finland. The music hints at danger and the power of nature but always comes back to Joanna's intimacy with the icy water."

Originaire de Mongolie, The HU ne ressemble à aucun autre groupe de rock dans le monde. Depuis leur sortie, le groupe s'est hissé à la première place du Billboard World Albums Chart, à la première place du Top New Artist Albums, et au Top 5 mondial du Hard Rock Music Album Chart. Ils ont effectué de nombreuses tournées dans le monde avec des spectacles à guichets fermés en Europe, au Royaume-Uni et aux États-Unis. Après le succès de l'album The Gereg, qui a non seulement débuté à la première place, mais dont les succès rock viraux «Wolf Totem» et «Yuve Yuve Yu» ont atteint le Top 10 des radios rock. The Hu sont de retour avec un nouvel album, Rumble of Thunder. Cet album relie le monde à la culture mongole et à ses valeurs fondamentales uniques de préservation de la nature et de connexion spirituelle avec la terre.

The fifth full-length studio album from Vermont quartet Twiddle, Every Last Leaf is a bold exploration of the cyclical nature of life.

Propelled by constant evolution in its 18 years touring, the band —Mihali Savoulidis vocals, guitar, Ryan Dempsey keys, organ, synth, Brook Jordan [drums], and Zdenek Gubb [bass], welcomes a musical rebirth, leaning heavily on enigmatically stoic songwriting in lieu of the affably saccharine. Longtime listeners can expect an elevated presentation of Twiddle’s trademark sound, delicately orbiting the worlds of funk, jazz, rock, reggae, and bluegrass.

“Every Last Leaf is a metaphor for life,” Mihali explains. “When a leaf falls to the ground, something will grow from it. Everything is part of this grand circle. In the music, we’re exploring all of life’s sides—from the sad and angry to the proud and happy.”

In the end, Twiddle have creatively found their way on Every Last Leaf.

“When you listen to this, I hope you experience the beauty we did,” Mihali leaves off. “If you feel anything at all, mission accomplished. There are a lot of moments on this album that tie up the elements of life. It’s real.”

After 11 years of existence, Gratitude Trio releases on September 2nd, 2022 its 4th album " Birth" on the remarkable Belgian label W.E.R.F. RECORDS in partnership with Mercury and Collectif Koa from Montpellier, France.

Protagonists Jeroen Van Herzeele (sax, analog synths), Alfred Vilayleck (electric bass, fx) and Louis Favre (drums, fx) worked for more than a year on this new album, continuing to develop the musical framework of the previous album: a blend of sensitivity and groove, contemplative vocals and raging solos.

Mixing acoustic and electronic sounds, the compositions of reflecting realities that inhabit them: to let oneself be touched by the beauty and the dark sides of life, to be amazed by nature, to accept what we cannot change, to create bonds, to commit ourselves to fulfill ourselves.

Music that is both sophisticated and organic, with an energy and boldness that characterize them.

Gratitude Trio is a Belgian/French band based in Brussels known for their strength and sensitivity that open people's hearts. The music of this power trio is tinged with spacy sounds, African rhythms, sexy grooves, endless trances, sensitive ballads, crazy free jazz, and a large dose of unpredictability. Gratitude exists since 2010 and has performed in prestigious venues in Europe. Their two first albums «Gratitude» and «alive» released in 2012 and 2015 under the label El Negocito Records have been very well received by the critics and the enthusiastic audience. The 3rd album «Gratitude III» was released in April 2018: new sound, new approach, but same soul. Gratitude Trio impressed! Indeed, voices and EWI (Electronic Wind Instrument) enrich the sound palette while the musicians have developed a new way to create together.

The brand new 4th album "Birth" is an absolute masterpiece, a synthesis of a decade of adventurous musical explorations.

A partner album to the previous Miles release "Decoy," this album released in 1985 is also produced by Miles and loaded with the synths of Robert Irving. This LP has some surprising new looks at pop tunes by Micheal Jackson and Cyndi Lauper and also features the return of John McLaughlin on guitar, and a guest performance from Sting. This is the final installment of the prolific and brilliant collaboration between Miles and Columbia Records. Also featured on this album are Al Foster, Kenny Garret, and Daryl Jones.

