THE MARCH VIOLETS came out of Leeds in the early 80"s, label-mates of Sisters of Mercy. Releasing six singles, they were a constant presence in the UK indie charts, hitting the top two spots with Snakedance, Deep and Walk Into The Sun. They never got around to recording an album - their only "80"s long-players, Natural History in the UK and Electric Shades in the USA, were compilations. Eventually they signed to a major label and were groomed for a USA breakthrough, performing in the 1987 Some Kind of Wonderful movie. However they were asked to make too many compromises and split up. Their early eighties career was thankfully well-documented by the BBC, who broadcast six sessions between 1982-86 - three for John Peel, and one each with Kid Jensen, Janice Long and Richard Skinner. Chronicling their development with lead singers Simon Denbigh, Rosie Garland and Cleo Murray and backed by bassist Lawrence Elliot and guitarist Tom Ashton, these sessions include nine unreleased songs and alternative versions of their indie hits. Here is the unheard history of The March Violets.
M_Sessions - Rare Originals is offering a selection of Mania D., Malaria and Matador’s music for the 40th anniversary. Bringing the past into the now and into the future. The original core team of Beate Bartel, Bettina Köster, Manon P. Duursma and Gudrun Gut selected "Rare Originals" from the repertoire of the 3 bands where they saw special relevance and beauty. There are live tracks, living room recordings and demo versions from times long gone.
The project M_Sessions focuses on the All Female bands Mania D., Malaria! and Matador in the West Berlin music and art scene of the late 1970s and 1980s. The three bands around their members Beate Bartel, Bettina Köster and Gudrun Gut played concerts in different formations from 1979 on, released records and toured around the world. The self-determined appearance of the musicians was new, raised some eyebrows and was reflected both in the music and the lyrics, but also in their unique style and the genre-crossing approach of "more art in the music, more music in the art". To this day, the bands are considered visionary, they shaped a new image of women in pop culture and are pioneers and role models for the still important and necessary emancipatory movement in the music industry. Far beyond the borders of Berlin.
Concentric Records present this special edition EP by the Berlin-based duo YHDESSA - composed of Dutch-Italian composer and poly- instrumentalist Grand River and Sardinian electronic music experimentalist Enrica Falqui.
Entitled Along The Simple Line, the 5-track EP is a unique sonic journey that merges in pure form the distinct worlds of the two composers, exposing a warm and delicate essence. Perfectly punctuated, and in a pace of its own, the album gently and precisely unfolds through touching musical spaces, dramatic textures, entrancing rhythms and unexpected vocal lines, revealing a wonderful depth. The result is so perfectly uniting as if woven by the same two hands.
Yhdessa is a collaborative project made up of Grand River and Enrica Falqui which was conceptualised in 2017 while the duo shared a music studio and were living as a couple in Berlin. Their first piece, released in 2018 on the label One Instrument Records, was named after the Vermona E-Piano and is composed entirely using the analogue synthesizer that was built in 1978. Following this came their lingering soundscape Waldorf Micro Q featured on the record “One Instrument Volume 01” as well as an impelling remix of Dunes by Jiska Huizing and Rudi Valdersnes.
Aimée Portioli is a Berlin-based Dutch-Italian composer and sound designer who records and performs as Grand River. The name Grand River evokes nature, scale, and movement, all key forces in Portioli’s work. Her first release as Grand River was the resolute 2017 Crescente EP, which includes Flies, a composition named by XLR8R as one of the best tracks of that year. She followed this with her melodious debut album Pineapple (Spazio Disponibile, 2018), which garnered praise from The Quietus, amongst others. The moving and dynamic subsequent album, Blink A Few Times To Clear Your Eyes (Editions Mego, 2020) was lauded by Resident Advisor and The Verge, and was elected among the best albums of 2020 by Inverted Audio. Separately, Grand River’s work has appeared on compilations by Ghostly International, Tresor, Longform Editions and has composed an official remix for Tangerine Dream.
Enrica Falqui is a Sardinian music producer and DJ currently based in Berlin. With artistic versatility as one of her defining traits: she comfortably traverses between the dimensions of electronic music. For over a decade she has dedicated herself to the study of sound and the relentless excavation of lesser-known music, which has earned her bookings all over the world and commissions for her productions from some of the most respected labels including Marignal Returns which released Plexus, a mini-album of cool, divergent compositions. Enrica is also part of the coveted duo, ERIS, whose debut and sophomore EPs, Moments and Champions League, found their home on the illustrious Cabaret Recordings. The releases entwine the forceful with the ethereal and create an original, future-facing and club-orientated sound. Moloko, a drum-focussed track laced with weaving synths, was considered by Resident Advisor as one of the best tracks of 2019.
Aimée and Enrica’s musical union through Yhdessa, is one of colour and warmth. It expresses an experimental electro-ambient side of the two composers, to form a style that is meditative, other-worldly and at times introspective. Although, the two are now, no longer romantically engaged, they maintain a passionate friendship to match this profound musical partnership.
Released in 1989, La Mosca was the last album of the mythical Eduardo Mateo (1940-1990), one of the most influential artists in Uruguayan music. Produced for the multi-instrumentalist and sound engineer Hugo Jasa. Reissued for the first time with Obi and liner notes of specialist Guilherme de Alencar Pinto. Released towards the end of 1989, La Mosca was the last job by the mythical Eduardo Mateo (1940-1990), one of the most influential artists in Uruguayan music. Although Mateo was a remarkable percussionist and was very well known for his short songs, with simple lyrics, where Uruguayan roots are mixed with Brazilian, African, Indian and Arabic influences, on his last album, his work took a turn on a brand-new direction. Alongside the multi-instrumentalist and sound engineer Hugo Jasa, weaved together a futuristic sound, based on drum machine beats, keyboards, electronically processed both guitars and vocals to create an atmosphere through sturdy texts with references to machines, to the future, to time and the cosmos. At first received with confusion, today La Mosca continues to cause a mysterious fascination that persists and deepens through the passing of time.
