Search:norma

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing), wattierte Innenhülle.

“Ben Webster & Associates” war 1959 das dritte und letzte Projekt, für das der Produzent Norman Granz die beiden Tenorsax-Ikonen Ben Webster und Coleman Hawkins im Studio zusammenbrachte. Als dritter Tenorist gesellte sich bei dem entspannt swingenden Austauch noch Budd Johnson hinzu, von dem Ben Webster in seiner Jugend in Kansas City seine ersten Saxofonstunden erhalten hatte.

Make Some Noise" ist nicht nur Musik: Es ist eine Grundsatzerklärung. In einer Szene, die sich manchmal repetitiv und inzüchtig anfühlt, beschließt MDB, die Regeln zu brechen und mit Klängen und Genres zu experimentieren, die normalerweise nicht nebeneinander existieren. Von der Kraft des Flamencos und der Intensität des Metals bis hin zur Seele des Blues, der Sinnlichkeit des Souls, der Aufmüpfigkeit des Punks, der Kraft des primitiven Rockabilly und der Frische des Surf ist jeder Song ein Schrei. Dieses Album fängt den Geist und die Energie der Berliner Subkultur ein, Unterschiede werden umarmt und die Kreativität kennt keine Grenzen, die Inspiration, Stile zu mischen und Grenzen zu überschreiten. "Make Some Noise" ist eine Einladung, aus der Komfortzone herauszutreten, zu feiern und zu entdecken, dass in den Unterschieden die wahre Kraft der Musik liegt.

Norman Blake, Bernard Butler und James Grant sind drei der bekanntesten und angesehensten Musiker ihrer Generation. Norman ist die treibende Kraft von Teenage Fanclub, Bernard ist bekannt für seine Soloarbeit und Produktionen mit Suede und James für seine Soloarbeit und Love And Money. Nach einigen sehr gut aufgenommenen Shows, bei denen das Trio eine Auswahl der Songs der anderen spielte, kam das Kollektiv wieder zusammen, um neues Material zu schreiben. Die daraus resultierende Platte ist ein wahres Vergnügen; jeder der Jungs singt abwechselnd mit sympathischem Input seiner Mitspieler. Butler, Blake & Grant strotzen vor natürlicher Kameradschaft und wunderschön gestalteten Songs voller Melodie, Harmonie und tadellosem Gitarrenspiel.

Process of Elimination explores sickness as a teacher for anti-capitalist modes of being; a rewilding of the self. The product of an attempt to be indestructible, this sickness has an unknown diagnosis. The only route to determine the indeterminable is via a process of elimination. Eliminate the noise so it may quieten and make space for listening to what whispers underneath, allowing a return to the present moment. Slowness and queerness as technologies, questions as answers and mysticism as a path to healing when science alone does not suffice.

London-based multidisciplinary artist El Hardwick’s sophomore album follows their experience of becoming chronically ill after years of treating their body like a machine. El explains: “After failing to receive a diagnosis, which is only given via a lengthy process of elimination, I instead turned to autonomous modes of healing rooted in mysticism and herbalism; putting aside the need to be defined. My journey towards accepting my disability is told in parallel to my coming-out as trans. I also see my non-binary identity as a process of elimination: I am neither gender, both, in-between. It is through rewilding myself from capitalism and gender normativity that I learn how to connect to my body and the earth; no longer allowing either’s energy to be extracted from. The less I sought answers, language, metrics and analysis, the more peace I found.”

Heated compilation of 81-1990 rarities.

"Club Méduse’s Charles Bals joins forces with Norman Gervais of Bayetë fame to deliver a 10-track melange of languorous seaside serenades and beach-kissed AOR slow burners/bangers.

Each song evokes wave glimmer and synthetic textures on this first drop by Beirut-via-Saint Tropez label Pocket of Light, one for the listener that’s crossed the last frontier of the registry and needs just a little more.

Is it the Baleares or the Caribbean? Is it hopeful anguish or mature happiness? And with captains like this, does it matter at all…?”

Norman Westberg (guitar), Giridhar Udupa (ghatam, konnakol, khanjira, percussion) and Jacek Mazurkiewicz (double bass, electronics)An extraordinary meeting of three artists from three different musical worlds and three different continents. Norman Westberg (ex-Swans) and Jacek Mazurkiewicz have already released one album together "First Man In The Moon" in 2021 (published by the Swiss label Hallow Ground).In the new project, they are accompanied by Giridhar Udupa, an Indian master of ghatam (a clay percussion instrument that looks like a jug). The album will feature 3 long trance compositions, referring to ambient, krautrock, free jazz and Indian music.Jacek Mazurkiewicz describes the creation of this album as follows:"I met Norman Westberg while supporting the Swans tour in Poland as 3FoNIA. A few years later, during Norman's tour with Gira, we recorded a duet.The trio session took place similarly to the previous duet session during Norman's solo concert in Warsaw on the Swans tour.Recorded with Adam Toczko, a quick meeting on a day off from work.I invited Giridhar Udupa to the trio, whom I had met earlier during the period when I co-founded the band Limboski. I once invited Wacek Zimpel to play a few concerts with Giridhar. Wacek later created Saagara and I was wondering about some unusual musical context in which I would find myself with Giridhar. I was looking for an interesting sound configuration, but also a cultural one, with a different approach to creating music. I got the impression that for both Norman and Giridhar it was a fairly fresh meeting, not obvious. And on the other hand, ordinary - everyone did their own thing."Detroit guitarist Norman Westberg moved to New York in 1980 and became a part of the experimental music scene that was experiencing its golden age. Westberg himself became a permanent fixture when he joined the iconic avant-rock band Swans in 1983, and was the only member other than frontman Michael Gira to play with them for most of the band's run, both until their 1997 disbandment and his return in 2010. Westberg has also been involved with other legendary New York noise-rock acts, including Jim Thirlwell's Foetus and the post-Swans Heroine Sheiks, in which he played with Cows frontman Shannon Selberg; and in 2014, he joined the noise-rock supergroup Hidden Rifles, whose members included Mike Watt of Minutemen and Mark Shippy of U.S. Maple. Westberg's solo compositions, most often for solo guitar and a set of effects, draw on drone and post-minimalism, bringing to mind dark ambient passages from Swans albums.Giridhar Udupa is an extremely valued teacher and world-renowned artist, an Indian master of ghatam (a clay percussion instrument that looks like a jug). He was born into a family with long musical traditions. He began learning to play at the age of four, guided by his father. At the age of twelve, he already had his first performances behind him. He currently gives concerts alongside the greatest masters. He has received many prestigious awards. He performs in the USA, Spain, Canada, France, Switzerland, Germany, Oman and Kuwait. Giridhar Udupa is a member of the band of the Indian vocalist Bombay Jayashri, nominated for an Oscar for the best song for the film Life of Pi. He is one of the founders of the Layatharanga band. He also plays virtuoso other traditional instruments of South India, such as mridangam and kanjira, and is excellent at using the konnakol technique (a type of rhythmic vocalization).For three decades, the artist has been a global ambassador and icon of Carnatic music. He is the founder of The Udupa Foundation, a charity organization established in 2015 to promote Indian music, performing arts and culture. He has participated in recording dozens of albums. He is also well-known in our country thanks to his cooperation with Polish performers, which resulted in excellent artistic effects, such as the famous Indialucia - Michał Czachowski's group / project or the Saagara formation, led by Wacław Zimpel. Udupa also played on the album Lechoechoplexita, released by Leszek Hefi Wiśniewski, and on the album of the band Layatharanga, released in our country.Jacek Mazurkiewicz is interested in music in the broad sense. He puts his sounds together based on emotional impressions and pulse. Combining acoustics with electronics, he is constantly looking for a new sound. Solo as 3FoNIA, in a duet with Mikołaj Trzaska or Tomek Dąbrowski, the JMB trio with Wojtek Jachna and Jacek Buhl, in the Modular String Trio quartet, the Afrobeat quintet Faso Tamala are just some of his musical incarnations. With Patryk Zakrocki, as part of an audio mission, he massaged hundreds of pairs of ears in the Inner Ear Massage Office. He also deals with sound design, composing and producing music for films and theatre performances. He collaborated with many Polish and foreign artists.