Limited edition 300 copies. Sababa 5’s debut single features the talented Japanese singer and belly dancer Yurika. The two songs - Crossroad of Love (Ai no Kousaten) and Blue Universe (Aoi Sekai) – blend Yurika's dreamy vocals and texts with the band's 70's sensibility and Israeli soul music. As the band plays a mediterranean groove of both Israeli and Arabic origins, Yurika's Japanese lyrics float effortlessly on top. Sababa 5 and Yurika met in the summer of 2017, when Yurika was in Israel for an internship at the Orly Portal Dance Company. Yurika, performing at the time as a belly dancer with Boom Pam and Ouzo Bazooka, wrote lyrics in Japanese for two melodies composed by Sababa 5 guitarist Ilan Smilan. Both songs on the single are love songs, love that is both personal and universal. The combination of lyrics in Japanese, Yurika's gossamer vocals influenced by the Kayokyoku style and the Israeli sound of Sababa 5 creates a unique and interesting sound. Yurika (vocals), Ilan Smilan (guitar), Amir Sadot (bass) In the recording Lior Romano (keyboards) and Assan (drums).

ABOUT SABABA 5 Sababa 5 was formed in 2016 by Amir Sadot and Ilan Smilan, both members of TIGRIS band and the Hoodna Orchestra. The four members of Sababa 5 are already well known for their work with some of Tel Aviv's top artists/vocalists such as Gili Yalo, Liraz Cherchi, Sari and Reno, Ester Rada and Kutiman - to name but a few. With influences that range from Wrecking Crew and The Funk Brothers recordings from the 60's, to analog Middle Eastern music from the 70's, the sound of the band constantly evolves around different genres and rhythms. Yet, in its core, Sababa 5 remains very much a groove-centric band. The main source of inspiration for the band are "lehakot ketzev" (beat groups) from Israel that played innovative combinations of psychedelic rock mixed with Mediterranean Arab music during the 60’s and 70's. The fusion of East and West, along with the new spirit brought by the band members, creates a unique mix of styles that comes together into a new and original work. The band is currently working on a new instrumental album alongside the production of new songs for local singers. ABOUT YURIKA Born in the Chiba district on the eastern outskirts of Tokyo, Yurika began her journey towards belly dancing at the tender age of five, taking up lessons in jazz dance. After high-school, she applied for belly dancing lessons almost by chance - yet as she quickly fell in love with the music and the nature of the movements, Yurika knew this is what she was meant to do. Before long, Yurika began traveling around the Middle East, learning belly dancing in different cities and countries like Egypt, Morocco and Turkey. Whilst in Turkey, she met the famous Istanbul-New York based female darbuka player Raquy Danziger - who later invited her to perform in Israel. Once in Israel, Yurika began studying with Orly Portal, a master of contemporary folklore dance. After finishing her studies with Orly, Yurika remained in Tel Aviv and joined bands like Boom Pam and Ouzo Bazooka as a dancer. In her work with Sababa 5, Yurika is featured as a vocalist for the first time.

Since his introduction in the 60’s, Roger Damawuzan has lit stages on fire, whether it be with The Rickers Orchestra or with The Melo-Togo Orchestra (taking home 2nd place for the first National Festival of Tologese Music). His first 7" vinyl Wait For Me is a holy grail for diggers all around the world. It was such a hit that Togolese music is and will forever be stamped by Roger Damawuzan. He was principal in introducing Gazo, Akpesse and Kamou rhythms to modern day soul music. Relentless and unstoppable, Roger Damawuzan is now making a comeback with a heavy funk 7 inch!