Sunny Sweeney, a genre-bending songwriting spitfire who has spent equal time in the rich musical traditions of Texas and Tennessee, returns with 'Married Alone', the celebrated singer-songwriter’s fifth studio album and the follow-up to 2017’s critically acclaimed 'Trophy'. Co-produced by beloved Texas musician and larger-than-life personality Paul Cauthen and the Texas Gentlemen’s multi-hyphenate Beau Bedford, Married Alone is Sweeney’s finest work yet, bringing together confessional songwriting, image-rich narratives and no shortage of sonic surprises for a loosely conceptual album about loss and healing. "Before I made this album, I did two things I’d never done before. I saw Stevie Nicks in concert with Fleetwood Mac, and I toured with Bob Seger. While Waylon and Loretta are tattooed on my heart and I’m deep-rooted in fiddle, steel, and twangy telecaster, this time, I channelled my deep love for rock icons Stevie, Tom Petty, Neil Young and Bob Seger in a way I never have before. I married ethereal rock vibes with the grit of a country lyric. Paul Cauthen took the helm as producer and brought in the stellar Beau Bedford and Jeff Saenz to complete the trifecta to get the sound we were going for. The majority of the album was recorded at Modern Electric Sound Recorders in Dallas, TX and features some of the band members I play with every night on tour. I want my fans to be able to take home that live experience, the guitar tones, fiddle solos - I leave everything on the stage each night and I want people to feel that in this recording."
The combination of big riffs, driving rhythms, thick yet lithe bass lines and rich vocal melodies has made for some of the greatest music of all time, and in the hands of Kings Of Mercia this recipe is intoxicating. Best known as the founding guitarist for Fates Warning, Jim Matheos is incapable of stifling his creativity. In early 2021, he started working on the songs that would become Kings Of Mercia’s self-titled debut album, bringing his distinct style yet doing something a little different. Churning out songs, Matheos’ next concern was to find the musicians who would help him realize the material, and his first priority was a vocalist. Enter FM vocalist Steve Overland. The combination of Matheos’ riffs and Overland’s vocals makes for perfect bedfellows. Behind the kit for the record is the legendary Simon Phillips (ex-Toto, Derek Sherinian), one of Matheos’ favorite drummers. Rounding out the group is bassist Joey Vera - Matheos’ Fates Warning bandmate - who brings his trademark style and professionalism to the table. With these players involved it was an easy, stress-free process throughout, making music for the love of it, and coming up with something that sounds familiar yet new, expanding the repertoire of all involved. This means songs like the half-acoustic ballad, half-swaggering “Too Far Gone” or the beautiful “Everyday Angels”, and the soaring “Wrecking Ball”, which opens the record on a high note, all brought to life in dynamic style. The hardest part of the whole process was coming up with a name for the band. It made sense to self-title the record due to it being the band’s debut, and given how much life there is in the songs it would not be surprising if it did not become the first of many, the combination of those involved creating something special, and with Matheos’ permanent creative hunger you may well be hearing a lot more from Kings Of Mercia.
Revenge Techniques presents the vinyl reissue of TAFKAMP's magnum opus 'INDRUKKEN'. Originally released on cassette tape back in 2018, the album features some of the artist's deeper and dreamy productions to date, an exciting trip through the musical impressions of the artist mostly known as techno/rave producer 'Stranger'. TAFKAMP showcases a selection of music ranging from slow melancholic breakbeat to euphoric uptempo electro and everything in between.
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Die Portugiesen von GAEREA sind auf ihrem dritten Album mit ihrer speziellen Interpretation des Black Metal zurück! Für fans von UADA, NUMENOREAN, THE GREAT OLD ONES, SVARTIDAUDI
Musician and sound/video installation artist Steve Batespresents a solo ambient/noise album ofmelodic smear, radiostatic blur, panoramic noise clouds and dissolving tones. Made primarilyunder the self-imposed 'limitation' of a Casio SK-1, this is his first entirely solo full-length albumin almost a decade. All The Things That Happen showcases the more deliberate, intensive, noise-clustered side of Bates' wide-ranging sonic sensibilities and practices. An isolation record (like so many), itcombines an ineffable melancholy with claustrophobictension and simmering political rage.Powerfully composed from layers of glistening distortion-drenched melody, pulsing and droningoscillation, bursts of blown-out chords, sweeps of static and sheets of crackling hiss, Bates hasmade an impressively dynamic, ardent and iridescent noise album of real depth and underlyingdevastation."This was supposed to be an ambient record; quiet, minimal and sad. These tracks all startedoff that way but I kept reaching for more texture and noise. Somehow the noisier the record got,the less sad it was also. I was listening to, and loving, a lot of music by Andrew Chalk and I hadfinished a year-long run of listening to Eno's 1 and 4. I preferOn LandtoMusic for Airportsalthough I love both.On Landjust has a darkness and uncertainty that appeals to me. Addingmore noise also got me excited about ways this material could be played live even though italso felt like that could never happen again.In 2022, I opened for Godspeed You! BlackEmperor in Saskatoon to give it a try and waspleasantly pleased to hear it all live and loud."A fixture of Winnipeg's burgeoning punk and social justice community in the 80s-90s, Batesplayed in hardcore and indie rock bands (Pull My Daisy, Bulletproof Nothing) prior to foundingthe Send + Receivefestival in 1998. A crucial development in putting Winnipeg on the map foravant music and sound art, Bates helmed Send + Receive for seven years, then moved toTiohti:áke/Montréal, became Sound Coordinator at Hexagram (Concordia University), releasedsolowork on Oral and two albums with his Black Seas Ensemble on Dim Coast, and pursuedmyriad other ongoing audio research, installation and collaborative projects. Relocating toTreaty 6/Saskatoon the year before pandemic,All The Things That Happenis Bates' mostrecent purposive and purely 'recorded' work.Thanks for listening.
Lindenberg Support is the man behind 'Ode To Gallantry', a complex and emotional tale of mistaken identity, trust and honor.