2025 Repress

DJ Koze might be one of the world's best producers, but above all he's a DJ, and it's his DJ ear that governs. J
ust as in a great set, so with his releases: 'Seeing Aliens' came out of nowhere, a big buzzing beast of a track, to announce that Koze was back on the scene and prime everyone for the coming album, knock knock.
But now that Koze has your attention, it's time to remind everyone what's most important about club music, pull things back, take a turn to the left, and get deep into the groove.

Thus 'Pick Up': the second single from knock knock is 100% pure groove, doubly so in the extended 12' version.

In a sense it's incredibly familiar - it is essentially a filter disco record, very close to something you could imagine coming out of Paris around the turn of the millennium. But of course, this is Koze. Nothing is normal or familiar in his world, and he's taken this most foundational of clubland staples into new territory. Flipping amples of Gladys Knight & the Pips 'Neither One Of Us (Wants to Be the First to Say Goodbye)' and Melba Moore's 'Pick Me Up, I'll Dance', it creates something completely airborne, shot through with emotions such as gods must feel: not quite explicable to the human mind but strong enough to knock you off your feet. In its way it's absolutely as powerful as 'Seeing Aliens', but it comes in like the proverbial iron fist in a glove of velvet.
The flip, a ten-minute new track, 'The Love Truck' is a big contrast again. If 'Pick Up' is giddy flight,
'The Love Truck' is woozy floating. Its sharp, clicking percussion recalls 2000s minimal techno, but this time absolutely nothing is generic. The long, intense, on-and-off bass tones, the flickers of birdsong, the pure voices slipping in backwards as if from the future... it's all like the most blissful dream, and culminates in a coda so subtle yet so beautiful it's like ever time you've ever seen the sun rise and thought 'I never want this to end', all the while understanding deep down that the fleeting nature of the pleasure is also what give it its power. But of course, being created with that consummate DJ's ear, it's also full of the thrill of wondering what Koze has in store next.

Annie A, the one-off collaborative project between Félicia Atkinson, Time is Away, Christina Petrie and Maxine Funke, arrives on A Colourful Storm with an inquisitive, exploratory composition evoking questions of inconstancy and reconciliation, vastness and finitude and the sometimes cruel deception of human perception. Who will conduct our dreams if we never wake?

It is a geographically diverse yet like-minded ensemble whose seeds were sown during an A Colourful Storm show in London, where time on stage was shared by Atkinson, Time is Away and Petrie. Atkinson had previously found solace in Time is Away's Ballads (ACOLOUR041), Funke's Seance (ACOLOUR035) and particularly the voice of poet Petrie, whose delivery drifts from a wide-eyed stream of consciousness to crystalline sensory expression. It is the perfect accompaniment to Atkinson's hushed tones, spoken sensitively like a mother to a resting child.

Atkinson's evocative sonic landscapes are formed from keyboard, voice and organic materials collected from life on the dramatic coast of Normandy, as well as field recordings from places far and wide. She breathes life into liminal spaces, the sound of wind, whispers and the distant clatter of rocks conjuring visions of places both beautiful and eerily familiar. Time is Away delicately arranges the field of sounds, their weaving and layering likened to the assembly of an Anni Albers textile. The spirit of Albers guides the piece, Petrie's recounting of her loom and thread a symbol of her endurance, vitality and seeking wonder in intricacies. The piece also features an exclusive concluding track by Maxine Funke, whose meditation on vulnerability confronts and surrenders herself to the enchanting natural world.

Wie macht man als gefeierter Progressive-Rock-Musiker, der schon Dutzende von Alben produziert hat, ein Album, das anders ist als das, was man normalerweise erwartet? Eine Antwort ist, mit Musikern zusammenzuarbeiten, die ebenfalls über jahrzehnte-lange Erfahrung und weltweite Anerkennung verfügen, ein paar Samen zu säen und dann abzuwarten, was passiert. Für das Projekt Cosmic Cathedral und das Debütalbum "Deep Water" hat Neal Morse genau das getan und sich mit Chester Thompson (Genesis), Phil Keaggy und Byron House zusammengetan. Ein Großteil des Albums entstand in Jam-Sessions, aus denen Mor-ses langjähriger Audiopartner Jerry Guidroz die besten Stücke zusammenstellte, wie zum Beispiel das 38-minütige Epos "Deep Water Suite". "Auch Time To Fly", so Morse, "entstand direkt aus einer dieser Jam-Sessions, bei der wir eine von Phils Ideen aufgriffen und zu viert weiter ausarbeiteten. Herausgekommen ist ein eher Groove-orientiertes Album, das Morse als eine Art "Prog meets Yacht Rock meets The Beatles" bezeichnet, mit einem unverkennbaren Jazz-Fusion-Einfluss: "Diese Jungs sind echte Groover: Selbst wenn sie Prog spielen, klingt es eher wie Steely Dan, aber wenn Phil und ich anfangen zu singen, klingt es wie The Beatles! Erhältlich als Limited CD Digipak, Gatefold 2LP & Digital Album.

Wie macht man als gefeierter Progressive-Rock-Musiker, der schon Dutzende von Alben produziert hat, ein Album, das anders ist als das, was man normalerweise erwartet? Eine Antwort ist, mit Musikern zusammenzuarbeiten, die ebenfalls über jahrzehnte-lange Erfahrung und weltweite Anerkennung verfügen, ein paar Samen zu säen und dann abzuwarten, was passiert. Für das Projekt Cosmic Cathedral und das Debütalbum "Deep Water" hat Neal Morse genau das getan und sich mit Chester Thompson (Genesis), Phil Keaggy und Byron House zusammengetan. Ein Großteil des Albums entstand in Jam-Sessions, aus denen Mor-ses langjähriger Audiopartner Jerry Guidroz die besten Stücke zusammenstellte, wie zum Beispiel das 38-minütige Epos "Deep Water Suite". "Auch Time To Fly", so Morse, "entstand direkt aus einer dieser Jam-Sessions, bei der wir eine von Phils Ideen aufgriffen und zu viert weiter ausarbeiteten. Herausgekommen ist ein eher Groove-orientiertes Album, das Morse als eine Art "Prog meets Yacht Rock meets The Beatles" bezeichnet, mit einem unverkennbaren Jazz-Fusion-Einfluss: "Diese Jungs sind echte Groover: Selbst wenn sie Prog spielen, klingt es eher wie Steely Dan, aber wenn Phil und ich anfangen zu singen, klingt es wie The Beatles! Erhältlich als Limited CD Digipak, Gatefold 2LP & Digital Album.