This release contains an unreleased single from the album Seda , which will be available on October 14th 2022. Such a force of nature, this album could have been only captured, if not mastered, by one studio. Such mission was accomplished by the legendary studio OTODI (Office Togolese of Disks) by utilizing solely analog equipment to translate and to breath all of Damawuzan’s soul into this album. Roger Damawuzan could have been supported by only one group. Led by Peter Solo, the members of the Vaudou Game and Lomé’s most talented musicians are at Damawuzan’s disposal for this new soul DJ friendly vinyl.

Alexandra Sauser-Monnig and Amelia Meath have been yodeling together for upwards of fifteen years – in the backseat of a Prius while on their first cross-country tour, on back porches and backstages. It’s what led them to Fruit, their debut release as The A’s – a joyous ten-song collection spanning genre and decades, with interpretations of traditionals, lullabies, and an original song, it weaves between the weird and the wonderful. “Why I’m Grieving,” originally recorded by the DeZurik Sisters, was the inspiration for the A’s existence. The A’s reach into the past to hold hands with the DeZurik Sisters, two farm girls from rural Minnesota who taught themselves to yodel amongst all their animals, in a continuing celebration of the tradition of folk eccentricity and whimsy. The A’s played their first show together in 2013 after Sauser-Monnig first moved to North Carolina, where Meath had been living at the time, but it wasn’t until summer 2021 that they thought seriously about making Fruit. They decamped to Sylvan Esso’s Chapel Hill studio, Betty’s, for two weeks in the midst of a balmy and blooming Carolinian summer. They rehearsed during the day, deconstructing yodeling parts phonetically and staring absurdly into each other’s eyes as they practiced tongue twisting harmonies - and recorded in the nighttime, candles lit, a flickering glow against the windows framing the violet twilight outside. “There was a lot of giggling during the session,” Sauser-Monnig explains. “At one point I was getting a tangle out of my hair and was like, oh, my God, that sounds really cool – the sound of my hands in my hair. And then I thought, what if we recorded hair for a percussion track? And then it just sort of snowballed.” Across the record, the A’s employ a bizarre-o ghost orchestra of strange noises that are percussive and melodic. The credits include nylon shorts, string (singular), hair, shoes, ice chunk, gravel, frog sample, and shoelace, among other unexpected makeshift instrumentation. The backing band is built out by a more traditional group of players: saxophone from Sam Gendel on “Copper Kettle,” backing vocals from Jenn Wasner (Flock of Dimes, Wye Oak) on “When I Die,” string arrangements from Gabriel Kahane on “He Needs Me,” and more. Fruit is made up simply of songs the A’s love to sing – there are lullabies and love songs; “He Needs Me,” written by Harry Nilsson and first released by Shelley Duvall in the 1980 Popeye film; traditional ballads like “Swing and Turn Jubilee,” “Copper Kettle” and closer “Buckeye Jim,” a multiplying song about frogs and nature. The sole original track to appear on the album is the penultimate “When I Die,” written by Meath. It contains both wishes and instructions for the celebration of her death, a low synth bubbling beneath Sauser-Monnig and Meath’s voices. It’s a collection of ten seemingly incongruous songs, but with the throughline of Sauser-Monnig and Meath’s vocals and sense of humor working in tandem, they fit together into a cosmic yodeling-folk masterpiece. Fruit feels like blowing the dust off a precious artifact of decades past, but also winking and modern. Sauser-Monnig sums up their ethos on the project succinctly: “If it doesn’t make you cackle or cry, it doesn’t belong.”