The story begins with the beggar Shi Po Tian, aka the Bastard, stealing a bun which contains the Black Iron Token, created by skilled pugilist Xie Yanke, which grants the holder one wish. 'C20/25' and its pounding and pacy rhythmics, carrying pads and heavy hitting vibe, perfectly set the journey's energetic and warm tone.
Xie appears yearly, demanding that the clans repay in blood for any heinous act they committed throughout the year. The only way that a rude clan can avoid the cull is for the clan's leader to sacrifice himself for them. With 'SKS (101)' and its soothing and floating pads carrying the gentle lo-fi drums, the story heats up and evolves to a deeper intricacy.
Fearing that Bastard might make him promise to stop his annual harvest of death, Xie spirits him away and trains him in martial arts so powerful that he is certain it will kill him, but instead, it makes him strong and resilient. The uplifting pads in 'Gate', supported by a reckless broken beat and pinging vocals, create a celestial vibe that pushes Bastard to his limits.
He is rescued by the Chang Lo Clan that mistakes him for their villainous leader Shi Zhongyu and then treats him as their boss. With each case of mistaken identity, he becomes drawn into a number of heated conflicts between several rival schools and gangs - a dilemma that he just isn't prepared to deal with. The dreamy ambiance of 'Kinda Weak' and its well-wrought drum pattern slowly shroud the memories of his old life.
The final point is set with 'Pol-1 (For Stefan)' - an emotive and profound ambient piece to close the story. He's sure to learn some valuable lessons about brotherhood and honor, but at what price?
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Following the success of his label debut - the raucous 'Bun & Cheese' EP - Dudley bassline stalwart DJ Pantha - is back with a full-length LP. 'The 140 Archives' sees Pantha prove his prowess in harnessing a sound which captures the genre in its antecedents whilst resembling something altogether new. Funky rhythms and rude melodies energise the first two tracks before the half-time 'Vibez' represents a slightly darker, more contemplative take. Elsewhere, Grime's influence lives through 'Four By Niche' and the title, claps and chopped choral vocals of 'Blackberry Riddim', whilst the gunshot-happy 'Emmerdale' and 'Protein Shake' represent bassline at its most playful.
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International Anthem proudly presents Step on Step, a double LP collection of newly unearthed solo home recordings created by enigmatic producer, arranger, and composer Charles Stepney in the basement of his home on the Southside of Chicago during the years before his untimely death in 1976. Stepney’s signature “baroque soul” sound is known to many as it’s heard in his prismatic orchestral arrangements for Rotary Connection, Minnie Riperton, Howlin Wolf, Terry Callier, Earth, Wind & Fire, and many more. His sound has been used by countless samplers in the hip-hop world including Kanye West, The Fugees, and MF Doom. But in comparison to the post-mortem renown of his sound, or the artists he supported while he was alive, Stepney is a greatly underappreciated figure… a genius relegated to the shadows.
Step on Step is Stepney’s eponymous debut album, featuring 23 bare-bones, demo-style home recordings, most of which are Stepney originals that were never again recorded by him or any other artist. Highlights from those original works include “Denim Groove,” which hears Stepney on piano and congas alongside his first instrument (the vibraphone), and “Look B4U Leap,” one of several kinetic lo-fi dance numbers that feature Stepney having fun with an early-gen Moog synthesizer. It also features prototypical, seedling-style demos of Stepney compositions for Earth, Wind & Fire, including “That’s The Way of The World,” “Imagination,” and “On Your Face,” as well as the original version of “Black Gold,” which would eventually be recorded by Rotary Connection (as “I Am The Black Gold of The Sun”).
A collection of home recordings Charles Stepney -- the late composer/producer who worked with Earth Wind & Fire, Deniece Williams, Rotary Connection, Minnie Ripperton, Muddy Waters, Howlin Wolf, Terry Callier, and more, and was sampled by Kanye West, Madlib, MF Doom, A Tribe Called Quest, The Fugees, and more -- called Step On Step is coming out September 9 via International Anthem.
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Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero_friends whose bond dates back to their childhoods in Bogotá, Colombia_moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band's desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world's darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other's contributions both to these songs and to each other.
Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero_friends whose bond dates back to their childhoods in Bogotá, Colombia_moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band's desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world's darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other's contributions both to these songs and to each other.
Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero_friends whose bond dates back to their childhoods in Bogotá, Colombia_moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band's desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world's darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other's contributions both to these songs and to each other.
Temples is a tempting invitation into another world, full of light and movement. From the second the synth comes in this track has got us deep in its pocket. Shotter manages something that is hard to achieve - he has us floating completely, yet steadily carried by tip-toeing metallic rhythm elements and the relentless swells of bright synths. The game changer in the second half is a new, gritty bass quality, which couldn't roll in any more fiercely. At its fullest the track has us in an uncompromising trance, a relentless movement that we don't ever want to escape from. Breaking back down to pleasantly gentle hi-hat reverb-tails and inducing synth patterns Temples lets us down easy, with the unspoken promise to return.
Ueno claims the room to itself completely and immediately. The rise and fall of melodic synth lines lead us through a labyrinth at first, leaving plenty of space for imagination. Before we notice playful call-and-response rhythms are teasing our ears, until the track surrenders itself to an ever-growing wave of synth patterns and their behind-the-beat-delay. It climaxes into a haunting silence with tenuous high-pitched sounds and a clear outer space feel. Finally, all elements lock into a comforting groove, driving us forward, not too fast, not too slow - exactly right.
The track starts off with a blissfully nostalgic vintage-feel - slightly muffled, like the humbling quality you get from an old Technics playing your favourite LP. But don't be fooled, Cube March is bold. And unexpected. Stomping rhythms take over quickly and full-blown gritty synth-stabs cut the air effortlessly, like blades. An unapologetic and careless pumping bass line makes us want to move with every cell in our body. Shotter demonstrates his fearlessness in experimenting with heavy contrasts and elements from different genres here. A break with tastefully placed repetitive rhythm elements is complemented by the constant ebb and flow of melody lines. Both in volume and presence they fluctuate, one handing over the spotlight to the other seamlessly, keeping us hooked until the very end.