written and recorded by Rocket in Valley Village, CA.
Rocket is Alithea Tuttle (bass and vocals), Baron Rinzler (guitar), Cooper Ladomade (drums) and Desi Scaglione (guitar)

Purple Vinyl

House music, nightlife entertainment and DJ/Producer virtuoso Louie Vega has proven over and over again that he's a master chemist in the studio. His latest release is an uptempo and speaker-knocking remix of Funkadelic's 'Ain't That Funkin' Kind of Hard on You' (produced by George Clinton and & G Koop) from the album 'First Ya Gotta Shake the Gate'.
The original version is nothing short of a classic, but it's as if the song had never been invited to a Louie Vega post-midnight global extravaganza. Was the song not aware that spellbound dancing and high BPMs were the standard for House Music Normally, such a blaring disregard for nightlife decorum would relegate a song to the pits of sonic hell, but we're talking about George Clinton here!The original opens up with a G-funk groove that screams Westside and lowriders. The listener is then blessed with Clinton as he adds his sage, soulful and pimpadelic vocals, complemented by Funkadelic singers asking him about the pains of the funk. The semblance of a beat that could drive the dancefloor into the morning hours is there, but in no way has it blossomed into its full glory. Enter Louie Vega.
His remix immediately greets listeners with a decadent spread of instrumentation and chutzpah. The original song's DNA populates the first thirty seconds of the remix but then an explosion takes place and the song assumes a new identity. The transcendent experience is akin to taking the elevator to a rooftop party and once the doors open- boom! The remix begs you to dance, the G-funk groove is now in your face instead of being laidback and percussion takes a front seat to take you away. The song is alive, there's no other way to describe it.
Be sure to buy your vinyl at an outlet near you! the Louie Vega remix of Funkadelic's 'Ain't That Funkin' Kind of Hard on You' on Vega Records!

4XLP. Hardcover slipcase box. Liner notes from Soichi Terada, Colour: translucent red, clear, blue, and yellow vinyl

It has been 25 years since the release of Saru Get You (サルゲッチュ), known stateside and in the UK as Ape Escape. Ape Escape marked a significant milestone for the PlayStation, as it was the first game to require use of the PlayStation's DualShock (analog) controller. In Ape Escape, the use of the analogue sticks goes beyond camera rotation and acts as an extension of Kakeru's (Spike's) own character, controlling his many gadgets like the stun club, time net, and sky flyer. It's a unique form of control that, really, didn't become popularized until the release of the Nintendo Wii. It feels like a distinctly Japanese design, the sort of off-the-wall design that is either embraced or rejected on a global scale. In Ape Escape's case, the mechanic caught on.

Ape Escape is fast, frantic, and—at times—downright frustrating. Pipo monkeys dash, taunt, and swim away from your advances. They ride water monsters, fly UFOs, and even shoot uzis! Whether it's Kakeru, his friends, or the monkeys themselves, the characters are always running across the levels. This mad dash is enhanced by the game's soundtrack, composed by legendary composer Soichi Terada. As he recalls, the director of the production said, "Spike and his friends always have the image of running." In response, Terada happily produced fast songs with an average speed of over 170bpm. The resulting gameplay and audio is a match made in heaven.

Ape Escape is the first game soundtrack Mr. Terada ever created. The producers of the game heard one of his singles, "Sumo Jungle," and thought his frenetic drum-and-bass (Jungle) would be perfect for the game. The marriage of Ape Escape's charming overworld and Soichi's upbeat compositions is nothing short
of sublime. Especially now, it is difficult to separate the mischievous Pipos and fast-paced action from Soichi Terada's silky smooth synthesizer and heart-pounding bass. Earlier this year (2024), Soichi Terada's Ape Escape work was celebrated by the six-track EP Apes in the Net, which includes music from Ape Escape 1 and 3 (Terada did not compose the series' second installment). The label, Rush Hour Music, has prestigiously championed almost all of Soichi Terada's music, especially his (specifically non-VGM) house, jungle, and drum and bass releases (Sounds from the Far East, Asakusa Light, and more).
Before Apes in the Net, Terada's Ape Escape music was only available on CD, released in Japan around 2010. This release featured reconstructed tracks created by Mr. Terada himself, identical to the music arrangements featured in the game. The biggest difference, of course, was that they were of higher fidelity than was originally available on the PS1 disk format. Completing all of the aforementioned releases is this box set, released by Far East Recording in partnership with Cartridge Thunder and officially licensed by Sony Computer Entertainment. This box set release includes four LPs, housed individually by a hardcover slipcase. This box set includes every song from Ape Escape 1, except those available on Apes in the Net. This box set release also includes one bonus song, previously unreleased anywhere else (including the game itself!).

The music on this box set was meticulously mastered by Justin Perkins of Mystery Room Mastering. Using Mr. Terada's premastered source files, the music was completely and specifically mastered for vinyl. Rounding out the audio is absolutely stunning artwork created by Gobo3D. CT worked with Gobo to recreate some of Ape Escape's most iconic characters, referencing the original Japanese guidebook and other promotional materials. The result is visually delicious 300dpi artwork that takes you straight back to 1999. As uber-fans of the original PlayStation game, Cartridge Thunder and Far East Recording are proud to celebrate Soichi Terada's music and pay our respects to such a legendary PlayStation franchise—on the original hardware's 30th anniversary no less! It's with a happy heart, then, that Far East Recording and CT present to you Soichi Terada's Ape Escape Originape Soundtracks in a Box.

Please note: due to licensing exclusivity, this release does not include tracks previously released on Apes in the Net

Edinburgh-based three-piece funk band High Fade are set to release their debut album 'Life’s Too Fast'.

Capturing the raw, on-stage energy that has been the driving force behind High Fade’s meteoric rise was never going to be easy, but that’s exactly what Harry, Oli and Calvin set out to do with a clear creative vision to record their album live at the iconic RAK Studios in London.

'We recorded in RAK Studios, with the desk built for the Rolling Stones in ‘76, with the same cigarette burns still on the faders. It instantly had a vibe of raw energy and liveliness to it that matched the way we wanted to record - live.' – Calvin

The result? 'Life’s Too Fast' – a blistering 10-track debut from one of the UK’s most exciting bands that manages to deliver the same tight, groove-laden funk rock that has put the group on the radars of Jack Black, Cypress Hill and Rage Against the Machine’s Brad Wilk, has seen them tour with The Cat Empire, and tick off iconic venues including Glastonbury, Jazz Cafe, and Boomtown Festival.

'We decided to record the album live rather than through the normal single track overdubbed method – we felt this would help to fully convey the band’s power, sound and energy across to the listener! More like we’re playing a gig and having it recorded – it was a tough process, but we went about it in the best way for both us and the audience, to ensure they’re getting the most authentic High Fade sound and experience possible.' – Oli

Having spent much of the last three years on the road seeing to a punishing tour schedule, 'Life’s Too Fast' is a chance for the band to stop and take stock, to reflect on their whirlwind success, and create an artistic milestone that demonstrates who High Fade are today. 'It’s the most accurate representation of what High Fade is, what we sound like, and who we are' explains Harry. Telling a clear story that matches their own experiences over the last few years, the album is a snapshot taken by a band who are accelerating towards real success and recognition.

