Buscar:od d

As has often been noted, psychedelic music can involve causal links between getting out of it and getting into it. Conversely, expansion of consciousness can be found by heading deep into the roots that a band explores, and journeying to the centre of their inspiration. Thus, a curious paradox is attained, whereby the traditional elements of an outfit’s sound are superseded by them blasting their core vibrations into unchartered territory. Such is the case with the new opus from third-eye visionaries Hills, a dizzying journey that traverses through the band’s origins and beyond to new dimensions.The Gothenburg-based Hills are entering their ninth year of existence, in which they’ve released two full-length albums, the second of which, ‘Master Sleeps’ saw a vinyl outing on Rocket last year. Part of a rich scene in their homestead also including friends and Rocket Recordings label mates Goat, they form the new chapter in a tradition of Swedish psychedelia that found its origins in late-’60s and early ‘70s freakouts and mind-melts by the likes of Baby Grandmothers and Älgarnas Trädgård - not to mention the unholy trinity of Pärson Sound, International Harvester and Träd Gräs och Stenar - before being developed by the likes of The Spacious Mind and Dungen in the last two decades. These inspirations make their mark on ‘Frid’ by journeying inward, via mantric repetition and hip-shaking pulsations as on the ten-minute monolith, ‘ Och Solen Sänkte Sig Röd’, yet they can also lurch into the unknown via the fuzz/wah odysseys of the aptly monikered ‘National Drone’ and the ceremonial exhortations of the closing ‘Death Will Find A Way.’As they also showed recently at a rare and spellbinding appearance at Liverpool International Festival Of Psychedelia, Hills have landed on a rich and intoxicating sound that sidesteps the cliches and humdrum stylistic foibles that often plague modern-day psych, in the process breathing new life into an approach that can sometimes seem in danger of appearing redundant through lack of imagination. ‘Frid’, their most out-of-mind and out-of-sight effort to date, crystallises everything that makes these Scandinavian satyrs stand out from the global herd; adventurous experimentation and fearless hallucinatory intensity, rendered with brass-knuckle fortitude. The end result is 38 minutes that translate into a feast for seasoned crate-diggers and fresh-faced converts alike. There is, indeed, gold in these here Hills.

Demon Records is proud to present a new series of vinyl reissues from American singer-songwriter Black Francis / Frank Black
“Salutations from the Twilight Zone, and if you think I mean the 1960s sci fi television program you are correct;
I am quite literally inside of a 1960s sci fi television program. And in that context Demon have allowed
me to correct certain anachronisms in my published works and are releasing some for the first time on vinyl
(https://en.wikipedia.org/wiki/Polyvinyl_chloride).” - Black Francis
• First released in 2000, Oddballs is a compilation of remixed rarities and B-sides recorded between 1994 and 1997.
• Black Francis explains the album was given the title as “they're ODDBALLS. There was once a time when even I was asked to
provide additional content for auxiliary releases of main published works. It was great. They didn't care what the new content was
they just needed it. Yesterday. So awesome. I get to go back into the studio and obsess a little more with no one to bother me,
except by then the bank was mostly blown so we did not have a lot of TIME. Well, sometimes, fuck time.”
• Long out of print, this new vinyl reissue is pressed on 140g silver vinyl, housed in a printed inner sleeve.

Marika “Politissa” Frantzeskopoulou was a Greek singer from Constantinople, renowned for her precise, fluid and graceful performances and depth of feeling.
Backed by some of the best musicians of the era on lyra, violin, oud, kanonaki and guitar, Marika’s repertoire and techniques drew from Byzantine and Ottoman musical traditions.
She possessed an ability to devastate her audience through her expressions of grief, exile, and tragic love, running the gamut of cafe aman, torch songs, lilting and fragile odes to heartache, heavy Piraeus style rebetika, and ecstatic Near-Eastern climaxes, all with a visceral sense of atmosphere, emotion, and fatalism.
Marika’s voice is complimented beautifully by her backing musicians, creating a pulsing acoustic foundation over which her voice soars with clarity and purpose.