This remix lures you away from reality in a matter of seconds, with Definition's signature heavy hitting bass dominating. He expertly weaves shimmery fills into buoyant synth lines and brings us a skilful mix of dark minimal techno, breaks and infectious monster synth lines. Every so often, he adds a new layer, increasing the depth of the track, before letting it all crumble in a breakdown where time stops and tension grows, as we impatiently await the next rise to carry us away. The lengthy build-ups give this remix the energy to fill any room, easily. It is subtle, yet propulsive, too - a lane that Definition seems to manage regularly.
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Oslo's Ultima Festival for contemporary music in 2014. The idea was to give revered Norwegian experimental electronic musician Helge Sten, aka Deathprod, access to seminal avant-garde composer Harry Partch's self-designed, custom-made, specialized, invented instruments - an orchestra tuned to just intonation, using up to 43 intervals instead of the standard 12 for the most commonly used Western equal temperament. An artist with a 30+ year career and an uncompromising reputation that reflects the emotional specificity of his uneasy, yet compelling sound, maintained throughout his expansive discography, Sten was an intriguing choice for such a project. Although he attended art school, training in electronic music and sound art, he had little experience with acoustic instruments and can neither read nor write music notation. Yet he's been engaged with Partch's music, and outsider art more generally, since he was a teenager. His resulting piece/composition for the project was originally intended only for performance by Cologne-based Ensemble Musikfabrik, for a series of concerts in five European cities between 2015 and 2018. It's Musikfabrik that undertook the painstaking, expensive process of building an entire set of the composer's creations - the second only to the originals built by Partch himself. They are the professional musicians and virtuosic instrumentalists that had to re-train and re-educate on these unknown and experimental sound sculptures in non-standard tunings. And they house this large, gorgeous physical instrumentarium and deal with the enormous logistics of working with it, sometimes shipping the fragile pieces to other locales via semi-trucks or ships. Because of such monumental efforts, Musikfabrik are notoriously guarded with recordings of the instruments. And rightly so. They're the only ones allowed to perform on them, too. But Sow Your Gold isn't Musikfabrik playing. Instead, Sten spent days and nights alone with the instrumentarium in Cologne. He played the instruments himself while recording, layering the recordings and editing without effects to compose an `audio score' for Musikfabrik to work from in order for the ensemble to perform the piece. (Partch also regularly worked this way, although he would transcribe afterwards. Likewise, Sten worked with a professional arranger to create a detailed score, too.) So, that makes Sow Your Gold an even less likely rarity - partly why its release comes seven years after its creation. If you ask Sten about the album's title, he'll point you to the text he borrowed it from - Michael Maier's Atalanta Fugiens by H.M.E. De Jong, a 1969 study of a 1617 book of alchemical emblems - and notable passages dealing with alchemy, chemistry, and agriculture, all transformative processes. And while that may sound complicated, his takeaway is simple: "You have to break something down to create something new," - a lesson he felt related strongly to his own musical process, especially in this project. So, while Sow Your Gold in the White Foliated Earth is a piece written for specific, oddly tuned, extremely rare and unusual instruments, and for a certain ensemble - namely, some of the finest contemporary musicians in Europe - Sten grew fond of the audio score, recognizing it as coming directly from the creative process in its purest, most natural form. And so from a foliated earth, where obscure tradition, treasured scarcity, immense effort, and patient certainty layer and criss-cross, comes rugged gold, polished to shining by one outsider for another.
When two musicians intensively work together for a period of time, at some point the whole becomes greater than the sum of its parts. If Paul Boex and Dave Miller hadn't already reached that status under their Abstract Division moniker, they certainly have now, with the release of Midnight Ensemble, their first full length album.
Those who have followed the duo since their early days of playing dj-sets together, know that it's hard to define their style anywhere beyond techno or even electronic music, as it is ever evolving and always dependent on the time of the day or night. When listening to this album, the resemblance between their unpredictable selection behind the decks and the eclectic range of subgenres on this album is more obvious than ever before. Midnight Ensemble could be interpreted as an ode to nightlife; a reminiscence of all that happens between dusk and dawn, captured and compressed into about one hour of music. An hour in which they so delicately time their changing of styles and tempos, always reading the room and always being one step ahead of the crowd.
This album is a reflection of that skill, starting its journey with soothing, moodsetting ambient, followed by timeless pieces of Detroit and dubtechno. A daring electro cut providing a refreshing break from the four to the floor tradition, only to be followed by the stripped down sound the duo is so comfortable with.
The final minutes consist of experimental breaks, one last banger to pull out the last bits of energy that is left and a beautiful outro, which concludes the allnighter vibe. There are no open endings, it doesn't make you want to stay in the dark forever. Rather it makes you want to close your eyes one last time before walking outside to see the sun come up again before going home, overwhelmed and satisfied.
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In 1992, The Wedding Present decided to release a limited edition single every month, each featuring an original track on the A side and a cover on the B side. The tracks were compiled as two LPs called Hit Parade 1 and Hit Parade 2 and re-released as a double CD in 2003 called The Hit Parade.
The plan to release 12 singles in a year was an attempt to match Elvis Presley's record of 12 top 40 singles in a year which he had achieved in 1957. The singles, each in an edition of 10,000, were deleted soon after release. They were critically acclaimed and each charted in the top 40
A retrospective double LP compilation of the work of dutch producer Aad De Mooy. Specifically focusing on the first half of the 90's with his aliases as Interface, Time Warp and Paradise 3001 on ESP Records. This compilation attempts to encapsulate and expose the masterful prowess of Aad's work as a producer with a focus on maximum dancefloor efficiency. This double LP consists of 10 tracks ranging from downtempo acidic breaky chuggers to full on floor activators channeling tribal and early progressive trance inducing elements perfectly arranged in highly effective compositions. Can't go wrong – all killer no filler is all one can say about Aad's meticulous productions. Compiled by Castro & Nemo and re-mastered for vinyl at manmade mastering.