'I’m glad we finally have a body of work that we’re proud of and feels like a collection of songs that nicely represents where we are right now. It’s organised chaos and shows that we like to play, but can also write a catchy tune.' – Calvin

Launching into proceedings with the effortlessly uplifting 'Take Me To The Floor', every track is a demonstration of the band’s technical prowess and broad sonic palette. A forward-facing selection of completely original material, the album also gave the band the opportunity to re-imagine fan-favourite 'Sharpen Up' as a stripped-back cut that reflects the band’s current lineup.

'Honestly, I kinda feel like I could explode with excitement about getting it out for everyone in the world to hear because it has been a long time in the making! A culmination of what all the singles have been working towards! I guess the album represents us and the direction we’re taking the music, it represents us as a trio and the gel that is High Fade.' – Oli

Night Keeper is a collaborative album by New York City-based artist Aaron Landsman and former Swans guitarist Norman Westberg that is based on the former's eponymous play. Westberg recorded it together with performer Jehan O. Young for the Swiss Hallow Ground label, with Landsman serving as the record’s producer. The original piece was first performed in the Spring of 2023 at The Chocolate Factory Theater in Queens and filled the stark industrial space with spoken text, choreography, projections, and music in dim light and, occasionally, complete darkness. Westberg and Young afterwards brought it to the studio to record it as a two-part
album in whose course his textural sounds, based on loops and samples, set the stage for her soothing, sonorous vocal performance. »Night Keeper« is a performance inspired by sleeplessness and the wanderings of the human mind at night—about time and memory.
Westberg and Young elegantly capture its essence in these roughly 44 minutes with a somnambulic album, letting sound and meaning flow into each other. The initial spark for Night Keeper was a run of almost sleepless nights in different neighbourhoods of a city that is perpetually insomniac. Instead of trying to force himself to go back to sleep by any means necessary, Landsman started writing down his thoughts. As he explains in the liner notes—accompanying the music along with drawings made by audience members during the performances—he started listening to the particular way in which the voice in his head navigates time and language. Accordingly, the texts that Young reads on the record form a diverse collection of specific moments, imagining different speakers and evoking different
situations. Westberg complements, accentuates, and juxtaposes these with different means. Ominous drones, soaring melodies, rhythmic bass sounds: the guitarist, whose latest release for Hallow Ground was 2021’s First Man In The Moon with Polish double bassist Jacek Mazurkiewicz, conjures up distinct sound worlds in which Young can let Landsman’s scenes unfold to gripping effect.
Landsman makes it clear that »Night Keeper« was intended as an invitation to »stay up, look out the window, let what’s happening outside spark reveries or predictions« or even take it on a stroll through the neighbourhood—at night, of course. Much like the original piece, this album is then one dedicated to wandering around, both mentally and physically.

»Even The Horizon Knows Its Bounds« explores sound’s relationship with architecture, inspired by the Naala Badu building at the Art Gallery of NSW. Created from sound prompts responded to by artists like Jim O’Rourke and claire rousay, the work reflects on space, collaboration, and the fluid nature of sonic environments.

I like to think that sound haunts architecture.

It’s one of the truly magical interactions afforded by sound’s immateriality. It’s also something that has captivated us from the earliest times. It’s not difficult to imagine the exhilaration of our early ancestors calling to one another in the dark cathedral like caves which held wonder, and security, for them.

Today the ways in which sound occupies space, the so-called liquid architecture, holds just as much wonder, albeit one that is often dominated by functionality and form. Beyond those constraints however, how sound operates in the material world is something that exists at the fundament of our understanding of music, and moreover within the broad church we know as the canon of sound arts.

Even The Horizon Knows Its Bounds is a record born out of these relations. In a direct sense, the record is the product of an invitation by curator Jonathan Wilson to create a sound environment, reflecting on the Naala Badu building at the Art Gallery Of NSW. The building’s name, which translates from the Gadigal language to ‘seeing water’, was opened in 2022 and this piece was offered as an atmospheric tint to visitors walking through the building throughout the year following its opening.

It’s also a record born out of a recognition for the porousness sound affords, especially as a device for collaborative endeavour. This composition is one born out of generosity and acoustic solidarity. Even The Horizon Knows Its Bounds is comprised not just of my sounds, but also that of an incredible array of artists who have also operated in the orbit of the Art Gallery Of NSW. The players include Amby Downs, Chris Abrahams, Chuck Johnson, Claire Rousay, Dean Hurley, Jim O’Rourke, JW Paton, Madeleine Cocolas, Norman Westberg, Stephen Vitiello and Vanessa Tomlinson.

The piece was constructed around two long form sound prompts that each musician responded and contributed to. These materials there when digested into the final piece you hear. The work could not exist without the substantial offerings these artists made, and I am immensely grateful to each of them.

I’ll finish with a little note that appears on the LP itself.

Place is an evolving, subjective experience of space. Spaces hold the opportunity for place, which we create moment to moment, shaped by our ways of sense-making.

Whilst the architectural and material features of space might remain somewhat constant, the people, objects, atmospheres, and encounters that fill them are forever collapsing into memory.

Lawrence English
Performed by Amby Downs, Chris Abrahams, Chuck Johnson, Claire Rousay, Dean Hurley, Jim O’Rourke, JW Paton, Madeleine Cocolas, Norman Westberg, Stephen Vitiello, Vanessa Tomlinson

die ärzte liefern mal wieder – das kann man beim besten Willen kaum präziser formulieren – the nuttiest
sound around. Und Schwarz ist selbstverständlich beautiful. Vor allem mit Weiß. In Karos. Shake your
Willy! Skank in the name of Jah!
BelaFarinRod sind – auch das hätte man schon früher wissen können – evilous men, denen nichts heilig
ist, vor allem nicht das eigene Werk. Zumindest, wenn sich ein Offbeat drunter oder ein Rockabilly-Lick
drüber legen lässt. Oder beides.
Frei nach der Regel, ein Lied ist erst dann gut, wenn er auch als Ska oder Rock-a-billy funktioniert, finden
wir hier zwölf Songs mit hohem Wiedererkennungsfaktor auf Vinyl und exklusiv zur Buffalo Billy-Tour.
Mutig mutwillige Variationen von neuen und einem alten Song der besten Roots-a-Billy-Band der Welt
(elt….elt…elt)!!!!
Eine Skank-de-force durch den ganz normalen Wahnsinn von Shakin’ B, Rudy Urlaub und Desmond
González. Du kannst gehen, aber dein Lieblingslied bleibt nicht ungeschoren!
NUMMUS CECIDIT setzt der Besten Band der Welt jedoch nicht nur in Inhalt, sondern auch in der
Form ein würdiges Denkmal: als Weltneuheit präsentieren die ärzte eine 11-inch!!!! Mehr Vinyl braucht es
nicht. (nur etwas weniger)
NUMMUS CECIDIT von die ärzte ist als 11”-Vinyl mit Downloadcode für Tracks und Lyrics erhältlich –
aber nur, solange der Vorrat reicht. Also zieh dir dein Kettenhemd über und jag das Teil. Haile boppin’!
Selassi möge mit dir sein. Denn auch du bist Ska
(selbst wenn du Billy bist)