In many ways Kumoyo Island represents the culmination of a journey for Kikagaku Moyo. While their decade-long career can be summarized as a series of kaleidoscopic explorations through lands and dimensions far and near, there's a strong intention in each of their works to take the listener to a particular place, however real or abstract they may be. In that sense, the title and cover art for the band's fifth and final album draws you into a magical mass of land surrounded by water-but the couch suggests that Kumoyo Island may not be a fleeting stop, but rather a place of respite, where one could pause and take it all in. Reconvening at Tsubame Studios in Asakusabashi, Tokyo, where their earliest material had been recorded, the five members of Kikagaku Moyo found new inspiration in a familiar and comfortable environment. With their adopted homebase of Amsterdam under lockdown and their touring activities halted due to the pandemic, the band felt a renewed sense of freedom being back in shitamachi, or the old downtown area of their hometown. With unrestricted time in the studio, they began to build upon the demos and song fragments they'd amassed since their last tour. In the 1.5 months spent in Tokyo, everything started to come together. "Monaka", its name taken from a type of Japanese wafer sweets, takes melodic inspiration from traditional minyo folk styles, while "Yayoi Iyayoi" is a rare instance of the band singing in their native tongue, its evocative lyrics utilizing archaic words taken from old poetry and nature books found in one of the many secondhand bookstores of Tokyo. For "Meu Mar", an Erasmos Carlos cover, the original Portuguese lyrics were translated into English, then to Japanese. Strangely enough, the words seem to conjure an image of the protagonist floating among the clouds, looking down upon Tokyo Bay. In fact, it may be possible to draw a parallel between the topography of the band's home country-an island nation, surrounded by bodies of water-and the mysterious isle of Kumoyo. Are they one and the same? Has the band finally made it back home? It's up to the listener to decide.

'No Sub Reino dos Metazoários' is the first and only record by musician and poet Marconi Notaro, out of Pernambuco, Brazil. Originally released independently, however, with the support and distribution of Rozenblit, the 1973 album featuring Lula Cortes, Zé Ramalho and Robertinho de Recife is part of the holy trilogy of "Psicodelia Nordestina" amongst the equally mindblowing Paebiru (1975) and Satwa (1973). For its non-comercial a raw aesthetics, the record became a true rarity among collectors worldwide and one of the most important albums of Brazilian Psychedelia. For years it was known that the master tape of 'No Sub Reino dos Metazoários' had been lost during two floods that wrecked the Rozenblit Studios. Lots of equipment were damaged and plenty of material gone. However what no one expected was that the tapes were kept on the highest shelves in the studio where the water did not reach with the thought of "equipment can be replaced, master tapes are unique". Notaro's daughters inherited and rescued the tape and made it available so that Fatiado Discos could release the first and remastered version from the original tapes since 1973. The lysergic highest moments come with nature elements textures as water and wind mixing together with the unmistaken sound of the Tricórdio Acústico - which is a very unique instrument that Lula Côrtes brought himself from India and then adapted it with the help of a local luthier to the regional sound of the Brazilian northeast. The gatefold designed by Lula Côrtes is portrayed in this release and it also has its inner side designed by Cátia Mezel, apart from an extra insert with unpublished photos of Marconi provided by the musician's family.

Stemming from a great legacy of poetry, Quintal de Clorofila was a duo from the south of Brazil composed by two musician brothers, Dimitri and Negendre Arbo, who turned their dad's poetry into music. In the album O Mistério dos Quintais, the two brothers presented a Brazilian Hippie Folk full of psychedelic touches a times with flanger effects, reverb and synthesizers, a times totally raw with medieval melodies, flutes and strings. The record goes with the original artwork, insert with lyrics plus unreleased photos including the one of the debut album O Mistério dos Quintais featuring the bird (a canary) that sang on stage with its own microphone. O Mistério dos Quintais was released originally in 1983 via a some sort of crowdfunding, before the term itself and even the existence of internet. Supporters who invested in the project had their names in the acknowledgements on the first edition insert. Given the fact that it was released independently, the purity and innocence of the Arbo brothers came to light and set them free to grace the listeners with sounds of nature, mysticism, influences from the Peru Andes and even some madness such as taking the family's bird (that was used to singing along with the brothers at their rehearsals at home) to then record in the studio. When the record was ready, the band realized that the record RPM was wrong. The songs were a bit faster, slightly 1/2 a pitch higher. However, it was too late, nothing else could've been done. Because they were a small band, the manufacturing plant refused to repress the records and they had to endure this. Almost 40 years later, Fatiado Discos present the first version of O Mistério dos Quintais in its original rotation speed, the right one.