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Tarja Turunen ist seit 2005 auf Solopfaden unterwegs. Die ehemalige Sängerin der finnischen SymphonicRock-Formation Nightwish nennt sich seither nur noch Tarja und hat inzwischen zahlreiche Alben veröffentlicht.
Ob klassisch, live eingespielt oder farbenfroher Symphonic Rock, mit ihrem englischsprachigen Rockdebüt My Winter Storm” legte sie bereits 2007 den Grundstein für ihren späteren Soloerfolg.
Die stilistisch abwechslungsreiche Platte erreichte in Deutschland Platz 3 der Albumcharts und wurde mit
Gold ausgezeichnet. Im Zuge des Jubiläums wird der Album-Opener ”I Walk Alone” als limitierte 10-ZollSonderedition auf weißem Vinyl veröffentlicht.
Der fast meditative, von Metal-Gitarren und symphonischem Orchester untermalte Track zu Beginn gipfelt
in einem eingängigen und monumentalen Hardrock-Refrain, dem Tarja die funkelnde Gesangskrone aufsetzt.
Neben der ”Single Version” und der ”Artist Version” enthält die 10inch-Single drei weitere Mixversionen
des Songs: Den markanten ”In Extremo Remix” mit den typischen Sounds der deutschen Mittelalterband,
den stark elektronisch angehauchten ”The Tweaker Remix” und den wahrhaft düsteren ”The Darkroom
Mix” von Deviousnoise.
I Walk Alone” stammt übrigens aus der Feder des erfolgreichen schwedischen Songwriter-Teams Wollbeck/Lindblom/Sommerdahl (das u.a. auch für Tina Arena, den Jazzer Till Brönner oder Südkoreas Girls’
Generation arbeitete).
Basslines like a clumsy, exuberant puppy. A braid of guitar notes tickling your neck. The jittery buoyance of a marimba, so cartoonish you can picture its unblinking technicolor eyes. A snare that cracks like every friend knocking on your door at once. These are the fragmentary beats and visions that Josh Diamond and Eric Copeland spent the last two years exchanging, the magnetic, romantic, completely unashamed chunks stacked into the bubbling delight of "Riders on the Storm." These two are, yes, known for vastness, transcendence, and suffocation. Eric is a founding member of Black Dice, weaponizers of volume, misdirection, and alien language. Josh is a founding member of Gang Gang Dance, whose haunted, murky explorations drag listeners to infinite, irreversible revelations. Given these pedigrees, it's natural to anticipate their collaboration as an itchy, opaque monolith. Within the shit and terror of 2022 it's even understandable to yearn for something like that. But "Riders" with its light heart and wiggle and squirm is actually the record we need. "It's intentional," confirmed Josh of the record's lightness: "just wanting to make the opposite of what's going on outside." Eric reinforced this feeling of liberation and inversion, recalling the freedom of sharing unfinished ideas, of trusting Josh's creativity. "Nobody was vying for anything," he explained, "we were just trying to do it for each other." The completed exchange of sound unrolls like a laughter-filled conversation, Josh and Eric each banking on the other's improvements and re-configurations. The most remarkable thing about this trust, this generosity, is how their pair have managed to invite listeners into it, making everyone a part of this free-spirited dance. "Riders on the Storm" is the first full length collaboration between Josh Diamond and Eric Copeland, following their contribution to Mary Staubitz and Russ Waterhouse's 2020 `Distant Duos' project. It was recorded and mixed with the guidance of Ivan Berko (Hidden Fees, Ghost Exits). In addition to their work with Black Dice and Gang Gang Dance, Eric and Josh are both solo artists. Diamond released his debut solo album, "Seek Rips," in 2021. Copeland released his 16th solo album, "Spiral Stairs," in 2022.
Dan Álvarez de Toledo and Jordan Dunn-Pilz have a special bond. Growing up in Newburyport, Massachusetts, the two were fast and unshakable friends through sleepovers, school choir practices, and discovering formative bands, to the point that now, as roommates in Brooklyn, they finish each other’s sentences. This shared history and obvious love for each other are tangible in their songwriting project TOLEDO, named after the Spanish town and Álvarez’s familial namesake. Their music, which is full of seamless harmonies throughout, skirts the softer edges of indie rock and the darker fringes of pop with each song imbuing a heaping dose of vulnerability and emotional openness. On How It Ends, their debut album which is out September 23 via Grand Jury Music, the two dive into each other’s family histories and traumas as they navigate their own lives as twenty-something musicians. These tracks are striking for their blunt honesty but also for the way Álvarez and Dunn-Pilz’s real-life chemistry translates on record: the 12 songs are as tender as a warm hug and as clarifying as a needed reality check. This LP is the product of deep self-reflection and the necessary hard work that comes with any relationship.
Dan Álvarez de Toledo and Jordan Dunn-Pilz have a special bond. Growing up in Newburyport, Massachusetts, the two were fast and unshakable friends through sleepovers, school choir practices, and discovering formative bands, to the point that now, as roommates in Brooklyn, they finish each other’s sentences. This shared history and obvious love for each other are tangible in their songwriting project TOLEDO, named after the Spanish town and Álvarez’s familial namesake. Their music, which is full of seamless harmonies throughout, skirts the softer edges of indie rock and the darker fringes of pop with each song imbuing a heaping dose of vulnerability and emotional openness. On How It Ends, their debut album which is out September 23 via Grand Jury Music, the two dive into each other’s family histories and traumas as they navigate their own lives as twenty-something musicians. These tracks are striking for their blunt honesty but also for the way Álvarez and Dunn-Pilz’s real-life chemistry translates on record: the 12 songs are as tender as a warm hug and as clarifying as a needed reality check. This LP is the product of deep self-reflection and the necessary hard work that comes with any relationship.