Influenced by a life split between Lima, London, and Twentynine Palms, Peru-born M. Caye Castagnetto’s Leap Second is an intriguingly personal and hard to classify debut album. The album is a thick collage of samples Caye recorded with different artists and musicians, including Beatrice Dillon and the late Aileen Bryant, that spans five years in the making. There is something in Leap Second that tracks the speed of bodies, how they approach and retreat. The ten tracks are speedy and languid, thick ruffles, and dirges. In parts it feels like one’s stumbled upon a forgotten incredible ’70s folk record but that feeling gets broken quickly by clever sleights of hand. Caye’s balladry is angular, time is elastic. Each song is a fresh cape. How dandies really mean it, so masc- that it’s fay, how the only moment is this one and it’s just passed, etcetera.“While it doesn’t really sound like anything else, there are moments that feel like a Latin-flavored Nico, that’s edging its way towards some of the outings of the Sun City Girls. In my opinion it checks all the boxes, by checking none of them.” —Bjorn Copeland, Black Dice “A truly interesting conglomeration of loose inspirations and conjurings. A hard to decipher sound all together which makes it worth every moment...a sprinkling of Catherine Ribeiro, Dr. John, Terje Rypdal and Nico. Far-out sun-soaked odysseys and moon-dappled woodland night creepers...” —John Dwyer

At Cloud’s Length is a collaborative compilation of musical works from artists on Melbourne/Naarm based collective WAT artists, using the vehicle of music as the driving force of connection.

While the opportunities to gather have been put on hold, this compilation is a collaborative release rising from a challenge set to the WAT artists roster to connect and create using isolation as a creative parameter from which to generate new music, resulting in surprising and powerful musical cross-pollination.

At Cloud’s Length - an ode to the use of cloud storage as the last front of musical collaboration during lockdown - reaches through the veil of isolation, passing overland, gathering energy and offering a release saturated with creativity and collaboration from afar.
This compilation is both a confluence of unique and diverse creative minds and a narrative of humanity's desire for deeper meaning and connection.

Music contributors:

30/70, Adam Halliwell (Mildlife), Alex Albrecht, Barney McCall, Bell Towers, Big Yawn,
Edd Fisher, Fantastic Man, IN2STELLAR, Kris Baha, Loure, Mike Callander, Morgan Wright, Michael Ozone, Rings Around Saturn, Sleep D, Sui Zhen, Toni Yotzi, ZFEX

Das LA-ansässige Producer-Kollektiv Internet Money veröffentlicht sein erstes Kompliationsalbum ”B4 THE STORM jetzt als 12” Doppelvinyl in Silber. Die zweite Singleauskopplung ”Lemonade” erreichte bereits die Top 3 der deutschen Singlecharts, die Top 50 auf Spotify und ist aus den Top-Playlisten nicht mehr wegzudenken. Auch am Radio stieg ”Lemonade” in die Top 50 der deutschen Air Play Charts ein. Die Star-Produzenten Nick Mira und Taz Taylor arbeiten mit Hip-Hop-Größen, wie Drake, Trippie Redd, Juice WRLD und vielen weiteren zusammen. Auf ”B4 THE STORM” vereint die Beat-Entourage bekannte Gesichter wie Swae Lee, Gunna, Don Toliver, Kevin Gates, Wiz Khalifa oder Future und featuret Beiträge von Künstlern, die Internet Money entdeckt und gepusht hat: Juice WRLD, Trippie Redd, lilspirit, Lil Tecca oder iann dior - um nur einige Namen zu nennen.

You could think of the collection of tracks here as a library record of sorts, and each track inhabits its own universe. Tropical fits various moods and situations, and it could soundtrack any number of activities at home or on a dancefloor - whether real, imaginary, or hallucinated. Strangely enough, it sounds like it could have been constructed from obscure Italian library breaks, when instead every instrument has been played and panned, several times over, across magnetic tape.