Frankfurt - Mumbai, Loops und Ragas, Elektronik, Jazz und eine Prise Krautrock. Ragawerk spannen neue Saiten zwischen Europa und dem indischen Subkontinent - und bespielen sie virtuos. Das neue Projekt von Max Clouth und Martin Standke entwickelt treibende Grooves, kosmische Klangpanoramen und tiefgründige Meditationen. Fluide Sounds treffen auf kantige Beats, raumöffnende Gitarrenklänge schweben über den elektronischen Schraffuren eines Modular-Synthesizers. Indische und westliche Klangelemente verschmelzen zu einer einzigartigen Fusion. Die Wurzeln der Band im Jazz bleiben dabei unverkennbar. Aus indischen Ragas und europäisch geprägtem Jazzhandwerk wird Ragawerk. So heißt auch schlicht und einfach das Debütalbum.

Shen is a quartet from Tel Aviv, constantly switching between genres while searching for truth and patience in the process.
After dealing with urban experiences on their first album back in 2018, Shen has matured and started to explore the power of nature and the dimension of time with their latest offering, recorded at Kibbutz HaOgen, which is located on a kibbutz near Kfar Yona, far from the big cities of Jerusalem and Tel Aviv.

Polifonic Records is the melodic balance between antagonistic vibrations, spirits and energies that inhabit the land of Puglia since the dawn of time.

An harmonic exploration into colorful, vibrant sunrise atmospheres and emotional, introspective sunset sensations. One Body. Many Souls.

PF004 // The fourth vinyl of Polifonic Records label brings together artists from different cultures and ethnicities to create a seamless blend of sounds with diverse influences. Encompassing genres like house, Balearic beat, and acid, harmonized through ambient arrangements and 4-tothe-floor rhythm patterns to chill and groove to, this record is a material embodiment of the multicultural and polyhedric approach that Polifonic adopts throughout the multiple extensions of our projects.

The first track “Generations of Sunsets” by Lipelis joining with Andy Butler from Hercules and Love Affairs, vividly illustrates the extent of their sonic palette: a journey that runs through a Balearic groove - also with the use of guitar - and expands the mind to exotic places keeping the body moving with its acid touch.

Italian 90’s riviera house meets percussions and ethnic grooves in the born new track from the Milano duo Eternal Love. “Kuasi Riviera” reflects perfectly the nature of Polifonic between clubby atmospheres and connection with the wild world.

Then comes the darker side with Yu Su, who switches it up with new diversions in tempo and rhythm throughout “Oil” with a blend of deep basslines and obscure soundscapes contributing to this journey through space and time.

Benedek’s “Desperado” doesn’t shy away from deep diving right back to the 90s Italian house overlapping bold soundscapes through the lens of a contemporary producer. Distinctive,
immersive, and dauntless.

Brewing another supremely heavy release on the horizon, Moonshine Recordings is stealing the spotlight once again. Proudly presenting Violinbwoy's first solo album, unadulterated sound system pressure at its finest. Slavic chants and drum rhythms meet the unrivalled power of Violinbwoy's eccentric take on modern bass music 'Fyetisov' kicks off the stellar 3x12' release with a high-powered Stepper emission. Setting the tone with a rumbling bassline and supremely energetic lead instrumentation, full force sound system music down to its core. Shining in a different light, 'Moonspell' reveals its melancholic nature - gradually intensifying through otherworldly percussion and anthemic vocal sample placements. Stripped down to its bare bones, 'Dubplate' unleashes its detuned, percussive shackles for a massive onslaught of four-to-the-floor, while keeping true to Jamaica's music roots. Warbling tape echo spheres and excellence in emotive expression Violinbwoy's collaboration with singer Marina P turns out to be an anthem by itself enthralling, whoever gets caught into the midst of this hymn of a track. Not backing down one step from the established level of quality, 'Sound System' featuring Junior Dread excels once more in a crystal-clear demonstration of modern roots music - mandatory repeat listening. Rejoicing in simplicity, 'Rig Alert' holds true to what the name suggests - cinematic bass meditation, fluidly scaling with the size of its speaker counterpart. Moving on to Dan's vocal skills in 'Wanted': Rastafarian wisdom chanting along a skanking rhythm and orchestral atmosphere. Ethereal bells being submerged in moving air and scattered white noise, 'Run & Hide' demonstrates a more experimental side within the LP - exhibiting Downtempo/Ambient inclinations in a magnificent combination with Dub characteristics, only increasing in energy to the call of the dub siren. Ready for more, the title track 'død' captures us within the expressive, introductory playing of the violin, deserting it for echoes and sub oscillations alike. Calling upon the prowess of Rider Shafique, his harmonic toasting is being escorted by a forward-minded halftime groove in 'Find The Way'. Topping the LP off with Sis' excellence in telling a story through song on a hypnotic instrumental. The nature of last tunes is often powerful, serving to concede with an explosion, appropriate of the session - as is the case with 'Surfacing' closing off the monumental EP with visceral lead movements, setting the tone alongside driving drums and one more murderous bassline, sure of receiving countless rewinds in the near future. Encompassing a plethora of current Roots- Dub- and Steppa- influenced styles, Moonshine's next LP installment is sure to be received for what it is: a definitive, quality expedition of what's firing up dance floors around the globe.