Issued on BBE Music, “Reflections” is the new album by London based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective. Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinska puts together a second long player, collaborating with British jazz stars Tony Kofi (Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist Vimala Rowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime (Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola). Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip Hop. “This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording - it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too. For ‘Reflections’ I tried to break from any stereotypes and limitations - what you hear is my own choice of sounds and influences, taken from the many mixtapes I've been making since I was a teenager. I put together the music I like to listen to when I am happy or sad, when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most - a free spirit, courage, innovation and all the beautiful things life gives us. I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” - Alina Bzhezhinska Reflections is released on double LP vinyl, limited edition CD & digital formats.
"Do you know SUCK?" "Yup, had to see them live!" That's about how the conversations go when you ask around in the punk-informed part of the circle of friends. At least in Berlin and the surrounding area, where for some the first musical contact took place in the Berghain Kantine in the support of Amyl and The Sniffers, for whose 2019 tour SUCK gave the support. No easy stand actually - and because they convinced there, the punk band from Kassel left a lasting impression. Which, in a text like this, inevitably leads to the question: Is it actually a curse or a blessing for the promotion of a debut album to be a fantastic live band? Instead of a far-reaching, finely chiseled, cultural journalistic answer, it is recommended at this point to simply turn up the opener "Rip It"
"Do you know SUCK?" "Yup, had to see them live!" That's about how the conversations go when you ask around in the punk-informed part of the circle of friends. At least in Berlin and the surrounding area, where for some the first musical contact took place in the Berghain Kantine in the support of Amyl and The Sniffers, for whose 2019 tour SUCK gave the support. No easy stand actually - and because they convinced there, the punk band from Kassel left a lasting impression. Which, in a text like this, inevitably leads to the question: Is it actually a curse or a blessing for the promotion of a debut album to be a fantastic live band? Instead of a far-reaching, finely chiseled, cultural journalistic answer, it is recommended at this point to simply turn up the opener "Rip It"
Keith Fullerton Whitman brings his 3-part Generators series for Japan’s NAKID label to a close with a third and final instalment that ravishes the senses with hybrid analogue/digital systems tekkerz.
Hazing into a solemn start of floating organ and slurred drums, the first part fizzes into action with pranging irregularities, tentatively allowing the system to voice varying pitches and nimble rhythms that resemble balletic footwork plies as much as classically-trained instrumentalist flurries. It’s deeply trance-inducing, meditative gear that over the course of 25 minutes slowly gains momentium and complexity, first adding robust arps to complicate the structure, treading the finest line of chaos and discipline. In time, those arps turn themselves into a rhythm track, landing somewhere between Whitman's earliest junglist works as Hrvatski and a sort of plucked rhythmic minimalism that reminds us of Mark Fell’s Sensate Focus, gliding on natural, brownian motion and flux of texture, punctuated by what sound likes a plucking of a drum machine from the inside-out.
In part 2 the mood pools and diffracts in slow-fast meter, bristling ruptures of atonality that send limbs flailing one way and then another, adding subs for a dimensional shift that’s rhythmically fractured but always grounded at the low registers. The wavy embroidery of Whitman's machines trigger each other in endlessly fascinating forms of gyring workshop ballistics and dub reverberations.
A special bonus piece ‘Meakusma (Generators, Soundcheck)’ is the most curious of the lot, with a lone clarinet heard in the air, perhaps a serendipitous inclusion form someone else’s soundcheck, lending an enchanting depth perception to his frolicking bleeps.
Jake Blount and his collaborators embody a group of Black climate refugees as
they perform a religious service, invoking spirituals that are age- old even now,
familiar in their content but extraordinary in their presentation. These songs,
which have seen Black Americans through countless struggles, bind this future
community together and their shared past; beauty and power held in song
through centuries of devastation, heartbreak, and loss.
Uncut Album of the Month - review and Q&A - out now
"'The New Faith' doesn't pretend to be a prophecy or some kind of survival
manual. It is, instead, a celebration of the inherent power of community and
music's ability to connect and resonate through the ages, created by someone
fast becoming one of the most important young voices in modern American Folk
Music." - Uncut
Songlines feature - considering for a cover
The Guardian feature
BBC Radio 2 Folk Show - interview
FRUK Artist of The Month
Known for her time as vocalist in Fairport Convention and respected
globally , Sandy Denny left a beguiling, ever-evolving body of work - Kate
Bush was to namecheck her in song, and Denny's influence can be heard
in generations of singer-songwriters
From its David Bailey cover photo inwards, 1972's Sandy is arguably the definitive
Sandy Denny album. Recorded at John Wood's Sound Techniques studio, and
produced by Trevor Lucas, it adds some special guests into its mix – 'Sneaky'
Pete Kleinow from The Flying Burrito Brothers enhances It'll Take A Long Time
with his unmistakable pedal steel playing, and New Orleans legend Allan
Toussaint adds a brass arrangement to For Nobody To Hear. But it is Denny's
album. Often, it is impossible not be stopped in your tracks by that beautiful, long
gone yet so-full-of-life voice, especially on two of her career-bests – The Lady and
Listen, Listen. Out of print on LP for a number of years, this re- issue faithfully
replicates the original 1972 Island Records UK release with gatefold sleeve and is
pressed onto high quality 180g vinyl.
Of all the celebrated home recording artists that haunt the pages of
Bandcamp and the basements of the DIY touring circuit, few have had an
output as eclectic, enigmatic, and consistent as The Cradle's Paco
Cathcart
In a departure from The Cradle's more lo- fi works, "Radio Wars" bounces from
track to track with a polished exuberance as Cathcart delivers some of their
catchiest music to date. Pumping with auto- tuned nursery rhyme hooks and
densely-programmed drum machine beats, the album boasts a sonic palette that
owes as much to the production of DJ Rashad and the erratic vocal approach of
Playboi Carti as it does to Cathcart's more familiar Dub and Gamelan influences.
It's a musical world that draws you in quickly and leaves you deeply immersed
throughout its 22 - track running time.