The genesis of many of these tracks began when CV Vision moved to Berlin in 2014. His flat had a small chamber where he could fit a drum set, so he treated the walls with foam, and in true DIY style, dived headfirst into recording these tracks. It was the natural next step on an audio adventure that first began when CV Vision picked up the guitar in his teens, and a couple years later started recording with friends in his home town of Bayreuth. Fast forward ten years and here is his debut - a culmination of practising chops and learning instruments, mastering recording techniques and fine-tuning the CV Vision sound.

It’s a sound that condenses elements of acid rock, psych soul, library funk and new wave oddities into a movie soundtrack for your mind. It’s a journey from ‘60s west coast LSD-drenched excursions to ‘80s synth and post-punk mutations. Tropical is a plunge into another time, another music you can simply swim around in and explore.

Side A opens up with Tropical Tune In, which rides in on a clave and a warm wind, blowing a distinctly herbal aroma and recalling exotica dons like Les Baxter and Martin Denny. Following on with the aural equivalent of a sea breeze through your mind, Spaziergang am Meer blows away the cobwebs and conjures some nice library moments like Stringtronics or F eelings . Next, Ba_c_k(Lava) bounces out of a cold wave post-punk melting pot and crashes through the speakers like a blazed Zebedee, with some sweet eastern synths for added flavour, before the rolling bass licks of Der Böse Schamane take us into another dimension, landing somewhere between a psych rock freak out and a Black Ark dub session. Mr Maze channels the arpeggiators of synth outsiders like Mort Garson and Bruce Haack, creating a glorious interlock of robotic electronics and freakbeat vocals. The side comes to a close with the guitars of Der Strand (außer Rand und Band) letting loose like syrupy springs, and setting a languid mood like the bedroom scene in Bedazzled (1967 version). Side B kicks off with Parallel Universum, which comes through like a woozy krautrock workout, all ducking synths with big chord shifts to create an epic deranged beehive of a soundtrack. Im Land der Ameisen evokes the spirit if not the sound of White Rabbit, when logic and proportion have fallen sloppy dead, before waking up and wandering through the side alleys of Marrakech with the West Coast Pop Art Ensemble and the Electric Prunes, as Ritual (No. 4) blares out the speakers of passing tuk tuks. Ein Wasserfall plumbs the deep synth depths, like Raymond Scott in scuba gear, modular rack strapped to his back delivering oxygen as he swims between connector cables and seaweed forests through a watery underworld. Banana King sounds like a lost soundtrack to Donkey Kong or Mario Cart, if the cart radio was tuned into a synth

documentary hosted by James Pants, while Das Kloster am Berg takes the baton from Brenda Ray and her Naffi cohorts, all dubbed-out niceness and post punk swagger. The LP closes out with Tropical Drop Out, a dreamscape rather than a wake up call, coaxing you deeper into the trek across the desert of your mind.

And that’s Tropical in its essence: capsules from another time, snapshots of another sound, messages from another mind - all in the service of inducing the visions in your head.

written by Max Cole

In a world governed by stereotypes, Lachinos break down the boundaries between people and gender. It is impossible to clearly distinguish the origin, roots and cultures that are specific to each of its members. An association that turns out to be as unexpected as it is effective on their first EP America Lachina, out on Goutte d’Or, a sub-label of french team Cracki Records.
America Lachina is also and above all an ode to Latin American music. One travels to the rhythms of merengue, cha cha cha, cumbia or even Brazilian surf, always with a musical commitment to rock accents.

After the heaviest of years, it should be time to take a little weight off with the playful sounds of The Person. Mapping its own Bermuda Triangle between dub-pop, sugary synthwave and Balearic boogie, ‘Tide Life’ transports Compass Point to Soggy Bottom, providing maximum fun, sun and bitmap escapism.

The eagle-eared may recognise The Person from the aspirational Italo-rockers Steaming Jeans, whose chalet-ready romp on Bordello A Parigi scored a Winter Olympic gold back in early 2020. Now left to her own devices, Minna Wight swaps the slopes for a jet ski and takes a Wave Race from Summer Bay to Monkey Island across 11 cuts of vintage oddball pop.