die ärzte liefern mal wieder – das kann man beim besten Willen kaum präziser formulieren – the nuttiest
sound around. Und Schwarz ist selbstverständlich beautiful. Vor allem mit Weiß. In Karos. Shake your
Willy! Skank in the name of Jah!
BelaFarinRod sind – auch das hätte man schon früher wissen können – evilous men, denen nichts heilig
ist, vor allem nicht das eigene Werk. Zumindest, wenn sich ein Offbeat drunter oder ein Rockabilly-Lick
drüber legen lässt. Oder beides.
Frei nach der Regel, ein Lied ist erst dann gut, wenn er auch als Ska oder Rock-a-billy funktioniert, finden
wir hier zwölf Songs mit hohem Wiedererkennungsfaktor auf Vinyl und exklusiv zur Buffalo Billy-Tour.
Mutig mutwillige Variationen von neuen und einem alten Song der besten Roots-a-Billy-Band der Welt
(elt….elt…elt)!!!!
Eine Skank-de-force durch den ganz normalen Wahnsinn von Shakin’ B, Rudy Urlaub und Desmond
González. Du kannst gehen, aber dein Lieblingslied bleibt nicht ungeschoren!
NUMMUS CECIDIT setzt der Besten Band der Welt jedoch nicht nur in Inhalt, sondern auch in der
Form ein würdiges Denkmal: als Weltneuheit präsentieren die ärzte eine 11-inch!!!! Mehr Vinyl braucht es
nicht. (nur etwas weniger)
NUMMUS CECIDIT von die ärzte ist als 11”-Vinyl mit Downloadcode für Tracks und Lyrics erhältlich –
aber nur, solange der Vorrat reicht. Also zieh dir dein Kettenhemd über und jag das Teil. Haile boppin’!
Selassi möge mit dir sein. Denn auch du bist Ska
(selbst wenn du Billy bist)

Das fünfte Album der Newcastler Riffzauberer Pigs Pigs Pigs Pigs Pigs Pigs Pigs (aka PIGSx7) ist geprägt von kalkulierter Aggression und selbstzerfrleichenden Texten. Zu den verblüffenden Boni gehören verspielte Synthesizer-Arbeiten und der Auftritt eines Hip-Hop-Masters. Mit seinem Titel, der Absurdität und Ernsthaftigkeit einander gegenüberstellt, ist dies Death Hilarious. Während Land Of Sleeper von 2023 als immersives Kopfhörer-Erlebnis konzipiert war, strebten Pigs dieses Mal nach etwas direkterem, böseren. ,Wir wollten, dass es ein Schlag ins Gesicht ist", grinst Produzent und Gitarrist Sam Grant. Dieses Ziel kam zum Teil dadurch zustande, dass die Band in den letzten Jahren sooooo viele Gigs gespielt hat. Die Band fühlte sich gut geölt und reif dafür, den Zuhörern zu Hause die Art von Prügel zu verpassen, die ihr Publikum von der Bühne aus erhält. Death Hilarious bietet einige Überraschungen, vor allem der Track 'Glib Tongued', bei dem El-P von Run The Jewels als Gastmusiker mitwirkt. Als Bassist John-Michael Hedley unwissentlich das schrieb, was seine Bandkollegen als ihr Äquivalent zu einer Hip-Hop-Nummer betrachteten, setzten die Pigs ihre Ziele hoch an und sicherten sich einen fulminanten Beitrag von einem der größten Rapper der Welt. Das soll nicht heißen, dass Pigs zum Nu-Metal übergegangen sind. Death Hilarious ist eine abwechslungsreiches, straffes Album, das sich zwischen sabbathianischem Doom, grotesk minimalistischem Noise Rock und zyklischen Post-Metal-Fortissimos bewegt. Auch die Pigs treiben sich selbst weiter an. Unpassende Synthesizer-Soli tauchen dort auf, wo normalerweise Gitarren-Histrionik Platz hätte. Klaviertracks lauern im Mix und verleihen dem Klangstrudeln eine fast unterschwellige Tiefe. Stitches" ist wie Motörhead, die versuchen, Glamrock mit einem beschwipsten Keyboarder zu spielen. Und dann ist da noch das 100-Meilen-Tempo des Cosmic-Thrash-Openers ,Blockage". Verzerrte Licks fliegen aus den Verstärkern von Grant und Lead-Gitarrist Adam Ian Sykes, während die Rhythmusgruppe dahinter brutzelt. Mit all dieser Power, die durch die Adern fließt, wird Death Hilarious mit Leichtigkeit eines der besten Rockalben des Jahres 2025 sein... und das ist kein Witz!

dreamcastmoe is the recording project of singer, songwriter, producer, and DJ Davon Bryant, a lifelong resident of Washington, DC. His music moves freely between moods and modes, hypnotic, romantic, traversing electronic, R&B, funk, soul, and hip-hop... Resident Advisor dubs it "soulful, cross-genre dance music." This ability to adapt and finesse, to twist in different directions while staying true and coherent in vision, can be traced to his home city and its complex cultural history. "Most Black kids in DC don't ever get to this point," he says. "This is what I am making this music for, in the DC tradition of soul and empathy and love that is rooted in this city. My music is for real people dealing with shit every day." A versatile, modern artist and collaborator, dreamcastmoe has thrived in the underground since his first uploads to Soundcloud and Bandcamp in 2017 and subsequent releases with labels like People's Potential Unlimited, Trading Places, and In Real Life Music. Bryant's laid-back personality, emotional honesty, and infectious energy shine through his work and how he talks about it, as Crack Magazine notes in their 2021 Rising feature: "a steady combination of confidence, creativity, and calmness." He grew up playing drums in church; he's worked dead-end jobs, had ups and downs, even sold off all his gear one time, but never stopped reinvesting in himself. He is quick to praise his co-producers, rattle off influences _ the visual feel of NBA 2K, the comedic timing of Bernie Mac, the savvy legacy of Duke Ellington, for starters _ and credit resourceful DC breakouts like Ankhlejohn that showed him the roadmap. His voice, a steady instrument, seemingly connects it all, capable of slow falsetto flow, swaggering talk-rap, and outright croon. His storytelling style is choppy yet fluid, like a mixtape, which is how Bryant sees Sound Is Like Water, his debut on Ghostly's International's freeform label, Spectral Sound. The two-part project culminates as a full-length LP release in November 2022. The first side, released as Part I, opens on the blurred beats of "El Dorado," which dreamcastmoe dedicates to his journey. It's a head-nodder, an off-kilter earworm co-produced by Max D (Future Times, RVNG Intl, etc.), with Bryant harmonizing hooks with synth jabs and a pitched-down presence. "Complicated" is the slow jam, delivered smoothly from a Saturday night crossroads. dreamcastmoe is contemplative and committed... gliding and locking ad-libs into skittering rhythms courtesy of co-producer Zackary Dawson _ but also willing to let something go, "acknowledging that everything in life IS NOT easy." "RU Ready" takes off from the jump as a tribute, challenge, and promise to his partner and his city ("The times you sat with me when I needed you the most / Told me the things that I needed to see / Young black man, really trying to be what I can be / And I'm really from DC). In its potent two-plus minutes, the sonics (co-produced by ZDBT) press the message, all cymbal crashes, breakbeats, and serrated synth lines. "Cloudy Weather, Wear Boots" is a blitzing dance-punk track made in collaboration with Jordan GCZ on Bryant's first trip to Amsterdam. The album's flipside opens on "Much More," the first of two synth-and-beat ballads co-produced by ZDBT. Later on "Long Songz," he claims, "I'm not writing love songs no more," prioritizing the vibe with "all my day ones." He calls it "a cry for more normal moments. Everything doesn't have to be a fantasy love story, more time spent getting to the money, growing, and making a way." He saves two of his most propulsive cuts for the finale, co-produced by Sami, co-founder of DC dance label 1432 R. As their titles suggest, "Take A Moment" and "Make Ya Mind" operate as anthems for movement, with Bryant free-flowing commands above wildly-styled percussion. Per Bryant, the latter is both "wake & bake jam" and a "dance floor bomb." His parting line: "Action / You got to show me action / Reaction." The world of dreamcastmoe straddles virtual reality and the realness of DC, images both imagined and lived-in. Bryant has a knack for unexpected melodies but what makes his music so exciting is his capacity to defy the expectations of genre and image. A fluid ingenuity and vulnerability bottled by Sound Is Like Water, and this is just the beginning.