Rose City Band is celebrated guitarist Ripley Johnson. A prolific songwriter, Johnson started Rose City Band to have an outlet to explore songwriting styles apart from Wooden Shjips and Moon Duo, where he is often not the lead songwriter. Rose City Band allowed him to follow his musical muses as they greet him and not be bound by the schedule of bandmates and demands of a touring group. Stepping out from behind the psychedelic haze that envelops his other output, Rose City Band"s lean yet richly textured arrangements lay bare the beauty of his songcraft. On Earth Trip, Johnson reveals more of himself than ever before, coloring the project"s country-rock twang with a melancholic, wistful undertone. It charts a journey of personal growth and introspection with surprising honesty, from pining for summers spent with friends to meditations on space, stillness and the splendor of the natural world. It continues Rose City Band"s celebration of summer warmth and the great outdoors, seen from a new vantage point, and with newfound appreciation for the freedom and joy that nature provides. Earth Trip was written during a period of sudden shocks and drastic lifestyle changes for Johnson. Forced to cancel extensive touring plans for 2020, the guitarist found himself home for an extended period for the first time in years. No longer in constant motion, he was able to experience and enjoy the simple pleasures of home life, of being in one place: hikes in nature, bathing outside, and waking with the dawn. Forming new connections to his surroundings, from tending to a garden to sleeping out under the stars, Johnson found hope and healing in a more mindful relationship with the natural world. Themes of recalibration and finding personal space are equally mirrored in Earth Trip"s lean production. Recorded at his home studio in Portland and mixed by Cooper Crain (Bitchin" Bajas, Cave), Johnson makes deft use of space while experimenting with new sonics. Shimmering pedal steel, woozy harmonica melodies, and stately piano enhance the album"s introspective tone without ever clouding arrangements. Psychedelic elements that nod to Johnson"s other projects and influences still appear throughout, but hover at the edge of perception, a subtle halo adding colour and texture to Johnson"s songwriting rather than taking centrer-stage. He elaborates: "I told Cooper I was trying to capture that feeling when you take psychedelics and they just start coming on - maybe objects start buzzing in the edges of your vision, you start seeing slight trails, maybe the characteristics of sound change subtly. But you"re not fully tripping yet. He got the idea right away and his mix really captures that feeling." Johnson"s lithe guitar playing throughout treads a fine line between country and cosmic, taut melodies spiralling out into long reverb trails or free-form solos buoyed by a breeze, radiating summer warmth. Through its daring honesty and masteful arrangements, Earth Trip cements Johnson"s place as a singular songwriter of inimitable skill. It"s message of mindfulness and our interconnectedness to the environment expands on a long country and blues music tradition that draws a symbiotic relationship between storyteller and the land, capturing the beauty of the natural world while also emphasising our responsibility in preserving it for future generations