As with previous releases, Cathcart's lyrics celebrate and reflect on the profundity
of day-to-day city life experiences. The words are delivered through deceptively
simple refrains that often mask challenging subject matter. Radio Wars was
written and recorded in NYC in the lead up to and during the COVID-19 pandemic,
a time which included the run up to the electoral defeat of a fascist president,
historic protests against police abuse across the country, as well as the early
months of the pandemic, when NYC was at the center of the outbreak. Social and
political dissonance, alluded to in the album's title, was at a high, and that air of
contradiction can be heard throughout, bleeding into moments that feel intimate
and reflective. Coupled with bold production choices and feverish energy
throughout, "Radio Wars," is a Cradle album of and for the times.
Tracks: Lights Off / Tell Me What You Want / Ha Ha Ha! / Black River Side / My
Right Side / American Spirit / I Went in and You Came Out / Radio Wars / Let’s
Clean Up / City Life / Numb Time / I Love that Music / It’s Not Related / What’s in
Between / I Love the World I’m In
Sorcha Richardson's debut album 'First Prize Bravery' was the
culmination of her experiences throughout young adulthood, a time
during which she ventured from home in Dublin to New York, Los Angeles
and then back again
After spending time alone over the last two years to focus on creating a body of
work. The result is her second album, 'Smiling Like An Idiot', which she says,
focuses on what her life looked like over the course of those eighteen months."It
mostly tracks one specific relationship," she says. "It's about falling in love with a
person and a place, which in this case is Dublin, and how those two are
interlinked." Thematically it highlights a pursuit of happiness and the full- blown
intensity of new love, but gaining something so life-affirming comes with the fear
that it could just as easily be swept away. 'Smiling Like An Idiot artfully articulates
those moments in life that you don't want to have to go through, but it emerges
with the optimism that - somehow - things will work out for the best in time.
LP Tracks: Archie / Shark Eyes / Spotlight Television / Stalemate / Purgatory /
525 / Good Intentions / Hard to Fake It / Holiday / Jackpot / Smiling Like An Idiot
Deluxe audiophile 2LP pressing of 'Bucharest 1994', the first joint
performance of Romanian-German jazz pianist Eugen Cicero and
Romanian bassist Decebal Badila, a congenial duo that worked together
successfully until Cicero's early death in 1997
Eugen Cicero - critics reverently called him the man with the "golden hands". For
over 30 years, his name stood for pianistic virtuosity, phenomenal sense of
rhythm and imaginative ingenuity. He masterfully connected works from the
Baroque, Classical and Romantic periods with sophisticated harmonic sequences
from jazz and an infectious rhythm - no one who had attempted such symbioses
before him achieved a similarly inspired and technically accomplished result.
With 'Bucharest 1994', In+Out Records now presents a very special live event by
this man who has created something unique in his mediation between classical
music and jazz standards. This is the first concert with exceptional bassist
Decebal Badila, which laid under lock and key for 28 years. Already at a young
age, Badila adored the music of his older compatriot and was already very
familiar with Cicero's repertoire before their first meeting, which can impressively
be heard on the recordings.
'Bucharest 1994' contains both entertaining, technically demanding and
documentarily indispensable material from the early work of a rising virtuoso
musician and the late work of an exceptional artist whom the jazz world lost far
too early.
In+Out Records releases Italian vocalist Roberta Gambarini's 2006 debut
album - for the first time on vinyl in a limited audiophile signature edition
She is backed by two rhythm sections, consisting of bass players John Clayton
and Chuck Berghofer, drummers Willie Jones III and Joe La Barbera and pianists
Tamir Hendelman and Gerald Clayton. Saxophonist James Moody guests on two
numbers and even contributes some inspired scatting. This album is a real
masterpiece that was recorded live on tape over two afternoons in L. A.
The Crystal Furs are a queer indie pop/rock band from Portland, OR. They write melodic, textured songs about anxiety, architecture, lesbians, and queer feels - loud music for quiet hearts. In Coastal Light is the band’s fifth album, following on from 2020 LP Beautiful and True, and hears them honing their blend of grungey riffs and 60s-girl-group vocals. As featured on: KEXP, WFMU, BBC Radio, Freeform Portland, KBOO Portland, Portland Radio Project, Chasing Infinity on WRUW, Get In Her Ears, Grrls Like Us “Had Portland’s (via Forth Worth) The Crystal Furs been around in the late 80s – early 90s there is a possibility they would have been signed to Sarah Records, home of OG jangle pop bands like The Field Mice and The Sea Urchins. Then again with their sunny, bright melodies, they might have found themselves riding the charts alongside The Bangles.” 50Thirdand3rd “It’s something of a well-worn expression, that adult life is about ‘finding oneself’, but it certainly seems for the Buchanans, and their band, that all of the changes in their life have enabled them to do just that. And what they’ve found are winning alt. indie-pop purveyors in the mould of Helen Love. Beautiful And True is an album whose title could not be clearer: it is what it says it is.” Get In Her Ears “Think of those jangly C86 tunes mixing genteel harmonies, spiraling keyboards, melodic guitar/ bass sounds and wistful vocals and you begin to get the drift here.” Into Creative “From the opening tones of the Farfisa organ on ‘Comeback Girls’ the lo-fi indie pop shines through, with jangly guitars, unassuming instrumental breaks and a naturalistic production that puts the Furs right there in the room with you.” Cambridge Music Review“Retro without being jaded, cute without being cliched what The Crystal Furs do so well – and demonstrate deeply on both tracks in this release – is as we’ve said pair light, sparkling and downright danceable melodies with dark-hearted lyrics emerging from shadowy inner worlds and harder lived experiences.” Popoptica 1. Winter Stars 2. Charlatan 3. Miss Hughes 4. California Misses You 5. Stay With Me 6. Mr Moses 7. Rose-Colored Glasses 8. We Never Sang 9. Please Fade Away10. Girl in the Background