(2018 Remix)

30. Juni 2022 – Im Januar 1977 veröffentlichten Pink Floyd ihr zehntes Studioalbum „Animals“. Das Werk eroberte Platz 1 der deutschen Charts, gilt als eines ihrer besten – und es wird nun, 45 Jahre später, als Deluxe Gatefold, CD, LP und Blu-ray wiederveröffentlicht. Zum ersten Mal überhaupt wird das Album in 5.1 Surround-Sound zu hören sein. Die einzelnen Versionen werden ab dem 16. September 2022 erhältlich sein, die Deluxe-Version folgt am 7. Oktober.

Pink Floyd – David Gilmour, Nick Mason, Roger Waters und Richard Wright – nahmen „Animals“ 1976 und Anfang 1977 in den bandeigenen Britannia Row Studios in London auf und produzierten auch selbst.

„Animals 2018 Remix“ wird als CD, LP (mit Klapphüllen-Artwork), Blu-Ray und als Deluxe-Gatefold-Format veröffentlicht. Die Deluxe-Gatefold-Version beinhaltet eine LP, CD, Audio-Blu-Ray, Audio-DVD und ein 32-seitiges Booklet. Die Audio-Blu-Ray und -DVD enthalten den Remix von 2018 in Stereo, in 5.1 Surround (beide von James Guthrie) und den ursprünglichen Stereo-Mix von 1977. Das 32-seitige Booklet gewährt mit selten gezeigten Fotos einen Blick hinter die Kulissen des Shootings für die Plattenhülle sowie Live-Bilder und Memorabilia. Das Album-Artwork wurde für diese Veröffentlichung mit einem zeitgemäßen Motiv neu interpretiert.

„Animals“ ist ein Konzeptalbum, das sich kritisch mit den sozialpolitischen Verhältnissen im Großbritannien der mittleren 1970er-Jahre auseinandersetzt und damit eine Abkehr vom Stil der früheren Arbeiten der Band markierte. Aus einer Ansammlung ursprünglich nicht miteinander zusammenhängender Songs entwickelten Pink Floyd ein Konzept, das den offenkundigen sozialen und moralischen Verfall der Gesellschaft beschreibt. Inspiriert von George Orwells „Farm der Tiere“, verbildlichen sie die menschliche Natur mit einer Analogie zum Tierreich und teilen die Menschen in drei Klassen von Tieren ein: Die Schweine stehen an der Spitze der sozialen Kette, die Schafe tun als hirnlose Herde, was man ihnen sagt, und die Hunde sind die Geschäftsbosse, die sich am Profit und ihrer Macht über andere schamlos bereichern. Seit 1977 ist viel Zeit vergangen – und dann wieder gar nicht, denn die Erzählung des Albums hat als Kommentar auf unsere gesellschaftliche und wirtschaftliche Situation nichts von ihrer Aktualität verloren.

Das berühmte Cover von „Animals“ zeigt ein aufblasbares Schwein (heute bekannt als Algie), das in luftigen Höhen zwischen zwei Schornsteinen der Battersea Power Station in London schwebt. Die Idee für das Cover kam von Roger Waters, die Umsetzung übernahm der langjährigen Kreativpartner der Band, Storm Thorgerson von Hipgnosis Studios. Für die jetzige Neuveröffentlichung wurde das Artwork von Storms Hipgnosis-Partner Aubrey „Po“ Powell für die heutige Zeit neu gestaltet. Basierend auf neuen Aufnahmen des Gebäudes während der jüngsten Umgestaltungsarbeiten (das ehemalige Kraftwerk wird für die kulturelle und gewerbliche Nutzung umgebaut, gestaltet von Frank Gehry und Norman Foster), experimentierte Po mit neuen Blickwinkeln und erschuf einige beeindruckende neue Varianten des berühmten Originals. Po dazu: „Das Original-Albumcover von 1977 ist ikonisch und steht so sehr für sich, dass ich eine Menge Respekt davor hatte, ihm ein Update zu verpassen. Doch Hipgnosis nahm die Gelegenheit zum Anlass, das Motiv neu zu fotografieren und damit eine sich verändernde Welt widerzuspiegeln. Durch den Einsatz moderner digitaler Färbetechniken konnte ich Pink Floyds düstere Botschaft des moralischen Verfalls beibehalten, und auch die Orwellsche Tier-Analogie in Form des Schweins Algie lebt in dem neuen Artwork fort.“

Pink Floyds „Animals 2018 Remix” kann ab jetzt hier vorbestellt werden.

2025 cassette edition, originally released in 2023 on 2CD/digital.

Recordings + booklet of the unveiling of »Katharina AW«, a relational artwork by Joris Martens. The unveiling event took place at St. Catharine’s Church in Hoogstraten - a city in the northeast of Belgium - on two Saturdays in May 2021.

While beholding the artwork, a woven tapestry, you listen to organ music by Miaux. Outside the church, you hear the carillon gurgle with music by Lieven Martens and town carillonneur Luc Dockx, prolonging the event into the public space.

Joris Martens created »Katharina AW« for the city hall of Hoogstraten. The tapestry now serves as an informal conversation starter in the conference room. Joris Martens is a multi-disciplinary artist and works in the field where applied arts and fine arts meet.

Miaux played her own compositions on the church organ. The songs appeared on the albums Black Space White Cloud, Hideaway, Dive and Gigi - released by Ultra Eczema, Lal Lal Lal, and Alien Passengers - and were originally written for electronic keyboard. Mia demonstrates that the church organ, which is normally used as an underscore for sadness or compelling thoughts, is a fitting instrument of connection. Through its resonance, we communicate our sounds.

Lieven Martens invented sketches for the carillon—by loading bird sounds into the computer program Melodyne, varying them and converting them to musical notes. As a nod to the religion crazy Olivier Messiaen, who considered the birds to be God’s chosen singers and songstresses. The trifles were translated on the carillon by town carillonneur Luc Dockx. The playing comes into and out of focus. In this way, Lieven creates a dreamscape and breaks with the dreary carillon as an instrument of power.