Whether she’s borrowing Brenda’s Beach Balls for the dubby daydream of ‘Snail Cafe’ and ‘The Place’, serving lost library cues to SNES club scenes on ‘Barry R Reef’ and ‘Elastic Shoes’ or spinning high school slow jams into synth soul ballads like ‘Nice Feeling’, Minna disguises serious musicianship behind a naive aesthetic. Disarmed by charm, we’re powerless to resist her tidal pull.
Patrick Ryder

only 1 copy exists of this heavy melodic progressive concept lp valued in excess of £10,000. fresh from the incredible success of Rick Wakemans early concept lps (he drummed with Wakemans band) Barney and his ex band mates Warhorse made this sensational lost heavy prog lp as a promo acetate to get an official release, Barney wrote all the songs and sings. Musically complex it begins with a spoken intro and tells the tale of Koneg Son Of Odin, as he quests to find meaning and death in battle. Keyboards and guitar interweave, with further spoken interludes, and culminating in an epic prog workout featuring fluid soloing electric leads as Koneg dies on the battlefield and is taken by Valkyries to Valhalla. The original gold hand made cover is reproduced as a gatefold with sleevnotes by the actual Rick Wakeman. Barney James, an ex British Army Commando, and ex Gracious, Legend, and Warhorse, and actor in The Sweeney and Derek Jarmans Jubilee, is also now in Valhalla, and his lost lp is here Issued for the first time with the full permission of his two daughters.

‘‘I am not as other detectives!’
Presently in triple gatefold vinyl for the very first time, Dirk Gently – The Long Dark Tea-Time of the Soul sees Harry Enfield return as the singular detective in this full-cast BBC radio dramatisation of the novel by Douglas Adams. First broadcast on Radio 4 in 2008, these fantastically entertaining comedy sci-fi dramas are adapted and directed by Dirk Maggs, acclaimed for his dramatisations of The Hitchhiker’s Guide to the Galaxy, Good Omens, Neverwhere and many others.
When Dirk Gently’s long-suffering secretary, Janice, resigns to work in an airport, it’s the beginning of a very strange adventure for both of them. The detective takes to reading palms whilst dressed as an old gypsy woman, but meanwhile the ancient Norse God Odin has fallen into the hands of an unscrupulous advertising executive (and her husband). Bring on Odin’s son, Thor, a godlike curse that turns Janice into a vending machine, and countless other interconnected things…
Starring Harry Enfield as Dirk Gently and Olivia Colman as Janice, with Billy Boyd as Richard MacDuff, Laurel Lefkow as Kate Schechter, Stephen Moore as Odin, John Fortune as Dr Standish, Philip Jackson as the Vagrant, Jan Ravens as Cynthia Draycott and Peter Davison as Simon Draycott, with a guest cast including Rupert Degas, Morwenna Banks, Sally Grace, Jon Glover, Michael Fenton Stevens and Susan Sheridan, and music by Philip Pope. Adapted by Dirk Maggs and John Langdon from the novel of the same name by Douglas Adams. Directed by Dirk Maggs.
Three 140g coloured vinyl discs – in Holistic Red, Yellow and Blue - are presented in an illustratedc triple gatefold sleeve, with an exclusive sleeve note by Dirk Maggs.

"Odeyalo" is a Russian word that means "blanket". This blanket is made from many rags. It's hard to tell where one ends and the other begins, but the main thing is that you can cover yourself with this blanket.

Foresteppe is the musical project by Egor Klochikhin, artist and history teacher from Russia. Foresteppe's music is a constant experiment with the sounds of tape cassettes, acoustic instruments, field recordings and electronics. Detailed sound collages by foresteppe explore the space of history and memory, as well as the themes of nostalgia and trauma.