In Memory of Chris Broderick of the Singing Loins, who passed away earlier this year. We proudly present a vinyl reissue of this Medway folk classic! A re-issue of one of our favourite early releases and a rather overlooked classic album, a one off collaboration between Billy Childish and legendary Medway folkies The Singing Loins. This was recorded in 1993 when Billy was in Thee Headcoats and The Singing Loins were in their first incarnation. The Singing Loins formed in late 1990, a two piece band playing “Authentic raw folk from the Medway Delta”. They were Chris Broderick on vocals/stick and Chris ‘Arfur’ Allen on guitar. They had recorded two classic albums before this both of which were released on Billy’s own Hangman records. The album features a few Childish classics reworked including ‘You Make Me Die’ and ‘Every Bit Of Me’ as well as 4 tracks written by Billy & The Loins especially for this album. TRACKLISTING 1. The Bitter Cup 2. Pocahontas Was Her Name 3. The Hanged Man's Dance 4. You Make Me Die 5. I Don't Like The Man That I Am 6. The Double Axe 7. At The Bridge 8. Every Bit Of Me 9. Somebody Else 10. The Ferry Man (Zeebrugge) 11. One Day You Die 12. Brimfull of Hate 13. Dragging Through This 14. One More Bottle to Drink
This is a limited edition pressing of 500, 140-gram, black vinyl records in deluxe tip-on “old style” jackets. Exquisitely printed on textured, water color paper. Digital download included. Be Earth Now comprises forty minutes of potent poetic recitation by Joanna Macy and Anita Barrows from their seminal translation of Rainer Maria Rilke’s The Book of Hours. Channeled in a spiritual fervor in 1899, The Books of Hours remains a profound and highly prescient body of work. Rilke’s poems illuminate paths of embodied mysticism, passionately express ecological grief, and reveal the exquisite expanses of the human heart. The Book of Hours, and now Be Earth Now, offer a poetic map for navigating the heartbreak, rage, and soaring love that so many of us feel in these ecologically urgent and socially emergent times. Rilke’s poems surge with passion and pain for a world that was already teetering toward peril at the turn of the last century, due to the rapid industrialization of Europe, and humankind’s increasing alienation from nature. This work flowed through Rilke in a torrent with sometimes as many as five or six poems arriving in a single day, each self-complete and with no need for later revision. While truly mystical poetry, Rilke’s musings on spirituality overtly critique fundamentalism and organized religion. Instead, Rilke extolls what he finds sacred in the mundane and conjures a sense of wonder for both the more-than-human-world and simply for existence itself. So, who better to give voice to these mystic treasures than Joanna Macy and Anita Barrows? Not only because of their enchanted translations, but also because these women are unquestionably two of our righteous elders. Macy and Barrows have worked diligently for many decades, through art, activism, education, psychology, and spiritual practice, to bring some balance back to this world. The same world that Rilke pleaded with his God to sustain for “just a few more hours,” so that we might have time to mend our relationship with the natural world, to cherish and connect with what is good and real, and to possibly even learn to “be earth now.” A1 Anita Barrows Recites Selections from Rainer Maria Rilke's 'The Book of Hours' B1 Joanna Macy Recites Selections from Rainer Maria Rilke's 'The Book of Hours'
Their third studio album Driver (CD is Available from Epitaph). Lead track “Sober” examines how people’s perception of each other change and deteriorate over time, especially in the wake of a relationship gone sour. On Driver, co-produced by Stevie Knipe and Kyle Pulley (Shamir, Diet Cig, Kississippi), Knipe delves into the emotional space just beyond a coming-of-age, where the bills start to pile up and memories of college dorms are closer than those of high school parking lots. Ultimately seeking the answer to the age-old question posed by every twenty-something; what now? Over the course of 10 tracks, Knipe sets out to soundtrack the queer rom-com they’ve been dreaming of since 2015. Driver incorporates an expert weaving of sonic textures ranging from synths and shakers to ‘00s-inspired guitar tones which convey a loving attention to detail. Lyrically, Knipe radiates an unmistakable honesty mixed with a level of wit and a sense of humor producing intimate yet relatable indie pop songs. Adult Mom began as the solo project of Stevie Knipe at Purchase College. Adult Mom now falls between the playful spectrum of solo project and collaborative band with beloved friends and musicians Olivia Battell and Allegra Eidinger. Since forming in 2012, Adult Mom has released ve EPs and two full-length albums; Momentary Lapse of Happily (2015), and Soft Spots (2017). Knipe writes clever and intimate indie pop songs that o‑er a glimpse into the journey of a gender-weird queer navigating through heartache, trauma and subsequent growth.
Tracklist: 1. Passenger 2. Wisconsin 3. Breathing 4. Berlin 5. Sober 6. Dancing 7. Adam 8. Regret It 9. Checking Up 10. Frost
Decadent Records recording artist, USA DMC Champion 1996, also known for his work with Beck, Death Grips, Ministry and The Crystal Method, DJ Swamp is the inventor of the highly imitated skip-proof scratch tool.
He was also in the DJ documentary “Scratch” ,The movie “CLOCK STOPPERS”, and 2017 movie “Banger.” Swamp began mastering his DJ skills more than 25 years ago. In 1996, his rookie year, he took the title of USA DMC Champion. Being true to his nature in an arena that was predominantly influenced by a very hip hop-esque culture, Swamp stepped up to the decks looking like some kind of junky punk. He was well received by the audience despite his counter-culture appearance because he exhibited skills that defied perception and already possessed a stage presence that many of his contemporaries still lacked. The finale came when he closed his set by freakin’ Deep Purple’s ‘Smoke on the Water’ and then smashing his records.
Notorious for mischief, while he’s on the turntables his shows are highly anticipated by those who know that they can expect to see something spectacular.
Karlos Moran, the wunderkind from Kansas City returns to his own Moran Music Group label (helmed by the people at Klasse Wrecks no less) for his 5th release. Showcasing the producers flair for classic US Deep House tropes and a deft talent when it comes to singing and playing instruments live, MMG005 is collection of 4 tracks of wonderful and positive vibes. Trainspotters might notice something familiar and newcomers might discover a new favourite artist, step into the house of Moran and enjoy.
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