Luc Dockx studied church music at the Lemmens Institute in Leuven and the carillon at the Royal Carillon School in Mechelen. He is the city carillonneur of Hoogstraten since 2002. Dockx is an active practitioner of the art of improvisation on the carillon.

Pharoahe Monch is one of the most revered and influential emcees in the history of hip-hop, and 2024 marks the 10th anniversary of his fourth studio album "PTSD: Post Traumatic Stress Disorder".

In PTSD, Pharoahe Monch continues the story he began telling in his previous LP, "W.A.R. (We Are Renegades)" from 2011. The Queens emcee narrates, in both literal and metaphoric ways, about the trials and tribulations of an independent artist who is at war with the music industry and the struggle of the black male experience in America.

In 2012, during an interview with Shawn Setaro, host of the podcast The Cipher, the rapper explained the connections between the two projects, beyond their titles. “The W.A.R. album was like, I’m going to battle against the machine, I’m doing this independently. I’m putting some things out that I learned and I’m going to expose about the music industry. PTSD is the result of me doing that, where I am emotionally now. It’s similar to how someone comes back from war and is stricken by re-adjusting to a regular situation.”

Monch told MTV Hive that PTSD is “more mental, emotional and personal” because it came out of the depths of a period of depression. He also gave the internal and external factors that helped him create the album. “I was working on the title track, which took me to a point in between Internal Affairs and Desire, where I was heavily depressed. Through the waiting period, the industry period, and going through a lot emotionally. Then there was the physical problem with asthma. It was the worst. So I started off with that title track and my manager was like, ‘Yo, let’s really dive into that state and how you got to where you are now, and how this follows what people go through to get back to a so-called ‘normal’ situation’.”

The concept album follows a veteran through combat experience, his return home, relationship dissolution, drug addiction, painful depression, and, finally, a triumphant but realistically rendered decision to keep living and struggling.

The Wild Robot by Kris Bowers, released 21 March 2025, includes the following tracks: "The Island", "Deploying Rescue Transmitter", "The Accident", "Hatching" and more.

This version of The Wild Robot comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Booklet.

The vinyl is pressed as a swirl, blue disc. Another vinyl is pressed as a swirl, pink & purple disc.

A. Whoa! Here she comes : Norman Ray: Whoa! Here is the first 45 from On Point Records and what a “Maneater” it is. Hopefully you’ve had your Oates and this smooth rendition will have the heads bopping in the dance Hall. At 92 Bpm this is combo is not to be missed… as you’d be absolutely Playing Yourself.

B. The Magic Word : Marshall Miller: Abracadabra : The new mysterious duo at ON POINT RECORDS have made that Magic flip. Combining Em n’ Steve M for a fun party heater at 112BPM For when you can’t cool down and have to keep spinning round and round.

Zoetrope Vinyl. Schrank zu klein, Arsch zu groß, blasse Waden, hellgrüne Luftballons in der Steckdosenfrisur - das ist Schwiegermutters Fiebertraum in Reinform, das ist der körperhafte Stinkefinger an die Selbstoptimierer*innen-Gesellschaft, das ist Punk in der Jetztzeit-Version, das ist der "EXTRA"Lifestyle. Paula Carolina zelebriert eben diesen Lifestyle Woche für Woche erfolgreich auf den Festivalbühnen der Bundesrepublik - und hat ihm mit "EXTRA" ein musikalisches Denkmal gesetzt. Paulas neue Single ist eine Musik-gewordene Ode auf die Weirdness und das Besonderssein, ein augenzwinkernd-romantischer Vorstoß gegen Normschönheit, Langweilertum und "Otto Normal"-Standards - "als wär' auf der Tanzfläche jedem scheißegal, was man anhätte". "EXTRA" ist nicht umsonst der Namensgeber des Ende September erscheinenden Paula Carolina-Debütalbums - dieser Song steht exemplarisch für die künstlerische Vision seiner Macherin, die ihren Platz zwischen den Stühlen unlängst gefunden hat: "Fühl' ich mich heute wie ein Punk oder doch nur wie die Göre von Nebenan? Egal!". Paula-Carolina-Musik ist "irgendwie anders" und jedes Mal ein bisschen neu. Zwischen rustikalem Gitarren-Geschrubbel, tanzbar-schiebenden Drums und kaum erwartbaren Airhorn Einschüben blüht die Weltenbummlerin in "EXTRA" erstmals überhaupt mit einer Rap-ähnlichen Stimmperformance auf. Paulas Vocal-Experimente münden zwischendurch in einer Vulkanausbruch-artigen Ohrwurm-Hook und im letzten Drittel des Songs in einer epochalen SingSang-Bridge. Zwischen Punk-Attitüde und Techno-Club-eske Hektik mischt sind also auch die nötige Portion Pop-Appeal. Wer "EXTRA" lieber in einem anderem Genre-Gewand hören will und sich in Jungle-, Dancehall- oder Happy-Hardcore-typischem Tanzstill zum Song bewegen möchte, kann dies übrigens auch tun. Ja, richtig gehört: Ab 3. August - also einen Tag nach Single-Release - wird täglich ein neuer Remix des Originalsongs veröffentlicht. Star-Produzent Marti Fischer, den Paula-Carolina-Fans spätestens seit seinem erfolgsgekrönten "Schreien! - Turbo Remix" kennen dürften, hat ein umfangreiches Begleitwerk zu "EXTRA" realisiert und mehrere, verschiedenartig elektronische Alternativ-Versionen der Außenseiter-Hymne zusammengeschustert. Als wäre das nicht genug "EXTRA" zu "EXTRA", haben auch Großstadtgeflüster eine stilechte Remix-Version der Single gefertigt und der Bonus-EP ihren Stempel aufgedrückt. "Es geht wieder los", im Kosmos Paula Carolina - und zwar so richtig.

Motown producer and songwriter Norman Whitfield assembled The Undisputed Truth to further explore the psychedelic soul he had been developing with the Temptations on songs like ‘Cloud Nine’ and ‘Psychedelic Shack’.

Joe Harris, Billie Calvin and Brenda Evans were assembled as the vocal front-line and their first single was ‘Save My Love For A Rainy Day’/’Since I’ve Lost You’ that was released on Gordy in February 1971 and got to #43 on the R&B Chart.

It was followed by ‘Smiling Faces Sometimes’/’You Got The Love I Need’ that was a massive hit single getting to #2 R&B and #3 on the Billboard Hot 100. Their debut album The Undisputed Truth followed and not only contained all four tracks issued on 7” but an almost interstellar version of ‘Ball Of Confusion (That’s What The World Is Today)’, ‘I Heard It Through The Grapevine’ as well as a very soulful prowl through Bob Dylan’s ‘Like a Rolling Stone’. Tracks like ‘California Soul’ and ‘Aquarius’ also ticked the psychedelic soul box. All told it was a fantastic debut and sold strongly.

Amazingly this fantastic album has not been repressed since 1972. Thus Ace are delighted to put it back into the record racks pressed on 180gm black vinyl.