"Odeyalo" has been played live with ten cassette tape players and several dozens of cassette tape loops in June – September, 2019 in Vyksa, St.Petersburg, Moscow, Brussels, Tomsk oblast, Novosibirsk and Berdsk.

ENDLICH....das Live-Album der Bluegrass/Folk-Helden mit 17 Songs! Vor über 6 Jahren entdeckten wir die vier Gentlemen von THE DEAD SOUTH aus Regina, Saskatchewan während der Canadian Music Week in Toronto sehr spät am Abend in einem eher spärlich gefüllten Club. Unsere Begeisterung wurde von einer Vertragsunterzeichnung begleitet und so veröffentlichten wir im November 2014 ihr Debütalbum "Good Company". Natürlich sind wir ziemlich stolz, dass wir eine Indie- Erfolgsgeschichte mit der Band schreiben konnten, die nun mit einem Doppel-Live- Album namens "Served Live" gefeiert wird. Natürlich ist die Idee nicht ganz neu, aber wenn es bei einer Band doch Sinn macht, dann bei The Dead South, denn ihre Live-Shows sind schon jetzt recht legendär und vor allem auf der Bühne zeigen sich ihre Stärken, die doch recht schwer auf einem Studioalbum zur Geltung kommen: unbändige Spielfreude, eine genre-sprengende Live-Dynamik, eine gute Prise Humor sowie ein sich gegenseitiges Pushen sind nur einige Attribute, die mir gerade so einfallen wollen. Die "Die-Hard-Fans" der Band werden natürlich nicht 100%ig zufrieden sein, da trotz lediglich drei Studioalben sicher der eine oder andere Song fehlt - mir vor allem _ÇÜGunslinger's Glory', aber dieser ist halt auch sehr lang. Auch sind einige ihrer Cover- Versionen von Bands wie den Animals, The Decemberists oder diverse Tradionals Teil ihrer Live-Sets, aber hier sollten es halt nur eigene Songs auf die Platten bzw. CDs schaffen. Die 17 Songs auf "Served Live" wurden auf 17 verschiedenen Shows mitgeschnitten, denn die Band wollte so vielen Fans wie möglich ein kleines Dankeschön sagen, aber leider hat Covid-19 diesem Unterfangen einen für uns bedeutenden Strich durch die berühmte Rechnung gemacht und es fehlen jegliche Deutschland-Shows, wohingegen USA (L.A., Seattle, Portland, Boston, Atlanta, Denver, NY), GB (Manchester, London, Newcastle, Portsmouth, Belfast, Dublin) und ihre Heimat Kanada (Edmonton, Halifax, Montreal) vertreten sind. "Served Live" ein unglaublich energetisches und authentisches Live-Dokument, das auch hiesigen Fans von The Dead South sehr viel Freude bereiten wird und ein warmes Trostpflaster für die Zeit des Wartens auf die nächste Tour.

[c] A3. Mr Raffles (Man, It Was Mean) [2014 Remastered Version]


[f] B1. Make Me Smile (Come Up And See Me) [2014 Remastered Version]



[j] C1. Make Me Smile (Come Up And See Me) [Rough Mix] /



[n] D1. The Mad, Mad Moonlight (Live At Hammersmith Odeon, London, 14th April 1975) [2014 Remastered Version]

Blacklight Chameleon, a new moniker by Austrian producer Martin Riedler, presents a confusing or rather odd introduction with his new project on Nutriot Recordings. Riedler's music takes a stance halfway between studio production and live jam.

Der Hamburger Musiker und DJ RVDS schließt sich mit dem meditativen, ohrenschmeichelnden Klangkunstwerk "Moods and Dances 2021", einem musikalischen Geschenk aus einer Zeit, in der die Zukunft Vergangenheit sein wird, dem Label Bureau B an. Inspiriert von der sphärischen Exotik und den fantasievollen Elektroniksounds der Library Music, beschwört Richard von der Schulenburg Palmen, Pyramiden, Promenaden und Portale herauf, die vom Zentrum eines Holodecks aus beobachtet werden. Die Stücke nehmen uns mit auf eine Reise durch den wilden Geräte-Dschungel in Richards Privatstudio und lassen sich als Hommage an die Klang-Schattierungen in seiner Sammlung verstehen. Ob mit geschmolzener 303 auf dem Gipfel des Mount Acid, ob improvisierter Jazz auf den Fendertasten oder live mit Bühnen-Pathos, Richards Musik ist in jedem Fall eine eindringliche, allumfassende Erfahrung. Gut möglich jedoch, dass diese Erfahrung noch nie unmittelbarer war als auf seinem neuesten Werk.