Founded in Lombardy in early 2023 and now hailing from different parts of Italy, RESCÜE CAT is an energetic hardcore band bursting with attitude and... love! Starting off as friends in the local scene, they're now ready to make their mark as one of the fresh faces of Italian hardcore. With performances at major events like Venezia Hardcore and Built to Blast already under their belts, they've developed a distinct style that mixes intense, emotional lyrics, tight compositions, and dreamy imagery.

Pink vinyl. Founded in Lombardy in early 2023 and now hailing from different parts of Italy, RESCÜE CAT is an energetic hardcore band bursting with attitude and... love! Starting off as friends in the local scene, they're now ready to make their mark as one of the fresh faces of Italian hardcore. With performances at major events like Venezia Hardcore and Built to Blast already under their belts, they've developed a distinct style that mixes intense, emotional lyrics, tight compositions, and dreamy imagery.

The complete album - pressed on limited edition 180g vinyl

Tenor saxophonist Ben Webster (1909 - 1973) had already enjoyed a long and fruitful
career by the time this 1957 session was recorded. However, as Bob Blumenthal
explains in the original liner notes, he still wasn't known for the sensual ballad feeling
that became his trademark during the last two decades of his life. At that time, he was
still recognized for the hard blowing fast tenor sax style he played with both the Duke
Ellington Orchestra and his own multiple small groups.
Even though his repertoire was generally linked to that of Duke Ellington, this classic
Norman Granz produced session presents Webster playing four popular ballads and
two of his own bluesy compositions, Soulville and Late Date. On hand in support are
the incredible Oscar Peterson Trio (Herb Ellis, Ray Brown), and drummer Stan Levey.
"The by turns grizzled and vaporous-toned Webster really hit his stride on the Verve
label. This 1957 date with the Oscar Peterson Trio is one of the highlights of that
golden '50s run. After starting off with two bluesy originals, Webster gets to the heart
of things on five wistful ballads. Providing sympathetic counterpoint, Peterson
forgoes his usual pyrotechnics for some leisurely compact solos; his cohorts -
guitarist Herb Ellis, bassist Ray Brown, and drummer Stan Levey - are equally assured
and splendid. Newcomers shouldn't hesitate to start here." - ***** Stephen Cook,
AllMusic

The queen Ella Fitzgerald and the king Louis Armstrong first met in 1946 for the recording of "The Firm Fram Sauce", a song made famous the previous year by Nat "King" Cole. They had the opportunity to collaborate again in the studio for a few tracks in 1950 and 1952, but it was mainly between 1956 and 1958 that the duo was extremely active. Thanks to the impetus of producer Norman Granz, the star-studded partnership recorded at this period nearly fifty songs, considered masterpieces of jazz history. All these great standards were released on Norman Granz"s Verve label, with a dream cast: Oscar Peterson, Herb Ellis, Ray Brown, Buddy Rich, and Louie Bellson. The grand finale took place in 1958 with their incomparable version of Gershwin"s "Porgy & Bess" conducted by Russell Garcia. For this Greatest Hits album showcasing the association of two geniuses, we have focused on the 1956-1958 period, choosing the most iconic standards and concluding this double vinyl on a high note with three excerpts from "Porgy & Bess".

“Form itself, even if completely abstract... has its own inner sound.”
— Wassily Kandinsky

We are thrilled to announce the release of Objection To Form, a protean dispatch from the fringes of 1980s-inspired wave and raw, rugged electro. Driven by arcane machines and imbued with a melancholic urban atmosphere, Objection To Form offers a warped, modern-day response to the sonic landscapes forged by the likes of Chris & Cosey, Shoc Corridor, The Normal, and Cabaret Voltaire.

Spanning eleven tracks, Objection To Form explores electro-tinged wave that resonates with today’s creative pulse. From the lo-fi machine sounds of Alpha Sequenz’s Dawn Lines and the rugged jams of Fiume’s Haïti Market Daze, to the implacable Electro cadenza delivered by Le Syndicat Electronique, the compilation unfolds like a fragmented narrative. L.F.T.’s Inside I Was Screaming, a cavernous, electro-wave anthem featuring the mythical British band The Children Of Leir, adds a deeply resonant dimension, while the relentless drive of Beau Wanzer’s The Johnnie’s Secret Sauce underscores the compilation's protean spirit.

Objection To Form delivers a forward-looking sonic experience—a space where experimentation meets timeless resonance.

The follow-up to their eponymous 2022 debut album, ‘What Is Your Definition Of Happiness?’ finds Dubinski broadening their sonic palette with the help of Grammy award winning producers Mike Horner (Franz Ferdinand, Placebo, Hot Chip) and Robbie Nelson (Beck, Royal Blood, The Kooks). Across an album themed around the concept of happiness you’ll find tales of crushed dreams, doomed romance and the perils of trying to survive as a DIY live band, all set to a compelling suite of bulletproof melodies which fuse elements of Franz Ferdinand, Parquet Courts, The Clash, Maximo Park, and even Paul Simon.

“A lot of these songs have something bittersweet to them,” says vocalist Eugene. “It’s a record of love, happiness, pain, sorrow, grief, healing, growth and acceptance. We wanted to tell a story with this album, and it flows similar to the way the seasons change.”

I Was A King. For nearly 20 years they have been a warm beating heart in Norwegian music scene, reliable suppliers of perfect pop and sonic happiness. Led by Anne Lise Frøkedal and Frode Strømstad, they have come with infectious melodic strength and rich harmonies. The formula has been a classic four-piece approach to the music. Their music has been widely acclaimed by critics in Norway, as well as in the US and UK. While perpetuating the legacy of icons like The Byrds, Big Star, Teenage Fanclub and even My Bloody Valentine, they keep playing by their own rules on each release, combining music history with a modern perspective.

"Best Wishes - A Shortcut to I Was a King" collects highlights from their rich catalog, on wich they have collaborated with international figures such as Sufjan Stevens, Robyn Hitchcock and Norman Blake (Teenage Fanclub) to name a few.

Eine Ella-Entdeckung sondergleichen: die „First Lady of Jazz“ singt und swingt ein dynamisches Konzert mit Top-Musikern der Ellington-Band. Dass dieses Traum-Konzert von 1967 in Stereo mitgeschnitten
wurde, war bislang unbekannt. Im Nachlass ihres Managers Norman Granz fanden sich jetzt die von Wally
Heider hervorragend aufgenommenen 4-Spur-Bänder, und die haben es in sich! Ella war in phänomenaler
Form und wurde vom Trio aus Jimmy Jones, Bob Cranshaw und Sam Woodyard sowie Ellington-Legenden
wie Paul Gonsalves, Jimmy Hamilton und Johnny Hodges zusätzlich beflügelt.
Vom swingenden Opener “The Moment Of Truth” und dem lässigen Klassiker „Let’s Do It“ bis zum
Fitzgerald-Evergreen „Mack The Knife“ ist alles dabei, was man als Fan liebt. Zwei zusätzliche Pop-Songs
der Sixties transponiert Ella meisterhaft in die Jazz-Welt: die bittersüße Ballade „Alfie“ von Burt Bacharach
und den Ohrwurm „Music To Watch Girls By”. Beide Songs waren bislang noch nie von Ella interpretiert
zu hören!
Ausstattung LP: 140g, Gatefold-Sleeve mit ausführlichen Linernotes von Will Friedwald
Ausstattung CD: Mintpack, Booklet mit ausführlichen Linernotes von Will Friedwald