Orange Vinyl

LUKE VIBERT's first WAGON CHRIST release in nearly a decade released on PEOPLE OF RHYTHM RECORDS on yellow colored double vinyl and CD. Cover art by illustrator CELYN BRAZIER (who has illustrated previous WAGON CHRIST releases on NINJA TUNE and ASTRALWERKS). LUKE VIBERT has been key in pioneering and developing the “trip-hop” or “downtempo” genre of electronic music over his long, storied career. Creating, sampling and using various instrumental hip hop and funk riffs, found electronic sounds, rare breakbeats, outlandish spoken word samples, and carefully mined sound bites, along with LUKE’s signature sample pack of sounds. All mixed up and bound together with those thick WAGON CHRIST grooves.

Ein einzigartiger Künstler an einem legendären Ort: Tripping with Nils Frahm dokumentiert seine transzendentalen Liveshows in der geschichtsträchtigen Kulisse des Funkhaus Berlin. Gleich vier Shows im Funkhaus Berlin gaben den Auftakt zu Nils Frahms ambitionierter All Melody Tournee Anfang 2018, die sein gleichnamiges und allseits gepriesenes Studioalbum in den nächsten zwei Jahren auf die Bühnen dieser Welt brachte. In den folgenden über 180 ausverkauften Shows war der Ausnahmekünstler unter anderem im Sydney Opera House, in der Disney Hall in Los Angeles, im Barbican in London, in der Elbphilharmonie sowie auf zahlreichen großen Festivalbühnen zu Gast. Dennoch blieben Frahm die Konzerte im ehrwürdigen und für seine großartige Akustik gerühmten Saal 1 im Funkhaus Berlin in,mm besonderer Erinnerung.

Als Frahm ein knappes Jahr später zu vier weiteren Konzerten im Funkhaus einlud, waren die Tickets binnen Stunden vergriffen. Frahms langjähriger Freund und Filmemacher Benoit Toulemonde, der unter bereits für die Film-Konzertserie La Blogothèque mit zahlreichen weltbekannten Künstler-innen und Bands zusammenarbeitete, hielt die Abende an diesem geschichtsträchtigen Ort mit einem siebenköpfigen Kamera-Team fest.

Tripping with Nils Frahm ist ein Dokument Frahms vielfach gepriesener Fähigkeiten als Komponist und passionierter Live- Musiker sowie der besonderen Stimmung und Atmosphäre seiner legendären Funkhaus-Shows. Ein außergewöhnlicher musikalischer Trip — exklusiv und intim, roh und direkt.

"It was about time to document my concerts in picture and sound, trying to freeze a moment of this period where my team and I were nomads, using any method of travel to play yet another show the next day. Maybe tonight is the night where everything works out perfectly and things fall into place? Normally things go wrong with concerts, but by combining our favorite moments of four performances, we were able to achieve what I was trying to do in

these two years of touring: getting it right! When you hear the applause on the end of the film you should know that I was smiling happily, being a tad proud and feeling blessed to share these moments with you.

Much love, Nils"

At the disco there is a mentasm... You will find me there..."

So begins Cornwallis' "At The Disco", a robot-voiced spoken word oddity released on Power Vacuum in 2015.

Power Vacuum is all about the mentasm: the mental orgasm, the moment when psychoactive electronics remould your grey matter into discombobulating new shapes, and when silliness, surreality, and playful aggression flip the sensible order of things upside down.